The Metropolitan Museum of Art, New York Acquires a Fractal Table
.MGX is excited to announce that the Fractal.MGX table by WertelOberfell-Platform now forms part of the permanent collection at the Metropolitan Museum of Art in New York City. The table which was designed in collaboration with Matthias Bär was created using 3D printing as one single piece, without joints or seams, and derived from studies into the fractal growth patterns of trees.
Fractal Table
.MGX is excited to announce that the Fractal.MGX table by WertelOberfell-Platform now forms part of the permanent collection at the Metropolitan Museum of Art in New York City. The table which was designed in collaboration with Matthias Bär was created using 3D printing as one single piece, without joints or seams, and derived from studies into the fractal growth patterns of trees.
Fractal Table
Tokujin Yoshioka Unveils New Installation at Mori Art Museum in Tokyo
Winter turns to spring, summer turns to autumn. We sense the shifts not just by the changes in the temperature and the scenery, but in the smells carried on the breeze and the quality of the sunlight. Over two thirds of Japan's population lives in its cities, which make up just a small fraction of its landmass. And yet we are still able to read nature with our bodies.
Japan's temperate climate and its mountainous topography gave birth to a unique natural environment, which in turn fostered an ancient cosmology and spirituality which have greatly influenced our culture and arts. In "Sensing Nature: Yoshioka Tokujin, Shinoda Taro, Kuribayashi Takashi" we think about how the innate human ability to perceive nature (to sense nature) and the Japanese view of nature exist in our urbanized and modernized world. We also ask how those views are reflected in contemporary art and design practices. Yoshioka Tokujin, Shinoda Taro and Kuribayashi Takashi are three internationally active artists/designers who give abstract or symbolic expression to immaterial or amorphous concepts as well as natural phenomenon such as snow, water, wind, light, stars, mountains, waterfalls and forests. Their ideas of nature suggest that it is not something that is to be contrasted with the human world, but that it is something that incorporates all life-forms, including human-beings. Their works hint that we have inherited this all-encompassing cosmology deep in our memories and in our DNA.
Consisting of newly commissioned works by each of the three participant artists, the exhibition attempts to stimulate our sense of nature through large-scale installations with visitors’ physical experiences with their entire bodies.
For Sensing Nature Tokujin Yoshioka created Snow, a monumental installation made from artificial materials, giving the viewer the sensation of experiencing light, snow, storms and other phenomena.
Snow, 15m in width is comprised of fine feathers which are blown up by wind and then shower down as real snow does. The scene of hundres of kilograms of light feathers being blown all over and falling down slowly, reminds one of the snow scape of our memories and expresses the beauty of nature which exceeds our imagination.
"Sensing Nature"
Tokujin Yoshioka, Takashi Kuribayashi, Taro Shinoda
July 24 - November 7, 2010
Mori Art Museum
53F Roppongi Hills Mori Tower, 6-10-1
Roppongi, Minatoku, Tokyo, Japan, 106-6150
Images
www.mori.art.museum/jp/index.html
Works by Tokujin Yoshioka
Winter turns to spring, summer turns to autumn. We sense the shifts not just by the changes in the temperature and the scenery, but in the smells carried on the breeze and the quality of the sunlight. Over two thirds of Japan's population lives in its cities, which make up just a small fraction of its landmass. And yet we are still able to read nature with our bodies.
Japan's temperate climate and its mountainous topography gave birth to a unique natural environment, which in turn fostered an ancient cosmology and spirituality which have greatly influenced our culture and arts. In "Sensing Nature: Yoshioka Tokujin, Shinoda Taro, Kuribayashi Takashi" we think about how the innate human ability to perceive nature (to sense nature) and the Japanese view of nature exist in our urbanized and modernized world. We also ask how those views are reflected in contemporary art and design practices. Yoshioka Tokujin, Shinoda Taro and Kuribayashi Takashi are three internationally active artists/designers who give abstract or symbolic expression to immaterial or amorphous concepts as well as natural phenomenon such as snow, water, wind, light, stars, mountains, waterfalls and forests. Their ideas of nature suggest that it is not something that is to be contrasted with the human world, but that it is something that incorporates all life-forms, including human-beings. Their works hint that we have inherited this all-encompassing cosmology deep in our memories and in our DNA.
Consisting of newly commissioned works by each of the three participant artists, the exhibition attempts to stimulate our sense of nature through large-scale installations with visitors’ physical experiences with their entire bodies.
For Sensing Nature Tokujin Yoshioka created Snow, a monumental installation made from artificial materials, giving the viewer the sensation of experiencing light, snow, storms and other phenomena.
Snow, 15m in width is comprised of fine feathers which are blown up by wind and then shower down as real snow does. The scene of hundres of kilograms of light feathers being blown all over and falling down slowly, reminds one of the snow scape of our memories and expresses the beauty of nature which exceeds our imagination.
"Sensing Nature"
Tokujin Yoshioka, Takashi Kuribayashi, Taro Shinoda
July 24 - November 7, 2010
Mori Art Museum
53F Roppongi Hills Mori Tower, 6-10-1
Roppongi, Minatoku, Tokyo, Japan, 106-6150
Images
www.mori.art.museum/jp/index.html
Works by Tokujin Yoshioka
Gaetano Pesce Lecture at UCLA's Hammer Museum, Los Angeles
Co-presented with Istituto Italiano di Cultura.
July 7, 2010
7pm
Hammer Museum
10899 Wilshire Blvd Los Angeles, CA 90024
Hammer Museum
Co-presented with Istituto Italiano di Cultura.
July 7, 2010
7pm
Hammer Museum
10899 Wilshire Blvd Los Angeles, CA 90024
Hammer Museum
Gaetano Pesce Retrospective Opens in Los Angeles
The first retrospective in the Western United States of architect, artist, and designer Gaetano Pesce celebrates the maestro of art-design and his years of experimenting and creating works with polyurethane foam, resin, and plastics for such a-list companies as Cassina, B&B Italia and Meritalia. Works on display include prototypes, production models, video, and audio produced throughout Pesce’s 40-year career.
Gaetano Pesce (La Spezia, 939) studied architecture at the University of Venice. His works are included in the permanent collections of the most important museums in the world, from MoMa to the Metropolitan in New York, from the Victoria and Albert Museum in London to the Milan Triennale and the Centre Pompidou in Paris, which in 996 presented a memorable retrospective of his oeuvre. Pesce has taught architecture in the most prestigious universities. His architectural work includes the organic Building of Osaka and the office for the New York advertising agency tBWa\Chiat\day. Pesce received the prestigious Chrysler award for Innovation and design in 993 and the Fashion Institute of Technology’s Lawrence J. Israel Prize in 2009.
The exhibition is accompanied by a bilingual catalogue with contributions by critics Gillo dorfles, Germano Celant and Vittorio Sgarbi, who will be in attendance, as well as alessandro Mendini, editor-in-chief of doMus and Cindi Strauss, Curator of Modern and Contemporary Decorative Arts and Design at the Museum of Fine Arts, Houston.
Pieces from a Larger Puzzle
Gaetano Pesce
July 8 - August 31, 2010
Italian Cultural Institute of Los Angeles
1023 Hilgard Avenue
Los Angeles, CA 90024
Curated by: Francesca Valente, John Geresi, and Peter Loughrey
Images
Italian Cultural Institute of Los Angeles
Exhibition Website
Works by Gaetano Pesce
The first retrospective in the Western United States of architect, artist, and designer Gaetano Pesce celebrates the maestro of art-design and his years of experimenting and creating works with polyurethane foam, resin, and plastics for such a-list companies as Cassina, B&B Italia and Meritalia. Works on display include prototypes, production models, video, and audio produced throughout Pesce’s 40-year career.
Gaetano Pesce (La Spezia, 939) studied architecture at the University of Venice. His works are included in the permanent collections of the most important museums in the world, from MoMa to the Metropolitan in New York, from the Victoria and Albert Museum in London to the Milan Triennale and the Centre Pompidou in Paris, which in 996 presented a memorable retrospective of his oeuvre. Pesce has taught architecture in the most prestigious universities. His architectural work includes the organic Building of Osaka and the office for the New York advertising agency tBWa\Chiat\day. Pesce received the prestigious Chrysler award for Innovation and design in 993 and the Fashion Institute of Technology’s Lawrence J. Israel Prize in 2009.
The exhibition is accompanied by a bilingual catalogue with contributions by critics Gillo dorfles, Germano Celant and Vittorio Sgarbi, who will be in attendance, as well as alessandro Mendini, editor-in-chief of doMus and Cindi Strauss, Curator of Modern and Contemporary Decorative Arts and Design at the Museum of Fine Arts, Houston.
Pieces from a Larger Puzzle
Gaetano Pesce
July 8 - August 31, 2010
Italian Cultural Institute of Los Angeles
1023 Hilgard Avenue
Los Angeles, CA 90024
Curated by: Francesca Valente, John Geresi, and Peter Loughrey
Images
Italian Cultural Institute of Los Angeles
Exhibition Website
Works by Gaetano Pesce
The Solo Exhibition, SPECTRUM, from Tokujin Yoshioka is Now Showing at the Museum.BeyondMuseum in Seoul, Korea
"SPECTRUM"
Tokujin Yoshioka
May 1 - Aug 15, 2010
MUSEUM beyond museum
Gangnam-gu Chungdam-dong 49-21
Seoul, Korea
Tokujin Yoshioka’s solo exhibition “SPECTRUM” opened at Museum.BeyondMuseum in Seoul, Korea on May 1, 2010. Two major installations are being exhibited in "SPECTRUM" including Rainbow Church 2006-2010, an eight-meter-high glass window constructed from 500 crystal prisms and Tornado made from millions of drinking straws.
Other important works presented are Waterfall 2005-2006, the world’s largest optical glass table, Venus Chair made of crystal which is grown in a tank filled with a mineral solution and the Honey-Pop Chair constructed of honeycombed paper.
Images
Video
MUSEUM Beyond Museum
Works by Tokujin Yoshioka
"SPECTRUM"
Tokujin Yoshioka
May 1 - Aug 15, 2010
MUSEUM beyond museum
Gangnam-gu Chungdam-dong 49-21
Seoul, Korea
Tokujin Yoshioka’s solo exhibition “SPECTRUM” opened at Museum.BeyondMuseum in Seoul, Korea on May 1, 2010. Two major installations are being exhibited in "SPECTRUM" including Rainbow Church 2006-2010, an eight-meter-high glass window constructed from 500 crystal prisms and Tornado made from millions of drinking straws.
Other important works presented are Waterfall 2005-2006, the world’s largest optical glass table, Venus Chair made of crystal which is grown in a tank filled with a mineral solution and the Honey-Pop Chair constructed of honeycombed paper.
Images
Video
MUSEUM Beyond Museum
Works by Tokujin Yoshioka
Richard Woods Completes New Public Installation "NIEUWBOUW" in Antwerp
"NIEUWBOUW" a new installation on streets of Antwerp, Belgium opens July 4, 2010. The artist has completed many large scale commissions for public spaces. Recent installations include the "THE YARD" in Oxford, UK (2010) and "Port Sunlight" at Lever House in New York (2010). Other important, large-scale public commissions include: Super Tudor (2002), with Deitch Projects, New York, Nice Life no. 2 (2003), with Deitch Projects, Miami, Import/Export Sculpture in Stopover (2003), with The Henry Moore Foundation Contemporary Projects, at the 50th International Venice Biennale of Art, Renovation (2005), at 48 Merton Hall Road, in association with Art Works in Wimbledon, and hosted by the Wimbledon School of Art, London, NewBUILD (2005), in association with the Ruskin School of Drawing and Fine Art, University of Oxford, and Logo no. 26 (2006), a Platform for Art Leicester Square, London.
"NIEUWBOUW" Opens: July 4, 2010 at 74 Lange Kievit, Antwerp, Belgium
Images of NIEUWBOUW
Richard Woods at Moss
"NIEUWBOUW" a new installation on streets of Antwerp, Belgium opens July 4, 2010. The artist has completed many large scale commissions for public spaces. Recent installations include the "THE YARD" in Oxford, UK (2010) and "Port Sunlight" at Lever House in New York (2010). Other important, large-scale public commissions include: Super Tudor (2002), with Deitch Projects, New York, Nice Life no. 2 (2003), with Deitch Projects, Miami, Import/Export Sculpture in Stopover (2003), with The Henry Moore Foundation Contemporary Projects, at the 50th International Venice Biennale of Art, Renovation (2005), at 48 Merton Hall Road, in association with Art Works in Wimbledon, and hosted by the Wimbledon School of Art, London, NewBUILD (2005), in association with the Ruskin School of Drawing and Fine Art, University of Oxford, and Logo no. 26 (2006), a Platform for Art Leicester Square, London.
"NIEUWBOUW" Opens: July 4, 2010 at 74 Lange Kievit, Antwerp, Belgium
Images of NIEUWBOUW
Richard Woods at Moss
Diller Scofidio + Renfro to Design the new Berkeley Art Museum at the University of California, Berkeley
Following a national search, the University of California, Berkeley, has chosen the world renowned, New York City-based design firm of Diller Scofidio + Renfro (DS+R) to design the new Berkeley Art Museum and Pacific Film Archive (BAM/PFA). The new museum complex is targeted for completion by late 2014.
The announcement comes one day after BAM/PFA's board of trustees endorsed the recommendation of DS+R from a field of 10 national firms by a BAM/PFA architect selection committee consisting of campus, museum and community representatives.
DS+R will develop plans to repurpose a 48,000-square-foot, art deco style printing plant and to integrate it with a new 50,000-square-foot structure on a site along Oxford Street, between Center and Addison streets in downtown Berkeley.
The new museum site will anchor Berkeley's Addison Street Arts District and will link the campus and the active downtown arts and commerce districts. Just a block from the Downtown Berkeley BART station and across the street from the central campus, the new museum’s location will increase public accessibility to BAM/PFA's events, activities and collections, including more than 16,000 works of art and 14,000 films and videos.
"Diller Scofidio + Renfro’s commitment to integrating architecture with contemporary culture and civic life perfectly aligns with BAM/PFA's core mission: to ignite critical dialog and inspire the imagination through art and film," said Lawrence Rinder, director of BAM/PFA. "We are thrilled to be collaborating with DS+R to design and build a new museum that will deepen our audiences' dynamic engagement with art and which will provide educational opportunities for Berkeley, the Bay Area and the global community."
Rinder noted that the selection committee had focused on the firms' ability to support BAM/PFA's mission and program, provide exceptional gallery and film experiences, engage with historical buildings, utilize environmentally sustainable technologies and design, and meet strict cost guidelines.
"Their intelligence and resourcefulness make Diller Scofidio + Renfro an outstanding choice for this important project," said UC Berkeley Chancellor Robert Birgeneau. "We welcome them to the campus community and look forward to the creative dialogue to come."
The New York Times, Los Angeles Times and The New Yorker all have identified two of DS+R's projects in New York City — Alice Tully Hall and the High Line — as among the most culturally significant projects of 2009. The firm's redesign of the Alice Tully Hall concert facility and its 95,000-square-foot expansion of The Juilliard School are part of DS+R's ongoing work for Lincoln Center for the Performing Arts. The High Line, an urban park on a 1.5-mile stretch of elevated railway in New York City's Chelsea District, was completed last year, designed in collaboration with James Corner Field Operations. A second phase is underway.
In 2006, the firm completed another significant cultural project, Boston's Institute of Contemporary Art, which was designed to integrate civic and cultural experiences while providing a contemplative space that reveals shifting perspectives of the waterfront. DS+R's current projects include "Bubble," an inflatable event space planned for the cylindrical courtyard of the Hirshhorn Museum and Sculpture Garden on the National Mall in Washington, D.C., and the Museum of Image & Sound in Rio de Janeiro, Brazil, which is conceived as an extension of the Copacabana Beach promenade designed by Roberto Burle Marx.
The DS+R studio was founded in 1979 by Elizabeth Diller and Ricardo Scofidio; Charles Renfro became a partner in 2004. Diller and Scofidio were the first in the field of architecture to receive a MacArthur Foundation Fellow ("genius") Award, which recognized their commitment to integrating architecture with issues of contemporary culture. The two architects were inducted into the American Academy of Arts and Sciences in 2008 and recently were named Fellows of the Royal Institute of British Architects.
