benandsebastian Thomas Bentzen Louise Campbell Line Depping Anne Fabricius Møller GamFratesi Peter Johansen Kaori Juzu Jakob Jørgensen Christina Liljenberg Halstrøm Eske Rex Louise Sass Bente Skjøttgaard Anne Tophøj Tora Urup Henrik Vibskov
Foreword Uffe ElbĂŚk The Danish Minister for Culture
The economic crisis continues to pose considerable challenges on every level in society, but the crisis also holds the potential for creativity and inventiveness to thrive and lead to growth and progress. In the cultural sector, Denmark has a large creative resource and talent base that can make a real difference, especially in times like these. Not least in the field of craft and design, where the process of form-giving and making contributes to innovation and new products. It is crucial for the considerable talent base in Danish art and culture to enter the international scene and meet inspiring international peers. In this encounter, Danish artists can draw inspiration from international trends, and in turn Denmark can contribute with the creative strengths that Danish artists bring with them. For Danish craft and design it is also essential that the highly competent practitioners connect with international companies and reach an international audience with an interest in design. It can be difficult for individual practitioners to succeed in the international marketplace. Danish Crafts’ exhibitions and general platform enable the individual designer or maker to break through internationally. And here, Milan offers a unique opportunity for showcasing Danish craft and design and demonstrating how much it has to offer. Danish craft and design is rooted in a strong tradition, and it is important to bring the Danish design competences into play in an international context to allow the strengths of the field to contribute to renewed optimism, development and innovation. It is therefore my great pleasure to welcome you to MINDCRAFT12, which emanates experimental practice and international perspective based on the acclaimed qualities of Danish design.
Thinking Through Making Birgitte Jahn CEO, Danish Crafts
The younger generations of Danish craftspeople and designers are rooted in a tradition, a certain mindset that has always characterized Danish design. This is the mindset that Danish Crafts sets out to explore with MINDCRAFT – an exhibition concept with varying participants and externally appointed curators that presents some of the finest contemporary Danish craft and design. MINDCRAFT was first launched at the 2008 Fuori Salone in Milan. The word MINDCRAFT refers to the cross-field that emerges in the creative process as an idea becomes a tangible work. Designers and craftspeople encounter many new discoveries and insights when they immerse themselves in the material. That’s thinking through making. It has become a very experimental exhibition within the framework of a precise and structured concept. We walk the plank and highlight the competences that are present in Danish design and craft right now. We showcase some of the leading designers in Denmark as well as new upcoming designers with a convincing potential. It can be difficult for the individual craftsperson or designer to succeed in the international marketplace, therefore MINDCRAFT is an important platform for the Danish designers The approach in MINDCRAFT has never been exclusively experimental. It is also commercial. Some of the prototypes that were previously part of MINDCRAFT have subsequently been put into production. Craft is basic research in relation to design. The qualities of craft have a crucial impact on the conception and development of new products today and creativity is essential, also for society at large. Craftspeople represent the powerful creative driving force that forms the basis for any product.
Insisting on Quality Interview with Cecilie Manz Curator
Cecilie Manz (b. 1972) belongs to the new generation of Danish 足designers that has both a free, experimental approach and an 足industrial approach to design. Her design idiom is clear and straight足forward, as evident in the furniture designs Pluralis and Essay and the lighting series Caravaggio. She works with Fritz Hansen, Lightyears, Nils Holger Moormann and Bang & Olufsen, among others. Cecilie Manz graduated from The Danish Design School (now the Royal Danish Academy of Fine Arts, School of Design) in 1997 and also studied at the University of Art and Design in Helsinki.
