All posts filed under: Museum für Gestaltung Zürich

Jasper Morrison, Thingness and The Good Life

I made these drawings while visiting Jasper Morrison’s Thingness at The Design Museum in Zurich. When I was looking at these funnels and 19th century irons, in the back of my mind I was wondering, why are we so keen on classifying and organizing everything? Thingness is a treat to visit. The exhibit is more than a collection of objects designed by Mr Morrison, it also documents his influences, processes, and the stories behind the design. The show is divided into two sections. The first is a retrospective selection of projects starting from the eighties, along with some images from The Good Life, a project Morrison has been cultivating for a number of years and is the result of his obsessive need to document ordinary and yet, for some reason, fascinating objects and situations, “clever solutions to everyday problems solved with modest resources”.  The second part is titled My Collection and presents pieces chosen by Morrison from the vast collection of the Design Museum. Thingness gives us the opportunity to peek into the mind of a designer whose esthetic …

Weingart

Typography is not only for reading and must not be a pain. Typography can be a game and a lot of fun. At the beginning of September I went to see Weingart Typografie at the Museum of Design in Zurich. I spent a couple of hours there looking at his work and the work made by his students. And, while I was sketching and taking notes, all of a sudden, Weingart entered the exhibition room and I said hello and he looked at me and asked me if he had taught me… On my way out I bought a copy of 30 Years of Swiss Typographic Discourse  in the Typogrfische Monatsblätter: TM RSI SGM 1960-90 published by Lars Müller Publishers. Typogrfische Monatsblätter was a typographic journal that became a discussion platform for professionals in the field of typesetting and printing. In “Typografie ist eine Kunst für sich” from 1973, Tschichold called typographical game playing a hybrid decadence, stressing that a good typographer, unlike the self-aggrandising graphic designer, never actually feels free, he does not play, but rather follows the considerations of his reason. 30 …

Japanese Poster Artists, The Rediscovery of the Painter and Grafik 14, Zurich

Zurich, this month, is a perfect place to experience the tao of the Japanese poster at the Museum für Gestaltung, op art at the Museum Haus Konstruktiv and swiss graphic art at Grafik 14. I had one day to see all three exhibitions and the mixture was quite overwhelming. The way “Japanese Poster Artist – Cherry Blossom and Asceticism” exhibition is organised enhances the tao of the Japanese poster artists, their simplicity, sensibility and subtlety. These artworks possess an unusual aesthetic that is utterly captivating, and yet seem to refute all the conventional rules of visual communication.  … What is being advertised is often unclear, and the Japanese poster tends to be viewed as a visual embodiment of philosophical ideas of the Far East. Bettina Richter, Japan – Nippon «Poster Collection 26», Lars Müller The expressive power of line … As a design element, line sometimes draws strongly on the expressive, realist tradition, but can also be used in a gestural and abstract manner. The use of line in Japanese poster manifests a special affinity with …

Commonplaces: René Burri, Carlos Fuentes, Diego Velázquez and Johannes Vermeer

As a photographer I have led a double life – one in black and white and one in color. René Burri Museum für Gestaltung Zürich (the Museum of Design in Zurich) is now showing René Burri’s Doppelleben (A Double Life), a homage exhibition for his 80th birthday. Burri makes a pointed statement, the “artist” in him, with his interest in the play of forms and colors, loves confusion, puzzle and mystery. In his pictures we repeatedly find views through, inside or outside that are in someway unsettling. Windows and mirrors play an important role, they double the world: labyrinths for the eyes. The theme of the “picture in the picture” occurs regularly, the world as a stage, everyday life as a stage. From the exhibition’s brochure The exhibition gives a chance to know the stories behind some of the photographs. Here is one of them: New York City, USA, 1998 I was at the top of the Magnum building on Spring Street and this was the building next door. I happened to look out and see …