-BAM/PFA
Diller, Scofidio + Renfro at Moss
Following a national search, the University of California, Berkeley, has chosen the world renowned, New York City-based design firm of Diller Scofidio + Renfro (DS+R) to design the new Berkeley Art Museum and Pacific Film Archive (BAM/PFA). The new museum complex is targeted for completion by late 2014.
The announcement comes one day after BAM/PFA's board of trustees endorsed the recommendation of DS+R from a field of 10 national firms by a BAM/PFA architect selection committee consisting of campus, museum and community representatives.
DS+R will develop plans to repurpose a 48,000-square-foot, art deco style printing plant and to integrate it with a new 50,000-square-foot structure on a site along Oxford Street, between Center and Addison streets in downtown Berkeley.
The new museum site will anchor Berkeley's Addison Street Arts District and will link the campus and the active downtown arts and commerce districts. Just a block from the Downtown Berkeley BART station and across the street from the central campus, the new museum’s location will increase public accessibility to BAM/PFA's events, activities and collections, including more than 16,000 works of art and 14,000 films and videos.
"Diller Scofidio + Renfro’s commitment to integrating architecture with contemporary culture and civic life perfectly aligns with BAM/PFA's core mission: to ignite critical dialog and inspire the imagination through art and film," said Lawrence Rinder, director of BAM/PFA. "We are thrilled to be collaborating with DS+R to design and build a new museum that will deepen our audiences' dynamic engagement with art and which will provide educational opportunities for Berkeley, the Bay Area and the global community."
Rinder noted that the selection committee had focused on the firms' ability to support BAM/PFA's mission and program, provide exceptional gallery and film experiences, engage with historical buildings, utilize environmentally sustainable technologies and design, and meet strict cost guidelines.
"Their intelligence and resourcefulness make Diller Scofidio + Renfro an outstanding choice for this important project," said UC Berkeley Chancellor Robert Birgeneau. "We welcome them to the campus community and look forward to the creative dialogue to come."
The New York Times, Los Angeles Times and The New Yorker all have identified two of DS+R's projects in New York City — Alice Tully Hall and the High Line — as among the most culturally significant projects of 2009. The firm's redesign of the Alice Tully Hall concert facility and its 95,000-square-foot expansion of The Juilliard School are part of DS+R's ongoing work for Lincoln Center for the Performing Arts. The High Line, an urban park on a 1.5-mile stretch of elevated railway in New York City's Chelsea District, was completed last year, designed in collaboration with James Corner Field Operations. A second phase is underway.
In 2006, the firm completed another significant cultural project, Boston's Institute of Contemporary Art, which was designed to integrate civic and cultural experiences while providing a contemplative space that reveals shifting perspectives of the waterfront. DS+R's current projects include "Bubble," an inflatable event space planned for the cylindrical courtyard of the Hirshhorn Museum and Sculpture Garden on the National Mall in Washington, D.C., and the Museum of Image & Sound in Rio de Janeiro, Brazil, which is conceived as an extension of the Copacabana Beach promenade designed by Roberto Burle Marx.
The DS+R studio was founded in 1979 by Elizabeth Diller and Ricardo Scofidio; Charles Renfro became a partner in 2004. Diller and Scofidio were the first in the field of architecture to receive a MacArthur Foundation Fellow ("genius") Award, which recognized their commitment to integrating architecture with issues of contemporary culture. The two architects were inducted into the American Academy of Arts and Sciences in 2008 and recently were named Fellows of the Royal Institute of British Architects.
-BAM/PFA
Diller, Scofidio + Renfro at Moss
Philippe Parreno Exhibition at the CCS Bard Hessel Museum, New York
This summer, the Center for Curatorial Studies at Bard College (CCS Bard) presents Philippe Parreno, the fourth exhibition in a series of retrospectives of the French artist's work that have taken place at the Kunsthalle Zürich, the Centre Pompidou in Paris, and the Irish Museum of Modern Art in Dublin.
Curated by Maria Lind, Philippe Parreno at CCS Bard explores the artist's work with moving images, focusing on two later pieces, June 8, 1968 (2009) and Zidane: A XXIst Century Portrait (2006), and an early work, Anywhere Out of the World (2000). June 8, 1968, which is being shown in the United States for the first time as part of this exhibition, takes us back to 1968 and the funeral train of Robert F. Kennedy. Parreno draws openly on documentary photographer Paul Fusco's famous footage from the event as he reenacts parts of the journey in a stunningly beautiful West Coast landscape. Anywhere Out of the World is Parreno's contribution to the intensively collaborative project No Ghost Just a Shell, which started when he and the artist Pierre Huyghe purchased a manga character, AnnLee, who was "animated" by themselves and a dozen other artists including Liam Gillick and Dominique Gonzalez-Foerster. Zidane: A XXIst Century Portrait, made in collaboration with Douglas Gordon, is simultaneously a feature film-length portrait of a football player and a film that engages exclusively with its main protagonist without having a traditional narrative. The single-channel version of Zidane: A XXIst Century Portrait will be screened on Sunday, June 27, at noon at Upstate Films in Rhinebeck, New York, and again in September on the Bard College Campus.
The exhibition opens on Saturday, June 26, with a reception from 1 to 5 p.m. On Sunday, June 27, CCS Bard will present a series of special programming related to the Philippe Parreno exhibition, which will include a discussion between Parreno and Simon Critchley, chair of philosophy at the New School for Social Research in New York, as well as a screening of the single-channel version of Zidane: A XXIst Century Portrait. The screening of Zidane will take place at Upstate Films in Rhinebeck, New York, on Sunday, June 27, at noon.
PHILIPPE PARRENO
Hessel Museum of Art
This summer, the Center for Curatorial Studies at Bard College (CCS Bard) presents Philippe Parreno, the fourth exhibition in a series of retrospectives of the French artist's work that have taken place at the Kunsthalle Zürich, the Centre Pompidou in Paris, and the Irish Museum of Modern Art in Dublin.
Curated by Maria Lind, Philippe Parreno at CCS Bard explores the artist's work with moving images, focusing on two later pieces, June 8, 1968 (2009) and Zidane: A XXIst Century Portrait (2006), and an early work, Anywhere Out of the World (2000). June 8, 1968, which is being shown in the United States for the first time as part of this exhibition, takes us back to 1968 and the funeral train of Robert F. Kennedy. Parreno draws openly on documentary photographer Paul Fusco's famous footage from the event as he reenacts parts of the journey in a stunningly beautiful West Coast landscape. Anywhere Out of the World is Parreno's contribution to the intensively collaborative project No Ghost Just a Shell, which started when he and the artist Pierre Huyghe purchased a manga character, AnnLee, who was "animated" by themselves and a dozen other artists including Liam Gillick and Dominique Gonzalez-Foerster. Zidane: A XXIst Century Portrait, made in collaboration with Douglas Gordon, is simultaneously a feature film-length portrait of a football player and a film that engages exclusively with its main protagonist without having a traditional narrative. The single-channel version of Zidane: A XXIst Century Portrait will be screened on Sunday, June 27, at noon at Upstate Films in Rhinebeck, New York, and again in September on the Bard College Campus.
The exhibition opens on Saturday, June 26, with a reception from 1 to 5 p.m. On Sunday, June 27, CCS Bard will present a series of special programming related to the Philippe Parreno exhibition, which will include a discussion between Parreno and Simon Critchley, chair of philosophy at the New School for Social Research in New York, as well as a screening of the single-channel version of Zidane: A XXIst Century Portrait. The screening of Zidane will take place at Upstate Films in Rhinebeck, New York, on Sunday, June 27, at noon.
PHILIPPE PARRENO
Hessel Museum of Art
European Design Since 1985: Shaping the New Century opens at the High Museum of Art Atlanta
European Design Since 1985: Shaping the New Century traces the evolution of design with nearly 200 works by some of the most influential artists of this era, such as Philippe Starck, Ron Arad and Zaha Hadid. Encompassing furniture, glass, ceramics and metalwork this exhibition presents a broad range of product design created by 117 designers from 14 Western European countries.
The exhibition examines the development of the larger aesthetic movements of decorative and industrial design that transcended national borders and defined new relationships between art, design and craft during this period.
"This exhibition includes some of the most iconic designs of the time, instantly recognizable but rarely seen in person outside of major American and European cities," stated Ronald T. Labaco, the High's curator of decorative arts and design. "The High's permanent collection includes some of the finest holdings of 19th- and early 20th-century American decorative arts in the country, and this exhibition gives us the opportunity to showcase the next chapter of design history."
European Design Since 1985 is organized by the Indianapolis Museum of Art (IMA) and the Denver Art Museum, in conjunction with Kingston University, London.
Included in the exhibition is the Night Blossom chandelier from Tord Boontje, a Slice Chair and a Spun Chaise from Mathias Bengtsson, a work from Hey Chair Be a Bookshelf by Maarten Baas , Still Life from Studio Job, Hella Jongerius's Soft Urn and Groove and Long Neck Bottles, the C2 Chair by Patrick Jouin as well as work from Philippe Starck, Marcel Wanders, Jurgen Bey, Ron Arad and others.
The exhibition runs from June 5 - August 29, 2010.
-High Museum of Art
European Design Since 1985: Shaping the New Century traces the evolution of design with nearly 200 works by some of the most influential artists of this era, such as Philippe Starck, Ron Arad and Zaha Hadid. Encompassing furniture, glass, ceramics and metalwork this exhibition presents a broad range of product design created by 117 designers from 14 Western European countries.
The exhibition examines the development of the larger aesthetic movements of decorative and industrial design that transcended national borders and defined new relationships between art, design and craft during this period.
"This exhibition includes some of the most iconic designs of the time, instantly recognizable but rarely seen in person outside of major American and European cities," stated Ronald T. Labaco, the High's curator of decorative arts and design. "The High's permanent collection includes some of the finest holdings of 19th- and early 20th-century American decorative arts in the country, and this exhibition gives us the opportunity to showcase the next chapter of design history."
European Design Since 1985 is organized by the Indianapolis Museum of Art (IMA) and the Denver Art Museum, in conjunction with Kingston University, London.
Included in the exhibition is the Night Blossom chandelier from Tord Boontje, a Slice Chair and a Spun Chaise from Mathias Bengtsson, a work from Hey Chair Be a Bookshelf by Maarten Baas , Still Life from Studio Job, Hella Jongerius's Soft Urn and Groove and Long Neck Bottles, the C2 Chair by Patrick Jouin as well as work from Philippe Starck, Marcel Wanders, Jurgen Bey, Ron Arad and others.
The exhibition runs from June 5 - August 29, 2010.
-High Museum of Art
The Philadelphia Museum of Art Acquires the Four Seasons by Hella Jongerius
Moss is pleased to announce the acquisition by the Philadelphia Museum of Art of Hella Jongerius' The Four Seasons.
The Four Seasons, 2007
Hella Jongerius' take on the iconic subject of the Four Seasons captures both the spirit of contemporary Dutch design, but also Jongerius' unique take on classicism and the power of her creative vision. Designed in 2007 for the Porzellan Manufaktur Nymphenburg, Germany, the works continue the artist's exploration of porcelain as a material, from the context of the historic porcelain manufacturer Nymphenburg, founded in 1745 by Maximilian III Joseph, Prince-Elector of Bavaria at the Nymphenburg Palace. Executed in hand-painted porcelain and comprising a mirror (Spring), teapot (Summer), wine jug (Autumn) and candleholder (Winter), the elements incorporate traditional imagery as well as motifs taken directly from the Nymphenburg archives. Each element reserves an individual character while complimenting the overall themes represented by the work as a whole.
Designer Hella Jongerius (b. 1963, the Netherlands) graduated from the Design Academy Eindhoven, the Netherlands, in 1993, and in that same year formed her own design company, JongeriusLab. She was a participant in the first, now-historic Droog Design exhibition, presented at the Salone del Mobile in Milan in 1994. Several of her works from that collection, as well as more recent specially commissioned projects, are now included in the permanent collections of leading international art museums, including the Museum of Modern Art and the Smithsonian Cooper Hewitt National Design Museum, New York; the Stedelijk Museum, Amsterdam; and the Design Museum, London.
In addition to her collaboration with Koninklijke Tichelaar Makkum, Jongerius has partnered with several important industrial partners over the past decade, including Maharam, USA; Vitra, Switzerland; Nymphenburg, Germany; Belux, Switzerland; and IKEA, Sweden. Since 1996, Ms. Jongerius has continued to collaborate with Moss on one-off and limited-edition projects.
Hella Jongerius
Four Seasons
Moss is pleased to announce the acquisition by the Philadelphia Museum of Art of Hella Jongerius' The Four Seasons.
The Four Seasons, 2007
Hella Jongerius' take on the iconic subject of the Four Seasons captures both the spirit of contemporary Dutch design, but also Jongerius' unique take on classicism and the power of her creative vision. Designed in 2007 for the Porzellan Manufaktur Nymphenburg, Germany, the works continue the artist's exploration of porcelain as a material, from the context of the historic porcelain manufacturer Nymphenburg, founded in 1745 by Maximilian III Joseph, Prince-Elector of Bavaria at the Nymphenburg Palace. Executed in hand-painted porcelain and comprising a mirror (Spring), teapot (Summer), wine jug (Autumn) and candleholder (Winter), the elements incorporate traditional imagery as well as motifs taken directly from the Nymphenburg archives. Each element reserves an individual character while complimenting the overall themes represented by the work as a whole.
Designer Hella Jongerius (b. 1963, the Netherlands) graduated from the Design Academy Eindhoven, the Netherlands, in 1993, and in that same year formed her own design company, JongeriusLab. She was a participant in the first, now-historic Droog Design exhibition, presented at the Salone del Mobile in Milan in 1994. Several of her works from that collection, as well as more recent specially commissioned projects, are now included in the permanent collections of leading international art museums, including the Museum of Modern Art and the Smithsonian Cooper Hewitt National Design Museum, New York; the Stedelijk Museum, Amsterdam; and the Design Museum, London.
In addition to her collaboration with Koninklijke Tichelaar Makkum, Jongerius has partnered with several important industrial partners over the past decade, including Maharam, USA; Vitra, Switzerland; Nymphenburg, Germany; Belux, Switzerland; and IKEA, Sweden. Since 1996, Ms. Jongerius has continued to collaborate with Moss on one-off and limited-edition projects.
Hella Jongerius
Four Seasons
Mark Alexander artworks displayed at St Paul's
St Paul’s has chosen two new works by the British artist Mark Alexander to be hung either side of the nave this summer. The installation forms part of St Paul’s Cathedral Arts Project, an ongoing programme which seeks to explore the encounter between art and faith.
Both entitled Red Mannheim, Alexander’s large red silkscreens are inspired by the Mannheim Cathedral altarpiece (1739-41), which was looted by Allied forces after an air raid in the Second World War. The original sculpture depicts Christ on the cross, surrounded by a familiar retinue of mourners. Rendered in splendid giltwood, with Christ’s wracked body sculpted in relief, and the flourishes of flora and incandescent rays from heaven, this masterpiece of the German Rococo is an object of ravishing beauty and intense piety.
Alexander’s Red Mannheim works show the empty, shadow-marked wall space where the altarpiece once hung, the crucifix now a soaked impression and the Virgin Mary and Mary Magdalene dark silhouettes. At the foot of each canvas, two cherubs play gaily by a tree. This unusual combination of baleful symbolism and pastoral idyll is deepened by the crimson colouring, which seeps into the canvases like a stain, metaphorically enacting the blotting of memory. The idea of reaching into the past is underscored by the patches of blackened red which become darker and less easy to read towards the margins - this sense of removal, as if one is looking through a veil, is sealed by the thimble-shaped outline that rises from the altar ledge up to the top of the cross, revealing the subject as if both through a portal and a gauze.
Replicating the vast size and power of the Mannheim altarpiece, Alexander’s works offer a contemporary reflection on loss and the desecration of icons. They are devotional images that recall the eternal image of Christ’s crucifixion and the atrocities of war, but also lament the passing of the innocence of youth and provide an elegiac remembrance of things past.
The placing of these modern masterworks in St Paul’s is fitting given the cathedral’s spiritual and architectural connection to the Mannheim Cathedral, yet there is also a symbolic parallel between the history of St. Paul’s as a bastion of British defiance during the Blitz, and Alexander’s resurrection of a bombed and blasted icon.