Three concepts. According to designer and curator Cecilie Manz, the work with design and craft can be anchored in three concepts: function, material properties and quality. These are the three concepts that guide her own work – and which guided her selection of the craftspeople and designers included in this year’s MINDCRAFT exhibition in Milan. “In the media, the emphasis is often on trends and style, but I don’t think that is reflective of the approach that most of us take to our profession. Design is about function and materials, among other factors. Therefore one examines the functional aspects of an object, asks questions and attempts to find the most appropriate material and the best technical solution to the problem. That’s working from the inside out. Later, one arrives at form,” says Cecilie Manz. The works on display this year show great diversity. Designers and craftspeople work with very different materials – and in very different expressions. Still, there is one common denominator for the 18 designers and craftspeople who are represented in this year’s exhibition: their approach to the design process. “Ceramist Anne Tophøj exemplifies that approach. This year, she presents a table service that is the result of many immersions in and experiments with ceramic techniques – and probably also many rejected ideas. She masters her craft, and that mastery enables her to challenge it. The service does not look the way it does simply because that might be pretty. It is a result of the creative process; there is a congruity between the way it was created and what you see. It forms a coherent story,” says Cecilie Manz. Cecilie Manz was already familiar with most of the makers, except for the Danish-Japanese jewellery designer Kaori Juzu, whom she came across by coincidence. “I have rarely been so convinced as when I saw her works. Yes! That’s it! It hit me right away. It’s hard to put into words what it was that hit me, exactly. Normally, perhaps, one would not exhibit jewellery at a furniture fair. But she was included for her approach to her materials. Now her works have become pieces in the puzzle that the exhibition also is,” says Cecilie Manz. Cecilie Manz presented each of the exhibiting designers and makers with a challenge. Anne Tophøj’s challenge was, ‘Explore a technique, a table service’; Kaori Juzu’s was ‘A composition of enamel brooches, material properties’; and Eske Rex’ was ‘Gravity, motion, tensioned between two points in space’. The latter challenge sprang directly from the exhibition space in Ventura Lambrate in north-eastern Milan. “Eske Rex’ work is anchored in physics, but it is also highly poetic. A length of string has been suspended between two points on the walls, but it is only attached to one of the walls. At the other end is a beautifully turned funnel with a magnet that reaches ‘hungrily’ for a piece of iron mounted on the wall.
Here one might ask where the functional quality lies. It’s not like a handle on a cup or an armrest on a chair. But what will happen if the magnet loses its capacity to maintain the tension? That offers a different perspective on function. Looking at the work offers a narrative and an experience,” says Cecilie Manz. The Danish fashion designer Henrik Vibskov has not previously taken part in the MINDCRAFT exhibition, but this year he contributes with a rattan and leather rucksack with a built-in tuxedo. Furniture designer Jakob Jørgensen is represented in the exhibition with a piece of furniture proposing a novel way of storing books, where each book is suspended on a thin, flat stick that is placed in a wall-mounted rack. That is a piece of furniture that could easily be put into production. As could the stacking chair created by the Danish-Italian designer couple GamFratesi. But the purpose of the exhibition is not exclusively commercial. “It’s also about demonstrating how the working process is reflected in the resulting works. It highlights the designers’ widely different perspectives and motivations for the projects. Their insistence on quality,” says Cecilie Manz.
benandsebastian Thomas Bentzen Louise Campbell Line Depping Anne Fabricius Møller GamFratesi Peter Johansen Kaori Juzu Jakob Jørgensen Christina Liljenberg Halstrøm Eske Rex Louise Sass Bente Skjøttgaard Anne Tophøj Tora Urup Henrik Vibskov
benandsebastian
The Dandies
Architects and artists
“The dandy [is] an actor playing himself […] He observes his image in order to modify it.” Sabine Melchior-Bonnet The Dandies are optical mirrors The Dandies are material mirrors The Dandies are conceptual mirrors The Dandies form a reflective and protective carapace. From within they present an amplified and intensified self-image, whilst from without they fragment and disperse the viewer’s presence. Combining the lowtech, homely handicraft of tiffany lamp making with the institutional aesthetics of one-way mirror glass, ‘The Dandies’ point to the doubleness involved in the construction of identity. We work on the borderline between design, art and architecture. As such, we were interested here in creating a project that operates at several levels simultaneously: as a design object, as an image, and as a spatial installation that reflects, distorts and reshapes its context. Our work evolves through a process of serious play, we tackle our interests head on, and we are not afraid to explore the dysfunctional and the unfashionable.
Materials Spy glass Dimensions ⌀ 100 cm x D 50 cm Made by benandsebastian
benandsebastian – The Dandies
Thomas Bentzen – ASH
Thomas Bentzen
ASH
Industrial designer
ASH is a personal, nerdy experiment, where I have attempted to minimise the use of materials and tools in order to test the boundaries and determine exactly how light a wooden chair can be without losing its carrying capacity. The chair is a classic piece of joinery, where the seat and back have been produced in the lightest, thinnest veneer possible. Instead of moulding the chair I bent the seat and back by hand and glued them onto the frame. The solid ash wood frame of the chair is doweled together.
