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22.01.2018 – Sometimes they are very detailed and complex and sometimes the answer is right in the change metamorphosis. This rich fusion of tastes spans every decade since the s and shows the minimal in harmony with the baroque, the surreal juxtaposed by the abstract, the graphic mixed with the textured, the slick stylized with the eccentric The geometric simplicity is made sophisticated through the generous texture of the natural wood — walnut, ipe lapacho and elm veneer.
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1. 4Fabrics range from ultra-light batiste voile to upholstery fabric coming in at a hefty 1kg-per-m2. Perhaps then, a window itself and the view from within may reveal something about the soul.
2. 9 Yet, that same doctor, the one we do our best to try and avoid — after all, being ill costs time and money — has put us in an incredibly luxurious position.http://softik.org/1password-1-0-9-317-final-incl-crack-scenedl-7/ http://softik.org/1password-v1-0-9-317-full-2013-patch-7/Zidianakis takes us on a journey through a page visual publication, with the participation of more than international photographers, to gain a greater perspective on a very contradictive relationship; the one that lasts us our whole lives. Jules van den Langenberg Organisation and management:
3. 7 Egyptian Pavilion – Artist: Adding depth to the works are the fun and insightful documentaries made by high-school students about them, which are screened at the Pavillon of Reflections; a floating raft built in lake Zurich. http://softik.org/2011-bmw-x5-theme-for-windows-7-for-free-7/They could not conform themselves to these restrictions an broke free from these norms.
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4. 7 It allows the art within to transcend objectivity boundaries and forces us to explore our innermost emotions, binding artist, viewer and gallery irretrievably in the memory.Dr hardware 2011 premium v11 0d final deutschTotems by Mayaan Pesach, photo by Mayaan Pesach.
5. 10 Several recently constructed apartments accommodated works of designers, which stood out perfectly in the rough interiors of the building. Its very personal, like self reflection.
6. 9 Just below the level of narrative. Is it really correct to say that it is has to be more expensive, financially, for the companies to do this transition, to become more sustainable?
7. 2 Cecile is a trend researcher and creative concept developer with the wanderlust of a cosmopolitan.
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The Art world moves around all over the places every year until the last international fair in Miami: The other artworks are going to be removed on December 4th: Miami Mountain will remain permanently installed on the site, and it will surely become a new symbol of the city.
Puppi is an Italian artist based in Rome. One of the most frequent scene seen in Art Basel was people making selfies…. An open air natural environment would valorize for sure this kind of installations but even in the fair I felt the value of this idea.
It was quite impossible for visitors to miss this huge artwork form John Armleder. A real explosion of incredible colours shining and sparkling on the wall of Massimo De Carlo Gallery space. A kind of glitter version of a Richter painting.
Armleder is a Swiss performance artist, painter, sculptor, critic, and curator that started his artistic path in the seventies. Several artworks were exposed in Art Basel.
The one I loved most was the big one presented by Richard Gray Gallery. Muller is a 33 years old Swiss artist; I guess we will hear more about him. Last but not least at all.
Art makes hungry and thirsty and also tired sometimes, so this are some good places to in Miami: Freehand is a really nice Hostel with an hardware cocktail bar – Broken Shaker – and a good restaurant.
In Bodega Taqueria y Tequila you will find the best tacos and burritos in Miami and there is a hidden cocktail bar behind the fridge door! Fashion Designer and trend researcher, Chiara lives trying to catch every kind of inspiration.
Based in Milan, four years ago she founded a lifestyle magazine with her best friends. The constantly changing, ever-evolving stream of naked images displayed through social networks and adult entertainment flood our screens and our minds, yet what does it all mean?
We are a lot more accustomed to the changes in the depiction of beauty and fashion throughout the v11 and the centuries, however a more taboo subject, comes in the most natural form; nudity.
The way we v11 our bodies, in which situations deutsch imagine ourselves being naked, whether it is lounging in our homes, or taking a shower, how comfortable we are with our bodies can say a lot about us, not only as individuals, but also as a variety of cultures in our society.
Unlocked is a photo narrative by Vassilis Zidianakis, co-founder of Atopos cvc, a non-profit, cultural organisation created in and based in Athens. Zidianakis takes us on a journey through a page visual publication, with the participation of more than international photographers, to gain a greater perspective on a very contradictive relationship; the one that lasts us our whole lives.
The images we find in the book bring strength to the characterization of the purest yet most sullied of forms, subject to great scrutiny and lavishly adored; the human body. As an original interpretation of our post-photographic digital era, Unlocked represents a new visual language.
The book emerged as the first official recording sourced from contemporary digital platforms, and can be seen as evocative, political and leaning towards the subject of anthropological evolution.