Canon Giles Fraser, Chancellor of St Paul’s Cathedral said,
"St Paul’s offers a powerful context in which to explore the relationship between art and faith. We hope that these images will enhance the experience of those visiting the cathedral, and provide a fitting focus for reflection and contemplation.”
IMAGES
MARK ALEXANDER
St Paul’s has chosen two new works by the British artist Mark Alexander to be hung either side of the nave this summer. The installation forms part of St Paul’s Cathedral Arts Project, an ongoing programme which seeks to explore the encounter between art and faith.
Both entitled Red Mannheim, Alexander’s large red silkscreens are inspired by the Mannheim Cathedral altarpiece (1739-41), which was looted by Allied forces after an air raid in the Second World War. The original sculpture depicts Christ on the cross, surrounded by a familiar retinue of mourners. Rendered in splendid giltwood, with Christ’s wracked body sculpted in relief, and the flourishes of flora and incandescent rays from heaven, this masterpiece of the German Rococo is an object of ravishing beauty and intense piety.
Alexander’s Red Mannheim works show the empty, shadow-marked wall space where the altarpiece once hung, the crucifix now a soaked impression and the Virgin Mary and Mary Magdalene dark silhouettes. At the foot of each canvas, two cherubs play gaily by a tree. This unusual combination of baleful symbolism and pastoral idyll is deepened by the crimson colouring, which seeps into the canvases like a stain, metaphorically enacting the blotting of memory. The idea of reaching into the past is underscored by the patches of blackened red which become darker and less easy to read towards the margins - this sense of removal, as if one is looking through a veil, is sealed by the thimble-shaped outline that rises from the altar ledge up to the top of the cross, revealing the subject as if both through a portal and a gauze.
Replicating the vast size and power of the Mannheim altarpiece, Alexander’s works offer a contemporary reflection on loss and the desecration of icons. They are devotional images that recall the eternal image of Christ’s crucifixion and the atrocities of war, but also lament the passing of the innocence of youth and provide an elegiac remembrance of things past.
The placing of these modern masterworks in St Paul’s is fitting given the cathedral’s spiritual and architectural connection to the Mannheim Cathedral, yet there is also a symbolic parallel between the history of St. Paul’s as a bastion of British defiance during the Blitz, and Alexander’s resurrection of a bombed and blasted icon.
Canon Giles Fraser, Chancellor of St Paul’s Cathedral said,
"St Paul’s offers a powerful context in which to explore the relationship between art and faith. We hope that these images will enhance the experience of those visiting the cathedral, and provide a fitting focus for reflection and contemplation.”
IMAGES
MARK ALEXANDER
Cincinnati Art Museum Acquires New Works of Art:
Moss is pleased to annouce the acquisition by The Cincinnati Art Museum of Tejo Remy's You Can't Lay Down Your Memories, and Tomas Libertiny's Made By Bees: Honeycomb Vase #1 (natural).
You Can't Lay Down Your Memories
Tejo Remy's seminal chest-of-drawers, You Can't Lay Down Your Memories, has become recognized as an iconic example of contemporary Dutch Design and stands as a definitive early work from the influential design group, Droog. Conceived in 1991 and initially exhibited at the 1993 Salone del Mobile in Milan, it was first shown in the United States in the 1997 Moss exhibition, Eating Potatoes with a Silver Fork: Droog Design: Dutch Industrial Art (post Sunflowers). The present, early example, #14 from the edition of 200 was among the first to be shown in the US. Remy's cabinet, a pastiche of found, salvaged drawers, held together by a moving strap holds the "marks and damages" of each drawers' previous use, thereby visually carrying its "memories". The design is now held in over a dozen museum collections internationally.
Made by Bees: Honeycomb Vase #1 (natural)
Tomas Gabzdil Libertiny's ingenious Made by Bees series of Honeycomb vases was initially conceived as a single vase in natural honeycomb which was exhibited by Droog Design in Milan in 2006. This first vase was purchased by Murray Moss who subsequently engaged Libertiny to produce the vase in an edition of 7 each in red and natural honeycomb. The work gained notoriety after it was acquired by the Museum of Modern Art, New York and highlighted in their exhibition, Design and the Elastic Mind. Made by a colony of 40,000 bees at the Entomology Research Center of Wageningen University the Netherlands, each vase is unique. The present vase, #1 and the first of its kind, is important as it shows both the potential and exquisite nature of what has become an iconic object.
IMAGES
Moss is pleased to annouce the acquisition by The Cincinnati Art Museum of Tejo Remy's You Can't Lay Down Your Memories, and Tomas Libertiny's Made By Bees: Honeycomb Vase #1 (natural).
You Can't Lay Down Your Memories
Tejo Remy's seminal chest-of-drawers, You Can't Lay Down Your Memories, has become recognized as an iconic example of contemporary Dutch Design and stands as a definitive early work from the influential design group, Droog. Conceived in 1991 and initially exhibited at the 1993 Salone del Mobile in Milan, it was first shown in the United States in the 1997 Moss exhibition, Eating Potatoes with a Silver Fork: Droog Design: Dutch Industrial Art (post Sunflowers). The present, early example, #14 from the edition of 200 was among the first to be shown in the US. Remy's cabinet, a pastiche of found, salvaged drawers, held together by a moving strap holds the "marks and damages" of each drawers' previous use, thereby visually carrying its "memories". The design is now held in over a dozen museum collections internationally.
Made by Bees: Honeycomb Vase #1 (natural)
Tomas Gabzdil Libertiny's ingenious Made by Bees series of Honeycomb vases was initially conceived as a single vase in natural honeycomb which was exhibited by Droog Design in Milan in 2006. This first vase was purchased by Murray Moss who subsequently engaged Libertiny to produce the vase in an edition of 7 each in red and natural honeycomb. The work gained notoriety after it was acquired by the Museum of Modern Art, New York and highlighted in their exhibition, Design and the Elastic Mind. Made by a colony of 40,000 bees at the Entomology Research Center of Wageningen University the Netherlands, each vase is unique. The present vase, #1 and the first of its kind, is important as it shows both the potential and exquisite nature of what has become an iconic object.
IMAGES
"Robber Barron" and "Perished" Amongst the Works Shown in "Alter Ego", a Studio Job Solo Exhibition at Gaasbeek Castle, Belgium
"Alter Ego"
Studio Job
April 25 - June 13, 2010
Gaasbeek Castle, Belgium
40 Kasteelstraat 1750 Gaasbeek (Lennik)
Style bible Wallpaper crowned them 'Artists of the year’; they were included in the international top most influential designers by Time Magazine; their collection Homework features among The Financial Times’ ten most successful collections worldwide and their work has been shown and sought after by collectors around the globe (New York, Tokyo, Los Angeles, Paris, London, Milan …).
Gaasbeek Castle approached Studio Job in Antwerp and the result of this synergy is the fascinating spring exhibition Alter Ego.
Over the last few years, the castle has been developing an innovative exhibition policy that creatively addresses the heritage concept. After all, a historic place is not a sacrosanct place! Heritage also has to do with who we are, here and now.
As soon as the marquise Arconati Visconti arrived at Gaasbeek Castle, she would change identities. Here, she imagined herself to be a medieval page and often had her portrait painted while posing in page fancy dress. Together with the countless objects she collected, the dream castle, restored by her in neo-style, served as a décor and context for her ‘alter ego’.
Today, the combo Job Smeets (b. 1970) and Nynke Tynagel (b. 1977) create ‘alter ego’s: sculptures inspired by icons from Northern European (art)history, but with a contemporary twist. Studio Job has one leg in the dark ages. Discontent with modernism, they return to the pre-industrial era. They call themselves ‘design criminals’ and oppose all that Modernism stands for, challenge the school that teaches that functionality is king and ornament evil or superficial. Consequently, their art works boast intense theatrical quality. They experiment with lost techniques and materials and deliberately distance themselves from the dictatorial numbers game by producing unique pieces or very limited editions.
The historical aspect is but one element. The duo seeks to communicate here and now, using culture as humus, cultivating it with irony or putting things into perspective by means of extravagance. The icons and archetypes are thus given a new, contemporary interpretation. They become meta-objects: artefacts whereby the object prevails over its function and that through metaphors and symbols present us a story depicting the future of the present by means of the past.
Job and Nynke find their inspiration in castles and cathedrals. They describe their entire oeuvre as a huge three-dimensional diary: each piece of art has a place in a collection that forms part of a larger whole, in other words, a work in progress. In their own ‘Universe’ or ‘Wonder and Horror Land’, a castle (as the metaphor of an imaginary society) was given the leading role.
That is why Gaasbeek Castle is the choice location for this exhibition. Older and more recent works enter into a dialogue with the historicising castle decors, and interact with each other to produce surprising, fresh confrontations.
IMAGES
STUDIO JOB
"Alter Ego"
Studio Job
April 25 - June 13, 2010
Gaasbeek Castle, Belgium
40 Kasteelstraat 1750 Gaasbeek (Lennik)
Style bible Wallpaper crowned them 'Artists of the year’; they were included in the international top most influential designers by Time Magazine; their collection Homework features among The Financial Times’ ten most successful collections worldwide and their work has been shown and sought after by collectors around the globe (New York, Tokyo, Los Angeles, Paris, London, Milan …).
Gaasbeek Castle approached Studio Job in Antwerp and the result of this synergy is the fascinating spring exhibition Alter Ego.
Over the last few years, the castle has been developing an innovative exhibition policy that creatively addresses the heritage concept. After all, a historic place is not a sacrosanct place! Heritage also has to do with who we are, here and now.
As soon as the marquise Arconati Visconti arrived at Gaasbeek Castle, she would change identities. Here, she imagined herself to be a medieval page and often had her portrait painted while posing in page fancy dress. Together with the countless objects she collected, the dream castle, restored by her in neo-style, served as a décor and context for her ‘alter ego’.
Today, the combo Job Smeets (b. 1970) and Nynke Tynagel (b. 1977) create ‘alter ego’s: sculptures inspired by icons from Northern European (art)history, but with a contemporary twist. Studio Job has one leg in the dark ages. Discontent with modernism, they return to the pre-industrial era. They call themselves ‘design criminals’ and oppose all that Modernism stands for, challenge the school that teaches that functionality is king and ornament evil or superficial. Consequently, their art works boast intense theatrical quality. They experiment with lost techniques and materials and deliberately distance themselves from the dictatorial numbers game by producing unique pieces or very limited editions.
The historical aspect is but one element. The duo seeks to communicate here and now, using culture as humus, cultivating it with irony or putting things into perspective by means of extravagance. The icons and archetypes are thus given a new, contemporary interpretation. They become meta-objects: artefacts whereby the object prevails over its function and that through metaphors and symbols present us a story depicting the future of the present by means of the past.
Job and Nynke find their inspiration in castles and cathedrals. They describe their entire oeuvre as a huge three-dimensional diary: each piece of art has a place in a collection that forms part of a larger whole, in other words, a work in progress. In their own ‘Universe’ or ‘Wonder and Horror Land’, a castle (as the metaphor of an imaginary society) was given the leading role.
That is why Gaasbeek Castle is the choice location for this exhibition. Older and more recent works enter into a dialogue with the historicising castle decors, and interact with each other to produce surprising, fresh confrontations.
IMAGES
STUDIO JOB
New Exhibition by Arik Levy at Santa Monica Museum of Art, California
Arik Levy: Luminescence
May 15 - August 21, 2010
Santa Monica Museum of Art
Bergamot Station G1
Santa Monica, CA
Born in Tel Aviv, Israel, and now working in Paris, Arik Levy is an industrial designer who finds inspiration in the elements and natural forms.
Levy has also created stage designs for contemporary dance and opera that illustrate his passion for space, exchange and the relationship to the body. His company L Design was founded with partner, graphic designer Pippo Lionni, and encompasses product development, packaging, signage, visual identity, lighting, store and interior design. Their strikingly creative projects in lighting and furniture are produced for Ligne Roset, L`Oreal, Boucheron, Renault, and Vitra.
Levy`s work for SMMoA`s Project Room consists of two flower-like chandeliers, one red, one blue, made of very thin fluorescent tubes and hanging from a long wire. These fragile, tiny, bulbs hang over a stainless steel table in the form of a log, reflecting off its facets the colored light of the chandeliers above.
After attending Art Center Europe in Switzerland where he studied the history of design, Levy received a diploma in industrial design in 1991. He is also the winner of the Seiko Epson Inc. contest. Levy participated in the 2005 group exhibition at MoMA, Safe: Design Takes on Risk with his bulletproof jacket made from swan feathers, garnering accolades from within the international design community. As a designer, technician, artist, photographer, and filmmaker, Levy`s multi-disciplinary skills have been shown in prestigious galleries and museums worldwide, including Wright20 Gallery, Chicago; Moss Gallery, New York; Victoria & Albert Museum, London; Centre Georges Pompidou, Paris; the Israel Museum in Jerusalem; and the Museum of Modern Art in New York.
-Santa Monica Museum of Art
ARIK LEVY
Arik Levy: Luminescence
May 15 - August 21, 2010
Santa Monica Museum of Art
Bergamot Station G1
Santa Monica, CA
Born in Tel Aviv, Israel, and now working in Paris, Arik Levy is an industrial designer who finds inspiration in the elements and natural forms.
Levy has also created stage designs for contemporary dance and opera that illustrate his passion for space, exchange and the relationship to the body. His company L Design was founded with partner, graphic designer Pippo Lionni, and encompasses product development, packaging, signage, visual identity, lighting, store and interior design. Their strikingly creative projects in lighting and furniture are produced for Ligne Roset, L`Oreal, Boucheron, Renault, and Vitra.
Levy`s work for SMMoA`s Project Room consists of two flower-like chandeliers, one red, one blue, made of very thin fluorescent tubes and hanging from a long wire. These fragile, tiny, bulbs hang over a stainless steel table in the form of a log, reflecting off its facets the colored light of the chandeliers above.
After attending Art Center Europe in Switzerland where he studied the history of design, Levy received a diploma in industrial design in 1991. He is also the winner of the Seiko Epson Inc. contest. Levy participated in the 2005 group exhibition at MoMA, Safe: Design Takes on Risk with his bulletproof jacket made from swan feathers, garnering accolades from within the international design community. As a designer, technician, artist, photographer, and filmmaker, Levy`s multi-disciplinary skills have been shown in prestigious galleries and museums worldwide, including Wright20 Gallery, Chicago; Moss Gallery, New York; Victoria & Albert Museum, London; Centre Georges Pompidou, Paris; the Israel Museum in Jerusalem; and the Museum of Modern Art in New York.
-Santa Monica Museum of Art
ARIK LEVY
21_21 DESIGN SIGHT Design Museum Opens "Post Fossils" Curated by Li Edelkoort
Called, Post Fossil, the show examines how Edelkoort feels designers draw on the past to inform the future, returning to natural materials and basic rituals.
The exhibition opened on 24 April and continues until 27 June, 2010.
In the spirit of striving to be a “venue that will generate design that sees clearly what is ahead”, upon which 21_21 DESIGN SIGHT was founded, we will hold an exhibition titled “POST FOSSIL: excavating 21st century creation” on April 24, 2010, with trend-forecaster Li Edelkoort as exhibition director.
Li Edelkoort is a pioneer in the field of trend prediction, who scrutinizes social and economic realities in order to decipher social developments and indications of people’s changing values. Through her unique observations, she has built up an influential reputation through consulting to various brands worldwide, education, publications, and exhibitions. As one example, the educational curriculum at the Design Academy Eindhoven (the Netherlands), at which she served as chairwoman from 1999 to 2008, is highly acclaimed.
The value systems constructed over the previous century are being reviewed in the wake of the global economic crisis. Edelkoort’s attention is now on the trends being set by a new generation of designers, those that create with unfettered freedom and whose works will challenge and overturn the conventional notions of design. These designers are retracing the steps of human history and going back to the primitive roots of the very act of making things. They are redesigning not only the shelter and tools but also lifestyle, incorporating elements of nature into materials and creation processes.
This exhibition brings together over 130 works of 71 participants that Li Edlkoort sees as “POST FOSSIL” creators. This collection poses the question, “How will the designers of tomorrow look to past in order to invent the future?” As it “excavates” and analyzes new creative trends in and for the 21st century, which are embodied in materials, colors, shapes, processes, themes, images, techniques, and other elements, this exhibition searches for clues necessary for the human beings to live and define their future.
