In the summer of 2022, new design exhibitions opened in both Copenhagen and Oslo. Norway’s new National Museum seeks to embrace the full scope of the design concept, while Designmuseum Danmark focuses purely on – and renews – the aesthetic form.
[…] passed since the time when Wegner gave us one classic after the other. However, both he and his designs and design processes have maintained their relevance for today’s world and for the future. A coming museum is going to tell one of Denmark’s most important design stories – and it is not just about chairs.
Maria Lind thinks curatorially and in her work as curator and director of Kin museum för samtidskonst in Kiruna, she tries to connect the local roots of northernmost Sweden with international movements in art and artistic crafts. She is committed to giving the hand as much space as the heart and brain.
Across Denmark, museums, exhibition spaces, galleries and pop-up formats showcase crafts and design. Either as permanent formats or as temporary or perspective-orientated inclusions. Charlotte Jul has mapped the crafts and design scene in Denmark.
When the museum was founded in 1986, it welcomed nearly every work with open arms. Today, the bar has been raised significantly, and Glas – Museum of Glass Art now focuses on high-quality craftsmanship and a willingness to experiment. At the same time, providing a compelling visitor experience remains a key consideration.
The new director of the Glass Museum in Ebeltoft has initiated extensive changes at the museum. Formkraft's reviewer examines both the new museum and the highly relevant exhibition of Studio ThinkingHand.
Trapholt Museum receives numerous offers of donations from craft artists and designers, but a work must be sensorially compelling and conceptually strong before it earns a place on "Museum Street."
Designmuseum Danmark can rightfully call itself Denmark’s design memory. Embedded in the museum’s very DNA is a national responsibility to document, preserve, and communicate Danish craft, applied arts, and industrial design throughout history – for the benefit of both the present and the future. This places significant demands on how works are collected, explains […]
[…] cultural heritage. However, since no expert has had the opportunity to examine the artefacts closely, asses their value and importance and secure them a place in a museum, they have instead been subjected to the global art market. A market that thrives on stolen cultural heritage, though the definition of what is considered ‘stolen’ […]
There was more Art Deco in Denmark than one might initially think, and Vejen Art Museum has done an exemplary job of unearthing the Danish version and showing how appealing it was.