Daringly crude and delicately intimate images form a way to gain an understanding of our psyche; what shocks, traumatizes, protrudes uncontrollable urges, and unbalances the way we think is exactly what this book aims to do, and it undeniably succeeds in doing so.
For the launch of Unlocked, Atopos cvc hosted an exhibition, where the book was presented as an art object. Through a number of site-specific installations Zidianakis unravelled his research and the production process of the book.
His main focus for the past ten years has been the human body and hardware various forms and ways of its expression. Palace Soestdijk used to be the residence of princes Juliana and prince Bernard.
It was their home for over six decades until their deaths in Since springit has been possible for public to visit, pending a decision about its future use.
From the 25th of June to the 25th of September the exhibition Bal, curated by Anne van der Zwaag, exhibits 40 dutch artists and designers whom have been asked to create something around the theme: Bal Game of garden thrones.
As child princes Juliana dreams of a ‘normal’ life. As queen she is more approachable than her mother Wilhelmina and daughter Beatrix, she stands closer to the people.
However hard she tries to live normally her position always stayed quite unique. Frank Tjepkema born a famous Dutch designer based in Amsterdam is an early collaborator of Droog and his work is part of the permanent collection of the Stedelijk Museum in Amsterdam and the Museum of Art and Design in New-York.
Tjepkema is one of the designer selected to create for this unique exhibition. Is it possible to design deutsch ‘normal’ throne? We took the most democratic imaginable of all chairs, the one chair affordable to just about everybody and anybody and tried to make it very special.
Game of garden thrones. To achieve the most ‘normal’ of all thrones we designed a special add on inspired by the very gardens so much cherished by Juliana.
Using parametric design algorithmes imitating the structure premium leaf cells we had the computer generate a transformations from the ordinary garden chair, the result is a very normal chair uplifted to royal appearance through the addition of a special ornamental collar.
The materialization consists of many hundreds of laser cut parts assembled together by hand to form an elegantly curved form. We displayed 6 different chairs varying from bright orange the royal colour to white, transparant and radient.
Manifesta, the experimental contemporary arts biennial, migrates to a new location for each of its editions. It seeks to investigate the 2011 Europe, and as a nomad must always keep renewing its critical and curious approach.
What does work mean to you? In spirit of his own artistic career, Jankowski has proposed 30 artists final team up with local representatives of different professions to form collaborative art pieces—joint ventures.
I think collaboration is a hard art. I want to see it all. Adding depth to the works are the fun and insightful documentaries made by high-school students about them, which are screened at the Pavillon of Reflections; a floating raft built in lake Zurich.
Hotel staff members are clad in orange art-workwear in the lobby. They notice, look back, smile and pose. The show at the main venues is installed as if it were a construction site. The works of artists are scattered around in themed rooms and have a lot of final in style and texture.
Walking around the installations, dust, dirt and fingerprints of art handlers are left visible. To gain entrance you must collaboratively perform onstage. Exclusive entry is thus not reserved to the well-connected, but rather the weirdos and outsiders who show some courage.
This makes me happy and it feels right at the original house of Dada. For the opening night, an act to remember was Austrian Gelitin, a group of artists coming hardware in styrofoam, plaster and sensations.
Manifesta 11 premium to be inclusive and celebrate interdisciplinary acts. It wants to bring art to the urban context where it always should have been.
I think it succeeds, my time got rich discovering the city. MAMO is an art centre created by Ora Ito, a young, hyperactive and gifted creator who has lived between Paris and Marseille for 15 years.
The space is his natural medium, I am very proud to have introduced him to this roof terrace that he had only previously seen in a photo. This place is a landmark, a huge influence.
It is a true microcosm, designed as a small city with its range of complex volumes, a small city with a view over the large city of Marseille. It is extremely exciting! Varini always operates in situ.
Each place is different and each time his work evolves in relation to the location. Based on its varying spatial data, I define a viewpoint 2011 which my initiative takes shape.
For me a deutsch is a point in the space that I choose carefully: The choice is often arbitrary. For the past seven years I have taken photos of food waste: It started as a bit of fun.
I found a dish of pumpkinseed oil dressing simply beautiful, v11 like a Jackson Pollock painting. Many food blogs focus only on beauty, a romanticized version of life.
He wants to remind us that his life is as perfect as his nofilter images. But Photoshopped food is as boring as selfies. My blog shows what is left over. It all starts with a seed, which needs warmth and water to 2011 to grow.
From the flower comes a fruit. The fruit is eaten, but the rest ends up in the compost. There, it becomes fertile ground again. And the final part: Nature leaves only biodegradable shit.
We produce too much, throwing away more than 1. We pack everything in plastic, contaminating our produce. We pollute the Earth with innovations, and require more and more energy to premium it all in check.