The exhibition includes Clay Furniture: Fans and Chairs from Maarten Baas, Drag Vases from Julien Carretero, and work by Joris Laarman, Peter Marigold, Fernando and Humberto Campana, Studio Job and others.
21_21 Design Sight
Called, Post Fossil, the show examines how Edelkoort feels designers draw on the past to inform the future, returning to natural materials and basic rituals.
The exhibition opened on 24 April and continues until 27 June, 2010.
In the spirit of striving to be a “venue that will generate design that sees clearly what is ahead”, upon which 21_21 DESIGN SIGHT was founded, we will hold an exhibition titled “POST FOSSIL: excavating 21st century creation” on April 24, 2010, with trend-forecaster Li Edelkoort as exhibition director.
Li Edelkoort is a pioneer in the field of trend prediction, who scrutinizes social and economic realities in order to decipher social developments and indications of people’s changing values. Through her unique observations, she has built up an influential reputation through consulting to various brands worldwide, education, publications, and exhibitions. As one example, the educational curriculum at the Design Academy Eindhoven (the Netherlands), at which she served as chairwoman from 1999 to 2008, is highly acclaimed.
The value systems constructed over the previous century are being reviewed in the wake of the global economic crisis. Edelkoort’s attention is now on the trends being set by a new generation of designers, those that create with unfettered freedom and whose works will challenge and overturn the conventional notions of design. These designers are retracing the steps of human history and going back to the primitive roots of the very act of making things. They are redesigning not only the shelter and tools but also lifestyle, incorporating elements of nature into materials and creation processes.
This exhibition brings together over 130 works of 71 participants that Li Edlkoort sees as “POST FOSSIL” creators. This collection poses the question, “How will the designers of tomorrow look to past in order to invent the future?” As it “excavates” and analyzes new creative trends in and for the 21st century, which are embodied in materials, colors, shapes, processes, themes, images, techniques, and other elements, this exhibition searches for clues necessary for the human beings to live and define their future.
The exhibition includes Clay Furniture: Fans and Chairs from Maarten Baas, Drag Vases from Julien Carretero, and work by Joris Laarman, Peter Marigold, Fernando and Humberto Campana, Studio Job and others.
21_21 Design Sight
Waddesdon Manor, UK Commissions and Exhibits Work from the Campana Brothers
The world-renowned Brazilian designers, the Campana brothers (Humberto Campana, b. 1953 and Fernando Campana, b. 1961), will be the first to show new work in Waddesdon’s recently opened contemporary art and design gallery, The Coach House, from 1 May 2010.
The Campana brothers are working with the famous Venini glass studio, based on the Venetian island of Murano, to create a collection of glass chandeliers, lighting and vases that will premier at Waddesdon. The exhibition coincides with the publication of a monograph on the Campana brothers’ career to date, published by Albion and Rizzoli with contributions from leading writers on design.
The most ambitious work in the collection is a unique chandelier made from multi-coloured fragmented Venini glass that will incorporate small glass animals of the type often seen in gift shops on Murano. The use of found materials is characteristic of the brothers’ work however the exhibition will include new glass works as well: seven cocoon shaped lights, called Lirio, made from Venini pink, aquamarine or green glass and rattan, a material, which has long fascinated the brothers; and Esperança, meaning hope in Portuguese, which describes a group of large chandeliers, around 55cm wide, that incorporate glass figures based on Brazilian fabric dolls.
The Campana’s exhibition, along with that of Jeff Koons’ Cracked Egg (Blue) (2006) in the Aviary, mark the launch of a new contemporary programme of art and design at Waddesdon. Visitors can currently see sculpture in the grounds of the house by Sarah Lucas, Angus Fairhurst and Stephen Cox and in the house are paintings by Lucian Freud and David Hockney and Ingo Maurer’s chandelier.
WADDESDON MANOR
FERNANDO AND HUMBERTO CAMPANA
The world-renowned Brazilian designers, the Campana brothers (Humberto Campana, b. 1953 and Fernando Campana, b. 1961), will be the first to show new work in Waddesdon’s recently opened contemporary art and design gallery, The Coach House, from 1 May 2010.
The Campana brothers are working with the famous Venini glass studio, based on the Venetian island of Murano, to create a collection of glass chandeliers, lighting and vases that will premier at Waddesdon. The exhibition coincides with the publication of a monograph on the Campana brothers’ career to date, published by Albion and Rizzoli with contributions from leading writers on design.
The most ambitious work in the collection is a unique chandelier made from multi-coloured fragmented Venini glass that will incorporate small glass animals of the type often seen in gift shops on Murano. The use of found materials is characteristic of the brothers’ work however the exhibition will include new glass works as well: seven cocoon shaped lights, called Lirio, made from Venini pink, aquamarine or green glass and rattan, a material, which has long fascinated the brothers; and Esperança, meaning hope in Portuguese, which describes a group of large chandeliers, around 55cm wide, that incorporate glass figures based on Brazilian fabric dolls.
The Campana’s exhibition, along with that of Jeff Koons’ Cracked Egg (Blue) (2006) in the Aviary, mark the launch of a new contemporary programme of art and design at Waddesdon. Visitors can currently see sculpture in the grounds of the house by Sarah Lucas, Angus Fairhurst and Stephen Cox and in the house are paintings by Lucian Freud and David Hockney and Ingo Maurer’s chandelier.
WADDESDON MANOR
FERNANDO AND HUMBERTO CAMPANA
Inaugural Exhibition at the Design Museum Holon, Israel features Maarten Baas, Fernando and Humberto Campana, Tom Dixon, and others
"The State of Things," the inaugural exhibition of the Design Museum Holon, features more than 100 objects that collectively reflect issues concerning the practice, consumption and cultural impact of contemporary international design. Ranging from ordinary household items to life-enhancing and life-saving technologies, the objects in this exhibition reveal the same ingenuity and poetic quality evident in the new Ron Arad building that houses them. Each grouping of works represents a contemporary category whether through the materials employed, the concepts conveyed, or the uses intended, these objects reflect our times so acutely that they could only have been made in the last few years, and thus bespeak the current "state of things."
The catgories of the exhibition are: New Essentialism, Mutant Remix, Of the Body, Social Anxiety, Super Beauty, Craft Economy and Design Lab.
You can read more information about the eight categories here.
"Today, more than at any other time in the past, people around the globe live in an elevated state of anxiety provoked by both actual and perceived dangers. As a result of this heightened sensitivity to potential risks and threats, suddenly we all question where to find a secure environment in which to live our lives. Some of the most significant contemporary issues that engender feelings of powerlessness, helplessness and social disintegration include the international economic meltdown, seemingly never-ending wars, the threat of terrorism, widely transmittable diseases, increasing destruction of the environment, natural disasters and the growing divide between the wealthy and the more than 1,200,000,000 people living on less than $1 a day." - Social Anxiety and Contemporary Design / By Barbara Bloemink
Moss Designers included are in the exhibitions are Maarten Baas, Ineke Hans, Jaime Hayon, Yves Behar, Patrick Jouin, Tokujin Yoshioka, Tom Dixon, Marcel Wanders, Constantin Boym and Laurene Leon Boym, Luc Merx, and Dror Benshetrit
"The State of Things," the inaugural exhibition of the Design Museum Holon, features more than 100 objects that collectively reflect issues concerning the practice, consumption and cultural impact of contemporary international design. Ranging from ordinary household items to life-enhancing and life-saving technologies, the objects in this exhibition reveal the same ingenuity and poetic quality evident in the new Ron Arad building that houses them. Each grouping of works represents a contemporary category whether through the materials employed, the concepts conveyed, or the uses intended, these objects reflect our times so acutely that they could only have been made in the last few years, and thus bespeak the current "state of things."
The catgories of the exhibition are: New Essentialism, Mutant Remix, Of the Body, Social Anxiety, Super Beauty, Craft Economy and Design Lab.
You can read more information about the eight categories here.
"Today, more than at any other time in the past, people around the globe live in an elevated state of anxiety provoked by both actual and perceived dangers. As a result of this heightened sensitivity to potential risks and threats, suddenly we all question where to find a secure environment in which to live our lives. Some of the most significant contemporary issues that engender feelings of powerlessness, helplessness and social disintegration include the international economic meltdown, seemingly never-ending wars, the threat of terrorism, widely transmittable diseases, increasing destruction of the environment, natural disasters and the growing divide between the wealthy and the more than 1,200,000,000 people living on less than $1 a day." - Social Anxiety and Contemporary Design / By Barbara Bloemink
Moss Designers included are in the exhibitions are Maarten Baas, Ineke Hans, Jaime Hayon, Yves Behar, Patrick Jouin, Tokujin Yoshioka, Tom Dixon, Marcel Wanders, Constantin Boym and Laurene Leon Boym, Luc Merx, and Dror Benshetrit
Design Museum Holon Opens In Israel
March 2010
Ron Arad Architects met the challenge of creating a structure to encompass and express the principles of design. The highly anticipated creation by Ron Arad Architects has been four years in construction.
The building's sinuous ribbon facade of Corten weathering steel is alive, forming a blend of textural, spatial and optical experiences that seamlessly meld the principles of sculpture, architecture, design and art for the enjoyment of the public. A dialogue with visitors is fostered as they meander through the open-sky Upper Gallery or down the winding staircase from the lobby to the Lower Gallery.
The Design Museum Holon building itself -all 3,700
square meters of it-is the first exhibit the museum visitor encounters.
More than just a box to house a collection, this fascinating structure encompasses juxtaposing gallery spaces, a design lab and an archival collection. This 750 square meters spaces will showcase exhibitions developed by international design curators.
The Design Museum Holon
RON ARAD
March 2010
Ron Arad Architects met the challenge of creating a structure to encompass and express the principles of design. The highly anticipated creation by Ron Arad Architects has been four years in construction.
The building's sinuous ribbon facade of Corten weathering steel is alive, forming a blend of textural, spatial and optical experiences that seamlessly meld the principles of sculpture, architecture, design and art for the enjoyment of the public. A dialogue with visitors is fostered as they meander through the open-sky Upper Gallery or down the winding staircase from the lobby to the Lower Gallery.
The Design Museum Holon building itself -all 3,700
square meters of it-is the first exhibit the museum visitor encounters.
More than just a box to house a collection, this fascinating structure encompasses juxtaposing gallery spaces, a design lab and an archival collection. This 750 square meters spaces will showcase exhibitions developed by international design curators.
The Design Museum Holon
RON ARAD
Studio Job and Fernando and Humberto Campana at the Guggenheim, New York
"Contemplating the Void: Interventions in the Guggenheim Museum"
Solomon R. Guggenheim Museum, New York
February 12 to April 28, 2010
Since its opening in 1959, the Frank Lloyd Wright–designed Guggenheim building has served as an inspiration for invention, challenging artists and architects to react to its eccentric, organic design. The central void of the rotunda has elicited many unique responses over the years, which have been manifested in both site-specific solo shows and memorable exhibition designs. For the building’s 50th anniversary, the Guggenheim Museum invited nearly two hundred artists, architects, and designers to imagine their dream interventions in the space for the exhibition Contemplating the Void: Interventions in the Guggenheim Museum. Organized by Nancy Spector, Deputy Director and Chief Curator, and David van der Leer, Assistant Curator for Architecture and Design, the exhibition will feature renderings of these visionary projects in a salon-style installation that will emphasize the rich and diverse range of the proposals received. Contemplating the Void: Interventions in the Guggenheim Museum will be on view at the Solomon R. Guggenheim Museum from February 12 to April 28, 2010.
Aristotle famously pronounced that nature abhors a vacuum, an idea that still resonates in art today. In designing the Guggenheim Museum, Wright flaunted the notion of the void, leaving the center tantalizingly (or threateningly) empty. Over the years, when creating site-specific installations or exhibition designs for the building, artists and architects have imbued the space with their presences, inspiring unforgettable works by Matthew Barney, Cai Guo- Qiang, Frank Gehry, Jenny Holzer, and Nam June Paik, among others. For the building’s 50th anniversary, the Guggenheim invited scores of artists, architects, and designers to leave practicality or even reality behind in conjuring their proposals for the space. In this exhibition of ideal projects, certain themes emerge, including the return to nature in its primordial state, the desire to climb the building, the interplay of light and space, the interest in diaphanous effects as a counterpoint to the concrete structure, and the impact of sound on the environment. Conceived as both a commemoration and a self-reflexive folly, Contemplating the Void confirms how truly catalytic the architecture of the Guggenheim can be.
Submissions were received from all over the world from a wide range of artists, designers, and architects, including emerging as well as established practitioners. Among the many works in the exhibition are projects by artists Alice Aycock, FAKE DESIGN (Ai Weiwei), Anish Kapoor, Sarah Morris, Wangechi Mutu, Mike Nelson, Paul Pfeiffer, Doris Salcedo, Lawrence Weiner, and Rachel Whiteread; designers such as Fernando and Humberto Campana, Martí Guixé, Joris Laarman Studio, and Studio Job; and architects such as Álvaro Siza Vieira Arquitecto, BIG (Bjarke Ingels Group), Greg Lynn FORM, junya.ishigami+associates, MVRDV, N55, Philippe Rahm, Snøhetta, Studio Daniel Libeskind, Toyo Ito & Associates, Architects, and West 8.
LINK
"Contemplating the Void: Interventions in the Guggenheim Museum"
Solomon R. Guggenheim Museum, New York
February 12 to April 28, 2010
Since its opening in 1959, the Frank Lloyd Wright–designed Guggenheim building has served as an inspiration for invention, challenging artists and architects to react to its eccentric, organic design. The central void of the rotunda has elicited many unique responses over the years, which have been manifested in both site-specific solo shows and memorable exhibition designs. For the building’s 50th anniversary, the Guggenheim Museum invited nearly two hundred artists, architects, and designers to imagine their dream interventions in the space for the exhibition Contemplating the Void: Interventions in the Guggenheim Museum. Organized by Nancy Spector, Deputy Director and Chief Curator, and David van der Leer, Assistant Curator for Architecture and Design, the exhibition will feature renderings of these visionary projects in a salon-style installation that will emphasize the rich and diverse range of the proposals received. Contemplating the Void: Interventions in the Guggenheim Museum will be on view at the Solomon R. Guggenheim Museum from February 12 to April 28, 2010.
Aristotle famously pronounced that nature abhors a vacuum, an idea that still resonates in art today. In designing the Guggenheim Museum, Wright flaunted the notion of the void, leaving the center tantalizingly (or threateningly) empty. Over the years, when creating site-specific installations or exhibition designs for the building, artists and architects have imbued the space with their presences, inspiring unforgettable works by Matthew Barney, Cai Guo- Qiang, Frank Gehry, Jenny Holzer, and Nam June Paik, among others. For the building’s 50th anniversary, the Guggenheim invited scores of artists, architects, and designers to leave practicality or even reality behind in conjuring their proposals for the space. In this exhibition of ideal projects, certain themes emerge, including the return to nature in its primordial state, the desire to climb the building, the interplay of light and space, the interest in diaphanous effects as a counterpoint to the concrete structure, and the impact of sound on the environment. Conceived as both a commemoration and a self-reflexive folly, Contemplating the Void confirms how truly catalytic the architecture of the Guggenheim can be.
Submissions were received from all over the world from a wide range of artists, designers, and architects, including emerging as well as established practitioners. Among the many works in the exhibition are projects by artists Alice Aycock, FAKE DESIGN (Ai Weiwei), Anish Kapoor, Sarah Morris, Wangechi Mutu, Mike Nelson, Paul Pfeiffer, Doris Salcedo, Lawrence Weiner, and Rachel Whiteread; designers such as Fernando and Humberto Campana, Martí Guixé, Joris Laarman Studio, and Studio Job; and architects such as Álvaro Siza Vieira Arquitecto, BIG (Bjarke Ingels Group), Greg Lynn FORM, junya.ishigami+associates, MVRDV, N55, Philippe Rahm, Snøhetta, Studio Daniel Libeskind, Toyo Ito & Associates, Architects, and West 8.
