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When in 2001 Hungarian composer Gyorgy Ligeti looked back at his 1951's Concert Românesc,he called it a "piece of camouflage" In fact, at the time, he had to conceal his own radical music language between the lines of the strictly tonal formal framework requested by socialist realism. Despite his efforts, his work was charged with "decadentism" and banned. Actually, Ligeti had insinuated several hidden dissonant intervals into the most classical tonal harmonies - like a slight F flat note in a F major chord or a natural F in a B major chord.

The pieces displayed in this exhibition represent six extremely heterogeneous

approaches to design. From forms devoid of any cultural speculation, to hyper speculation translated into form. From automotive eroticism to scaffold towers' mysticism. Alien outlines next to transfigured ordinary materials and functions, in a dissonant panorama which insinuates art, architecture and sculpture influences in a design display. Each piece would proudly stand accused of a wide range of possible "charges" - especially the one of being distant from the contemporary design discourse.