[…] som arkitekt. Atthe exhibition “Arne Jacob- sen -Absolutely Modern” at Louisiana in2002 all the forms ofcommunication are inplay. The exhibition recalls the idea ofthe Gesamtkunst- werk -the artistic totality that was acharacteristic feature of Arne Jacobsen’s work as an architect. -Hvad gør du for ikke atkvæle objekterne ikoncept og iscene- sættelse? »Det ervigtigt atopretholde […]
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[…] design. An active ceramist; for anumber ofyears hehas also been active as ateacher, among other places at The Danish Design School, where healso worked 2005-08 asaguest designer/ artistic development consul- tant. With amaster’s degree from the Royal College ofArt inLondon and numerous exhibitions in Denmark and abroad, his work has a truly international perspective. […]
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[…] after. Some ofthe examples cited can be seen as more postulated than others. But just as the early Dadaists and Expressionists ranged with supreme ease from their artistic output over theatrical costumes, stage design and sound, itseems like natural statements when present-day textile artists seek achallenge inthe use offibre-optic cables, when porcelain as amaterial […]
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[…] Iform the plaster, the result isinteresting, and Ienjoy the game and the accompanying discussion with my companion. We agree that all ofKatrine’s breasts are beautiful. All other artistic genres do it:Weltschmerz, love, mental instability, loneliness, incompatibilities are the energies that feed into film, music, literature and the visual arts. Because they represent points from […]
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[…] Galleri Inger Molin in Stockholm after contacting them himself. What was itlike tograduate as a ceramist? The first couple ofyears were difficult. Itried several things of an artistic nature and attempted todraw attention towhat Iwas making. But itwas hard tobreak through, not tomention toearn money with it.So Ihad totake various crap jobs here and […]
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[…] together again insamplings across style, chronology and classic principles oforder. Inthis self-dramatizing universe, design has lost its enlightening function and isin imminent danger ofburying itself inits own artistic autonomy. S Skredet fra de kollektive visioner mod en formgivning, der byg- ger på individuelle behov kendetegner 1960 ernes design med italienske anti-design tiltag, plastikmøbler og […]
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[…] -both as individuals and members of acommunity. Ifthe future belongs to the ‘narra- tor’, the craftworker and designer isone ofthem. In the relatively free-space ofthe craftworker the artistic idiom and the formation of images can have considerable ar- tistic correspondences; but apart from the interpretative empathetic approach to materials and the chal- lenging ofthem […]
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[…] with quite different areas, inthe same straightfor- ward way asthey sometimes choose toengage inmonologues. Artist-craftsmanship isorien- tated both inward and outward. Whether it establishes contacts with other artistic fields orrelates toits own traditions, itcan be mani- fested asan important element incontempo- rary life. Defining what craft art isbecomes ofsecondary importance. Itismore important todiscuss what […]
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[…] analysis, their feeling for what isright inthe concrete forming ofathing originates from such an unwillingness tobeconscripted into the antimodernist movement. One also has tobeagood theorist tokeep one’s artistic work free ofbad theories. Good old Aristotle distinguished between three species ofknowledge: there isthe practical knowledge ofhow we arrange things together so we have agood life; […]
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[…] Hand when she combines old crafts– manship with new technology inahigher unity. The work ison show atthe Biennial for Applied Art and Design and emerges as an artistic exploration ofnew sources for pat- terns. The pattern inthe weave takes its form from the pulse ofthe body during production. ‘Jeg blev interesseret iatforetage målinger af, […]
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