LINK
"Taking A Stance" exhibition now open at the Dutch Culture Centre in Shanghai
On March 5, 2010 the exhibition ‘Taking a stance’ opened at the Dutch Culture Centre in Shanghai. The exhibition shows work of four Dutch and four Chinese artists. Featured artists include Hella Jongerius, Rem Koolhaas/ OMA (architect), Alexander van Slobbe (fashion designer) and Irma Boom (graphic designer), Urbanus (architects), Ai Weiwei (architect/artist), Ma Ke (fashion designer) and Me We (graphic designers).
For this exhibition Jongerius designed a cupboard that gives a representative overview of her work on the edge of craft and industry. In the cupboard are coloured vases in 45 unique colours and samples of the industrial textiles for Maharam and photos of products from the last 20 years are pinned on the cork panels.
The compartments can be turned around in the cupboard and by doing so the viewer sees different layers and concepts of Jongerius’ work and at the same time changes the surface of the cupboard.
VIDEO
The exhibition will also show in Beijing and in Shenzhen: from 24 April - 16 May in the Today Art Museum in Beijing and from 25 June - 5 August in the OCT Art & Design Gallery in Shenzhen.
On March 5, 2010 the exhibition ‘Taking a stance’ opened at the Dutch Culture Centre in Shanghai. The exhibition shows work of four Dutch and four Chinese artists. Featured artists include Hella Jongerius, Rem Koolhaas/ OMA (architect), Alexander van Slobbe (fashion designer) and Irma Boom (graphic designer), Urbanus (architects), Ai Weiwei (architect/artist), Ma Ke (fashion designer) and Me We (graphic designers).
For this exhibition Jongerius designed a cupboard that gives a representative overview of her work on the edge of craft and industry. In the cupboard are coloured vases in 45 unique colours and samples of the industrial textiles for Maharam and photos of products from the last 20 years are pinned on the cork panels.
The compartments can be turned around in the cupboard and by doing so the viewer sees different layers and concepts of Jongerius’ work and at the same time changes the surface of the cupboard.
VIDEO
The exhibition will also show in Beijing and in Shenzhen: from 24 April - 16 May in the Today Art Museum in Beijing and from 25 June - 5 August in the OCT Art & Design Gallery in Shenzhen.
Milan exhibition "UNEXPECTED GUESTS: Yesterday’s homes, today’s design" features work of Moss Designers
The Museo Bagatti Valsecchi, Casa Boschi di Stefano, Villa Necchi Campiglio and the Museo Poldi Pezzoli are proud to present, in collaboration with Cosmit and the Culture Council of Milan, the exhibition Unexpected Guests. Yesterday’s homes, today’s design.
From 11 March to 2 May 2010, objects of contemporary design will be installed in the spaces of Milan’s four historic house museums, complementing and contrasting with the existing architecture, paintings and decorative arts.
The carefully calibrated installation, designed with a delicate touch that is almost imperceptible, results in a surprising and spontaneous whole. The aim of the show is to provoke a dialogue between the signifiers of our own time and those of past epochs, offering the possibility of a parallel reading of the high craftsmanship of the past and the equally masterful techniques of contemporary industrial production.
Curated by Beppe Finessi and collaborator Cristina Miglio, with coordinated image by Italo Lupi, the exhibition juxtaposes contemporary design, by nature projected toward the future, with the rich and unique history of the four house museums, generating a fascinating interpenetration of present and past that combines historic works of art, the splendid spaces that contain them and the way of life they represent, composed over centuries by the original inhabitants and their heirs, with the signature objects of our own time.
More than 200 works of contemporary design will be set in the evocative atmospheres of the four historic houses, ranging from housewares to furniture, which together represent the best of the design of the new millennium.
In selecting the objects for the exhibition, the curators saw certain common features of recent design emerge: on the one hand, a significant expansion of the product categories addressed by designers (carpets, stools, tableware, luggage, watches, etc) with respect to the past preference for designing only chairs and lamps; on the other hand, the tendency toward an elaborate, more decorative imagery attuned to the evolutions of fashion and the oscillations of taste. This gives rise to the use of new materials and technologies that lead to experimentation that was unthinkable only a few years ago.
Among the designers of the works on display are Ron Arad, Tord Boontje, Ronan & Erwan Bouroullec, Andrea Branzi, Fernando & Humberto Campana, David Chipperfield, Konstantin Grcic, Herzog & De Meuron, Alessandro Mendini, Jasper Morrison, Fabio Novembre, Gaetano Pesce, Ettore Sottsass, Philippe Starck and Patricia Urquiola.
The exhibition is accompanied by a catalogue edited by curator Beppe Finessi, with graphic design by Italo Lupi, and features images of the contemporary design objects in situ in the four historic houses. It also contains essays by critics such as Giampiero Bosoni and prominent designers like Alessandro Mendini, as well as a complete annotated listing of the individual works.
The exhibition was realized with funding from: Cosmit and the Fondazione Cariplo.
In collaboration with: Culture Council of Milan
Under the patronage of: the Region of Lombardy, the Province of Milan and the Milan Chamber of Commerce.
The Museo Bagatti Valsecchi, Casa Boschi di Stefano, Villa Necchi Campiglio and the Museo Poldi Pezzoli are proud to present, in collaboration with Cosmit and the Culture Council of Milan, the exhibition Unexpected Guests. Yesterday’s homes, today’s design.
From 11 March to 2 May 2010, objects of contemporary design will be installed in the spaces of Milan’s four historic house museums, complementing and contrasting with the existing architecture, paintings and decorative arts.
The carefully calibrated installation, designed with a delicate touch that is almost imperceptible, results in a surprising and spontaneous whole. The aim of the show is to provoke a dialogue between the signifiers of our own time and those of past epochs, offering the possibility of a parallel reading of the high craftsmanship of the past and the equally masterful techniques of contemporary industrial production.
Curated by Beppe Finessi and collaborator Cristina Miglio, with coordinated image by Italo Lupi, the exhibition juxtaposes contemporary design, by nature projected toward the future, with the rich and unique history of the four house museums, generating a fascinating interpenetration of present and past that combines historic works of art, the splendid spaces that contain them and the way of life they represent, composed over centuries by the original inhabitants and their heirs, with the signature objects of our own time.
More than 200 works of contemporary design will be set in the evocative atmospheres of the four historic houses, ranging from housewares to furniture, which together represent the best of the design of the new millennium.
In selecting the objects for the exhibition, the curators saw certain common features of recent design emerge: on the one hand, a significant expansion of the product categories addressed by designers (carpets, stools, tableware, luggage, watches, etc) with respect to the past preference for designing only chairs and lamps; on the other hand, the tendency toward an elaborate, more decorative imagery attuned to the evolutions of fashion and the oscillations of taste. This gives rise to the use of new materials and technologies that lead to experimentation that was unthinkable only a few years ago.
Among the designers of the works on display are Ron Arad, Tord Boontje, Ronan & Erwan Bouroullec, Andrea Branzi, Fernando & Humberto Campana, David Chipperfield, Konstantin Grcic, Herzog & De Meuron, Alessandro Mendini, Jasper Morrison, Fabio Novembre, Gaetano Pesce, Ettore Sottsass, Philippe Starck and Patricia Urquiola.
The exhibition is accompanied by a catalogue edited by curator Beppe Finessi, with graphic design by Italo Lupi, and features images of the contemporary design objects in situ in the four historic houses. It also contains essays by critics such as Giampiero Bosoni and prominent designers like Alessandro Mendini, as well as a complete annotated listing of the individual works.
The exhibition was realized with funding from: Cosmit and the Fondazione Cariplo.
In collaboration with: Culture Council of Milan
Under the patronage of: the Region of Lombardy, the Province of Milan and the Milan Chamber of Commerce.
'Lolita' Chandelier exhibited at "Ron Arad: Restless", Barbican Centre, London
February 18 - May 10, 2010
"Bold, experimental and inventive, Ron Arad defies categorisation. This internationally acclaimed London based maverick is variously described as a designer, architect or artist.
To celebrate, Barbican Art Gallery stages the first major exhibition in the United Kingdom of the internationally acclaimed, London-based design maverick Ron Arad.
Ron Arad: Restless explores three decades of Arad’s designs from his early post-punk approach of assembling products from readymade parts to his exclusive and highly-polished sculptural pieces. Featuring a dramatic exhibition design by Ron Arad Associates using the latest LED display technology, Ron Arad: Restless also includes architectural designs and immediately recognisable mass-produced items. Highlighting the significance of experimentation, process and materials in Arad’s work, the exhibition offers a timely insight into the development of objects from initial idea and fabrication to finished design." - Barbican Centre
MORE ON THE 'LOLITA' CHANDELIER
Patrick Jouin exhibits Solid Collection in "La substance du design" at the Centre Pompidou
February 17 - May 24, 2010
The exhibition Patrick Jouin - La substance du design, designed in collaboration with the designer and his team, highlights the methodology of a work by presenting around twenty projects through material and visual aids emblematic of the Agency's production, which was created ten years ago by Patrick Jouin.
The public will thus be able to go behind the scenes of a design agency which manages objects, scripts, texts, drawings, screenings, samples, prototypes and scale models, inventing dialogues between them, and, in turn, forming the chemistry/alchemy of creation.
In 2004, French designer Patrick Jouin first became aware of the then still highly experimental manufacturing technique, Additive Layered Fabrication, and began collaborating with the pioneering Belgian company Materialise. This collaboration resulted in a groundbreaking collection, 'Solid'. Up until that moment, these manufacturing techniques, then referred to as Rapid Prototyping, had only been used for small-scale models. The processes were used primarily to create prototypes of objects to be eventually manufactured in other materials. This seminal collection emphasized the endless possibilities and great potential these remarkable manufacturing techniques could add to the repertoire of design.
'Solid' includes 'S1 Stool', 'C2 Chair', 'C1 Chair', and the 'T1 Table'. Jouin's 'One Shot' folding stool is also on exhibit.
Born in 1967, Patrick Jouin is one of the major protagonists of contemporary design on the French and international scene. Since 1999, his Parisian agency has distinguished itself by the diversity of its activities: construction design, architecture, industrial design, handicraft, scenographies, street furniture, etc.
LINK TO 'SOLID COLLECTION' BY PATRICK JOUIN
CENTRE POMPIDOU
February 17 - May 24, 2010
The exhibition Patrick Jouin - La substance du design, designed in collaboration with the designer and his team, highlights the methodology of a work by presenting around twenty projects through material and visual aids emblematic of the Agency's production, which was created ten years ago by Patrick Jouin.
The public will thus be able to go behind the scenes of a design agency which manages objects, scripts, texts, drawings, screenings, samples, prototypes and scale models, inventing dialogues between them, and, in turn, forming the chemistry/alchemy of creation.
In 2004, French designer Patrick Jouin first became aware of the then still highly experimental manufacturing technique, Additive Layered Fabrication, and began collaborating with the pioneering Belgian company Materialise. This collaboration resulted in a groundbreaking collection, 'Solid'. Up until that moment, these manufacturing techniques, then referred to as Rapid Prototyping, had only been used for small-scale models. The processes were used primarily to create prototypes of objects to be eventually manufactured in other materials. This seminal collection emphasized the endless possibilities and great potential these remarkable manufacturing techniques could add to the repertoire of design.
'Solid' includes 'S1 Stool', 'C2 Chair', 'C1 Chair', and the 'T1 Table'. Jouin's 'One Shot' folding stool is also on exhibit.
Born in 1967, Patrick Jouin is one of the major protagonists of contemporary design on the French and international scene. Since 1999, his Parisian agency has distinguished itself by the diversity of its activities: construction design, architecture, industrial design, handicraft, scenographies, street furniture, etc.
LINK TO 'SOLID COLLECTION' BY PATRICK JOUIN
CENTRE POMPIDOU
this that & then some
February 17, 2010
For Immediate Release
Moss and Westreich-Wagner collaborate on installation at new art fair
Fitting comfortably within the self-defined “hybrid forum”, as new art fair INDEPENDENT calls itself, is an installation by Murray Moss and Franklin Getchell of New York design gallery Moss and independent art curators, Thea Westreich and Ethan Wagner.
Their installation, this that & then some, pairs art objects and design objects as possibilities. Works on display are placed in dialogue to elicit dialogue. It offers an alternative mode of presentation, eschewing the pure, unmitigated museum/gallery space where works are considered essentially on their own, for something more akin to the actuality of residential living, where works are seen proximate to each other.
Says Thea Westreich: “The installation posits that relationships—the placement of art with design, and design with art—can serve to illuminate visual and conceptual meaning, just as such pairings can re-orient or even obliterate notions of beauty, function and hierarchy.”
this that & then some is meant to embrace and accentuate the matter of placement as a modality for the collector’s subjective expression. Thus, says Murray Moss, “the combinations in this exhibition are not intended as ultimate answers, but rather as momentary placeholders, indicators of infinite possibilities.”
Work from the following artists and designers will be shown:
Diane Arbus, Maarten Baas, Pablo Bronstein, Fernando and Humberto Campana, Larry Clark, Ilse Crawford, Ann Demeulemeester, Valie Export,
Michal Fronek & Jan Nemecek, Robert Gober, Johanna Grawunder, Sol LeWitt, Tomas Gabzdil Libertiny, Julia Lohann, Wilhelm Neuhauser, Gaetano Pesce, Sterling Ruby, Josh Smith, Thomas Struth, Studio Job, Christopher Wool
INDEPENDENT is open Thursday, March 4 (4pm to 9pm,), Friday and Saturday, March 5 and 6 (11am to 8pm) and Sunday March 7 (from noon to 4pm). INDENPENDENT is open to the public free of charge at 548 West 22nd Street (former Dia Center for the Arts building).
For more information regarding this that & then some:
Moss: 212 204 7100 info@mossonline.com
Westreich-Wagner 212 941 9449 info@twass.com
February 17, 2010
For Immediate Release
Moss and Westreich-Wagner collaborate on installation at new art fair
Fitting comfortably within the self-defined “hybrid forum”, as new art fair INDEPENDENT calls itself, is an installation by Murray Moss and Franklin Getchell of New York design gallery Moss and independent art curators, Thea Westreich and Ethan Wagner.
Their installation, this that & then some, pairs art objects and design objects as possibilities. Works on display are placed in dialogue to elicit dialogue. It offers an alternative mode of presentation, eschewing the pure, unmitigated museum/gallery space where works are considered essentially on their own, for something more akin to the actuality of residential living, where works are seen proximate to each other.
Says Thea Westreich: “The installation posits that relationships—the placement of art with design, and design with art—can serve to illuminate visual and conceptual meaning, just as such pairings can re-orient or even obliterate notions of beauty, function and hierarchy.”
this that & then some is meant to embrace and accentuate the matter of placement as a modality for the collector’s subjective expression. Thus, says Murray Moss, “the combinations in this exhibition are not intended as ultimate answers, but rather as momentary placeholders, indicators of infinite possibilities.”
Work from the following artists and designers will be shown:
Diane Arbus, Maarten Baas, Pablo Bronstein, Fernando and Humberto Campana, Larry Clark, Ilse Crawford, Ann Demeulemeester, Valie Export,
Michal Fronek & Jan Nemecek, Robert Gober, Johanna Grawunder, Sol LeWitt, Tomas Gabzdil Libertiny, Julia Lohann, Wilhelm Neuhauser, Gaetano Pesce, Sterling Ruby, Josh Smith, Thomas Struth, Studio Job, Christopher Wool
INDEPENDENT is open Thursday, March 4 (4pm to 9pm,), Friday and Saturday, March 5 and 6 (11am to 8pm) and Sunday March 7 (from noon to 4pm). INDENPENDENT is open to the public free of charge at 548 West 22nd Street (former Dia Center for the Arts building).
For more information regarding this that & then some:
Moss: 212 204 7100 info@mossonline.com
Westreich-Wagner 212 941 9449 info@twass.com
CAMPANAS IN ARTNEWS
2/2010.
"Into the Woods" by Carly Berwick details the emergence of using reclaimed wood in high Brazilian design. To illustrate this trend Berwick discusses the influential "Favela Chair" by the Campanas.
LINK
FAVELA TREE
FAVELA MURAL
2/2010.
"Into the Woods" by Carly Berwick details the emergence of using reclaimed wood in high Brazilian design. To illustrate this trend Berwick discusses the influential "Favela Chair" by the Campanas.
