Category: Exhibitions and Shows
Passagen Interior Design Week Cologne 2024 – Alaaf!!!
Since 1990 the annual IMM Cologne furniture fair has been accompanied by the Passagen Interior Design Week. A design week, a design festival, that, and although it is often a bit overly commercial for our tastes, also always features a nice mix of emerging and establishing designers, small platforms, design schools, and others removed from the more predictable, superficial, profit-orientated corners of the furniture and design industries. A mix of creatives who help remind what design, what furniture design, is and can be. Should be. A mix of creatives not necessarily all good, that would be too much to expect, but who as a general rule are all well worth spending time with. An international mix of creatives if, more often than not, with a strong focus on Cologne, Düsseldorf and the general Rhein and Ruhr valleys. Which is in no way a complaint, it is after all their local event.
And a design week that over a great many years, along with IMM Cologne, marked the start of our year, was a permanent, unyielding, date in our calenders. Trips to the Rhein which over the years have produced innumerable abiding memories, both fondly recalled and much, much, less so. And trips to the Rhein from which we always returned wiser. Both from the positive and the negative experiences.
Then, invariably, came Covid and not only Passagen and IMM became much more complicated places to visit, but Cologne.
2024 we’re back. Or at least are back at Passagen, we’re still wrestling with the question of whether to return to large, international fairs such as IMM; still wrestling with questions of the necessity and justification and sustainability and meaningfulness of large, international fairs such as IMM. But that is no reason to ignore the design weeks that accompany them.
Thus in the coming days we will bring you some of our thoughts and reflections on some of the showcases visited in context of Passagen Interior Design Week 2024.
Thoughts and reflections on some of the design and designers encountered in the ancient, meandering, Passagen of Kölle.
Alaaf!!!
Else Mögelin. Ich wollte, gegen alle Hindernisse, weben at the Brandenburgisches Landesmuseum für moderne Kunst, Dieselkraftwerk, Cottbus
“Why are you studying in the pottery?”, enquired Paul Klee of Else Mögelin in 1921 after seeing her paintings of the village of Dornburg, home of the original Bauhaus Weimar pottery workshop, “these watercolours look as if they are designs for tapestries”.
With Else Mögelin. Ich wollte, gegen alle Hindernisse, weben the Brandenburgisches Landesmuseum für moderne Kunst, Cottbus, explain and explore what happened next, and thereby help introduce an interesting and informative, if all too popularly anonymous, 20th century creative…….
5 New Architecture & Design Exhibitions for January 2024
Time was when new architecture and design exhibitions opened every month. Some months more. Some months less. But every month enough for a list.
Time was.
But time is.
And today you’ll struggle to find new showcases opening in August and January. If that’s a collective decision made by the global museum community, or pure chance, we no know. We can but observe it’s existence as an actual thing.
Or put another way: we can find, globally, but one, as in 1, new exhibition due to open in January 2024; and 1, famously, can’t be the basis for a list.
Thus, and as with August 2023, January 2023, and August 2022, in place of recommendations for new exhibitions opening, we bring you a list of all those architecture and design exhibition currently running that you can view in January 2024. And do so with the recommendation that you view as many as possible. Because from February onwards the number of new openings increases greatly, and you may struggle to keep up…….
Hollein Calling. Architectural Dialogues at the Architekturzentrum Wien
“So revolutionary his ideas”, opined the Austrian state broadcaster ORF in 1969 of architect Hans Hollein, “when he enunciates them they sound like the cosy, cordial habitiere of ages past. His ‘schauen se‘ and ‘eeeeeh‘ conjure up Fiaker, the chatter and gossip on Graben, the Riesenrad, memories of alt-Wien“.1
With Hollein Calling. Architectural Dialogues the Architekturzentrum Wien invite one to explore in more detail the vocabulary and articulation of Hans Hollein…….
5 New Architecture & Design Exhibitions for December 2023
According to Germanic folklore, “If December is wild with rain, then leave your fields and get thee to an architecture or design museum”
Our five locations for escaping the rains of December 2023 can be found in Cottbus, Rome, Maastricht, Tallinn and Zürich…….
