[…] heritage - a ‘white cube’ - that it doesn't impose its context on what is being exhibited. I love warehouses and the whole industrial aesthetic and material history of the past that oozes out of beams and low-ceilinged rooms, but the time has come for craft artists to break free of the romantic staging […]
[…] deceiving us. It's no wonder that many of us have lost track, lost our grasp and perhaps even some of our interest in the materials and their history. But this lack of basic material understanding has consequences. Wrong purchases, incorrect use or treatment, and continued deterioration in quality, to name but a few. We […]
[…] A. Michelsen. The competitions continued in the subsequent years, even though there had been disappointment with the standard of the goldsmith trade - a small piece of history now relevant again as the National Arts Council is attempting a competition to stimulate talent in the jewelry field. Ditzel undoubtedly garnered attention because she dared […]
[…] within crafts and design. Where and how is contemporary crafts and design established in the urban space? What actors are involved? What lessons can we learn from history? Read the theme Search the archive The Formkraft archive holds a treasure trove of articles about our shared history of crafts and design. These articles tell […]
[…] within crafts and design. Where and how is contemporary crafts and design established in the urban space? What actors are involved? What lessons can we learn from history? Read the theme Additional reading The Formkraft archive holds a treasure trove of articles about our shared history of crafts and design. These articles tell the […]
[…] within crafts and design. Where and how is contemporary crafts and design established in the urban space? What actors are involved? What lessons can we learn from history? Read the theme Additional reading The Formkraft archive holds a treasure trove of articles about our shared history of crafts and design. These articles tell the […]
Traditional exhibitions, as we know them from early presentations of design and cultural history, had a simple form and were often based on presenting items from a collection arranged in glass display cases. Today, exhibitions are moving in an ever more digital direction, where the key exhibition device is to stage the story in […]
[…] valued not only for its utility value, but equally for its symbolic significance. An iconic design object can function as a cultural code word that signals, but does not necessarily embody, knowledge of design history, access to certain environments and a certain lifestyle. In this way, design becomes part of self-expression in modern consumer society.
When meeting other cultures, designer Sia Hurtigkarl is challenged by her own history, learns more about her professionalism and gets an overload of inspiration. Here she talks about travelling to Nepal and India with craftsmanship as a common language.