LINK
FAVELA TREE
FAVELA MURAL
MAARTEN BAAS ANNOUNCED AS "DESIGNER OF THE YEAR" BY DESIGN/MIAMI 2009
Each December, the Design Miami/ Designer of the Year Award recognizes a prominent designer whose advanced body of work demonstrates quality, innovation and influence, pushing the boundaries of art, architecture and design. This year, we are pleased to honor Maarten Baas.
Despite of his young age, Maarten Baas has made a remarkable impact in the world of design. At just 31 years old, he has already undeniably changed the course of contemporary design in a strikingly short period of time. Maartenhas demonstrated again and again his extraordinary capacity to generate radically new ideas, constantly rethinking and reinventing design processes to mesmerizing effect.
In keeping with Design Miami/ tradition, Maartenhas created a special installation at this year’s fair. Instead of offering a straightforward overview of his work, Baas has decided to design a theatrical environment in which his past work will mingle with various items from his mental travels, from things found in the street to product samples and other designers’ work, offering a unique view onto his inner world. This installation also includes a new addition to his Real Time project, created for the Zuiderzee Museum, and examples from an entirely new series of work created expressly for the Design Miami/Designer of the Year Award.
The project has been supported by the Mondriaan Foundation and Consulate General of the Netherlands New York.
MAARTEN'S WORK AT MOSS
DESIGN/MIAMI LINK
Each December, the Design Miami/ Designer of the Year Award recognizes a prominent designer whose advanced body of work demonstrates quality, innovation and influence, pushing the boundaries of art, architecture and design. This year, we are pleased to honor Maarten Baas.
Despite of his young age, Maarten Baas has made a remarkable impact in the world of design. At just 31 years old, he has already undeniably changed the course of contemporary design in a strikingly short period of time. Maartenhas demonstrated again and again his extraordinary capacity to generate radically new ideas, constantly rethinking and reinventing design processes to mesmerizing effect.
In keeping with Design Miami/ tradition, Maartenhas created a special installation at this year’s fair. Instead of offering a straightforward overview of his work, Baas has decided to design a theatrical environment in which his past work will mingle with various items from his mental travels, from things found in the street to product samples and other designers’ work, offering a unique view onto his inner world. This installation also includes a new addition to his Real Time project, created for the Zuiderzee Museum, and examples from an entirely new series of work created expressly for the Design Miami/Designer of the Year Award.
The project has been supported by the Mondriaan Foundation and Consulate General of the Netherlands New York.
MAARTEN'S WORK AT MOSS
DESIGN/MIAMI LINK
The Montreal Museum of Fine Arts Acquires a "Fractal Table"
Fractal Table by Gernot Oberfell, Jan Wertel and Matthias Bär. It was produced in epoxy resin built through Stereolithography by .MGX. The Fractal Table is based on growth patterns seen in nature, which can be described with mathematical algorithms. The table is impossible to produce using any other manufacturing technique and reinforces the growing bond between nature and mathematical formulas.
The decorative arts section of the Museum came into being in 1916 thanks to F. Cleveland Morgan, one of the most astute connoisseurs in North America. He donated hundreds of objects from around the world. In 2000, the Montreal Museum of Fine Arts received a donation of one of the most important international twentieth-century design collections in North America. This spectacular collection bears the names of the founders of the Montreal Museum of Decorative Arts, Liliane and David M. Stewart. This donation places the Montreal Museum of Fine Arts among the greatest museums of decorative arts in Canada and the United States. The permanent collection also includes work by Maarten Baas, Gaetano Pesce, Fernando and Humberto Campana and Studio Job.
MUSEUM LINK
Fractal Table by Gernot Oberfell, Jan Wertel and Matthias Bär. It was produced in epoxy resin built through Stereolithography by .MGX. The Fractal Table is based on growth patterns seen in nature, which can be described with mathematical algorithms. The table is impossible to produce using any other manufacturing technique and reinforces the growing bond between nature and mathematical formulas.
The decorative arts section of the Museum came into being in 1916 thanks to F. Cleveland Morgan, one of the most astute connoisseurs in North America. He donated hundreds of objects from around the world. In 2000, the Montreal Museum of Fine Arts received a donation of one of the most important international twentieth-century design collections in North America. This spectacular collection bears the names of the founders of the Montreal Museum of Decorative Arts, Liliane and David M. Stewart. This donation places the Montreal Museum of Fine Arts among the greatest museums of decorative arts in Canada and the United States. The permanent collection also includes work by Maarten Baas, Gaetano Pesce, Fernando and Humberto Campana and Studio Job.
MUSEUM LINK
"Pioneers of Change" Exhibition features Maarten Baas's "Real Time"
"Pioneers of Change", a festival of Dutch design, fashion and architecture on New York’s Governors Island to celebrate a 400-year Dutch-American friendship.
Governors Island, New York
September 11-13 & 18-20, 2009
The exhibition, conceived and curated by Renny Ramakers (co-founder and director of Droog) features leading designers and institutes from fashion, design and architecture, such as: 2012 Architecten, Atelier NL, Maarten Baas, Cooper-Hewitt, National Design Museum in New York, Franck Bragigand, Droog with Marije Vogelzang, Herman Verkerk, Rianne Makkink and Hansje van Halem, Experimental Jetset, Pascale Gatzen, Christien Meindertsma, MVRDV and The Why Factory with Work Architecture Company, Painted, Driessens & Verstappen, Arthur Elsenaar & Taconis Stolk, Parsons The New School for Design, Platform21, Marcel Schmalgemeijer, Michael Schoner (NL Architects), Richard Hutten, Atelier van Lieshout, and Chris Kabel.
RealTime: Maarten Baas
Maarten Baas makes us aware of time by showing it passing in ‘real time’. He makes clocks by projecting footage of people in action, and their recorded movements become the clock hands, moving minute by minute. A minute passes as a pencil is shifted or as a pile of dirt is swept forward with a broom.
REAL TIME VIDEO CLIP
"Pioneers of Change", a festival of Dutch design, fashion and architecture on New York’s Governors Island to celebrate a 400-year Dutch-American friendship.
Governors Island, New York
September 11-13 & 18-20, 2009
The exhibition, conceived and curated by Renny Ramakers (co-founder and director of Droog) features leading designers and institutes from fashion, design and architecture, such as: 2012 Architecten, Atelier NL, Maarten Baas, Cooper-Hewitt, National Design Museum in New York, Franck Bragigand, Droog with Marije Vogelzang, Herman Verkerk, Rianne Makkink and Hansje van Halem, Experimental Jetset, Pascale Gatzen, Christien Meindertsma, MVRDV and The Why Factory with Work Architecture Company, Painted, Driessens & Verstappen, Arthur Elsenaar & Taconis Stolk, Parsons The New School for Design, Platform21, Marcel Schmalgemeijer, Michael Schoner (NL Architects), Richard Hutten, Atelier van Lieshout, and Chris Kabel.
RealTime: Maarten Baas
Maarten Baas makes us aware of time by showing it passing in ‘real time’. He makes clocks by projecting footage of people in action, and their recorded movements become the clock hands, moving minute by minute. A minute passes as a pencil is shifted or as a pile of dirt is swept forward with a broom.
REAL TIME VIDEO CLIP
"From the Spoon to the City": Objects by Architects from LACMA's Collection
August 6, 2009–January 24, 2010
"From the Spoon to the City": Objects by Architects from LACMA's Collection will present a cross section of LACMA's twentieth-century design collection, highlighting furniture and objects designed by architects. When Italian architect Ernesto Rogers famously declared that he wanted to design everything from "a spoon to a city," he articulated the desire of many architects to design both buildings and their contents. In some cases, this meant design for specific commissions, such as Rudolf Schindler's furniture for the Shep family. In others, objects allowed the realization of ideas on a smaller, more viable scale, or were a part of a multifaceted career that spanned all realms of design, as in the case of Frank Gehry. The products of such efforts can function as miniature buildings, conveying the architect's ideals in a compact form. Or as Charles Eames put it when asked why he made furniture, "so [I] can design a piece of architecture that you can hold in your hand."
The exhibition will be organized into four chronological groups, based on particularly fertile moments in design history and featuring works by Frank Lloyd Wright, Marcel Breuer, Rudolph Schindler, Richard Neutra, Charles and Ray Eames, Alvin Lustig, Greta Magnusson Grossman, Frank Gehry, Ettore Sottsass, Michael Graves, Greg Lynn, Elena Manferdini, and Johanna Grawunder. The exhibition is organized by LACMA and curated by Bobbye Tigerman, decorative arts and design.
August 6, 2009–January 24, 2010
"From the Spoon to the City": Objects by Architects from LACMA's Collection will present a cross section of LACMA's twentieth-century design collection, highlighting furniture and objects designed by architects. When Italian architect Ernesto Rogers famously declared that he wanted to design everything from "a spoon to a city," he articulated the desire of many architects to design both buildings and their contents. In some cases, this meant design for specific commissions, such as Rudolf Schindler's furniture for the Shep family. In others, objects allowed the realization of ideas on a smaller, more viable scale, or were a part of a multifaceted career that spanned all realms of design, as in the case of Frank Gehry. The products of such efforts can function as miniature buildings, conveying the architect's ideals in a compact form. Or as Charles Eames put it when asked why he made furniture, "so [I] can design a piece of architecture that you can hold in your hand."
The exhibition will be organized into four chronological groups, based on particularly fertile moments in design history and featuring works by Frank Lloyd Wright, Marcel Breuer, Rudolph Schindler, Richard Neutra, Charles and Ray Eames, Alvin Lustig, Greta Magnusson Grossman, Frank Gehry, Ettore Sottsass, Michael Graves, Greg Lynn, Elena Manferdini, and Johanna Grawunder. The exhibition is organized by LACMA and curated by Bobbye Tigerman, decorative arts and design.
"TELLING TALES" EXHIBITION AT THE V&A MUSEUM OT FEATURE WORKS BY THOMAS GABDZIL LIBERTINY, STUDIO JOB, TORD BOONTJE, MAARTEN BAAS AND LUC MERX
"Telling Tales: Fantasy and Fear in Contemporary Design"
Victoria and Albert Museum
JULY 14-October 18, 2009
This summer the V&A will explore the recent trend among European designers for limited edition pieces that push the boundaries between art and design. Telling Tales: Fantasy and Fear in Contemporary Design will bring together around 50 objects that share common themes such as fantasy, parody and a concern with mortality. The exhibition will feature furniture, ceramics, lighting and large scale installations by designers including Tord Boontje, Maarten Baas, Jurgen Bey and Studio Job.
Gareth Williams, the curator, has arranged the exhibition in three sections. The first, ‘The Forest Glade’, will display objects inspired by fantasy and nature that evoke the spirit of fairytales such as Tord Boontje’s Fig Leaf wardrobe, constructed from 616 individual, hand-painted copper leaves. His Petit Jardin armchair, cut from sheet steel and assembled by hand, is designed to create the sensation of sitting in an overgrown garden.
Work by designers Fredrikson Stallard, Julia Lohman, Maarten Baas and Tomáš Gabzdil Libertiny will be in this section. Libertiny produces his intricate Made by Bees vase by placing a wire frame in a beehive and allowing bees to create its honeycomb walls.
The second section, ‘The Enchanted Castle’, will look at work that exaggerates and parodies historical design styles often associated with displays of status. Studio Job’s Robber Baron series of gilded and cast bronze furniture subverts the extravagance of late-Victorian design, and the perceived taste of today’s super-rich. A large cabinet, based on an original from the workshop of André-Charles Boulle of about 1700, has a huge hole blasted through its centre. Other works in the group include a clock, table, lamp and jewel safe covered in motifs of weapons, polluted clouds and factories representing war, power and industry.
On show will be two recent V&A acquisitions. Maarten Baas’s Smoke Mirror is part of his Smoke Furniture series created by burning reproductions of antique furniture with a blowtorch to produce a charred effect. Lathe Chair VIII by Sebastian Brajkovic is an exaggerated love seat seemingly made from a single 19th-century chair stretched into two.
Alongside will be Jeroen Verhoeven’s Cinderella table, Julian Mayors’s Clone chair, ceramics by Hella Jongerius and Joris Laarman’s Heatwave radiator based on rococo scrollwork.
The final section, ‘Heaven and Hell’ will display work by designers concerned with themes of mortality and the afterlife. The Lovers rug by Fredrikson Stallard comprises a pair of conjoined pools of poured red urethane representing the average quantity of blood in two people.
Some of the designers in this section reference historical depictions of ‘The Last Judgement’ or Dante’s ‘Inferno’. An example is Luc Merx’s The Fall of the Damned chandelier made up of a cloud of around 170 weightless and tumbling human figures suspended in mid air. Others reflect an interest in psychoanalysis, such as Joep van Lieshout’s Sensory Deprivation Skull, a large skull-shaped, fur-lined chamber to accommodate two people. These objects will appear together with work by Dunne & Raby, Niels van Eijk and Miriam van der Lubbe and Boym Partners.
Gareth Williams said: “This exhibition aims to capture a way of designing that has been emerging in recent years. These objects have stories to tell and we wanted to present some of the most creative and innovative examples and explore common themes.”
The exhibition designers are Nissen Adams who, together with lighting designer Zerlina Hughes, will create a dramatic setting for each section. In ‘The Forest Glade’ a background of printed gauze screens and dappled lighting will evoke the forests of myths and fairytales. A distorted palatial atmosphere will be the setting for ‘The Enchanted Castle’. Spot lit objects and diagonal walls will create a disconcerting ‘Heaven and Hell’.
LINK
NY TIMES ARTICLE
"Telling Tales: Fantasy and Fear in Contemporary Design"
Victoria and Albert Museum
JULY 14-October 18, 2009
This summer the V&A will explore the recent trend among European designers for limited edition pieces that push the boundaries between art and design. Telling Tales: Fantasy and Fear in Contemporary Design will bring together around 50 objects that share common themes such as fantasy, parody and a concern with mortality. The exhibition will feature furniture, ceramics, lighting and large scale installations by designers including Tord Boontje, Maarten Baas, Jurgen Bey and Studio Job.
Gareth Williams, the curator, has arranged the exhibition in three sections. The first, ‘The Forest Glade’, will display objects inspired by fantasy and nature that evoke the spirit of fairytales such as Tord Boontje’s Fig Leaf wardrobe, constructed from 616 individual, hand-painted copper leaves. His Petit Jardin armchair, cut from sheet steel and assembled by hand, is designed to create the sensation of sitting in an overgrown garden.
Work by designers Fredrikson Stallard, Julia Lohman, Maarten Baas and Tomáš Gabzdil Libertiny will be in this section. Libertiny produces his intricate Made by Bees vase by placing a wire frame in a beehive and allowing bees to create its honeycomb walls.
The second section, ‘The Enchanted Castle’, will look at work that exaggerates and parodies historical design styles often associated with displays of status. Studio Job’s Robber Baron series of gilded and cast bronze furniture subverts the extravagance of late-Victorian design, and the perceived taste of today’s super-rich. A large cabinet, based on an original from the workshop of André-Charles Boulle of about 1700, has a huge hole blasted through its centre. Other works in the group include a clock, table, lamp and jewel safe covered in motifs of weapons, polluted clouds and factories representing war, power and industry.
On show will be two recent V&A acquisitions. Maarten Baas’s Smoke Mirror is part of his Smoke Furniture series created by burning reproductions of antique furniture with a blowtorch to produce a charred effect. Lathe Chair VIII by Sebastian Brajkovic is an exaggerated love seat seemingly made from a single 19th-century chair stretched into two.
Alongside will be Jeroen Verhoeven’s Cinderella table, Julian Mayors’s Clone chair, ceramics by Hella Jongerius and Joris Laarman’s Heatwave radiator based on rococo scrollwork.
The final section, ‘Heaven and Hell’ will display work by designers concerned with themes of mortality and the afterlife. The Lovers rug by Fredrikson Stallard comprises a pair of conjoined pools of poured red urethane representing the average quantity of blood in two people.
Some of the designers in this section reference historical depictions of ‘The Last Judgement’ or Dante’s ‘Inferno’. An example is Luc Merx’s The Fall of the Damned chandelier made up of a cloud of around 170 weightless and tumbling human figures suspended in mid air. Others reflect an interest in psychoanalysis, such as Joep van Lieshout’s Sensory Deprivation Skull, a large skull-shaped, fur-lined chamber to accommodate two people. These objects will appear together with work by Dunne & Raby, Niels van Eijk and Miriam van der Lubbe and Boym Partners.
