In the 70s in some Italian and foreign cities groups of designers and designers were formed architects who contested the rationalism, which prevailed at the time. These groups (Superstudio, and Archizoom in Florence, Archigram in London), elaborate “radical” objects and utopian images of urban environments. Paving the way for the following decade, with the Milanese experiences of Alchimia and Memphis. Presented in 1981 in Milan in a memorable exhibition, the Memphis furnishings designed by Sottsass and other architects including Marco Zanini, George Sowden, Michele De Lucchi, caused a sensation for the great formal and linguistic novelty obtained through combinations of different materials, bright colors and the use of plastic laminate with specially designed decorations. Light-hearted and nonconformist, Memphis furniture and objects bring a breath of creative euphoria to the world of industrial production, fueling a new aesthetic taste in the name of lightness and irony. In this context, in 1980, the ‘pallucco’ company was born, founded by Paolo Pallucco. Right from the start, it established itself on the international scene for its approach nonconformist to the world of design, confronting atypical designers, creating unrepeatable products. An operational methodology that is characterized by the inherent ability to assemble heterogeneous shapes and materials in balanced compositions, with the cleanliness and rigor of the design, necessary for an industrial manufacturing process, but with an undisputed personality of the typological solutions, all vibrant with tensions. Being able to communicate the meaning underlying the objects, each time in the most effective way, became the goal of the presentations of the 1987 collections, again at the Salone del Mobile in Milan and then, the spectacular installations, outside the Salone del Mobile, at the Mattatoio abbandono in Milan in 1988 and 1989. Leaving through the collections, therefore, no longer just an industrial product, but a message, a sign, also through the coherence between the way of communicating and the product communicated. In this sense, the exhibition space had to be the most direct moment and had to have an emotional impact on the viewer: arouse interest or even perplexity, reach the hearts of the spectators/consumers. Communicating to surprise, make known, excite, a goal achieved with the involvement of important professionals in various sectors, from the photographer Peter Lindbergh for the images of the catalog, designed by the graphic designer of Comme des garcons, Toji Murata, to the visionary texts of the poet Rilke, inspirers of the collections, to the lights of Henry Alekan, historic French director of photography, to the choreography of Peter Pabst, to the music of Seigen Ono, exponent of New Âge Music. Fascinated by this total project, contemporary art gallery owner Emilio Mazzoli involves Paolo Pallucco in the creation of an artistic project with the characteristics of his training as an architect and designer. Thus are born “100 chairs in one night”, work, presented at the contemporary art gallery of Emilio Mazzoli in Modena in 1990 and later at the Kluser gallery in Monaco. To complete the project, conceptual graphic catalogue set by Pallucco and realized by Malcolm Gibson with preface by Fernanda Pivano and the edition of a valuable catalogue-artist book, “Centalogo”, published in 500 numbered copies, with captions by Achille Bonito Oliva. This experience led to the design of a new limited edition collection, “Victims”.