Adorno presents “Crossovers” at London Design Fair 2019. The exhibition will present dynamic works by independent designers working in the intersection of design, art, and crafts from a selection of local design scenes celebrating the designers and communities playing a vital role in maintaining and renewing today’s design and crafts culture.
The show will highlight the aesthetic traits and beauty of each scene, facilitating a cross-cultural dialogue – a dialogue that takes its departure from design, but evolves to further cultural and societal issues.
London Design Fair
Curators from more than 10 design communities have been invited to present collections at Crossovers 2019, including Finland, Curated by Sebastian Jansson. Norway, Curated by Kråkvik & D’Orazio. Sweden, Curated by Paola Bjaringer. Iceland, Curated by Hlín Helga Guðlaugsdóttir & María Kristín Jónsdóttir. Denmark, Curated by Pil Bredahl. Mexico, Curated by Ana Elena Mallet & Pilar Obeso. Belgium, Curated by Elien Haentjens. The Netherlands, Curated by Jorn Konijn. Turkey, Curated by Gökhan Karakuş. Switzerland, Curated by Davide Fornari.
Åsa Jungnelius, “Candelabra”.
Sweden – Curated by Paola Bjaringer
Anatomy and its social implications are not necessarily the most common subject matter and influences when it comes to interior and product design. What may first come to mind would be the gilded marble sculptures and embellishments typical of the Victorian era, roman revival works, but this is not what you will get with the works of Swedish designer Åsa Jungnelius. Multicolored, blown-glass, wall mounted candlestick holders complete with florescent pubic hair brings a light air to the more serious political and social subject matter, this intersectionality of her works acts as the perfect commentary for the time in which we live.
Henrik Ødegaard, “Slurp”.
Norway- Curated by Kråkvik & D’Orazio
The beauty of interior spaces is created equally from the physical objects that inhabit it, but also from the empty space that exists between the objects. Norwegian designer, Henrik Ødegaard, explores this idea within the individual pieces, using only materials that were already at his disposal, Ødegaard did not acquire any new materials to create his works. The resulting negative spaces in Slurp, were dictated from the wood’s natural knots and weaknesses, letting the material truly dictate the final form and tell a unique story of its own. Ødegaard has been trained both in graphic design and in architecture, this knowledge constructs a world of objects with a robust presence and string graphic quality. Photo: Rumi Baumann
Ana Kraitz, Porcelain Vessel.
Sweden – Curated by Paola Bjaringer
Designers can be constricted by or bound to limitations of categorization with the realms of product design and more “fine” arts. Swedish designer, Anna Kraitz uses these restrictions as inspiration, having made the gradual shift from an arts-based education to a design based one. The harsh strapping, forces of tightly bound leather belts are employed by Kraitz to create shape and form to contrasting delicate materials, such as fine porcelain vases and luxurious sofas. Kraitz began using the belts after an observation about how her belt gives her shape and form, then building upon this idea of her role as an artist gifting her a sense of control in this turbulent world.
Laura Noriega, “Your Skin”.
Mexico – Curated by Ana Elena Mallet & Pilar Obeso
What makes design one the most approachable and tactile forms art? Many could argue it is touch, that you are in fact often encouraged to interact with design works and take them in with that most intimate of senses. Mexican designer, Laura Noriega, has chosen to magnify this welcoming feeling of her art form in the “Your Skin” easy chair. Inspired from her own sensorial memories, the chair holds memories of its own, in that the inviting Oaxacan Handwoven textile is made from recycled plastic and cotton. Noriega’s work and practice stand as a vital promotion of Mexican design across the globe, placing key importance on Mexico’s unique traditional craft techniques and local production as a means of achieving social and economic progress.
Stine Mikkelsen, “Luminous Shapes”.
Denmark – Curated by Pil Bredahl
Luminous Shapes by Danish Product Designer, Stine Mikkelsen, deliberately challenges and questions the defining element of product design, function. By placing sculpting as the primary step in the design process, familiarity is left behind and the new objects are meant to have people question their understanding of experimental product design. With a background in textile design a strong tactile quality caries throughout all her pieces no matter the material.
Josefina Muñoz, “Game of stone”.
Switzerland – Curated by Davide Fornari
Geneva-based Argentine designer, Josefina Muñoz takes a macro perspective to the world of contemporary design and the influential sometimes seemingly distant factors that determine the industry’s course. With a training in Design for Luxury and Craftsmanship, Muñoz design with a keen sense of underlying meanings and symbolism that go hand in with quality. In her work for Pietre Trovanti, the circular forms while embodying a soothing visual precision synonymous with Swiss design also tell the story of the circular economy. The uneven blocks of marble from which the objects have emerged has been pushed to limits to maximize the use of this material during every stage of development.
Feyza Koksal Kemahlioglu, table lamp.
Turkey – Curated by Gökhan Karakuş
Using both a material and visual language that is deeply rooted in her Turkish background, Feyza Koksal, pays tribute to tradition while employing a signature, gleamingly cosmic style that results in objects originating from an interstellar Byzantium. Koksal’s works display an interdisciplinary mastery and understanding of craft’s history and its place in the contemporary design world. A diverse educational training focusing on glassblowing, art, architecture, and woodworking contributes to the incredible range of objects she creates. Her table lamp, for example, is created out of meerschaum, a clay originating from Eastern Turkey, and glass bulb with gold leaf incorporated into the glass blowing process.