[…] as poetry, whether it is expressed materially, verbally or digitally? These are some of the new ways the anthropologist Tim Ingold invites us to think about education and craft. Or as he says: ‘Craft is a way of finding one’s own voice through making things together. But it’s no different with mathematics, history or geography.’
[…] Kristensen visits Maria Sparre-Petersen to discuss the potential of makers and designers stepping out into the public space to create decorative projects, installations and building-integrated art. Throughout history, crafts have played an important role in public art and decoration, and a browse through Formkraft’s archive turns up numerous articles on crafts in the public […]
[…] of the newest – instead of being limited to showing the best of the newest of the never-before-seen. The arbitrary emphasis on novelty value should not prevent the Biennale from remaining an important element in the infrastructure of Danish craft and design as a communicating, history-making and career-promoting event. Explore more about Design exhibitions here.
Sources Dansk Kunsthaandværk, 1951–66. Fallan, K. (2017). Designing modern Norway: A history of design discourse. Routledge. Guldberg, J. (2011). Scandinavian design as discourse: The exhibition design in Scandinavia 1954–57. Design Issues, 27(2). Hansen, P. H. (2018). Danish modern furniture 1930–2016. Syddansk Universitetsforlag and Lindhardt & Ringhof. Huldt, Å. H. (1954). Rapport om Design in […]
The Women's Building and the original community idea The history of the building means a lot to Høstbo. The Women's Building was constructed in a functionalist style and inaugurated in 1936, but the vision dates back even further. As early as around 1900, a network of women worked to create a place where they […]
[…] 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 Christian Holmsted Olesen, Head of […]
[…] the scenes are handheld, sporadic and often not documented. In the absence of documentation, the exhibitions, practitioners' works and intentions do not become part of the factual history of design and thus tradition and research. This is a problem in relation to the ongoing cultural heritage and distorts the image of the field. Because […]