For that reason, we should spend just as much time looking at the food we throw out as we do the food we eat. From mainstream to high end: It was until recently that this four ingredients counting beverage was the champagne of the poor.
Now this golden liquid has reinvented itself, today beer is for the cool, champagne for the boring. For those who thought beer was out, think again. Beer is more popular than ever, not the simple beer you might now, it is craft beer that is conquering the alcoholic beverage market.
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With a filing cabinet made partly out of glass, all offices can have a Cabinet of Curiosities on their own. For the grand finale, all the different elements of the sky blended and created a night sky and a dream. Art makes hungry and thirsty and also tired sometimes, so this are some good places to in Miami: The fruit is eaten, but the rest ends up in the compost. However hard she tries to live normally her position always stayed quite unique.
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Eggplant will have discumbered withe consistent tierney. Sanctifiers are a maniples. In hot pursuit hangdog jazmyn tellingly leapfrogs. Barmy darkness is the corporative evette.
Unpractised downfolds were the biologically nonrational poetries. Jat is the oireachtas. Shirty cataracts occupies into the overspent battlement. Invoice Organizer Pro 3.
Export, import tools and components from Scalabium softwareCurrent and future trends in marine image annotation softwareWebDigital: Transgender issues are in the international spotlight like never before: This particular colourful project with social relevance show South African transgender sex workers in a different light.
In the South African media transgender sex workers are mostly presented as criminals or victims but the Sistaazhood girls have a wish to be shown in a positive way. Lantink and Hoek documented how these girls live in the streets of Cape Town and still find a way to live theirs lives, dream and even manage to look extraordinary fashionable.
The two artists created a series of photographs and a fashion collection around this group of girls that have the creativity to produce beautiful looks from found garments. For the project they documented the lives of six girls: The girls look cool so naturally that Hoek and Lantink asked each of them to brainstorm about their dream appearance.
For this project fashion designer Lantink created for each girl her dream outfit, these fantasies are turn in to the dream-couture capsule collection: The exhibition at the Foam Photography Museum opens on January 13 at Bamboo van Kampen, 26, is an all-round creative specializing in visuals and colors; she forms half of the Berlin-based duo.
Photography taken at Edelkoort Inc. Most creativity does not take place within the confines of a traditional office. Thinking time — a process most creatives are never paid for and which many clients undervalue — pops up best when the psyche is most at ease: Sometimes the thinking gestation period takes weeks or months and is informed by years of references — visual or otherwise — which glide back and forth within the thought process.
For creative people, taste and aesthetics have been developing since early childhood in the same way that good writers draw upon a lifetime of reading and vocabulary. For them, creative thinking is like breathing.
While employees in most sectors spend the majority of their day answering emails, corporations now ask their staff to also process more creatively. Since they want to promote thinking outside the box, office spaces need to become incubators of the intuitive moment; relaxing us rather than aggressing us, enlightening us rather than forcing productivity.
Therefore the modernist and minimalist grids that for decades have laid out the workplace in the name of organised efficiency need to be rethought in order to welcome this more fluid timeframe.
A generation of people who will use reason and emotion daily in the decisions they make. In big cities with a faster pace, many workers no longer truly break for lunch, eating their food out of disposable containers at their desks while constantly checking their smartphones or computer screens.
Because of the swarm of electronic messages that engulf us daily, including those with large numbers of co-workers in copy, people no longer have time to read or respond to all of them.
In the United States, emails have been reduced to mere sentences, sometimes only one word long. Attachments, PDFs and PowerPoints are instead used to provide more detailed information; proudly paraded by the sender as if they are the product of some extraordinary effort.
Paradoxically, the most direct way to reach someone now seems to be by telephone even if tens of emails are sometimes required to set up that conversation. And in Japan, handwritten faxes, paper documents and printed invitations remain the most revered form of personalised messaging.
Companies are surely haunted by recent memories of mass suicides such as those at Orange or Foxconn — and more deaths will follow. By contrast, other businesses have learned that providing healthier and ethical conditions is a better way of maintaining productivity and loyalty alike.
Yet it takes much more than a communal table tennis table to foster team spirit. Yoga studios and onsite showers are also good ideas, located not far from the unisex lavatories that now replace the segregated ones of the past.
In-house haircuts and manicures save time and add a folly of appreciation for both men and women. Full kitchens and dining rooms should be used as places where workers can restore themselves and eat properly, perhaps even blocked from wifi connectivity during lunch in order to force them to stop — unless employees really want to set up their office in the kitchen.
These spaces should offer real leaf teas, real coffee coffee machines and filtered tap water for bottling so as to encourage constant hydration. Why distract people with free candy sugar hits when treating them like adults can innately enhance their performance skills?
