Apart from the chance to peruse and consider the collections and new products of and from a wide variety of manufacturers and labels, one of the real joys of visiting any furniture fair is the opportunity it allows to observe designers in conversation with manufacturers and labels. For all in pairings that currently don’t formally exist. We never eavesdrop on such conversations, that would be rude, and to overplay our prowess as spies; but we do enjoy imagining what may arise from those conversations, imagining the enthralling objects and brave new world that awaits us all.
A brave new world that far from being a refuge from our contemporary world in many regards helps sharpen our focus on the contemporary world that surrounds us, the collections and new products of and from a wide variety of manufacturers and labels laid out for our consideration and perusal.
New products that may have begun as an informal conversation on a trade fair stand. And now look where that’s developed…..
And so, and with our customary caution that we have invariably missed one or the other gem, which in this case we know we did, but which we plan to make up for later, an IMM Cologne 2020 High Five!!
In our post from the exhibition
Design Gruppe Pentagon at the Museum Angewandte Kunst Cologne we noted that Gallery Pentagon was laterally based in Cologne’s Bismarckstrasse. Bismarckstrasse 50 to be precise, a former cardboard packaging factory which in the 1980s was developed into spaces for creatives of various ilks…..
…..Bismarckstrasse 50 is still home to creatives of various ilks, and is still home to a gallery, Galerie Martina Kaiser, where in context of the 2020 Passagen Interior Design Week a new generation of Cologne designers are presenting new projects, projects raised not in the agitations, turmoils and transformations of 1980s West Germany that informed the Pentagonia’s works, but rather in the calm, alpine forests of Austria’s Bregenzerwald.
Yet objects no less expressive for the change of air…….
Within any regular pentagon one can locate, in numerous, manifold, relationships, the Golden Ratio, that centuries old guarantor of harmony, balance, beauty….
And within an irregular Pentagon?
With the exhibition
Design Gruppe Pentagon the Museum für Angewandte Kunst Cologne search for an answer in context of the 1980s Rheinland design quintet…….
The long and winding (hi)story of furniture design is largely one of evolution not revolution, largely one of innumerable, often imperceptible, social, cultural, economic, technical, et al transformations, movements, hindrances and undulations which slowly, continually, combine and interact to widen and deepen the river as it flows. A process aided, abetted and accelerated by irregularly arising confluences where a new tributary flows into the unflinchingly onwards rolling mainstem.
One such being inarguably Michael Thonet.
With the exhibition Bentwood and Beyond. Thonet and Modern Furniture Design the MAK – Museum für angewandte Kunst Vienna navigate the history of that tributary and explore its legacy and contemporary relevance, and relationship, to the course of furniture design.
Off late, and certainly in a European context, January has become a month of forgoing, eschewing and general abstention, with campaigns such as Dry January and Veganuary extolling us to utilise our guilt at our dangerous, decadent, gluttony of late December as an impetus to radically alter our behaviour, as a catalyst for reduction.
And while less is unquestionably more, and thus worth striving for, fundamental change is invariably more sustainably and meaningfully achieved through better understandings rather than by sudden, extreme, knee-jerk, changes; that more information can lead to less harmful choices. More information and better understandings such as those an architecture or design exhibition can provide.
We can’t promise the following five will necessarily change your (unhealthy) relationship to alcohol or food, they should however allow for new perspectives on the world around us, new perspectives which should allow for new reflections on your relationship to that world, and, potentially, a healthier, happier you. And a healthier, happier world. Potentially.
In context of the 2013 exhibition Lightopia at the Vitra Design Museum a point of particularly intense illumination, pun intended, was the difference between light and lighting, and that the craft of the lighting designer is to bring a tangible form to an intangible material.
With the exhibition Ingo Maurer intim. Design or what? Die Neue Sammlung – The Design Museum Munich celebrate, and remember, one of Germany’s leading designer’s of light…..
Looking back from the safety of 2019 it can be all too easy to assume that Bauhaus was a popularly received and much celebrated institution.
From its very earliest days, even before the first students had arrived in Weimar, the institution met with tenacious criticism and steadfast resistance; and arguably nowhere more so than in Weimar.
With the exhibition Mathilde von Freytag-Loringhoven. Painter, Author, Animal Psychologist and Bauhaus Critic the Stadtmuseum Weimar introduce one of the institution’s most tenacious and steadfast opponents; and in doing so allows not only for considerations on some of Bauhaus’s lesser discussed (hi)story, but also for reflections on the political, social and cultural realities of 1920’s Germany……
“Since the founding of the museum in 1864 there has been an ongoing committent to honouring the statute of the house, namely, to promote the art industries and the arts and crafts and to develop the taste of contemporary society”1
So noted the, then, Österreichisches Museum für angewandte Kunst’s Director Wilhelm Mrazek in the catalogue to the museum’s 1969 exhibition Sitzen 69, Sitting 69, an exhibition which sought “to develop the taste of contemporary society” in terms of sitting/seating.
