The Cabinetmakers’ Autumn Exhibition

The nomadic Cabinetmakers’ Autumn Exhibition or S.E (short for Snedkernas Efterårsudstillning) has this year taken up residency at KADK (The Royal Danish Academy of Fine Arts Schools of Architecture, Design and Conservation) with 34 prototypes on display. As usual there is a theme, and the pieces on display presents variations and interoperation on this theme. This year’s theme: textility.

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Superkink is Berlin studio Osko+Deichmann‘s unconventional take on the archetypical tubular steel chair as it was conceived by Marcel Breuer and/or Mart Stam. Unlike its predecessors Superkink has a folded, or kinked, rather than a bent tubular steel frame, giving the chair an almost origami-like, fragile appearance.

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Future Strategies

During the past years we visited a number of exhibitions that in different capacities presented ideas and speculations on the future.In Panorama Konstantin Grcic draws from his own works, Sense No-sense examine recent Dutch design experience and technology and The Fab Mind consider design approaches to social issues. Closer to home, curator Petra Lilja departed from recent resurrection of craft for The Future is Handmade, outlining the current state of craft-oriented design and studio production. It’s a diverse collection of obejcts ranging from more traditional craft (Carsten Nilsson) to conceptual projects (Studio Formafanstasma) using newly developed manufacturing methods (Staffan Holm).

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rAndom International, Studies in Motion

Studies in Motion at Lunds Konsthall is the first exhibition of rAndom International’s work in Sweden and it is also the first time showing the newly commissioned work What It Isn’tFounded in London in 2005 by Stuart Wood, Florian Ortkrass and Hannes Hoch rAndom International has become known for technically complex and interactive installations, notably the immensely popular installations of Rain Room at Barbican (2012) and later at MoMA (2013). The exhibition at Lunds Konsthall contains three works; Self-Portrait (2010), Future self (2012) and What It Isn’t (2014), three very different installations that never the less presents variations on similar intertwining themes.

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