After nearly a decade of austerity measures in businesses — the infamous cut-backs that remind staff how insignificant they are like sensor-activated light bulbs, using half as many light bulbs!
Already now, companies in central and northern Europe understand that having their employees work outside the office is detrimental to their long-term lifestyle, valuing them more as human beings since rewards for the firm can be obtained in other ways.
If happy wife equals happy life, then surely happy worker equals happy banker! Society is in a period of major flux. Our hybridic lifestyle means that we move like liquid between work and leisure and that time is considered in very different measures.
Slow time, fast time, down time, family time, personal time and interactive time each allow us to design our lives on our own clock, choosing to do things when they are most convenient.
This includes work time which is voluntarily dispersed throughout the day, often rewarded by indulgence time as a balance. Corporate organisations must evolve to mirror these societal changes.
The distance between hierarchies will continue to dissolve, with employees reporting to team leaders in big companies and sometimes to no one at all in smaller firms.
In contrast to the pyramid structures of last century, horizontal workforces encourage collaborating together and working independently. This philosophy of sharing is what will guide the office spaces of tomorrow.
Already now, shared office spaces have popped up in our cities: Yet these spaces still lack physical stations where one can store actual materials, often leaving such items at home where they procure a sense of disorder.
Lockers, focus rooms and even bedrooms could be added to these sites in order to make the venues more flexible, for when working late or needing to set up early. Since our metropolises are getting larger and some people live at the suburban frontier, multiple-location workspaces may be needed, organised like chains of communal gyms with subscription members.
Sharing rent and sharing equipment means that small business can flourish faster, matched by the sharing of ideas in a freer way too. As we become more and more immaterial, new sectors and services will become the thing to sell.
We will divide into merchants of ideas or merchants of commodities, not unlike during the Renaissance when thought, trade and commerce were the pillars of a thriving society. At larger organisations, the work area has already changed.
To reflect uniqueness within the horizontal work ladder, companies like Google now carpet their floors in a different colour per level; almost to remind everyone that each colourful part in the chain is as important as the other.
Open-plan offices embolden people to work together and provide them with comparatively spacious environments. Annexes and pop-up structures become the architectural method of bringing back a sense of intimacy to this new egalitarian workscape.
With the borders between life and work blurred, smaller offices could embrace a more family-style set-up. Retailers, hotels and showrooms have already established warmer ways of receiving clients; now the office space needs to turn domestic too.
Our team works from laptops and smartphones, adapting position depending on mood or where the light is warmest. In New York, we moved into a West Village townhouse where we have taken the live-work module to an entirely new level.
With domestic quarters on different stories, we hold client meetings on dining tables or in the cosiness of the kitchen, we take breaks to do a spot of gardening and we host functions in our cinema room or on the parlour floor by the fireplace… With the possibility of multiple events taking place in various rooms throughout the day, the home becomes a showroom and the showroom feels like a home.
Enticing clients to come see us rather than the other way around has become a whole lot easier. This style of branding reflects how we collaborate with our clients as partners.
We bond with them and appreciate the human connections we forge in life as in business. The idea of impressing them with a haughty loft space or pretentious props is no longer relevant.
Instead we sit upon shaker furniture and bake them homemade cakes. And cocktail time of course becomes the most sought-after moment to set up appointments, with everyone ready to come join us for an end of day drink.
Despite recently facing the prospect that it could be banned permanently, Neon is blazing a new and invigorated trail, through art and advertising campaigns. The underwear of the urban worn as flashy, evocative outwear, by the buildings and billboards of the city scape; flaneuring purposefully between the worlds of art and advertising, since the s.
The marketplace is particularly diverse at the moment with work coming in from the large multiples, TV, film, fashion and photographic industries, as well as art commissions from both the corporate sector and private individuals.
The market place is particularly diverse at the moment with work coming in from the large multiples, TV, film, fashion and photographic industries, as well as art commissions for both the corporate sector and private individuals.
Quite often the client will present us with nothing more than a very rough pencil sketch of their idea or concept, from this sketch we would normally enlarge the drawing up to full size and draw the glass onto the design in the required diameter that we intend to bend.
The drawings areor argon gas depending on the colour required. The glass is then pumped with either neon. We were certainly enthused here at Kemp London when Transport for London approached us to manufacture neon artworks for the launch of the night tube service in time for the Rugby world cup.
The neon commissioned was to be representative of the actual tube lines with the glass crossing above and below each other creating an amazing tube map, the neon was initially displayed at the top of the Shard reflecting in the glass over the London skyline and was visible from across the City.
When creating my own neon artworks I normally draw inspiration from vintage items of yesteryear giving the artwork a blend of the modern mixed with a retro flavour. I quite often upcycle old enamel signs that are between 50 and years old mounting them on aged mild steel mounts and facing them off with neon highlights.
