16/01/2013

The Quiet Shop at Selfridges

The Quiet Shop at Selfridges

We encounter them constantly, confront them, make quite a lot of our daily choices based on them, yet we usually aren’t that much aware of their existence. We are speaking about brands – those nasty, tricky appearances in our consumerist life. As much as we pretend to ignore them, they still do exist and by their sheer existence, shape our lives. Strangely enough, a clever move by one of the most influential brands itself has pointed out how subtly conscious and aware we are of them even if we constantly try living in denial.


The initiative in question is called “The Quiet Shop” and was put together by Selfridges, a department store so powerful that some of the world’s most significant brands have decided to strip down their products from the thing that distinguishes them the most: the trademark itself. “The Quiet Shop” is a section of Selfridges at Oxford Street that offers an interesting shopping experience: all the products presented in the space are left without the logo or brand name on the packaging of the product itself. Interestingly, this project, born with the idea of offering a more relaxing shopping experience while focussing on the quality and design of the product itself, has somehow managed to put even more emphasis on the power these brands exert on their consumers. Hence, we have no trouble recognising Heinz ketchup, Levi’s jeans or Clinique moisturizing lotion placed on the understated shelves of this no-brand shop.


Even if the glorious years of Mad Men advertising world are undoubtedly over us, the game surely continues, and it has become even more sophisticated. As Metahaven, a graphic design studio based in the Netherlands, have pointed out a few years ago in their book “Uncorporate Identity”, advertising and brand identity can take infinite shapes, all of which contribute to the exertion of power and construction of value through design. And the only point that Selfridges actually manages to pinpoint is that no-advertising is just a new and maybe a smarter way of doing advertising.


Rujana Rebernjak

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11/01/2013

Rem Koolhaas For Venice Architecture Biennale

Rem Koolhaas For Venice Architecture Biennale

The rumours had it for quite some time now that Rem Koolhaas would have been appointed as the director of the next Venice Architecture Biennale, to be held in 2014. Well, finally, Paolo Baratta, the Biennale’s president has confirmed it. On a press conference this Tuesday he finally announced that this architecture superstar will be, hopefully, taking one of the most important events in contemporary architecture somewhere really interesting.

While everyone is copy-pasting the press release that announces Koolhaas saying “We want to take a fresh look at the fundamental elements of architecture – used by any architect, anywhere, anytime – to see if we can discover something new about architecture.”, we cannot but dive in the work he has done in more than 40 years of his practice, and imagine what he might surprise us with.

Rem Koolhaas became widely known, and critically acclaimed, with his book “Delirious New York”, which traced his future path in considering architecture as a means of critical reflection not only on design as a profession, but also on the society as a whole. Hence, besides his architectural practice OMA (founded in 1975 together with architects Elia Zenghelis, Zoe Zenghelis and Madelon Vriesendorp in London), he also opened AMO, an off-spin of his studio involved in research and investigation. Published works like S, M, L, XL or “Project on the City” have clearly countersigned Koolhaas as one of the most influential thinkers of our century.


That is why after Sejima’s inspiring but yet a bit cryptic Biennale in 2010 and Chipperfield’s 2012 Biennale dealing almost exclusively with architecture as professional practice, next year’s edition might actually manage to connect different areas of our society that intersect in architecture. Hopefully it will manage to bring the Biennale to a new level, out of the grasp of professional practitioners, theorists and critics, offering to the wider public the possibility to understand why and how architecture impacts our lives.

Rujana Rebernjak

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08/01/2013

Can Design Affect Education?

Can Design Affect Education?

A few months ago UK government’s education secretary Michael Gove has announced new guidelines for educational architecture. The guidelines state that there should be “no curves or ‘faceted’ curves, corners should be square, ceilings should be left bare and buildings should be clad in nothing more expensive than render or metal panels above head height, as much repetition as possible should be used” with the obvious goal of diminishing the government spending on school building costs. While we can all agree that no government’s money should be spent on architectural extravaganza, we should take a step back in the process and try to understand what design is, or should be, all about.


Despite the fact that it has become commonly associated with all sorts of stylish products and luxury buildings, architecture and design do have a strong social and cultural purpose at their base and, if used well as an instrument, can help our lives become a great deal better than we could even imagine. Even though we might not get that far and state that “the simplified design guidelines are the architectural equivalent of feeding children McDonald’s every day”, as one of the architects protesting about the proposal has stated, there still seems to be plenty of space to offer a re-evaluation of the significance of architecture in our lives.