Home Sweet Home. The Archaeology of Domestic Life at SMAC – Staatliches Museum für Archäologie Chemnitz
In 1930 the Danish designer and educator Kaare Klint opined that in terms of furniture and furnishings, “Problemerne er ikke saa nye, de er i mange Tilfælde løst før“, “the problems are not so new, they have in many cases been solved before”.1
With the exhibition Home Sweet Home. The Archaeology of Domestic Life, SMAC – Staatliches Museum für Archäologie Chemnitz, test that theory to extreme levels, and also expand it beyond furniture and furnishings to all aspects of domestic arrangements and domesticity over the past 30,000 years…….
Hej rup! The Czech Avant-Garde at the Bröhan Museum, Berlin
There is an argument to be made that popular understandings of, and the popular presentation of, inter-War European avant-garde architecture and design tend to focus on Germany and Russia, and on Functionalism, popular foci that tend to cause us all to forget that the inter-War European avant-Garde was a homogenous mix of positions and, and as with the Art Nouveau before it, an international moment defined by its variety of regional dialects.
With the exhibition Hej rup! The Czech Avant-Garde the Bröhan Museum, Berlin, provide for an introductory course in inter-War Czechoslovakian…….
Everything at Once: Postmodernity, 1967–1992 at the Bundeskunsthalle, Bonn
Postmodernism
¯\_(ツ)_/¯
With the exhibition Everything at Once: Postmodernity, 1967–1992 the Bundeskunsthalle, Bonn, request a more considered response…….
5 New Architecture & Design Exhibitions for November 2023
Back in the spring Haitian musician Wyclef Jean informed us all he’d be “Gone Till November”.
And so he should be back any day now; and given how busy he’s invariably been all summer, earning as he has been enough money to buy out blocks, he’s probably not had a chance to visit an architecture or design museum. And so, we assume, will be absolutely desperate to stimulate his cognitive faculties.
Our five recommendations for new exhibitions opening in November 2023 for Wyclef Jean, or indeed for anyone seeking to achieve fresh perspectives on architecture, design and the world around us, can be found in Vienna, Oslo, Brno, Krefeld and Ljubljana…….
Grassimesse 2023 Compact: Burg Giebichenstein Kunsthochschule Halle – Faserland oder 8mm und 100% Bio
Grassimesse 2023: smow-Designpreis Co-Winners – Annabella Hevesi / Line and Round IO & Cornelius Réer
Let’s be honest, it wouldn’t be smow if it followed the rules and did that which you’d expected it to.
Thus it should have come as absolutely no surprise to anyone that the inaugural Grassimesse smow-Designpreis produced not the expected one, but two, joint, co-winners: Budapest based designer Annabella Hevesi and her studio Line and Round I O and Nürnberg based glassmaker Cornelius Réer…….
Grassimesse 2023: Grassipreis Winners
While in many regards being selected to participate at the Grassimesse can be considered an accolade in itself, the event also awards a number of prizes: some specific, others general, all well worth winning.
Ahead of the opening of the 2023 edition the winners of the seven Grassi Prizes were announced on Thursday evening in the Grassi Museum für Angewandte Kunst, Leipzig.
Selected by the 2023 Grassmesse jury from the 80+ exhibitors, the victorious seven are…….
The Tube. An Architecture for Conceivable Times at the Werkbundarchiv – Museum der Dinge, Berlin
“If we want to survive, if we want to reach the next level”, postulated the German architect Günther L. Eckert in 1980, “we simply have to risk the impossible. It is too easy to invest only in common logic and to dismiss everything that does not have these specific characteristics, everything that encroaches into the incorruptible dimensions of creative self-consent”.1
Günther L. Eckert’s “impossible”, his distancing from “common logic”, his encroaching “into the incorruptible dimensions of creative self-consent”, was the so-called Kontinuum, Continuum, a 250 metre diameter tube which formed a complete, unbroken, circle around the globe, constituted a Kontinuum around the globe, and in which all humanity was to live.
With the exhibition The Tube. An Architecture for Conceivable Times, the Werkbundarchiv – Museum der Dinge, Berlin, introduce Eckert’s Kontinuum and thereby allow space for reflections on not only architecture and the built environments we create for ourselves, and the whys and wherefores of those environments, but also on the possibilities for the future of both human societies and the natural environment on which we all depend.
And an exhibition on a Kontinuum that is also the last Werkbundarchiv – Museum der Dinge exhibition in their long-time home in Berlin-Kreuzberg, marks the end of their continuance in Berlin-Kreuzberg, before their imminent, involuntary, investor enforced relocation…….