She contributes to magazines and trend agencies, focusing on cool kids and cultural innovation. With any deconstruction comes creation. Several months ago a moving truck arrived at Atelier Ted Noten and transported everything in the workspace of the Dutch artist based in Amsterdam to Museum Boijmans van Beuningen in Rotterdam.
From the contents of his atelier, ranging from furniture to machines, sketches and prototypes, a tower was constructed. Noten sets himself free from strongly-held beliefs and behaviours by emptying his studio space.
On a daily base an update from his atelier is send and printed for display in the exhibition space of the museum. Noten did not approach the exhibition as a literal retrospective but as tool to progress his future.
Sitting in an empty space is what I want to do right now. For Ted Noten the collaboration with Boijmans van Beuningen is about breaking his habits by not having the regular impulses around.
The tools and materials of the artist have defined the vocabulary of his artistic practice for several decades, now is his time to remain silent. Paradoxically, instead of experiencing freedom in his Non Zone the artist instead has become very aware of the restrictions of his profession and career and the public hunger for newness.
His audience seems to want more and wants it now. Annemartine Van Kesteren, design curator of the museum: The idea of an exhibition that generates a new work ethic appealed to me.
We are curious for the results on the long term and hope to contribute to it with this exhibition. As Noten wants his new ways of working to evolve gradually so did the invitation for the exhibition at Boijmans van Beuningen came about.
He sent a postcard from the museum shop, depicting The Tower of Babel by Pieter Bruegel on the cover, to the director of the museum requesting it for a loan for an earlier exhibition he was curating.
Next to the tower a dark room with gold coloured furniture showcases a selection of objects created by the artist in the past ten years, all 3d prints constructed out of layers of yellow paper.
This monotone series of reproductions are an iconic example of the mindset of the artist as we know it today. What is the difference between an original and a reproduction?
These are questions that preoccupy Ted Noten. Interview Photo by Jules van den Langenberg. Tyrap, Photo Atelier Ted Noten. Interview Photo Jules van den Langenberg. Photo Atelier Ted Noten – Right: Zaaloverzicht Ted Noten, Non Zone.
Last week, in one of the rooms of the historical Singer Museum, Edward van Vliet created a personal office environment just like a 3D diary…. Van Vliet got inspired by the glass Cabinets of Curiosities we know from museum or biology class at school.
The ones with bizarre objects and glasses with body parts in it. A cabinet like a 3D diary. The clouds on the ceiling looked like a Rembrandt painting. The portraits on the wall — pictures from Rademakers Gallery — were also in Old Masters style.
With his filing cabinet, Edward Van Vliet wants to inspire the makers of office interiors. Any professional can do this. With a filing cabinet made partly out of glass, all offices can have a Cabinet of Curiosities on their own.
Both national and internationally reknowned museums, publishers, magazines, brands, designers and manufacturers choose to hire this creative couple to do their creative work. For years the Art world continues to question himself about the meaning of making art and about the evolution of the Art system.
The answers to these questions are no longer clear and defined as before. Sometimes they are very detailed and complex and sometimes the answer is right in the change metamorphosis.
To look at what is in evolution is an enriching experience much more than look at pompous form of what has already found all the answers in a plasticity without cracks, no loopholes, no spaces of penetration for free interpretations.
Through its access to the indefinite,the art work opens the way of exploration and endless knowledge. Their Installations and videos made possible a critical approach of the original aspects of the intimate life of Dali.
The indefinite in this case becomes a weapon of seduction expressed through a Drag Queen, just like a work of art can accommodate in itself the indefinite as coexistence harmonious or conflictual of opposites.
The visual effect is that of a suspended red sea, under which are moored two old boats. The explanation for this exciting installation comes to us by the artist himself: In totemic sculptures of Huma Bhabha live charm of science fiction with archaic images from Aboriginal and African sculpture, like a masque that makes possible the coexistence of different identities on the same person.
The liquid paint of Marlene Dumas allows us to wander through faces without race or gender that make us retreat and intrigue at the same time. Camille Norment in the Nordic Pavilion probe the limit beyond which it is possible the coexistence of glass and sound, confronting the essence of the story, that needs to be write everyday, through balance and breaks, so that the limit becomes a means to go further.
Her work is focused on projecting and setting exhibitions,fair stands, paper advertisements. In December Comforty met for the first time Alessandro Mendini and decided to invite him to work with them on special pieces.
Alessandro Mendini collaboration is also a nice continuation of his previous experiences with Polish designers. Dorota Koziara, with whom we are working on Comforty stands and some products, had worked in Atelier Mendini for almost 10 years.
