[…] Biennale explore the potential of an unfolded material palette in the premises at Glas. In the exhibition design, we will work with references to Glass and the history behind the museum. We feel a connection to glass and its history that is rooted in the Studio Glass movement of the 1970s, which created opportunities […]
[…] have their roots in ceramic art. They share this field and a studio, but they each have their individual practice. Anders creates installations that span across art history references and everyday objects. Marie balances still lifes across time and lived experience. ‘In the United States, you are employed because of your practice – you […]
[…] made entirely or partially of recycled materials. Everything is connected to everything – and something that looks like driftwood, perhaps as a symbol of travel and previous history, now takes on new form and function as organically shaped furniture. Designed by Josephine Andredottir and Emilie Bobek, the chairs – in the guise of planks […]
[…] the exhibition ‘Needle and Thread’ at Brandts Klædefabrik: ‘I have really looked forward to a museum presentation of such an important and underexposed field in Danish art history as textile-based art.’ 'Textile-based art carries a loaded legacy. Traditionally perceived as a woman's work at its worst, or as handicraft when it was less bad. […]
[…] distant destinations such as Greece and Brazil. However, the majority of the findings are from Nuuk and Ilulissat. Greenland is an important part of both her own history and that of her jewellery. But it wasn't always like this. Karen Fly explains this when Formkraft meets her at RUMMET gallery at Dina Vejling in […]
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[…] green lab on Bornholm has a slightly different ambition: ‘The [HEPHAESTUS] project involves a variety of craft ecosystems, each pursuing its own approach and bringing its own history into the project. But here on Bornholm, local makers are acting as ambassadors for the project and bringing in their knowledge and their way of working […]
[…] Danish tradition of crafts and design is at risk, and young design enthusiasts may need to consider foreign alternatives to pursue a master’s degree. Formkraft explores downward trends and raises important questions about the future of Danish crafts and design. Read editorial by Anders V. Munch, h.D. Master of History of Ideas and Art History
[…] sustainability, etc., by many jewellery artists. At the same time, a substantial part of jewellery art is fantastical with gold and precious metals—materials that have a dark history from a sustainable perspective. It's a bit of a jungle to navigate to do the right thing. But one has to try. Internationally, there is much […]
[…] English. Remember: Provide sources and preferably a bibliography for further reading. Abstracts should be submitted to: formkraft@dkod.dk Editorial Board 2024 Anders V. Munch, Ph.D., M.A. in the history of ideas and art history. University of Southern Denmark Lars Dybdahl, M.A., design researcher, and author Anne Louise Bang, Associate Professor, Ph.D., VIA University College Mette […]
Search the archive The Formkraft archive holds a treasure trove of articles about our shared history of crafts and design. These articles tell the story of professional development and Danish cultural history from 1948 to the present. Search for various topics in the archive or browse through the journals on the Journal Shelf. Universal […]