Nanna Ditzel. Taking Design to New Heights at Trapholt, Kolding
“Something is happening to the way people live” opined Nanna Ditzel in 1961; changing realities which caused her to reflect that, in terms of our furniture and interiors, “don’t we carry around a whole load of stuff that is old and defunct – and could actually be different.”1
With the exhibition Nanna Ditzel. Taking Design to New Heights, Trapholt, Kolding, explore how Nanna Ditzel approached and understood and realised that “different”…….
smow Blog Interview: Sabine Epple – Grassimesse should be a pulse monitor for new tendencies
Arising from the discussions and discourses of the earliest years of the 20th century on the production of, materials of, forms of, and relationships with our objects of daily use in context of the increasing industrialisation of the, then, Germany, and in context of the increasing globalisation of the, then, Europe, the Leipziger Grassimesse1 quickly established itself amongst both avant-gardists and those of a more traditional persuasion, and in doing so became, arguably, one of the more important platforms for a continuation and development of those early 20th century discourses and discussions throughout the 1920s and 30s.
Then, as so oft in the (hi)story of Leipzig, came the NSDAP, then the War and then the DDR, and while events were staged that employed the name ‘Grassi’, the political context, and political interference, of both dictatorships, made and makes them difficult to class as Grassimessen in the sense of the pre-1940s events. And thus the Grassimesse was for a great many years a closed chapter in the (hi)story of creativity, industry and Leipzig before in 1997, the post-DDR Grassi Museum für Angewandte Kunst awoke the Grassimesse from its enforced, and involuntary, slumber.
Since 2000 the Grassimesse has been staged under the direction of Sabine Epple, Curator of the Museum für Angewandte Kunst’s Modern Collection, with whom we met up to discuss the Museum, the Messe, developments since 1997 and also the approaching 2023 edition of the Grassimesse…….
Of Gardens and People. Designed Nature, Art and Landscape Architecture at the Austrian National Library, Vienna
Much as the (hi)story of architecture is also a chronicle of developments and changes in the social, cultural, economic, ecological, technical, et al realities of any given region, so to is the (hi)story of a region’s parks and gardens and urban green spaces.
Whereby the (hi)story of the latter is much less often popularly employed in studying and interpreting and learning from the (hi)story of a region than the former.
With the showcase Of Gardens and People. Designed Nature, Art and Landscape Architecture the Austrian National Library, Vienna, allow for reflections on gardens and parks throughout (hi)story and in doing encourage us all to take them as seriously as we do the architecture amongst which they invariably stand…….
Campus Grassimesse
For all that the annual Leipzig Grassimesse is and always has been as a sales fair, a place to peruse, discourse with and purchase, contemporary craft, applied art and design, and thereby an opportunity to support contemporary craft, applied art and design practitioners, or perhaps more accurately an opportunity to support those practitioners whose practice you most enjoy, it has also always been a platform for creative schools and their students to present their works and approaches and positions; the inaugural Grassimesse in 1920 featuring students from the Staatliche Kunstschule für Textilindustrie Plauen, the Kunstakademie Düsseldorf, the Kunstgewerbeschule Magdeburg, the Kunstgewerbeschule Nürnberg and the Handwerker- und Kunstgewerbeschule Halle, the latter an institution who in their various guises since 1920 have been more or less ever presents at the Grassimesse.
And will be present at the 2023 Grassimesse where, as Burg Giebichenstein Kunsthochschule, Halle, they will present current projects alongside students from the Kunsthochschule Weißensee Berlin, the Universität der Künste Berlin, HAWK Hildesheim, the Hochschule Wismar, the Staatliche Akademie der Bildenden Künste Stuttgart and the Alchimia Contemporary Jewellery School, Florence.
Yet for all that schools have always been a pillar on which the Grassimesse stands, they are one that can be all too easily overlooked amidst the perusing, discoursing and purchasing. Thus ahead of the 2023 edition by way of helping reinforce that the Grassimesse is more than the selected exhibitors and their works, we thought we’d take a brief moment to reflect on some of those schools who’ve graced the halls of the Grassi Museum, and thereby allow for reflections on both the (hi)story of creative education and also on the Grassimesse as a platform for schools and a coming generation of creatives as much as one for those creatives currently practising…….