And that through a presentation of (largely) wooden chairs, several of which dated back to the 1930s and 1940s………
With the showcase Sitzen 69 Revisited the, now, MAK – Museum für angewandte Kunst initiate a debate on the apparent contradictions inherent in Sitzen 69, and on the wider question of the mediation of design, through a presentation of objects presented in 1969 juxtaposed with some of those chair designs that weren’t. Chair designs that one may have, reasonably, expected should, would, have been……
“…when we shall hear
The rain and wind beat dark December, how,
In this our pinching cave, shall we discourse
The freezing hours away?”
asks Arvirargus of his brother Guiderius in Shakespeare’s play Cymbeline, before lamenting,
“We have seen nothing”
Easily solved old boy, a visit to an architecture or design exhibition should not only provide for new, stimulating, impressions but plenty of discourse throughout not only December but for many, many months to come.
For all a visit in December 2019 to the following new exhibitions opening in Vienna, Holon, Bloomfield Hills, Weil am Rhein & San Francisco……..
Sitting unassumingly, and largely unnoticed, in the middle of Germany, the city of Gotha may have only little resonance with the majority, with the great unwashed; however, every European royal family can trace their lineage back to Gotha: most famously the English royal family through Queen Victoria’s 1840 marriage to Prince Albert, but the royal houses of Sweden, Denmark, Spain, Holland, Norway, you get the idea, can all trace their lineage back to and through Gotha.
Gotha and royalty ✔
Gotha and inter-war Modernism ¿✔?
For all the popular associations of the inter-War years with the reduced and the paired down, with objects whose value was deemed inherent rather than something one added, one must remember that the inter-War years were also a period that brought forth the colours and confusions of Surrealism and the glitz and glamour of Art Déco: The Roaring of the Twenties being as much about a self-confidence of expression as a joyous relief that the war years were, once and for all, over.
And thus that both the reserved and the ornate existed side by side in the inter-War years, if not necessarily comfortably; and this tension between decorative ornamentation and a more reserved understanding of design are explored in the Werkbundarchiv – Museum der Dinge’s exhibition Decoration as Trespass?
Birthday’s are not only an occasion for celebration, but also for reflection on the year past, and on those milestone birthdays, for all the decadal birthdays, to reflect wider on the lives you’ve lived and the experiences you’ve enjoyed/endured, reflect on what you’ve gained, what you’ve lost, in those decades past.
So, or similar, the Vitra Design Museum, who celebrate their 30th birthday in November 2019 and are marking the occasion with reflections, when not necessarily on their own three decades, but the past three decades in design…….
As this Bauhaus Weimar centenary year is making ever clearer, whereas Bauhaus may have been physically sited in Weimar, Dessau and (nominally) Berlin, approaching a better understanding of “Bauhaus” involves leaving those sites and following the many paths that either led to, or from, those sites.
Paths that not only allow one to approach a better understanding of “Bauhaus”, but for all to approach a better understanding of the wider developments of the inter-War years, of inter-War Modernism, and thus to better understand that Bauhaus was but a component of that period, but a component of inter-War Modernism.
And paths, such as those mapped by the Brandenburgisches Landesmuseum für moderne Kunst, that invariably lead to new places, to new understandings and to an Unknown Modernism………
On November 1st 1512 Pope Julius II celebrated the All Saint’s Day Mass in the Sistine Chapel. The first public presentation of Michelangelo’s frescos, and thereby the opening of a permanent exhibition still on show today. And still attracting a public.
And while permanent exhibitions are good and important, for all in allowing an overview and an introduction to a subject, it is those ever changing temporary exhibitions that, should, ideally, allow for new insights and deepening of understandings.
Our recommendations for five new, temporary, architecture and design exhibitions opening in November 2019, and which promise such insights and depths, can be can be found in Munich, New York, Vienna, Esslingen and Gotha…..
Whereas the 1920s may have been Roaring, Golden, Années folles, a decade which could be certain that The Great War, that war to end all wars, had brought lasting peace to Europe, and where the utopian visions of the International Modernists, coupled to political and social emancipation and technological progress, made everything possible, and meant we could all gaily Charleston away our nights and days; the 1920s was also the decade that ushered Europe into one of the darkest periods in its history.
With the exhibition Design of the Third Reich the Design Museum Den Bosch explores the role of artists, architects and designers, in helping that darkness settle over 1930s Europe……..
Having started this Bauhaus Weimar centenary year by exploring the path from Arts and Crafts to Bauhaus, the Bröhan Museum Berlin end this Bauhaus Weimar centenary year by exploring the path from Bauhaus to
Arts and Crafts Scandinavia.
Or more accurately put, by exploring Nordic Design. The Response to the Bauhaus.
László Moholy-Nagy may have given Marianne Brandt “mettle for metal”, and metal may be the material with which she is most readily and popularly associated; however, as she wrote in 1922, “Ich bin ganz von Glas”….. I am entirely glass.
Fragile? Transparent? Opaque? Metamorphic? Refractive? Sparkling?
