[…] say that ‘craft ishandmade com- munication’. We work inaborderline area whose strength isthat various kinds ofexpe rience and knowledge are mixed. Craft in Dialogue works with the material culture and the questions raised inrelation toit. o -gom Ea BZHH I■i With the name ‘Craft inDialogue’you place crafts atthe centre ofattention, but inMalmö the painter Malene […]
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[…] its meaning. To create anew frame- work ofunderstanding, we can perhaps borrow aconcept from Sarat Maharaj, the art historian and co-curator ofDocumenta X Another core value isthe material. Inparticu- (who has inturn borrowed itfrom the French lar, textiles, clay and metals that human beings philosopher Jacques Derrida). Maharaj, itis have used for thousands ofyears […]
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[…] the weaver Kirsten Nissen, many factors are inplay inthe preparations for her latest work, The Work ofthe Hand: the classic craft artist’s insistence on working with the material by hand encounters the many options and the efficient production adialogue with afascination with mathe matical feedback models that allow small elements inthe creative process togrow […]
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[…] do not have alot, we can nonetheless feel rich -ifonly those we compare ourselves to have even less. Frederik VIhad ahelmet made of aluminum, acostly and rare material inhis day. Today we use itfor recyclable beer cans. Before the electric freezer, raspberry ice cream was an extravagant luxury atDanish manors. Alarge ice-cellar was needed […]
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[…] Collection and win the Craft Artists’ Prize of 1879. Why did you apply for the Spring Exhibition 2003 atCharlotten- borg? Iwanted toshare my enthusi- asm about the material and the fine way itfunctions inthe jewel- lery context. I’ve really lost my heart tothe gut and its potential. It’s arevelation for me toexplore How much […]
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[…] can result in an improvement in war ma- terials increases, and produces results that can be ex- ploited in civilian production afterwards. Next, wars, despite the tremendous material destruction they bring with them, produce a form of mental excitement which encourages local solidarity and creates interest in essentially national qualities, which, when all is […]
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[…] decade Lise Frølund and Sonja Bossow Jakobsen are when producing industrially manufactured goods. In‘Soft Urn’ by Hella Jongerius (1994) an archetypical urn isreborn inanew flexible and artificial material. The urn gives away its industrial legacy by deliberately exhibiting its scars from the manufacturing process. Indoing soJongerius mimes the mended urns from classical ages and […]
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[…] Week] were not just about wacky ideas and whimsical eccentricity. There was substance -read grown-up clothes -behind the hype,” wrote Suzy Menkes inInter- national Herald Tribune, 3.3.98. material emerge. Inthe actual show you see five models, each dressed inaclear coloured costume with architectonic “wings”, gradually disappearing down into the floor. This show, like all […]
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[…] toput into perspective and change the use of technology intomorrow’s (hope- fully) sustainable product design? The consequences ofthis Harry Allen: “Lighting Fixtures,” 1994. Ceramic “foam” isasponge- like material utilized intechnology and industry. After casting inan oven, itisready for use. Netop derfor erdet relevant atstille spørgsmålet om informationsteknologiens betydning for kunsthåndværk, og omvendt. Kunsthåndværket kan […]
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[…] the forces that are unleashed when nature’s elements are allowed to unfold. Incon- trast to the untamed and natural, there isthe artificially manufactured porcelain casting slip. Aceramic material that tradi- tionally requires acontrolled process and an industrial context. Som kontrast til det vilde og naturli- ge står det kunstigt fremstillede ler, porcelænsstøbemassen. Et materiale, […]
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