Materials Ash wood, veneer Dimensions H 73 x W 54 x D 51 cm Made by Thomas Bentzen
Louise Campbell
Papercuts
Designer
Sometimes it is worthwhile to stop up and take a close look at a project at an earlier stage than originally planned. I had intended for these lamps to be made in laser cut steel and textile, but during the process of model making, the many delicate qualities of the paper at hand outshone my original intensions. Commercially, paper for this project is far from ideal. It offers too many practical problems. Cleaning, for one. But look at the light and the shadows. Because the material is delicate, so is the light. For MINDCRAFT, where fragility is permitted, I have therefore decided to let them be at this stage of innocence. I work in any material that makes sense in a given situation and which offers form-related possibilities and challenges. Every project should offer new, relevant challenges, and I have gradually come to acknowledge my tendency to always follow the line of most resistance.
Material Paper Dimensions Various Hand made by Louise Campbell in c  ooperation with Louis Poulsen Lighting
Louise Campbell – Papercuts
Line Depping – Hook
Line Depping
Hook
Furniture designer
Hook is a coat hook that lets the user casually drop off a jacket or place a hanger with freshly ironed clothes. With its simple expression, Hook is designed to accommodate both order and chaos. The point of departure for my work is function and use. My idiom is simple, and form is determined by function. With regard to function I also seek to make room for disorder, as I strive for a simple, functional expression that will also accommodate the messier, more chaotic aspects of life. I mainly work in wood, often precious timbers, and often in combination with other materials. I like to mix different materials and create a field of tension between their different textural qualities.
Material Pre-compressed wood Sponsored by Davinde SavvĂŚrk Dimensions H 26 x L 21 x D 15 and H 26 x L 47 x D 15 cm Made by Line Depping
Anne Fabricius Møller
In Your Big Sunny Window
Textile printer/ textile designer
The work is a 30-metre length of dyed textile that has been folded up like a rolled joint with parallel curvy lines and pattern structures that resemble a landscape with the displacements that occur when too much fabric is crammed into a small space, rolled up and placed in a large, closed transparent acrylic case. The work is art-in-progress; it develops constantly in interaction with the external influences of time and light. The fabric will continue to fade in the folds where it is exposed to light. My work engages the recipient, who decides whether – and if so, when – the case should be prised open, and thus how much the fabric should be allowed to fade. I think 12 years would be optimal.
Materials Dyed linen/cotton, cotton thread, polyester thread and acrylic case Dimensions box: 8 x 70 x 90 cm prior to folding: fabric approx. 1.5 x 30 m Made by Anne Fabricius Møller
Anne Fabricius Møller – In Your Big Sunny Window
GamFratesi – Beetle Chair
GamFratesi
Beetle Chair
Furniture designers, architects maa
The design is inspired by the aesthetic and anatomy of the beetle insect with its characteristic body shell, reinterpreted as a comfortable and functional chair with a hard exterior and a soft interior. The dynamic ability of the insect in space, is developed through a four-legged chair on castors. The chair is stackable and flexible suited for informal meetings, allowing mobility around the table and being flexible and spontaneous in the workspace. Â We spend countless hours experimenting in workshops and constantly work hands-on with the projects and materials. We place great emphasis on understanding all the processes and techniques fully, just as one has to understand tradition in order to be able to move on and build on it. Our works often revolve around contrasts, and we take a stringent approach in exploring the borderland between harmony and disharmony in the form of materials, proportions and technologies. Based on a shared profound respect for the classic Danish furniture tradition and craftsmanship and equal fascination with the classic Italian intellectual and conceptual approach, our two cultures continually inspire and motivate our work.
Materials Upholstery, textile and metal Sponsored by Kvadrat Dimensions L 52 x D 58 x H 90 cm Made by GamFratesi Produced at the Danish Art Workshops
Peter Johansen
All Good Things Come in Threes
Designer
The inspiration for the nested tables came from the fairytale about Goldilocks and the three bears. I transferred the differences between the three bears to the tables. This gives them uniquely individual expressions, but they still match each other, and as an added little detail the tables can be hung up one under the other. This sets the tables apart from other sets of nested tables, which typically have the same form and are simply made in different scales. I mainly work in classic materials such as wood, metal and textile, but I take a broad interest in materials. Everyday life is a good source of inspiration, so I keep my eyes and ears open and try to convert my impressions to simple, cheerful furniture.
