„Flow of Forms / Forms of Flow. Designgeschichten zwischen Afrika und Europa“ ist noch bis einschließlich Sonntag, den 12.3. an vier verschiedenen Orten in München zu sehen. Während der letzten Ausstellungstage gibt es Führungen durch die Kurator_innen:
Donnerstag, 09.03.
16.30 Museum Fünf Kontinente
17.30 Kunstraum
18.30 Galerie Karin Wimmer
19.00 Architekturmuseum
Samstag, 11.03.
15.00 Museum Fünf Kontinente
16.00 Kunstraum
16.00 Galerie Karin Wimmer
17.00 Architekturmuseum
Sonntag, 12.03.
13.00 Museum Fünf Kontinente
14.00 Kunstraum
15.00 Galerie Karin Wimmer
16.00 Architekturmuseum
FORMS OF PARTICIPATION / COOPERATION
at Kunstraum München
Forms of Cooperation/Participation directs its attention to the social and political dimension of form that results from collaborations, entanglements, exchange, and dialogue. Here we wish to examine the impact of artefacts and the effectiveness of the collective. We also ask whether artefacts enable an experience of the social or political dimensions. A workshop in Bamako, Mali (summer 2016) aims at critically reflecting on these different approaches with regard to ambivalences and potentialities.
With: Paolo Cascone, Matali Crasset & Bulawayo Home Industries, Cucula, Cheick Diallo, Front & Siyazama, Kër Thiossane
and
Karo Akpokiere: edition of three drawings from the Lagos Drawings series
Foto: Thomas Splett
FORMS OF COOPERATION/ PARTICIPATION
at Kunstraum München
Kunstraum München’s new Edition of works by Nigerian born artist Karo Akpokiere
Foto: Thomas Splett
FORMS OF SPECULATION / SPECULATIVE FORMS
and
TRANSFORM(N)ATION
at Architekturmuseum
With: Kossi Aguessy, Cladlight, Fundibots, Wanuri Kahiu, Markus Kayser, Lumkani, Michael MacGarry, Abu Bakarr Mansaray, Jean Katambayi Mukendi, Rethaka, Studio Sikoki, Jules Wokam, Kader Attia, Vincent Michéa, Studio Sikoki, Obiora Udechukwu
Foto: Thomas Splett
FORMS OF MODERNITY
at Museum Fünf Kontinente
Forms of Modernity examines the significance of foreign objects (in this case objects from Africa) for the quest of form in European modernity. In early 20th century’s products innumerable objects reveal the aesthetic adoption of non-Western design characteristics. The station ‘Forms of modernity’ looks at the influence of African objects on modern design.
With: Black Coffee, Formafantasma, Simone Post, Wendy Grossman, Sammlung Osthaus, Margaret Trowell
Foto: Thomas Splett
MATERIAL MORPHOSIS
at Galerie Karin Wimmer
Knitwear MaXhosa by Laduma and Xhosa pearl objects (Museum Fünf Kontinente)
With: Yinka Ilori, Emo de Medeiros, Eric van Hove, David Adjaye, Marjorie Wallace for Mutapo Pottery, Laduma Ngxokolo, Dokter and Misses, Fatimah Tuggar, Sonya Clark, Nora al-Badri & Jan Nikolai Nelles and Palash Singh for STEP/ The New Basket Workshop
Vielen Dank an die Süddeutsche Zeitung und Evelyn Vogel für die ausführliche Rezension zu „Flow of Forms/Forms of Flow“ vom 3. Februar 2017. Zum Artikel geht es hier.
Cheick Diallo, Table Caba, 2012, Metall und Nylonschnur.
One of the foundational premises of Cheick Diallo’s designs is the radically contemporary nature of his creations. He rejects products which are anecdotally or nostalgically based on stereotypical “signs of the African”.
Born 1960 in Mali and trained as an architect and industrial designer in the 1990s in France, in 1997 he founded Diallo Design and in 2004 the African Designers Association. His furniture and objects, which can be found in numerous international collections, often have their point of origin in the long-established and day-to-day trades of West African cities, especially Bamako: these trades encompass silver forgery, tannery, weaving, textile dyeing, and scrap metal processing. With the aim to productively juxtapose these different trades, his designs disrupt the boundaries of traditionally separate métiers: for his chairs and side tables he transfers techniques used for dyeing textiles to leather, and mixes them with the tréssage method; his cutlery series follows from a collaboration between Tuareg silver smiths and ivory carvers.
Post-Vlisco is a series of interior products designed by Rotterdam designer Simone Post. With a firm belief in the “beauty of waste” she upcycles misprints from Dutch textile company Vlisco– commonly known for their wax-coated textiles popular in central and west Africa – and turned them into a range of seat covers, panels and an accompanying book. In the following interview Post gave us insights about her design approach, Post-Vlisco’s complex production process and upcoming projects.