Gareth Williams said: “This exhibition aims to capture a way of designing that has been emerging in recent years. These objects have stories to tell and we wanted to present some of the most creative and innovative examples and explore common themes.”
The exhibition designers are Nissen Adams who, together with lighting designer Zerlina Hughes, will create a dramatic setting for each section. In ‘The Forest Glade’ a background of printed gauze screens and dappled lighting will evoke the forests of myths and fairytales. A distorted palatial atmosphere will be the setting for ‘The Enchanted Castle’. Spot lit objects and diagonal walls will create a disconcerting ‘Heaven and Hell’.
LINK
NY TIMES ARTICLE
"VISUAL DELIGHT: Ornament and Pattern in Modern and Contemporary Design AT PHILADELPHIA MUSEUM OF ART"
May 16, 2009 - September 20, 2009
"The evolution of culture is synonymous with the removal of ornament from utilitarian objects...We have outgrown ornament; we have fought our way through to freedom from ornament."
—Adolf Loos in Ornament and Crime, 1908
"As modernism took hold in the early years of the twentieth century, designers began to view ornament as unnecessary and even morally offensive to modern industrial production. Increasingly they shunned decoration in favor of rational, austere designs that were devoid of extraneous embellishment. Despite their criticism, however, ornament was never entirely exorcised from consumer culture, and by the late 1950s designers were returning to an informed discussion about ornament and its symbolic value. Architect Robert Venturi wrote influentially in the 1960s about ornament as symbol, and in the late 1970s and 1980s figures associated with the design group Memphis, among others, reveled in the use of abstract surface patterns to clad buildings and to decorate furniture and decorative arts.
Today ornament is once again garnering attention, much of it fueled by the refinement of technologies such as laser cutting, digital printing, and rapid prototyping, which make possible intricate patterns and three-dimensional shapes. Unlike the abstract decorative schemes generated by the Memphis-era designers, contemporary ornament is largely influenced by nature, figures, and even traditional patterns, such as the crocheted lace that inspired Marcel Wanders’s “Crochet” table and Marie-Louise Gustafsson’s “Carrie” bicycle basket.
This exhibition, drawn primarily from the Museum’s modern and contemporary design collection, features some thirty objects dating from the mid-1960s to the present. From Robert Venturi’s large-scale building façade panels decorated with oversize flowers to delicate, laser-cut lighting fixtures by Tord Boontje, the works in this gallery celebrate the myriad ways in which ornament and pattern enhance our visual experience."
This exhibition also features work by Fernando and Humberto Campana including their Corallo chair as well as pieces by Hella Jongerius and Patricia Urquiola. The exhibition was Curated by Diane Minnite.
May 16, 2009 - September 20, 2009
"The evolution of culture is synonymous with the removal of ornament from utilitarian objects...We have outgrown ornament; we have fought our way through to freedom from ornament."
—Adolf Loos in Ornament and Crime, 1908
"As modernism took hold in the early years of the twentieth century, designers began to view ornament as unnecessary and even morally offensive to modern industrial production. Increasingly they shunned decoration in favor of rational, austere designs that were devoid of extraneous embellishment. Despite their criticism, however, ornament was never entirely exorcised from consumer culture, and by the late 1950s designers were returning to an informed discussion about ornament and its symbolic value. Architect Robert Venturi wrote influentially in the 1960s about ornament as symbol, and in the late 1970s and 1980s figures associated with the design group Memphis, among others, reveled in the use of abstract surface patterns to clad buildings and to decorate furniture and decorative arts.
Today ornament is once again garnering attention, much of it fueled by the refinement of technologies such as laser cutting, digital printing, and rapid prototyping, which make possible intricate patterns and three-dimensional shapes. Unlike the abstract decorative schemes generated by the Memphis-era designers, contemporary ornament is largely influenced by nature, figures, and even traditional patterns, such as the crocheted lace that inspired Marcel Wanders’s “Crochet” table and Marie-Louise Gustafsson’s “Carrie” bicycle basket.
This exhibition, drawn primarily from the Museum’s modern and contemporary design collection, features some thirty objects dating from the mid-1960s to the present. From Robert Venturi’s large-scale building façade panels decorated with oversize flowers to delicate, laser-cut lighting fixtures by Tord Boontje, the works in this gallery celebrate the myriad ways in which ornament and pattern enhance our visual experience."
This exhibition also features work by Fernando and Humberto Campana including their Corallo chair as well as pieces by Hella Jongerius and Patricia Urquiola. The exhibition was Curated by Diane Minnite.
"U.F.O.: BLURRING THE BOUNDARIES BETWEEN ART AND DESIGN" EXHIBITION OPENS IN DUSSELDORF"
May 23 - July 5 2009
NRW-Forum Kultur und Wirtschaft, Düsseldorf
"Where does design end and art begin? Charles Eames, the most influential designer of the mid-twentieth century, said that ‘design is an expression of purpose. It may (if it is good enough) later be judged as art.’ Contemporary young designers see the matter more pragmatically. According to the Spanish designer Jaime Hayon, ‘there is no longer a clear border between product design and art.’ The most recent answer to this question is inherent in the new phrase ‘design-art’.
Artists like Franz West and others investigate the changing functions of sculpture and in so doing dissolve the borders between art and design, between ‘free’ and ‘applied’ creation, by allowing hybrids from other areas to develop. In the field of design, on the other hand, designers like Ron Arad or Marc Newson are increasingly discovering the sculptural qualities of design. They are distancing themselves from a conditionality of design - namely its function and the inherent possibility of reproducing something any number of times - and are creating unique items or small editions. The borders between ‘fine’ and ‘decorative’ art is becoming more blurred."
The exhibition features a Sushi IV chair and an Original Multianimal Banquette by the Campanas and Studio Job's bronze "Tower" from Homework.
LINK
IMAGES
Other artists/designers featured in this exhibition include: David Adjaye, Ron Arad, John Armleder, Richard Artschwager, Ronan + Erwan Bouroullec, Fernando + Humberto Campana, Hussein Chalayan, Frédéric Dedelley, Martino Gamper, Liam Gillick, Rodney Graham, Johanna Grawunder, Konstantin Grcic, Zaha Hadid, Studio Job, Donald Judd, Mona Hatoum, Arik Levy, Ross Lovegrove, Marc Newson, Jorge Pardo, Tom Price, Richard Prince, Rolf Sachs, Tejo Remy, Ettore Sottsass, Haim Steinbach, Kram/Weisshaar, Marcel Wanders, Franz West and Andrea Zittel
May 23 - July 5 2009
NRW-Forum Kultur und Wirtschaft, Düsseldorf
"Where does design end and art begin? Charles Eames, the most influential designer of the mid-twentieth century, said that ‘design is an expression of purpose. It may (if it is good enough) later be judged as art.’ Contemporary young designers see the matter more pragmatically. According to the Spanish designer Jaime Hayon, ‘there is no longer a clear border between product design and art.’ The most recent answer to this question is inherent in the new phrase ‘design-art’.
Artists like Franz West and others investigate the changing functions of sculpture and in so doing dissolve the borders between art and design, between ‘free’ and ‘applied’ creation, by allowing hybrids from other areas to develop. In the field of design, on the other hand, designers like Ron Arad or Marc Newson are increasingly discovering the sculptural qualities of design. They are distancing themselves from a conditionality of design - namely its function and the inherent possibility of reproducing something any number of times - and are creating unique items or small editions. The borders between ‘fine’ and ‘decorative’ art is becoming more blurred."
The exhibition features a Sushi IV chair and an Original Multianimal Banquette by the Campanas and Studio Job's bronze "Tower" from Homework.
LINK
IMAGES
Other artists/designers featured in this exhibition include: David Adjaye, Ron Arad, John Armleder, Richard Artschwager, Ronan + Erwan Bouroullec, Fernando + Humberto Campana, Hussein Chalayan, Frédéric Dedelley, Martino Gamper, Liam Gillick, Rodney Graham, Johanna Grawunder, Konstantin Grcic, Zaha Hadid, Studio Job, Donald Judd, Mona Hatoum, Arik Levy, Ross Lovegrove, Marc Newson, Jorge Pardo, Tom Price, Richard Prince, Rolf Sachs, Tejo Remy, Ettore Sottsass, Haim Steinbach, Kram/Weisshaar, Marcel Wanders, Franz West and Andrea Zittel
CAMPANA BROTHERS RETROSPECTIVE AT VITRA DESIGN MUSEUM
"Antibodies: The Works of Fernando & Humberto Campana 1989 - 2009"
A Vitra Design Museum exhibition, Weil am Rhein
May 16, 2009 - February 28, 2010
The Brazilians Fernando and Humberto Campana are the most significant designers in present-day Latin America. In addition to designs for international manufacturers of furniture, lighting and home accessories, the majority of creations coming out of their Sao Paulo studio consist of custom-made one-off objects for the home characterized by recycling of found materials, idiosyncratic combinations and a surrealistic impression. The retrospective on the 20-year collaboration between the two brothers emphasizes the artistic working method and explains how the works take shape – from the first sculptures up to the interdisciplinary works of today – based on prototypes, experiments and one-off pieces.
"Antibodies: The Works of Fernando & Humberto Campana 1989 - 2009"
A Vitra Design Museum exhibition, Weil am Rhein
May 16, 2009 - February 28, 2010
The Brazilians Fernando and Humberto Campana are the most significant designers in present-day Latin America. In addition to designs for international manufacturers of furniture, lighting and home accessories, the majority of creations coming out of their Sao Paulo studio consist of custom-made one-off objects for the home characterized by recycling of found materials, idiosyncratic combinations and a surrealistic impression. The retrospective on the 20-year collaboration between the two brothers emphasizes the artistic working method and explains how the works take shape – from the first sculptures up to the interdisciplinary works of today – based on prototypes, experiments and one-off pieces.
"TOMAS GABDZIL LIBERTINY AWARDED AS "DESIGNER OF THE FUTURE 2009/" AT DESIGN MIAMI/BASEL"
"Design Miami supports limited-edition design and values creativity expressed through new forms, new technologies, new object-types, new processes, and new design philosophies. Since its inception in 2006, the Designers of the Future Award has been dedicated to promoting the work of young creatives who exhibit promise in these areas of design experimentation.
Tomáš Gabzdil Libertiny was born in Slovakia in 1979. His father, an architect, and his mother, a historian, provided him with a rich environment for creative and intellectual growth. While still in high school, Tomáš hitchhiked all
over Europe and worked during summer holidays on Swiss bio-farms and as a bricklayer in North Carolina. In 1999, he enrolled in the Industrial Design Department at the Technical University in Slovakia, but soon he found
this discipline too limiting. In 2001, he was awarded George Soros’s Open Society Institute Scholarship to study at the University of Washington in Seattle, where he explored painting and sculpture. As a result, in 2002 he transferred to Academy of Fine Arts and Design in Bratislava to study both product design and painting."
Other recipients in 2009 include Nacho Carbonell, Peter Marigold, Raw-Edges/Yeal Mer + Shay, and Alkalay.
LINK
"Design Miami supports limited-edition design and values creativity expressed through new forms, new technologies, new object-types, new processes, and new design philosophies. Since its inception in 2006, the Designers of the Future Award has been dedicated to promoting the work of young creatives who exhibit promise in these areas of design experimentation.
Tomáš Gabzdil Libertiny was born in Slovakia in 1979. His father, an architect, and his mother, a historian, provided him with a rich environment for creative and intellectual growth. While still in high school, Tomáš hitchhiked all
over Europe and worked during summer holidays on Swiss bio-farms and as a bricklayer in North Carolina. In 1999, he enrolled in the Industrial Design Department at the Technical University in Slovakia, but soon he found
this discipline too limiting. In 2001, he was awarded George Soros’s Open Society Institute Scholarship to study at the University of Washington in Seattle, where he explored painting and sculpture. As a result, in 2002 he transferred to Academy of Fine Arts and Design in Bratislava to study both product design and painting."
Other recipients in 2009 include Nacho Carbonell, Peter Marigold, Raw-Edges/Yeal Mer + Shay, and Alkalay.
LINK
DESIGN TALKS AT DESIGN MIAMI/BASEL TO FEATURE MURRAY MOSS, MAARTEN BAAS AND LI EDELKOORT
Friday 12 June, 2009
6pm–7pm
Li Edelkoort, Murray Moss, and Maarten Baas Maarten Baas is only 31 years old but has already attained superstar status in the design world. From his time in design school, design expert and trendspotter
Li Edelkoort has encouraged Maarten’s vision. Similarly, Murray Moss, one of the most powerful design dealers in the United States, has also been instrumental in promoting Maarten’s work. This conversation will focus on the relationship between the designer and his mentors/patrons, with a focus on understanding the risks and rewards of supporting young designers.
Friday 12 June, 2009
6pm–7pm
Li Edelkoort, Murray Moss, and Maarten Baas Maarten Baas is only 31 years old but has already attained superstar status in the design world. From his time in design school, design expert and trendspotter
Li Edelkoort has encouraged Maarten’s vision. Similarly, Murray Moss, one of the most powerful design dealers in the United States, has also been instrumental in promoting Maarten’s work. This conversation will focus on the relationship between the designer and his mentors/patrons, with a focus on understanding the risks and rewards of supporting young designers.
LAYERS : QUILTED VASE BY HELLA JONGERIUS ADDED TO INDIANAPOLIS MUSEUM OF ART'S PERMANENT COLLECTION"
June 1, 2009
Hells Jongerius's "Quilted Vase (red with plaid bottom)" which was exhibited in the artist's 2006 exhibition "Layers" at Moss New York was added to the permanent collection of the Indianapolis Museum of Art. The quilted vases are soft upholstered versions of one of Jongerius’s previous works - the Red White Vase, designed by Jongerius in 1997 and produced in earthenware by Koninklijke Tichelaar Makkum, the Netherlands. The vases are upholstered using prototype Layers textiles, developed over the past three years in collaboration with Maharam. Each piece is unique. Only 15 were made. The Indianapolis Museum of Art is emerging and a powerhouse in contemporary design. Under the direction of Curator R. Craig Miller the IMA launched "European Design Since 1985: Shaping the New Century" in March 2009. The show which was organized along with the Denver Art Museum and Kingston University, London is a major critical survey of contemporary Western European decorative and industrial design.
June 1, 2009
Hells Jongerius's "Quilted Vase (red with plaid bottom)" which was exhibited in the artist's 2006 exhibition "Layers" at Moss New York was added to the permanent collection of the Indianapolis Museum of Art. The quilted vases are soft upholstered versions of one of Jongerius’s previous works - the Red White Vase, designed by Jongerius in 1997 and produced in earthenware by Koninklijke Tichelaar Makkum, the Netherlands. The vases are upholstered using prototype Layers textiles, developed over the past three years in collaboration with Maharam. Each piece is unique. Only 15 were made. The Indianapolis Museum of Art is emerging and a powerhouse in contemporary design. Under the direction of Curator R. Craig Miller the IMA launched "European Design Since 1985: Shaping the New Century" in March 2009. The show which was organized along with the Denver Art Museum and Kingston University, London is a major critical survey of contemporary Western European decorative and industrial design.
MURRAY MOSS SPEAKS AT THE HAMMER MUSEUM LOS ANGELES
"LI EDELKOORT AND MURRAY MOSS"
May 21, 2009
Li Edelkoort studied fashion and design at the School of Fine Arts in Arnhem, where she soon discovered her talent for sensing upcoming trends. In 2003 Time Magazine named her one of the world’s 25 Most Influential People in Fashion. Her recent work includes teaching at the Design Academy Eindhoven, conducting humanitarian outreach with the Heartwear foundation, and curating multiple design exhibitions around the world. In 1994 former fashion entrepreneur Murray Moss opened Moss in a former gallery space in SoHo, with a determination to transform the public perception of industrial product design. The New York Times called Moss “arguably the best design store in America” (2003), and the store quickly became internationally known for its product selection and presentation, with clients ranging from highly informed design professionals to celebrities and students.