Material Danish ash wood Dimensions H 60 x W 55 x D 40 cm Made by Peter Johansen
Peter Johansen – All Good Things Come in Threes
Kaori Juzu – Field of Interference
Kaori Juzu
Field of Interference
Jewellery artist
Field of Interference is a composition of unique brooches. To me, the creation of a composition is a completely open process where shapes, colours and sizes meet, interact and affect each other. Each brooch leads to a new brooch. Hand, metal and enamel are in a constant dialogue until the point where all doubt has been eliminated. I hope that people experiencing the composition become part of the field of interference that arises among the jewellery pieces. With forging and repoussé work I feel the material and aim to transform that feeling into a form. By applying multiple layers of enamel I seek to enhance the expression, not solely in order to create something different but to add depth to the form. The layers of colour are built up in an intensive process until a moment is reached that evokes an expression of the moon gleaming on water – soft lifting, serene, subdued, yet strong, intimate enough to have inherited a life as well as a form. Form and surface melt together – no longer me but a storyteller.
Materials Enamel, copper, gold, silver, stainless steel Made by Kaori Juzu
Jakob Jørgensen
Poet’s Book Hanger
Furniture designer
Poet’s Book Hanger is a playful experiment with the storage of books. I aim to create a new approach to book storage that is different from the classic bookcase. The work therefore consists of multiple book sticks that can be used both as bookmarks and for ‘hanging’ the books on the wall. I strive to achieve a sculptural expression in a functional object. In several of my projects I have used small recurring identical elements in an attempt to create a more complex sculptural expression. With my furniture I aim to express the same depth in a design, that serves as an utilitarian object in everyday life, as in a work of art, which typically has a different meaning.
Material Ash wood Dimensions Two sizes: 10 x 140 cm and 10 x 65 cm Made by Jakob Jørgensen
Jakob Jørgensen – Poet’s Book Hanger
Christina Liljenberg Halstrøm – Georg
Christina Liljenberg Halstrøm
Georg
Furniture designer
Georg is a small stool where everything is visible, and everything has a purpose. The decorative elements have emerged as a result of practical functions. The leather lace, for example, plays an important role in keeping the cushion in place, but it also has a significant impact on the visual expression of the stool. The stool was named after my oldest son, who spends many hours with me in the workshop and offers many useful comments. I mainly work with wood and wool. In my process I always seek to preserve the function of the furniture while eliminating all superfluous features. I am fascinated with and love to explore the inherent properties of materials, which add life to my creative process and the expression of the furniture in its finished state. The result is minimalistic but still aesthetically challenging and sensuously inviting.
Materials Ash wood, wool and kapok, leather lace Wool sponsored by Kvadrat Dimensions Approx. H 48 cm x W 47 cm x ⌀ 31 cm Made by Christina Liljenberg Halstrøm and Simon Hofer
Eske Rex
Space Meter
Designer
Space Meter is an instrument that spans and measures the space between two positions in the showroom. The key to this project lies in the in-between. Both the immediate space between the two exhibition walls and a more subtle in-between-space that occur in a magnetic field: A string is stretched by magnetic force, but is at the same time held back by its length – precisely so that the magnet and the wall do not touch each other. At the end of the string is a turned-wood funnel. The funnel “floats” in space a few millimetres from the opposite wall. This creates an intense field of tension where gravity seems overruled. The work springs from my exploration of the ability of magnets to float, carried by their own pull. The projects spring from a fascination of a natural phenomenon. My ideas are characterized by being minimal playful interventions, which examine various factors like time, force, gravity and their spatial potential. I typically work in wood and metal in which I design and construct machines that measure and span surfaces and spaces.
Materials String, wood, magnets. Dimensions Variable, approx. 500 x 15 x 15 cm Made by Eske Rex, produced at the Danish Arts Workshops.
