Theme:
Design exhibitions

Along with journals and magazines, recurring exhibitions form the backbone of what we might call the ‘Design Institution’ – the setting where crafts and design are presented, debated and assessed. Museums and educational institutions may be the traditional cornerstones of the Design Institution, but many other, more or less regular events and exhibitions are also part of it. As mentioned in other articles in this issue, exhibitions may be regarded as ‘platforms’ (Kasper Kastoft and Anders Kongskov of The Mindcraft Project) or as ‘infrastructure’ (Anni Nørskov Mørch on the Biennales for Craft & Design).

Exhibitions of Danish design are wildly popular, but that is not a new phenomenon. Since the Great Exhibition in 1851 at Crystal Palace in London, companies, craft makers and designers have used exhibitions and trade fairs to market their products and designs. These exhibitions often enjoyed intense media attention and coverage. During the 1950s, Danish design and craft also attracted international attention in the big travelling exhibitions Design in Scandinavia in 1954–57 and The Arts of Denmark in 1960–61, but the most prestigious design manifestations of the decade, the Triennale di Milano, also served as an effective platform for marketing Danish modern furniture and other functional interior design items.

Many years have passed since the time when Wegner gave us one classic after the other. However, both he and his designs and design processes have maintained their relevance for today’s world and for the future. A coming museum is going to tell one of Denmark’s most important design stories – and it is not just about chairs.