In fact, a recent study has found that “well-designed classrooms could improve pupils’ progress in lessons by as much as 25%”. Besides the practical implications of narrow corridors and small classrooms that might make both students’ and their professors’ environment a bit less pleasant and more difficult to manage, there seems to be some obvious evidence of the relation between educational environment and learning progression. The Salford study has found that the following principles affect most the brain functions: how “natural” it felt to be in the room, the extent to which the room felt individual to its occupants, and whether it stimulated them. It might not seem much or very revolutionary, but it is clear that a well-designed school does make a difference, and not only from an aesthetical point of view. While anyone might argue that design equals more money, we must strongly disagree. Good design actually implies that maximum result could be obtained even on a tight budget while also having “a truly positive effect on the way children learn”. Some reasons for Mr. Gove to maybe seriously reconsider what design is all about.

Rujana Rebernjak

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02/01/2013

Shows To Be Excited About In 2013

Shows To Be Excited About In 2013

While everyone is finishing their ‘best’ and ‘worst’ of 2012 lists and while we are slowly becoming more aware of the fact that yet another year has past, we thought that the best way to fight melancholia and resentment in not meeting our 2012 goals is setting a new list of those for the upcoming year. Well, here is a short list of exhibitions that shouldn’t be missed in the new 2013 year.

Extraordinary Stories About Ordinary Things
The end of January welcomes the first of our beautiful 2013 shows. With quite a geeky design title “Extraordinary Stories About Ordinary Things” this exhibition at Design Museum in London aims at unveiling the key designs that have shaped the modern world, tracing the history and processes of contemporary design. This exhibition should run for two years offering a comprehensive view on design and includes furniture, product, fashion, transport and architecture alongside a selection of prototypes, models and films.

Wait, Later This Will Be Nothing: Editions by Dieter Roth

This February will see the opening of a retrospective of Dieter Roth’s particularly dense print work at our beloved MoMA in New York. One of the fathers of the contemporary artist’s books ‘genre’, Roth has through the years (and this show is particularly focused on the period between 1960 and 1975) created numerous works that played with the idea of books as objects. From book-sausages filled with paper instead of meat (Literaturwurst) to pieces dipped in melted chocolate or a series of postcards, this exhibition tries to gather all of his major book-works among which a particular relevance is given to the book Snow. This is the show many of the contemporary publishers trying to delve in the artist’s books world should really look up to!

David Bowie Is
As the year marches further, even the shows get spicier! Hence, this March, precisely March the 23rd, will see another grand opening: the already much talked about David Bowie retrospective. The V&A has been granted the exclusive access to David Bowie Archive in organizing a truly amazing show that will explore “the creative processes of Bowie as a musical innovator and cultural icon, tracing his shifting style and sustained reinvention across five decades”. More than 300 objects, including handwritten lyrics, original costumes, fashion, photography, film, music videos, set designs, Bowie’s own instruments and album artwork are bound to reveal almost everything about this amazing artist and on of the greatest icons of the 20th century.

If these shows don’t amaze you and are not worthy of your 2013 list of goals, please make sure you anyhow manage to squeeze some art and design in it, it should make your life a bit better!

Rujana Rebernjak

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20/12/2012

Independent Publishing: A To-Go List

Independent Publishing: A To-Go List

The holiday season is always the perfect time for two things: traveling and reading. It’s the winter time that usually gives us the chance to visit some of the most beautiful cities, compared to summertime when the only thing we want to do is lie on sandy beaches. Also, it’s the perfect time to catch up with our reading lists, probably a bit more challenging ones than the summer magazines and light novels we carry around in our straw bags. That is why we have decided to compile a list of some of the best international bookstores you may get the chance to visit.

Claire de Rouen Books
This beautiful bookstore can be found on the first floor of a pretty un-loving looking building in Charing Cross Road in London. Specialised in photography and fashion editions, this bookstore hides some of the most incredible gems of contemporary publishing. Ranging from African photographers to the latest hipster favourites, Claire de Rouen Books can keep you trapped in for hours despite its quite small size.

Donlon Books
For all of you who are not familiar with the personality of Mr. Conor Donlon, please get one of the past issues of Apartamento Magazine, where you can find a neat interview with the personality behind this amazing bookstore accompanied by the beautiful photographs by Mr. Wolfgang Tillmans. Mr. Donlon offers an impeccable selection of independent publishing, and many of the books have been brought to the store by the owner himself from some of his travels. Beware though to visit him on Saturdays since he is not very comfortable in attaining to the opening hours.

Florence Loewy
This eccentric spot is one of the most exciting places in Paris. With a strange choice of interior design, this highly specialized bookstore sells incredible artist’s books and extremely rare art editions. More than a bookstore, Florence Loewy’s shop is a sort of a museum for anyone interested in art publishing.

Printed Matter
Last but not least, is the mother of all independent publishing bookstores. We know we aren’t telling you anything new but this New York based spot must not be missed. Founded back in the seventies by a group of artists, Printed Matter is also widely known as the organizer of the most incredible publishing fair: the New York Art Book Fair. Next February the fair will also be held in Los Angeles, so any of you planning to spend the cold winter days in sunny California, please make sure to put this on your traveling schedule.