Eske Rex – Space Meter
Louise Sass – Pink Elephants & In the Dark
Louise Sass
Pink Elephants & In the Dark
Textile and visual artist
Pink Elephants and In the Dark are two handprinted one-off textile friezes. These works are based on an investigation of pure spectral colours, that I have developed into a systematic colour alphabet. The basic principle is a colour scale featuring the three primary colours. I use overprint technique, applying colour in overlapping layers of pure red, yellow and blue, printed directly onto the fabric. In some of my other textile prints I utilise a broader palette – investigating effects of light and colour by layering primary colours with varying concentrations of black. Applying several rounds of colour imbues the textile with vibrant, intense colour effects. The textile works are based on a combination of intuition, chemistry and craftsmanship.
Materials Reactive dye, cotton Dimensions 72 x 62 cm and 94 x 87 cm Made by Louise Sass
Bente Skjøttgaard
Frieze P7
Ceramist
A decorative frieze with a contemporary ornamentation: the imprint of a Pirelli P7 tyre on my own car. A contemporary imprint that is at once personal and highly recognisable. The P7 tyre track forms a beautiful relief in the clay. It is almost like an intervention when the clay is subjected to being run over by a car. But Frieze P7 is not a severe and expressive piece; instead it seeks to encourage quiet reflection. The basic elements in my work are the materials: clay and glaze. I enjoy engaging in expressive ceramic experiments that test the boundaries of material and form. I often take my point of departure in nature’s principles and regularities of form. This results in strange inscrutable sculptural growths and large wild and amorphous nature abstractions that may be both lush and melancholic with an expression of beauty in both growth and decay.
Materials Stoneware with glaze Dimensions Approx. L 175 x 40 x 5 cm; Weight approx. 50 kg Made by Bente Skjøttgaard, produced at Tommerup Keramiske Værksted.
Bente Skjøttgaard – Frieze P7
Anne Tophøj – Fictile 12.1
Anne Tophøj
Fictile 12.1
Ceramic designer
Fictile 12.1 is a breakfast set or collection of breakfast ‘utensils’. The different colours, qualities and treatments reflect my goal of adding a new sensuous dimension to breakfast. So although ‘Fictile’ simply means ‘shaped in clay’, Fictile 12.1 expresses my fascination with and inspiration from the many different materials and techniques. In this case I use the techniques of pressing, jiggering and casting. The goal is to define a playing field with a few key players – to create an open space with a wide framework that is open to interpretation and further development. My main goal is to explore combinations and juxtapositions of different materials and techniques in order to examine how they supplement, contrast and affect each other and make things happen that go beyond what the individual components contain and represent. It is essential for me not to have full control over the material and the process; they should be allowed to have a life of their own and to influence the outcome in combination with a certain random element. I see my role as the initiator of a process which then runs its course. The outcome should only reflect materials, tools and process and the random occurrences that may arise.
Materials Stoneware, porcelain and glacing Dimensions Cup ⌀ 10 cm Bowl ⌀ 15 cm Plate ⌀ 20 cm Made by Anne Tophøj
Tora Urup
Tumblers & Plates
Glass and ceramic designer
The glasses are made in thick clear glass, the plates in clear and opaline coloured glass. The pieces are made in a centrifugal process, where the glass is spun into shape. This technique produces an expression where the thick glass takes on a round and optical character. The optical effect is apparent when colours are reflected in the clear glass. The round character is accentuated by the rounded rim of the tumbler, which is soft and pleasant to drink from; a detail that is a natural result of the production process. With this series, my aim is to create glasses and plates with a design that enhances the experience of the material and that inspires and invites to serving and enjoying food and drink. To me there is a challenge in exploring the classic everyday utilitarian objects such as the beaker, the bowl and the plate. My curiosity is sparked by the process of achieving maximum effect by few and simple means and by the resulting visual and sensuous experience. A particular characteristic of my works is a precise and simple expression with a built-in complexity.
Materials Clear and opaline glass Dimensions Tumblers ⌀ 6-10 cm Plates ⌀ 19.5-33 cm Made by Tora Urup
Tora Urup – Tumblers & Plates
Henrik Vibskov – Suitnest Dinner
Henrik Vibskov
Suitnest Dinner
Designer
Suitnest Dinner is the ultimate picnic basket with a built-in shirt and jacket and room for food and utensils. A nest for a shirt, jacket, food and tableware made in leather, rattan and cotton, that leaves you ready to dress up once you reach your destination. I mainly work with fashion, but I do not like being restricted, so I enjoy trying my hand at design, art and music whenever I get the chance. I work with multiple visions which can be expressed in a v ariety of ways. The key point for me is to try new avenues, dare to make mistakes and avoid being p igeon-holed or locked into a particular role.
