All posts tagged: Commonplaces

DESIGN CHANGES: POSTSCRIPT

A few days ago I had the chance to talk to Nadine Clemens, the president of Design Friends Luxembourg. We spoke about Resolute–Design Changes, Postscript: Luxembourg and the local design scene. With Resolute exhibition Design Friends celebrates its 5th anniversary. It has always been its mission to invite internationally renowned designers from many fields of design and present their work to the local community. But for some time now the association’s leaders have felt there was something missing in the rich programme they offered every season. In October of last year, during the Night of the Museums, Design Friends presented a portfolio show featuring 100 Luxembourg-based design studios, so now Resolute–Design Changes is accompanied by Postscript: Luxembourg. This addition presents socially involved projects that come from designers who are either based in Luxembourg or have some link to it. Postscript perfectly complemets  the themes chosen for the main show. Two projects that caught my eye were  “A Do Something But Not Anything Manifesto” by Isabelle Mattern and “Jailbird Manual” by Socialmatter. The first is a compilation of questions, keywords and instructions that relate to, among …

DESIGN CHANGES

Existing political, economical, ecological and even social structures are widely questioned. … As a consequence design can no longer only be defined by just technical performance, aesthetics, or creativity. … Dennis Elbers, London Calling, Dee, Issue 3, 2014 It is still quite rare to see a design exhibition in a museum. But thanks to Dennis Elbers and Sven Ehmann’s initiative, and the sensitive approach to design of Nadine Clemens, the president of Design Friends Luxembourg, it is now possible to see Resolute–Design Changes exhibition at the Casino Luxembourg–Forum d’art contemporain. The projects presented in Resolute and Postscript Luxembourg give us insight into how socially responsible designers approach social problems and how they try to solve them on a bigger scale. What’s interesting is that these designers always work in, with and for a community. Their work is no longer just about staging provocations; it is about involvement and finding solution. Design for Social Innovation applies the abilities of talented individuals to collective creativity and to the transformation of complex systems at great scale. In this new role, the designer’s practice takes place not in private studio but …

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 …

[hlysnan], it is all about listening

[hlysnan] in old English means to listen with intention and attention. The exhibition and the publication titled [hlysnan] The Notion and Politics of Listening prepared by the curators Berit Fischer and Kevin Muhlen for the Casino Luxembourg – Forum d’art contemporain presents sounds that inspire to reflect on spatial and sociopolitical relations. The selection of recordings presented in the Casino carries meaningful messages that examine usually unexplored territories, like the impact of drone surveillance on civil communities in FATA, the voice as a tool to gain position in society, historical speeches as a source of recreation of history, the concept of mimesis as resistance, etc. As for the publication that accompanies the exhibition, it is a conceptual piece that records some aspects of work made by sound artists who take part in the [hlysnan] project. The book contains, among others, a very interesting essay by Peter Cusack who is a ‘sonic journalist’ and records sounds in dangerous places like Chernobyl. Anther essay worth mentioning is a piece about the linguistic diversity under threat of disappearing by John Wynne. …

NEVER FOR MONEY ALWAYS FOR LOVE and Bruce Duckworth’s lecture at Mudam Luxembourg, CONSUMPTION at the V&A

We’re culture that is always looking for that other message, always looking for that new arrangement. Cloude Levi Strauss The Strange Mind The last couple of weeks I spent on reading about brands and branding, about material culture and self-transformation. I have also visited NEVER FOR MONEY ALWAYS FOR LOVE exhibition and had a chance to listen to Bruce Duckworth’s lecture on packaging design. The lecture inspired me to go back to a series of interviews from Brand Thinking by Debbie Millman and Chief Culture Officer by Grant McCracken. I also went to London to see CONSUMPTION at the V&A. And, the whole thing in this post is an interesting mix of different aspects of our material culture. NEVER FOR MONEY ALWAYS FOR LOVE Design has successfully established itself-so much so that it has become an and in itself, something more than just a tool to boost sales; rather, it creates “meaning” and becomes the actual purpose of buying. … Good designers must be part-sociologist or “social seismographers”: they must be in close contact with the needs, …

“Atmosphere Rooms” for Philippe Apeloig, Paris

The Typorama finished a couple of weeks ago and I am still thinking about the walls of the Museum of Decorative Arts in Paris filled with Apeloig’s fonts, Metro-size posters and the music used for his animations composed by Barbatuques, Iannis Xanakis, Maurice Ravel and Laurent Rochelle, among others. Typorama, the exhibition and the catalogue, presents the panorama of Philippe Apeloig’s work which is conceptual, functional and artfully crafted. For me, the most important thing in the exhibition were Apeloig’s sources of inspiration, his Jewish roots, the fact that his grandparents came from Kazimierz Dolny in Poland, his fascination with movies like, 8 ½, Orfeo Negro and Battleship Potemkin. The way Philippe Apeloig presented 30 years of his work made me think of Alexander Dorner’s “Atmosphere Rooms”. Across the Atlantic, the German curator Alexander Dorner was experimenting with a different approach to explaining the relationship between art, design and architecture as director of the Landesmuseum in Hanover. Since the mid 1920s he had used pieces from its archive to depict the cultural history of particular eras by creating what …

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Museum Haus Konstruktiv presents an art project with audio guides envisioned by Delphine Chapuis-Schmitz . For this project, Delphine has chosen excerpts from artists’ writing, literature, philosophy and dictionary entries. The texts do not describe the exhibition currently on show (Victor Vasarely), they are inspired by the museum itself, the rooms and the collection. This project is an interactive game between the artist and the visitors in a place that is one of a kind.  The line is a means to mediate the quality or timbre of a situation, and has a structure which is quick and abstract and more or less thinkable, but it’s the tonality or, if you want, wholeness of a situation that is what I’m trying to get at. Fred Sandback via minimalissimo The text number 65 made me think of Fred Sandback whose first retrospective of drawings can be seen in Kunstmuseum Winterthur from 10th May.