If this list hasn’t quite satisfied your hunger for independent publishing bookshops, an in-depth list can be found on the Artzines website. Enjoy the read!

Rujana Rebernjak

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18/12/2012

Christmas Design Wishlist

Christmas Design Wishlist

Even though every single one of us promises oneself to get all Christmas gifts in time each year, we are fairly sure that many will do their shopping this last weekend before our favourite holiday arrives. That is why we felt the urge to compile a short shopping list for those who haven’t been so diligent to get all the stuff on their friends’ and family’s wishlists by now. Here are a few advice for conscious design shopping and also a sort of a ‘best of’ selection of design goodies that can be found in only the most wonderful design stores.

The first item we dared to choose is an all-time classic: the Eames plastic rocking chair. Designed exactly 62 years ago and currently produced by Vitra, this timeless piece of furniture will be the perfect object for lazy Christmas reading and will surely be the perfect match for at least another 50 years of holiday (and non) relaxing.

The second choice fell on a recent publication that should already be on everyone’s bookshelves. If not, then this is the perfect occasion for this acquisition: Walter Pfeiffer’s book ‘Scrapbooks 1969-1985’. Published by Edition Patrick Frey, an art books publisher we have already largely praised in the past, this book is a dense insight in the creative process and aesthetics of one of the most interesting photographers of our time.

The third object was recently produced as a result of an already prolific collaboration between the Italian tableware producer Alessi and the French designer duo Bouroullec brothers. The Ovale cutlery will surely become handy during the festive over-eating!

And last but not least, we have a perfect example of conscious and timeless design: Enzo Mari’s Sedia 1 chair, one of the most successful pieces of his ‘Autoprogettazione’ project. If you’re not playing around making Christmas treats, then maybe assembling this chair wonderfully produced by Artek might be a perfect time killer while you also might take an insight into the design process of one of the most critical but yet honest Italian designers.

Whether or not these pieces actually end up under your tree, we still hope you have a jolly jolly Christmas!

Rujana Rebernjak

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11/12/2012

Pop Art Design at Vitra Design Museum

Pop Art Design at Vitra Design Museum

If you were to think about some of the most common art movements that became elusive arguments for myriads of different exhibitions around the world, surely in the first place you’d find French Impressionism and right after that the oh-so-popular Pop Art. Yes, this post-war art movement is 
one of the most analyzed subjects in any museum worldwide, and every single one of you reading this article must have seen one of these shows telling its history and legacy.


Many of the iconic elements of Pop Art, that introduced the vernacular and the everyday in the high circles of art, have been designed long before it had officially taken the stage: bold objects designed by Raymond Loewy, the colourful furniture and even more colourful lifestyle proposed by Charles and Ray Eames, or the intricate graphic designs of the period, have all penetrated the art world marking it unforgettably. Strangely enough the love-hate relationship of mutual contamination between Pop Art and design of that period has never been explored before the current “Pop Art Design” show at Vitra Design Museum.


The links between art and design of the period are fairly intricate, not only the graphic design of the period must have given a spin for the classic work of artists like Roy Lichtenstein and elements of penetrated design culture works of great masters like Andy Warhol, but many of the artists started off as designers themselves. Hence the show at Vitra Campus tries to untangle those stories showing some of the most interesting but disregarded relationships between art and design: from Gaetano Pesce’s or Achille Castiglioni’s furniture, to Jasper John’s paintings or rare screen designs by Andy Warhol. Even though grand part of what can be seen at the show is widely seen contemporary classics both in furniture design as well as in art, the close juxtaposition of the two fields might offer a new evaluation and inspiring insights in both disciplines, ultimately contributing to the idea that boundaries between art and design maybe don’t even exist.



“Pop Art Design” runs until the 3rd of February at Vitra Design Museum.

Rujana Rebernjak

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07/12/2012

Oscar Niemeyer Passes Away At The Age Of 104

Oscar Niemeyer Passes Away At The Age Of 104

The last of the ‘heroes’ of the Modern movement has died Wednesday, at the age of 104 in Rio de Janeiro, Brazil, the country he has both celebrated and become a celebrity for during more than 70 years of work. Oscar Niemeyer, one of the greatest architects of all times, didn’t have an easy time entering the highly Modernist circle. Even though Le Corbusier praised him for the innovative use of reinforced concrete, he did also receive pretty harsh criticism.