Materials Rattan, leather, cotton Dimensions H 50 x W 45 x D 40 cm Made by Henrik Vibskov
Artists index
Education The Danish Design School (now The Royal Danish Academy of Fine Arts – The School of Design), Copenhagen
Education
Ben Clement: Bartlett School of Architecture, UCL, London University of Cambridge
Politiken’s Talent Award Walk the Plank Award Three-year working grant from the Danish Arts Foundation
Grants and honours
Phantom Limbs, Designmuseum Danmark, Copenhagen MINDCRAFT11, Fuori Salone, Milan Cabinetmakers’ Autumn Exhibition, Copenhagen/Tokyo/London Torvet, Museum of Contemporary Art, Roskilde Solo Show, Bendixen Contemporary Art, Copenhagen
Exhibitions
Danish Arts Foundation Danmarks Nationalbank’s Anniversary Foundation
Grants and honours
MINDCRAFT11, Fuori Salone, Milan Cabinetmakers’ Autumn Exhibition, Copenhagen/Tokyo/London Made in Denmark, London
Exhibitions
HAY Muuto Royal Copenhagen Norman Copenhagen
Clients
Industrial designer b. 1969 www.thomasbentzen.com
Architects and artists b. 1981 & 1980 www.benandsebastian.com
Sebastian La Cour: Bartlett School of Architecture, UCL, London The Royal Danish Academy of Fine Arts – The School of Architecture, Copenhagen
Thomas Bentzen
benandsebastian
MoMA, New York Cooper-Hewitt, New York Die Neue Sammlung, Munich Design Museum, Helsinki Montreal Museum of Fine Arts Philadelphia Museum of Art Dallas Museum of Art Musée National d’Art Moderne, Centre Pompidou, Paris Trapholt, Kolding Designmuseum Danmark, Copenhagen
London College of Furniture, London The Danish Design School (now The Royal Danish Academy of Fine Arts – The School of Design), Copenhagen
MINDCRAFT09, Fuori Salone, Milan One Woman Show, Maison du Danemark, Paris MINDCRAFT08, Fuori Salone, Milan/London Blah, blah, blah, Gl. Strand, Copenhagen Waiting Rooms, Trapholt, Kolding
Exhibitions
Zanotta Stelton Erik Jørgensen Hansen & Sørensen Louis Poulsen Lighting Royal Copenhagen Holmegaard Muuto Kähler HAY Martha & Paul René Gauguin Foundation Bruno Mathsson Award
Grants and honours
Education
Representation
Education
Clients
Furniture designer b. 1978 www.linedepping.dk
Designer b. 1970 www.louisecampbell.com
Bodum Design Award Working grant from the Danish Arts Foundation
Danish Arts Foundation, interior design assignment for Danish Crafts with textile designer Ida Anesdatter Schmidt
Grants and honours
Wood Couture, Galerie Maria Wettergren, Paris Bodum Design Award, Louisiana Mueum of Modern Art, Humlebæk Cabinetmakers’ Autumn Exhibition, Copenhagen/Tokyo/London MINDCRAFT11, Fuori Salone, Milan
Exhibitions
The Danish Design School (now The Royal Danish Academy of Fine Arts – The School of Design), Copenhagen
Line Depping
Louise Campbell
Three-year working grant from the Danish Arts Foundation Honorary grant from Kunstforeningen af 14. august The Craft and Design Biennale Prize
The School of Decorative Art (now The Royal Danish Academy of Fine Arts – The School of Design), Copenhagen
VEJ & PARK, Bagsværd Church gallery European Design Since 1985, Indianapolis Museum of Art ‘PRINTPLANT’, Galleri Køppe, Copenhagen
Exhibitions
KVADRAT A/S Galleri Køppe Design group OCTO Indianapolis Museum of Art, USA Designmuseum Danmark, Copenhagen Faculty of Theology, University of Copenhagen
Representation
Education
Grants and honours
Education
Clients
Furniture designers, architects maa b.1975 & 1978 www.gamfratesi.com
Textile printer/textile designer b. 1959 www.aaa-fff-mmm.dk
Walk the Plank Award The Danish Arts Foundation, work grant Danmarks Nationalbank’s Anniversary Foundation of 1968