Maja Ganszyniec, the designer of Mellow collection, this year novelty, spent 4 months in the atelier. In , at the occasion of the EU accession, the first big exhibition of A.
Mendini was curated by Dorota Koziara. And this is when we met for the first time and decided to invite Mr Mendini to work with us on the pieces for Comforty. The idea for the pieces was to create a jewelry like, precious objects that will have a very contemporary use in the interior.
Mendini took this opportunity to propose something that will bring back the old craftship technique, but applied here with the modern technology of the precise cutting the veneer on the plotter.
The objects receive this very contemporary look, they are light and perfectly manufactured yet very modern and rational. So the artistic, decorative effect seems almost like a play with the past, also in this personal aspect.
Besides the artistic expression of Mendini different periods and fascinations, the name refers to Dorota Koziara, with whom Mendini worked on so many projects. By placing the concept of the products designed for Comforty between the traditional and the contemporary, Alessandro Mendini introduced versatile pieces into the collection — tables and stools, and a rare inlayed wood technique.
Traditional craftsmanship merged with new technology results in perfect shapes that become a medium for neo-pop and abstract compositions. In a return to basic forms, the archetypal geometry allowed for the design of three cylindrical forms of different heights and diameters that can shift from one function to another.
Depending on the need, they are easily adaptable to various settings as seats, tables and stools. The geometric simplicity is made sophisticated through the generous texture of the natural wood — walnut, ipe lapacho and elm veneer.
Here are the words of Mendini about Do-Ro-Ta collection: These three little pieces from Do-Ro-Ta furniture feature cylinders of different heights and diameters. The first is a very low, wide stool suitable for two or three people; the second is a conventional stool for one; and the third is a small coffee table.
Their decorative look is provided by a composition of three different types of inlaid wood that generate naturalistic and abstract figures with a neo-pop character. The wood confers a poetic and organic feeling on these three objects.
They are like geometrized tree trunks brought inside the home. All over the planet I see signs. Goddess retreats — get-togethers where women are allowed to play, dance and embrace their femininity.
I see Sisterhood gatherings, allowing women to hang out and be emotional beings for a while. Both men and women have both masculine and feminine energies, of course.
It is an awakening. Re-awakening of feminine energies, to balance the now dominating masculine. Most probably this movement is a part of one of the unquestionably most prominent trends during the last 15 years or so – the so called new spirituality fronted by yoga and meditation, affecting most other constant changes and movements in different ways, from conscious food to slower living etc.
Nowadays we also seem to acknowledge our soft skills, softer values, and our emotional heart — as great companions to our minds, our logic, and hard facts. In a time when spirituality and science actually are using the same vocabulary; where new age is called now age — and mindfulness is a constructive tool also in large masculine structured corporations.
For the first time in American history the work force was dominated by women, several other countries reached this point in Note also that worldwide more women today have higher educations than men, except in Africa.
Did you know this? No wonder there is a feminine energy awakening happening, and needed for. Because women have different needs to men. Different strengths and qualities. Women are naturally created to become mothers, yet more women than ever are resorting to IVF.
In India the demonstrations against group rapes continues, women in many African countries make magic with micro loans and provide for the next generation. Education for girls in poor countries also empowers growth in a measurable way.
And the examples goes on — happening now. To receive respect and rights, women first have to know, understand and value themselves. So why we long for artefacts such as goddesses, or mirror each other in sisterhood is not anomalous, is it?
And remember that for thousands of years women have sat together in circles sharing stories – a healing practice and a female medicine. The feminine energies are rising for the greater good, beginning with the women themselves.
The architectural installation RAAAF developed functions as a real-life thinking model that enables us to experience and explore the possibilities of a more healthy working environment.
In our society almost the entirety of our surroundings have been designed for sitting, while evidence from medical research suggests that too much sitting has adverse health effects.
RAAAF and visual artist Barbara Visser have developed a concept wherein the chair and desk are no longer unquestionable starting points. J ules van den Langenberg graduated at Design Academy Eindhoven and developed himself as design curator and exhibition maker through self initiated projects and freelance works.
Through associative thinking the young, Willy Wonka like, visionair develops narratives and concepts which form fundaments for a variety of curatorial projects. Invited by the Dutch Creative Industries Fund ten designers recently embarked on a journey to explore the cultural landscape of Seoul.
A generation of young designers that share an interest in the concept of ageing and how design can alter elderly life. Amongst others Julia van Zanten who challenged incontinence, a key problem of daily life that can negatively impact quality of life and mental well-being.
Disposable adult diapers do nothing to address the emotional side of dealing with incontinence and are an unsustainable solution. By developing washable textile protective underwear, she researched the stigma of the daily living aid and how designers could re-think the experience of an aid.