"LI EDELKOORT AND MURRAY MOSS"
May 21, 2009
Li Edelkoort studied fashion and design at the School of Fine Arts in Arnhem, where she soon discovered her talent for sensing upcoming trends. In 2003 Time Magazine named her one of the world’s 25 Most Influential People in Fashion. Her recent work includes teaching at the Design Academy Eindhoven, conducting humanitarian outreach with the Heartwear foundation, and curating multiple design exhibitions around the world. In 1994 former fashion entrepreneur Murray Moss opened Moss in a former gallery space in SoHo, with a determination to transform the public perception of industrial product design. The New York Times called Moss “arguably the best design store in America” (2003), and the store quickly became internationally known for its product selection and presentation, with clients ranging from highly informed design professionals to celebrities and students.
"123" EXHIBITION AT MOSS NEW YORK
Sunday MAY 17 to Saturday JUNE 27, 2009
150/152 Greene Street, NY NY 10012 (212 204 7100)
"123" Exhibition Images
Timed to coincide with the opening of the International Contemporary Furniture Fair, Moss presents installations of work from three disparate and very different studios, which together offer a glimpse into the state of design and design process.
Bavaria
by Studio Job
Moss has collaborated with Studio Job on several major collections and exhibitions, including Perished (2006), Homework (2006), Robber Baron (2007), Graphic Paper (2007), and Golden Still Life and Golden Biscuit (2007). Presenting their work in collections that they consider as chapters in an evolving narrative, Job Smeets and Nynke Tynagel created Bavaria (2008), a limited-edition suite of five masterfully-executed marquetry furnishings inspired by the 17th and 18th century tradition of hand-painted furniture in the southern German province. Featuring exuberant ‘book-matched’ multicoloured laser-cut wooden inlays set densely, and ‘painterly’, in a Rosewood ground, each work depicts a unique series of Utopian heraldic patterns rendered through paradisiacal rustic iconography, wantonly dismissing the historic distinctions between the fine, the graphic, and the applied arts.
.MGX by Materialise
The Belgian company Materialise, renowned for their innovation in the field of Additive Layered Fabrication (ALF), continues to explore through its new and highly inventive design label, .MGX by Materialise, new possibilities in 3D printing techniques, including the advanced technologies of stereolithography, selective laser sintering, and fused deposition modelling. Moss presents their most celebrated new ‘icons’ of ALF, an all digital technique, whereby material is transformed from one state to another (liquid to solid or welding of material particles by laser beam). Included are works by Luc Merx, Patrick Jouin, Hani Rashid, Bathsheba Grossman, Jiri Evenhuis, Strand & Hvass, Lars Spuybroek, Assa Ashuach, Peter Jansen, Platform Studio and Matthias Bär, Arik Levy, Amanda Levete, and Dan Yeffet.
To be continued
by Julien Carretero
Having established his studio in Eindhoven, the Netherlands, where he recently graduated from that city’s famed Design Academy, Julien Carretero explores issues of control and perfection in serial production through his limited-edition Bench and Table, from the series To be continued. Using the repetitive actions existing within the production process as a tool, ironically, for highlighting differentiation as opposed to regularity, multiple casts in a polyurethane composite, variously coloured, are layered one on top of the next, creating a long series of ‘slices’ which cause these remarkable works to gradually mutate—in a sense, imperfectly ‘designing’ themselves.
Sunday MAY 17 to Saturday JUNE 27, 2009
150/152 Greene Street, NY NY 10012 (212 204 7100)
"123" Exhibition Images
Timed to coincide with the opening of the International Contemporary Furniture Fair, Moss presents installations of work from three disparate and very different studios, which together offer a glimpse into the state of design and design process.
Bavaria
by Studio Job
Moss has collaborated with Studio Job on several major collections and exhibitions, including Perished (2006), Homework (2006), Robber Baron (2007), Graphic Paper (2007), and Golden Still Life and Golden Biscuit (2007). Presenting their work in collections that they consider as chapters in an evolving narrative, Job Smeets and Nynke Tynagel created Bavaria (2008), a limited-edition suite of five masterfully-executed marquetry furnishings inspired by the 17th and 18th century tradition of hand-painted furniture in the southern German province. Featuring exuberant ‘book-matched’ multicoloured laser-cut wooden inlays set densely, and ‘painterly’, in a Rosewood ground, each work depicts a unique series of Utopian heraldic patterns rendered through paradisiacal rustic iconography, wantonly dismissing the historic distinctions between the fine, the graphic, and the applied arts.
.MGX by Materialise
The Belgian company Materialise, renowned for their innovation in the field of Additive Layered Fabrication (ALF), continues to explore through its new and highly inventive design label, .MGX by Materialise, new possibilities in 3D printing techniques, including the advanced technologies of stereolithography, selective laser sintering, and fused deposition modelling. Moss presents their most celebrated new ‘icons’ of ALF, an all digital technique, whereby material is transformed from one state to another (liquid to solid or welding of material particles by laser beam). Included are works by Luc Merx, Patrick Jouin, Hani Rashid, Bathsheba Grossman, Jiri Evenhuis, Strand & Hvass, Lars Spuybroek, Assa Ashuach, Peter Jansen, Platform Studio and Matthias Bär, Arik Levy, Amanda Levete, and Dan Yeffet.
To be continued
by Julien Carretero
Having established his studio in Eindhoven, the Netherlands, where he recently graduated from that city’s famed Design Academy, Julien Carretero explores issues of control and perfection in serial production through his limited-edition Bench and Table, from the series To be continued. Using the repetitive actions existing within the production process as a tool, ironically, for highlighting differentiation as opposed to regularity, multiple casts in a polyurethane composite, variously coloured, are layered one on top of the next, creating a long series of ‘slices’ which cause these remarkable works to gradually mutate—in a sense, imperfectly ‘designing’ themselves.
LAURENE AND CONSTANTIN BOYM ARE WINNERS IN THE 10TH ANNUAL DESIGN AWARDS FROM THE COOPER HEWITT NATIONAL DESIGN MUSUEM
May 7, 2009
Laurene and Constantin Boym received an award in the category of Best Product Design. Their firm, Boym Partners, is a New York-based design studio led by Constantin and Laurene Boym. Boym Partners brings a critical, experimental approach to a range of products that infuse humor and wit into the everyday. Frequently drawing from American iconography, it creates a variety of products and environments for an international roster of companies, including Alessi, Swatch, Flos and Vitra. They also create their own Boym Editions, sought after by many collectors around the world. Both Constantin and Laurene have taught at Parsons The New School for Design, where they influenced and inspired generations of young designers. Their work is included the permanent collections of many museums, including The Museum of Modern Art.
May 7, 2009
Laurene and Constantin Boym received an award in the category of Best Product Design. Their firm, Boym Partners, is a New York-based design studio led by Constantin and Laurene Boym. Boym Partners brings a critical, experimental approach to a range of products that infuse humor and wit into the everyday. Frequently drawing from American iconography, it creates a variety of products and environments for an international roster of companies, including Alessi, Swatch, Flos and Vitra. They also create their own Boym Editions, sought after by many collectors around the world. Both Constantin and Laurene have taught at Parsons The New School for Design, where they influenced and inspired generations of young designers. Their work is included the permanent collections of many museums, including The Museum of Modern Art.
CAMPANA "PANDAS" CHAIR ADDED TO THE DALLAS MUSEUM OF ART
April 2009 - A "Pandas Chair" by the Fernando and Humberto Campana has been added to the Dallas Museum of Art's permanent collection.
"Established in 1903, the Museum features an outstanding collection of more than 23,000 works of art from around the world, from ancient to modern times." - Bonnie Pitman, The Eugene McDermott Director, Dallas Museum of Art
"The Decorative Arts department holds over 6,000 works, the Museum's collections of American and European decorative arts and design feature objects in a wide range of media. The collection of 19th- and 20th-century American silver is widely considered among the finest in the world. The contemporary art collection spans from 1945 to the present. Recently the museum has focused on major German artists such as Gerhard Richter, Sigmar Polke, and Anselm Kiefer, while simultaneously collecting the young artists of the time." - http://dallasmuseumofart.org
April 2009 - A "Pandas Chair" by the Fernando and Humberto Campana has been added to the Dallas Museum of Art's permanent collection.
"Established in 1903, the Museum features an outstanding collection of more than 23,000 works of art from around the world, from ancient to modern times." - Bonnie Pitman, The Eugene McDermott Director, Dallas Museum of Art
"The Decorative Arts department holds over 6,000 works, the Museum's collections of American and European decorative arts and design feature objects in a wide range of media. The collection of 19th- and 20th-century American silver is widely considered among the finest in the world. The contemporary art collection spans from 1945 to the present. Recently the museum has focused on major German artists such as Gerhard Richter, Sigmar Polke, and Anselm Kiefer, while simultaneously collecting the young artists of the time." - http://dallasmuseumofart.org
CAMPANA "PANDAS" CHAIR ON EXHIBIT AT THE A+D MUSEUM
The Campanas "Pandas" chair is on loan to the Architecture + Design Museum in Los Angeles for the exhibition "UpCycling: Recuperating Past Lives: Art, Design and the Reinterpretation of Materials".
The exhibition is open May 7-May 23, 2009.
The Campanas "Pandas" chair is on loan to the Architecture + Design Museum in Los Angeles for the exhibition "UpCycling: Recuperating Past Lives: Art, Design and the Reinterpretation of Materials".
The exhibition is open May 7-May 23, 2009.
MAJOR DESIGN EXHIBITION SPOTLIGHTS MANY MOSS ARTISTS
European Design Since 1985: Shaping the New Century at the Indianapolis Museum of Art, A major exhibition curated by R.Craig Miller has opened at the Indianapolis Museum. The exhibition features works from Moss artists Studio Job, Tord Boontje, Patrick Jouin, Ronan Bouroullec and Erwan Bouroullec, Philippe Starck, Arik Levy, Ineke Hans, Maarten Baas, Hella Jongerius, Marcel Wanders, Jurgen Bey, Jasper Morrison, Marc Newson, Zaha Hadid, Ron Arad, Tom Dixon, Ross Lovegrove, and Michele De Lucchi.
European Design Since 1985: Shaping the New Century
March 8-June 21, 2009
Clowes Gallery in Wood Pavilion
This exhibition is the first critical survey of contemporary Western European decorative and industrial design, organized by IMA Design Curator R. Craig Miller. The exhibition and accompanying catalogue present 250 seminal works including furniture, ceramics, metalwork, glass and product design that reveal the extraordinary creativity of two generations of designers in Belgium, France, Germany, Italy, The Netherlands, Portugal, Scandinavia, Spain and the United Kingdom. European Design Since 1985 reflects an important initiative by the IMA in the area of 20th- and 21st-century design. The project, which has required six years of extensive research, has been organized in cooperation with the Denver Art Museum and Kingston University, London.
The exhibition will travel to a number of American museums and potentially to Europe and Asia. A scholarly catalogue produced by Merrell Publishers, London, will be distributed internationally.
Support provided by the Mondriaan Foundation, Amsterdam, with additional support contributed by the Consulate General of the Netherlands in New York.
European Design Since 1985: Shaping the New Century at the Indianapolis Museum of Art, A major exhibition curated by R.Craig Miller has opened at the Indianapolis Museum. The exhibition features works from Moss artists Studio Job, Tord Boontje, Patrick Jouin, Ronan Bouroullec and Erwan Bouroullec, Philippe Starck, Arik Levy, Ineke Hans, Maarten Baas, Hella Jongerius, Marcel Wanders, Jurgen Bey, Jasper Morrison, Marc Newson, Zaha Hadid, Ron Arad, Tom Dixon, Ross Lovegrove, and Michele De Lucchi.
European Design Since 1985: Shaping the New Century
March 8-June 21, 2009
Clowes Gallery in Wood Pavilion
This exhibition is the first critical survey of contemporary Western European decorative and industrial design, organized by IMA Design Curator R. Craig Miller. The exhibition and accompanying catalogue present 250 seminal works including furniture, ceramics, metalwork, glass and product design that reveal the extraordinary creativity of two generations of designers in Belgium, France, Germany, Italy, The Netherlands, Portugal, Scandinavia, Spain and the United Kingdom. European Design Since 1985 reflects an important initiative by the IMA in the area of 20th- and 21st-century design. The project, which has required six years of extensive research, has been organized in cooperation with the Denver Art Museum and Kingston University, London.
The exhibition will travel to a number of American museums and potentially to Europe and Asia. A scholarly catalogue produced by Merrell Publishers, London, will be distributed internationally.
Support provided by the Mondriaan Foundation, Amsterdam, with additional support contributed by the Consulate General of the Netherlands in New York.
MAARTEN BAAS "HEY CHAIR..." WORKS ADDED TO THE PERMANENT COLLECTION OF THE INDIANAPOLIS MUSEUM OF ART
January 2009
"Hey Chair Be a Bookshelf (large with trumpet)" was added to the permanent collection of the Indianapolis Museum of Art.
January 2009
"Hey Chair Be a Bookshelf (large with trumpet)" was added to the permanent collection of the Indianapolis Museum of Art.
CAMPANAS AWARDED "DESIGNER OF THE YEAR" HONOR AT DESIGN MIAMI/ 2008
Design Miami/ is honored to present the 2008 Designer of the Year Award to Fernando & Humberto Campana. This award is presented every December in Miami to an established designer or collective whose advanced body of work demonstrates quality, innovation and influence.
For the last 20 years, Estúdio Campana has created singularly joyful and expressive designs that bridge handcraft, limited edition, and mass production. Their work has been embraced throughout the world, and yet it remains rooted in a highly personal vision. Their frequent use of discarded and mundane materials has foreshadowed the current trend toward re-appropriation in contemporary design. We congratulate Fernando & Humberto for their unique contribution to design history.
Each Designer of the Year Award comes with a commission to create a site-specific installation. For their commission, the Campana Brothers have created Diamantina, an evolution of their TransPlastic series unveiled at Albion Gallery in London in 2007.
Work by the Estúdio Campana has been exhibited throughout the world and is included in the following permanent collections:
Art Institute of Chicago
Association Jacqueline Vodoz e Bruno Danese, Milan
Centre George Pompidou, Paris
Cooper-Hewitt Museum, New York
Design Museum, Hamburg
Don Edelman Foundation, Switzerland
Francisco Capelo Collection, Centro Cultural Belém, Portugal
Montréal Fine Arts Museum
Musée des Arts Décoratifs, Paris
Museum of Contemporary Art, Tokyo
Museum of Decorative Arts, Montreal
Museum of Design, Lausanne
Museum of Modern Art, New York
Museum of Modern Art, São Paulo
Philadelphia Museum of Modern Art
Pinakothek Der Moderne, Munich
Tel Aviv Museum of Art, Tel Aviv
The Carnegie Museum of Art, Pittsburgh
The Manchester Museum, Oxford
Vitra Design Museum, Weil am Rhein
Design Miami/ is honored to present the 2008 Designer of the Year Award to Fernando & Humberto Campana. This award is presented every December in Miami to an established designer or collective whose advanced body of work demonstrates quality, innovation and influence.
For the last 20 years, Estúdio Campana has created singularly joyful and expressive designs that bridge handcraft, limited edition, and mass production. Their work has been embraced throughout the world, and yet it remains rooted in a highly personal vision. Their frequent use of discarded and mundane materials has foreshadowed the current trend toward re-appropriation in contemporary design. We congratulate Fernando & Humberto for their unique contribution to design history.
Each Designer of the Year Award comes with a commission to create a site-specific installation. For their commission, the Campana Brothers have created Diamantina, an evolution of their TransPlastic series unveiled at Albion Gallery in London in 2007.
Work by the Estúdio Campana has been exhibited throughout the world and is included in the following permanent collections:
Art Institute of Chicago
Association Jacqueline Vodoz e Bruno Danese, Milan
Centre George Pompidou, Paris
Cooper-Hewitt Museum, New York
Design Museum, Hamburg
Don Edelman Foundation, Switzerland
Francisco Capelo Collection, Centro Cultural Belém, Portugal
Montréal Fine Arts Museum
Musée des Arts Décoratifs, Paris
Museum of Contemporary Art, Tokyo
Museum of Decorative Arts, Montreal
Museum of Design, Lausanne
Museum of Modern Art, New York
Museum of Modern Art, São Paulo
Philadelphia Museum of Modern Art
Pinakothek Der Moderne, Munich
Tel Aviv Museum of Art, Tel Aviv
The Carnegie Museum of Art, Pittsburgh
The Manchester Museum, Oxford
Vitra Design Museum, Weil am Rhein
