'Do we still need wood, metal and plastic?' asks Hochschule Wismar graduate Aleksander Rasztawicki in context of his Diploma project Leichtigkeit, Lightness. A rhetorical question for Aleksander doesn't believe that we necessarily do. For Aleksander all we...
...vondingen and all other projects selected or invited to participate in the 2024 Grassimesse Leipzig can be enjoyed, viewed, engaged with until 6pm on Sunday October 27th at the Grassi Museum für Angewandte Kunst, Johannisplatz 5-11, 04103 Leipzig...
...The exhibition A Chair and You at the Grassi Museum für Angewandte Kunst, Leipzig, may have ended but its traces can still be felt at Grassimesse 2024, being staged as it is to a large degree in the A Chair and You scenography... Me and My Chair and all other projects selected or invited to participate in the 2024 Grassimesse Leipzig can be enjoyed, viewed, engaged with until Sunday October 27th at the Grassi Museum für Angewandte Kunst, Johannisplatz 5-11, 04103 Leipzig...
...LiLa, Bow and 360° by Nadja Schulze and all other projects selected or invited to participate in the 2024 Grassimesse Leipzig can be enjoyed, viewed, engaged with until Sunday October 27th at the Grassi Museum für Angewandte Kunst, Johannisplatz 5-11, 04103 Leipzig...
...In these dispatches we've oft and long and deep reflected over the (hi)story of, and contemporary reality and relevance of, the Grassi Museum für Angewandte Kunst, Leipzig's annual Grassimesse... So no need to repeat ourselves here, just an urgent need to get to Leipzig and the 2024 Grassimesse with its promise of not just some 78 exhibitors from 8 nations across a wide range of contemporary craft, applied art and design genres, but also, and amongst other specials, a showcase of Ukrainian applied arts and projects by students at 5 international design schools...
...Stühle zum (Be)Sitzen's brief tour through the (hi)story of chair design in western Europe ends with Harry Thaler's 2011 Pressed Chair through Nils Holger Moormann, a chair that as Harry once told us began as "a small fork made from one piece of wood", became a desire to create a chair in one material, and which through the choice of pressed aluminium not only neatly translates the moulded plywood of, for example, Arne Jacobsen, Aino and Alvar Aalto or Charles and Ray Eames into metal, but reminds that the plastic shell of the RAR that rocks next to the Pressed Chair in Stühle zum (Be)Sitzen began life as pressed steel, before that was deemed too expensive and the, then, novel fibreglass was used... And a Pressed Chair produced by Nils Holger Moormann, a manufacturer, a furniture publishing house, who arose from the ferment of 1980s Neue Deutsche Design, that questioning, challenging, provoking and polarising of and with furniture design and relationships to furniture of that period, by the eponymous Nils Holger Moormann who as a designer took the impulses and experiences of Neue Deutsche Design and began developing furniture that for all it appears very far removed from the brashness, insolence, humour, questioning, challenging, provoking and polarising of the 1980s, is but an alterative expression of that brashness, insolence, humour, questioning, challenging, provoking and polarising...
...Amongst the European designer furniture publishers Nils Holger Moormann has long stood out from the crowd, and that primarily because Nils Holger Moormann has never sought the crowd, has always done Nils Holger Moormann's thing, not the crowd's thing, and who in doing such has very much, and very justifiably, attracted a crowd lot of individuals... Thus while other furniture publishers dance to the tune of the international trade fair crowd, Nils Holger Moormann organise their own trade fair...