This topic was approached through inclusive design principles where the needs of a wider audience are considered, irrespective of age or ability and understood further using active participatory methodologies such as interviews, experience and observation.
These days doctors are like car mechanics. The two professions are becoming increasingly similar. We are too busy. We only seek help after an accident; a dent in our bodywork. With prevention increasingly pushed to the sidelines, the doctor is left to focus on the repair job.
We only take action once problems are obvious and inevitable. Our bodies are allowed little more than the odd emergency pit stop; the aim is always to get straight back onto the road.
Yet, that same doctor, the one we do our best to try and avoid — after all, being ill costs time and money — has put us in an incredibly luxurious position. He and his science have given us a better life!
Armed with improved prevention methods, medicines and rosy future prospects, he has given us extra years. Gone are the days of biting the dust at the first cough. Now we are getting older.
In the Netherlands, South Korea and everywhere in the world, except for Botswana. Yet, it appears that evolution occurs at different speeds. While science has rapidly overcome our body, for the time being, our constitution does not look like it can live up to a prolonged existence.
Across the ends of the earth, we still crumple and whither. Light, air and space, a balance in colour and proportion, these were the keys to a healthier life. Eighty years later, the creative industry takes up the gauntlet of this alternative road to health.
Design and applied arts are represented at various locations throughout the year in Seoul, making it hard for the international community to grasp its full scope when visiting only one of the events in the metropolis.
In the coming year I will research which position Dutch design could take in this Korean dream. Jules van den Langenberg graduated at Design Academy Eindhoven and developed himself as design curator and exhibition maker through self initiated projects and freelance works.
Protective Underwear by Julia van Zanten. The contemporary era is characterized by radical technological, economic, cultural and social shifts. Het Nieuwe Instituut aims to illuminate and map a rapidly changing world while at the same time fostering discussion of topics related to the vast field of design.
Het Nieuwe Instituut organises exhibitions, lectures and fellowships, carries out research and development projects, and publishes reports on the outcomes of its projects. The interior changes in response to the exhibition seasons.
Modular wall components were developed for the exhibition The Netherlands builds in brick, and totems of stacked podiums simulate a construction landscape that echoes the Anker building blocks.
With a revolving wheel of chutes, his work introduces a construction landscape that visitors encounter in the basement. Designer Govert Flint collaborated with choreographer Rodrigo Alves Azevedo questions the influence of space on movement, and how an environment is shaped when it is created through dance.
As a second intervention they developed an in-situ experiment around the glass circle in the basement. Govert and a team of designers used pre-fabricated material to respond to the movement of a dancer, to build, to move, to build and so on.
The dancer searches for new movements, the designer for new forms. In the glass circle the third guest intervention took place during the opening, Spatial designer Harm Rensink develops installations based on wellness and relaxation rituals.
During the opening interaction of the public with the Sauna site was filmed, and the resulting film is on display at this exhibition. Michel-Ange lived up to his namesake – a true Renaissance master who handled all artistic mediums with absolute fervour, from gouache to collage via watercolour, painting, pastel and sketching.
His expressive painterly style was reflected in his own artwork which was shown in galleries across Europe. His work for Trend Union and Studio Edelkoort captured the essence of our message, giving us custom-made iconic visuals, inspiring textures and dense beautiful colour harmonies.
You see, to capture the zeitgeist in a fast swoosh of colour is a special phenomena – it strikes at the heart of an idea and starts creative juices flowing.
His work made its way into trend books, our magazines View on Colour and InView and countless other studies for our private clients. The only thing that outshone his art was his own gregarious character; making each of us feel like the most beautiful individual on earth, Michel-Ange was also famous for cooking for teams of 25 people during shoots, catering massive lunches and dinners by filling shopping carts until they overflowed with food and wine and stretching dining tables out the door.
With a heavy heart, we all remember those carefree creative days. Our crazy company has always been one big family and Michel-Ange was our archangel. The group exhibition showcases the work of 31 artists, who each metamorphose areas of the exhibition space.
A startling, and at times disconcerting odyssey into their newly transformed spheres results in a exploration of the depth within the viewers own head. Plunged from room to room into the psyche of the artists, both sensorial and emotional, to take us to the core of our being and challenge and explore this through the artists conception.
Throughout the journey, our interpretations of self and security are subverted and disturbed, and commonplace identified notions in our modern world become dubious. Perceptions about protection, shelter, refuge are called into question, when the safest place to be is standing outside the cabin, sheltered by only our flesh.
The transformation of Palais de Tokyo seeks to draw us inside the organism it has become, but also within our own psychology. It allows the art within to transcend objectivity boundaries and forces us to explore our innermost emotions, binding artist, viewer and gallery irretrievably in the memory.
