While the Art Nouveau of the late 19th/early 20th centuries was without question inspired and informed by nature, for all by plants, one thinks, for example of the many representations of alliums, liliums, vitaceae et al, it was a moment that was led by humans, and for all one that placed human needs, human demands, human comforts at its core. Certainly above the needs, demands, comforts of plants.
With the exhibition Plant Fever. Towards a phyto-centred design Schloss Pillnitz, Dresden, or more specifically the Kunstgewerbemuseum Dresden and the Staatliche Schlösser, Burgen und Gärten Sachsen, SBG, the contemporary residents of Schloss Pillnitz, consider alternative expressions of inspiration and information, alternative human-plant relationships…….
“It is a very interesting thing indeed to ask myself certain questions”, reflected H.G. Wells in 1937, “How did I come to know what I know about the world and myself? What ought I to know? What would I like to know that I don’t know? If I want to know about this or that, where can I get the clearest, best and latest information? And where did these other people about me get their ideas about things? Which are sometimes so different from mine. Why do we differ so widely?”1
Questions whose validity and urgency were undeniable in 1937 as Europe lurched, helplessly, towards another war; and questions whose validity and urgency has increased in the intervening 83 years as we have acquired not only ever more sources of information but ever quicker methods of information mediation.
With the exhibition Common Knowledge – Design in Times of the Information Crisis the Kunstgewerbemuseum Dresden explore the complex relationships between information, the individual and society…….
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……
In 1968 the East German designer Rudolf Horn opined that “the changed tenor of industrial production in the socialist society, in relation to its task of satisfying cultural needs on a mass scale, raises the question of how despite mass production the consumer can realise an individual [domestic] environment, and in addition forces us to consider the problem of how the cultured personality can creatively contribute to the design of their immediate surroundings.”1
It was, however, a largely rhetorical question, because, and as the exhibition Rudolf Horn – Wohnen als offenes System at the Kunstgewerbemuseum Dresden explains, in 1967 Rudolf Horn had already formulated an answer, or perhaps more accurately put, in 1967 formulated a framework via which to allow each and everyone of us to approach our own answer…..
According to our old friend Roget possible synonyms for “August” include great, noble, impressive or worshipful.
We can’t promise the following quintet of exhibitions will exactly meet such qualities; however, they promise to be anything but frivolous, undignified or flighty explorations of their subject, and therefore certainly should be tending to the August in August 2019…….
“Low bowls with flowers, as well as flowers placed on the tablecloth and a platter of fruit, are the most beautiful table decorations. All table centrepieces with rocks, palm trees, ostriches, deer, and such are ludicrous, for these things have no business on a table, and all tall table decorations – even those made of flowers – are also unsuitable since they screen the dinner guests from one another”, opined Ellen Key of table culture in her 1899 essay Beauty in the Home.1
But that was then.
With the exhibition table talks — Tischgespräche the Kunstgewerbemuseum Dresden present positions by students from Weißensee Kunsthochschule Berlin and the Royal Danish Academy of Fine Arts Copenhagen on contemporary table culture.