For its 7th edition the triennial International Marianne Brandt Contest sought projects exploring glass in all its interpretations, properties and essences; the 60 nominated projects being presented alongside a cabinet showcase devoted to Marianne Brandt in the exhibtion Ich bin ganz von Glas. Marianne Brandt and the Art of Glass Today at the Sächsische Industriemuseum Chemnitz.
Our Mondo Contemporaneo is a very unhappy, unsatisfying, unrewarding, dark, place.
Should we perhaps all consider a move to the colourful, dynamic reverie of Mondo Mendini?
At the Groninger Museum you can undertake a trial visit……………
While Ludwig Mies van der Rohe is arguably best known for the works he realised in the (mid-)west USA, the works he realised in west(ern) Germany are no less relevant or important for understanding the man, his work and his legacy.
Summer 2019 saw the western German State of Nordrhein-Westfalen host three Mies van der Rohe exhibitions, one each in, and devoted to Mies’s works in, Aachen, Krefeld and Essen. Three exhibitions now united in one in Cologne, and which as a unified trio not only provides for a very concise overview of the work of Ludwig Mies van der Rohe in Nordrhein-Westfalen, but also of both the development of Mies van der Rohe as an architect and, in many regards, the wider developments in understandings of architecture and design in the course of the 20th century.
While it is important, and relevant, that the centenary of the opening of Bauhaus Weimar is used to delve a little deeper into the (hi)story of both the institution and inter-War Modernism, design and architecture is more than Bauhaus.
Thus following on from our October Bauhaus/inter-War Modernism focussed new exhibition recommendations, five more general, if anything but humdrum, architecture and design exhibitions opening in October 2019 in Groningen, Frankfurt, New York, Stockholm and Weil am Rhein…..
“After you have settled yourself in a place as favorable as possible to the concentration of your mind upon itself, have writing materials brought to you”, so begins Secrets of the Magical Surrealist Art – Written surrealist composition, part of André Breton’s 1924 Surrealist Manifesto, “Put yourself in as passive, or receptive, a state of mind as you can. Forget about your genius, your talents, and the talents of everyone else. Keep reminding yourself that literature is one of the saddest roads that leads to everything. Write quickly, without any preconceived subject, fast enough so that you will not remember what you’re writing and be tempted to reread what you have written. The first sentence will come spontaneously, so compelling is the truth that with every passing second there is a sentence unknown to our consciousness which is only crying out to be heard.”1
Ready? Here goes, a Surrealist, automatic, blog post……………….
….no, not really.
Although we did consider it, as in genuinely, seriously, hired staff to bring us our writing materials and everything; but we did and do have a preconceived subject: the exhibition Objects of Desire. Surrealism and Design 1924 – Today at the Vitra Design Museum.
And so with apologies to André Breton and his Surrealist cohorts, we’ll consider their work and their influence on/interaction with design at our accustomed tempo, and with regular re-readings, re-formulations and very conscious re-framings……
More or less……
….. Back in May 2019 the sheer number of new architecture and design exhibitions opening globally allowed us to produce two recommendations lists: one featuring exhibitions with a strong Bauhaus/inter-War Modernism focus, and one more general, less focussed.
Spring forward five months and with the global museum community now fully awoken from their summer slumber we once again find ourselves with a cornucopia of new exhibitions that invites two lists. An invitation we would consider rude to decline.
In May we started with the more general exhibitions and so this time it seemed only fair to begin with new exhibitions in Berlin, Weimar, Cottbus, London W1 and London E17 that explore Bauhaus and inter-War modernism in a relatively wide sense, but then the wider the sense, the more detailed the understanding….
It is highly unlikely any 18th century banquet in Dresden’s Schloss Pillnitz would have been graced by a cake that came close to matching the Baroque grandeur of the location, certainly no cake that would have had a richness, plenitude or vitality to match; cake as it existed in the 1700s being a much flatter, breadier, monotone, delight, one which we today would barely recognise as cake, but which then was understood as cake, the whole cake and nothing but cake.
Then additions were made to the cake……
Belgium is uncharted territory for us. Not literately, we’re in Belgium fairly frequently. Indeed so frequently that we are often asked why we don’t move to Belgium. Because we’ve been to Belgium, we reply (JOKE!!))
But Belgium is uncharted territory in terms of our annual #campustour: the design school summer showcases in Belgium tending as they do to run parallel to those in London, and that in previous years we’ve had good reason to be in London at that time, we’ve, logically, not been in Belgium. This year ’twas different, we had absolutely no reason to be in London and every reason to be in Belgium, which, yes, does sound like a metaphor. Isn’t, but does sound like one…… And so took the opportunity to visit a trio of Belgian design schools, technically a quartet, but legally a trio……
“This house is a work by Le Corbusier” announces a yellow and white sign on the edge of the Zürichhorn park, “I commissioned it in his honour, and as a location from which to spread his ideas amongst a wider public”
With the exhibition Mon univers the Pavillon Le Corbusier Zürich attempt to do just that via an exploration of the Swiss architect, artist, designer, author, et al, through a very specific filter: that which he collected.