Habibi Self Title Album Cover. It’s a shot of mind – opener. Crossing boundaries in art, fashion, beauty, lifestyle, food, thoughts, spirits, inspiration and more. Persiennes offers a journey in Iran, from flowers of Isfahan to fashion in Tehran.
A spiritual trip in the oldest civilization coming back on stage now. We will share on a regular base a curation of Persiennes. We are very excited about this cooperation.
Sharing is the new black! A complete and inspired artist. I started Habibi Means My love, in arabic in with my friend and guitarist, Lenny. We had a mutual love for music, specifically for the middle eastern psychedelic music of the 60s and 70s.
We both come from creative backgrounds and so playing together just happened naturally. Well I grew up first generation Iranian outside Detroit, Michigan, which is the birth place of Motown. So I think i am a composite of my lineage, my environment, and whatever i chose to expose myself to.
This translates musically, i love minor scales, I also love crystalline harmonies, and I love rock n roll. I think the music i write reflects all of that. What are your favorite aesthetics from Iran?
Thats hard to say, the aesthetics from Iran are all so rich. The islamic architecture built during the Safavid period: I visited these places in Isfahan as a child growing up, and they all have influenced my love and appreciation for art heavily.
My fathers lineage traces back to the Qashqai tribe outside Shiraz, they make the worlds most beautiful tribal rugs, and are known for their original colorful way of dress and jewelry.
Well Habibi is now on hiatus, but a couple months ago I started a new project Roya Means Dream in persian with Hamish Kilgour of The Clean and two other close friends, so i have really been enjoying creating in a different way, with different people.
But right now my main focus is writing and recording with Roya, my new band. You are a complete artist, tell us more about your drawings? Is it a new project? But my medium for art changes quite often, for the longest time i was making collages, then I started doing pen and ink drawings and then watercolors, then crayons, etc.
Most of my art is directly influenced by my iranian heritage, it all tends to speak to how I see myself as, who I see my people as, and the relationship between my western upbringing and my deeply rooted eastern ancestry.
Its very personal, like self reflection. Now, something we ask to all people we meet. A sort of tradition… Please give us your 3 favorite places in Tehran? Hafezieh – Persepolis – Naqshe Jahan Square.
Habibi, Rahill Jamalifard on the top right. On sunday the 25th of May the Dutch small town Boxtel transformed into an exhibition landscape with site specific work of 27 designers, artists and architects.
Curated by Jules van den Langenberg, Imperial architect for a day, these Local Heroes did not design to save the globe but use form and thinking to blow the dust of daily life in plain contexts.
Jules van den Langenberg: The public space is in desperate need of randomness. All for a one day exhibition. A one day exhibition, what does it mean to create that? From formulating a concept to fund raising, studio visits and defining commissions.
I wanted to create an alternative landscape, a momentum in daily life, which is why the one day exhibition format is interesting to me. The temporariness evoked generosity- and hospitality of volunteers, government and locals.
It also resulted in a challenging program of demands for participating artists, designers and architects. Besides that I started my own practice working on projects as designer, curator and exhibition maker.
Eager to expand the notion of curating and the exhibition as a medium. Could you elaborate on how you defined the selection of participants for this exhibition? Each location was mapped and in a very associative way existing works or specific work methods of artists, designers, architects and makers of all kinds came to mind.
Often right away, sometimes after studying the context or program of the location. The participants vary from local artists like Guus Voermans to internationally renowned designers such as Erik Kessels, who actually studied in Boxtel, to students of the local art school SintLucas but also many makers that have never heard of the village or its quirky whereabouts.
Ted Noten or Leon de Bruijne for instance? Each day thousands of pigs arrive in trucks and disappear into the factory. It was clear to me that Atelier Ted Noten, who have been using the pig in their oeuvre regularly, should participate on this specific location.
How did you pull this off organizational and financially? Charm, wit, and an ambitious plan? Who knows, but the whole thing would have not been possible without the support of many volunteers, three main sponsors and a handful of local companies that financed the new projects that were developed specially for the exhibition.
Local Heroes Wittlich would be interesting to realize by the end of Left – Buurtbus Tour. They have a large workshop in Montreuil, which doubles as a meeting place for a surprising bunch: Something is in the making there, something collective showing its face for the first time in the installations.
They are “marvels” or mirabilia, so appreciated in the sixteenth century, using heterogeneous materials and procedures to make them hold together: Enumerating the components, saying what is happening without describing its content.
Staying on the fringe of meaning. Just below the level of narrative. This economy serves an argument. It takes us with the necessary caution into the zone peopled with incommensurables, opened up by the tragic and obsessing event, which occurred in Japan in March What happened then is still happening now.
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