Nevertheless, Niemeyer worked tirelessly on new projects, each and every one of them highly iconic and undersigned by his intrinsic fascination with curves. He famously stated: “I am not attracted to straight angles or to the straight line, hard and inflexible, created by man. I am attracted to free-flowing sensual curves. The curves that I find in the mountains of my country, in the sinuousness of its rivers, in the waves of the ocean, and on the body of the beloved woman.” or “My work is not about ‘form follows function’, but ‘form follows beauty’ or, even better, ‘form follows feminine’.” This all can be clearly seen in one of the most ambitious and utopian projects of modern architecture, and Niemeyer’s masterpiece, Brazil’s concrete dream capital – Brasilia.

Brasilia was constructed in less than four years, in 41 months to be precise, following the determination of its president Juscelino Kubitschek. Brasilia, despite the fact that it is currently facing difficult social and infrastructural problems, has been listed as the World Heritage Site and remains one of the most incredible cities in the world. Its almost futuristic skyline, highly characterized by Niemeyer’s steady hand, collects some of the most important buildings in the history of architecture: the beautiful Alvorada Palace, the official residence of the Brazilian president, the House of the deputy, the National Congress of Brazil, the Cathedral of Brasília (a hyperboloid structure resembling a crown), diverse ministries and residential buildings.

Among other works created by this great master must be mentioned the Niterói Contemporary Art Museum, a futuristic building looking out across Guanabara Bay from Rio, Brazilian National Museum in Brasilia, the contribution to the United Nations Headquarters in New York or the Serpentine Pavilion in London. He was awarded Pritzker Prize in 1988, RIBA Royal Gold Medal in 1998 and the Lenin Peace Prize as life-long determined communist. Well, dear Oscar, you have done it all.


Rujana Rebernjak

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04/12/2012

Are Design Fairs Really Needed?

Are Design Fairs Really Needed?

That time of the year has come when speaking of one of the most important art and design events seems inevitable. Art Basel in Miami will officially open its gates tomorrow. Unofficially it will open today, where ‘unofficially’ means only the richest of the rich international collectors will be granted access to make their Christmas shopping a bit more relaxed. As it always happens, every big event gives birth to a series of smaller ones, who through time, with dedication and right connections eventually become themselves big, too. This is the case with Design Miami/Basel, a fair entirely dedicated to passionate design collectors. We were able to follow the first tranche of this major event this summer in Basel, whereas the second part we will have to watch only from distance.


This has maybe given us the privilege to contemplate the event itself in a more critical manner and think through what should be the point of design, and as a consequence, of collecting design. Design is, or should be, one of the most democratic forms of visual expression. It happens to be so, not only because design products are fairly economical and mass produced, but also because anyone, to a certain point, can be considered a designer. While in the 50’ and 60’ design was seen as a means of gaining and distributing culture on a broader social scale, where producing quality goods at an affordable price seemed a viable way for emancipation and cultural growth of its users, much has nowadays changed. Design has since then become that simple adjective that can accompany almost any word and justify almost any action, degrading its social status and cultural significance.


Even though fairs like Design Miami are explicitly commercial venues, where the whole point is selling vases, chairs, sofas and lamps at an exaggerated price, they should consider better their position. It should be far more useful and constructive if they didn’t present superficial performances and fake prizes as ‘design’. If their central point must be private collecting they should communicate the importance of conservation and history, with the goal of making design seem less ‘decoration’ and more ‘critical evaluation’.


Rujana Rebernjak

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27/11/2012

Meta-Monumental Garage Sale at MoMA

Meta-Monumental Garage Sale at MoMA

We all love flea markets. They allow us to look into someone’s past, to gaze into what they used to love and maybe even see their present and our future. At the same time, though they are most vivid testimonies of our materialist culture, showing off stuff we once fell in love with but despise or don’t need anymore (as if needing is still a valid argument for buying things). Flea markets are also magical places where the emotions and reality intertwine in play that is, in the end, all about possessing.

Maybe this is exactly what artist Martha Rosler was thinking about while staging her installation and performance event “Monumental Garage Sale” for the first time at the art gallery of the University of California in San Diego in 1973. After various replicas around the world scrupulously designed by the author, the performance, now titled “Meta-Monumental Garage Sale”, has reached the Museum of Modern Art in New York.


The installation, gathering objects belonging to the author as well as her friends and family, presents hundreds of second-hand goods that are organized, displayed and sold by the artist herself and her floor assistants. The visitors are encouraged to browse through the objects displayed, choose the items they want to buy and possibly haggle over prices, as if it were a casual garage sale found anywhere around the United States.

For more than 40 years Rosler, one of the most influential artists of her generation, has made art about the commonplace, art that illuminates social life, examining the everyday through photography, performance, video, and installation. What “Meta-Monumental Garage Sale” tries to point out is the role of commodities in our everyday life, how useless, vain and superficial they often can be.


The installation will be on display until friday the 30th of November.

Rujana Rebernjak – Images courtesy MoMA/Scott Rudd

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