Grants and honours
MINDCRAFT11, Fuori Salone, Milan Designmuseum Danmark, Copenhagen Trapholt, Kolding
Exhibitions
Ligne Roset Swedese Gubi Fredericia Furniture
Clients
Enrico Fratesi University of Ferrara University of Florence KTH Stockholm School of Architecture in Aarhus
Stine Gam School of Architecture in Aarhus University of Ferrara
GamFratesi
Anne Fabricius Møller
Education Goldsmith
Education
The Danish Design School (now The Royal Danish Academy of Fine Arts – The School of Design), Copenhagen
Danish Arts Foundation
Grants and honours
HAY Normann Copenhagen
Clients
Exhibition architect, Cabinetmakers’ Autumn Exhibition, Copenhagen Danish Crafts Collection 15, Maison&Objet, Paris Cabinetmakers’ Autumn Exhibition, Copenhagen/Tokyo/London Salone del mobile, Milan Stockholm Furniture Fair Honey I’m home, Copenhagen Design of the café DANSK in cooperation with REMOVE at the Danish Design Centre, Copenhagen
Exhibitions
Jewellery artist b. 1978 www.klenodie.dk
Designer b. 1977 www.peterjohansen0501.dk
Designmuseum Danmark Museet på Koldinghus Danish Arts Foundation
Representations
Enamel – A Renaissance, Galerie Handwerk, Munich Surface and substance, CAA, London The Cominelli Foundation Award, Palazzo Cominelli, Italy TOUT CE QUI BRILLE, World Crafts Council-BF, Mons Biennale for Crafts and Design 2011, Museet på Koldinghus, Kolding Between East and West, Studio GR.20, Padua
Exhibitions
Kaori Juzu
Peter Johansen
Galerie Slavik, Vienna Goldfingers, Copenhagen
Galleries
Nominated for the Biennale Prize Hetsch Medal of 1879 Working grant from the Danish Arts Foundation International Enamel Art Biennale, Vilnius Silver medal from Vilnius Magistrate
Grants and honours
Education The Danish Design School (now The Royal Danish Academy of Fine Arts – The School of Design), Copenhagen Exhibitions Talking Textiles, Li Edelkoort Exhibitions, Milan/Stockholm Biennale for Crafts and Design, Kolding Exhibition architect, Cabinetmakers’ Autumn Exhibition, Copenhagen Curator for Designers Investigating, Copenhagen
Education
The Danish Design School (now The Royal Danish Academy of Fine Arts – The School of Design), Copenhagen
Exhibitions
Bodum Design Award, Louisiana Museum of Modern Art, Humlebæk Wood Couture, Galerie Maria Wettergren, Paris IFDA Japan
Wallpaper* Design Award Bodum Design Award
Working grant from the Danish Arts Foundation Danish Arts Foundation, award for the furniture piece Gym de Luxe Danish Arts Foundation, award for the exhibition Designers Investigating
Grants and honours
Trip Trap Denmark Arturo Alvaréz
Clients
Furniture designer b. 1977 www.christinaliljenberghalstrom.com
Furniture designer b. 1977 www.jjoergensen.dk
Grants and honours
Christina Liljenberg Halstrøm
Jakob Jørgensen
Louise Sass – Gennem Skyggen ind i Lyset (Through the Shadow into the Light), Design Museum Danmark, Copenhagen MINDCRAFT11, Fuori Salone, Milan The best from 100 years – 100 donations from the Friends of the Danish Museum of Art & Design 1910-2010, Design Museum Danmark, Copenhagen Gallery Inger Molin, Stockholm Kompositioner (Compositions), Danish Design Centre, Copenhagen Louise Sass, Röhsska Museum, Gothenburg
Travel grant, Danish Arts Foundation Working grant, Danish Arts Foundation Working/travel grant, Danish Arts Foundation
Grants and honours
O’Clock, Triennale Design Museum, Milan KE11, Danish Artists’ Autumn Exhibition, Copenhagen MINDCRAFT11, Fuori Salone, Milan Designers Investigating, Copenhagen Jeppe Hein Empfiehlt: Vorschub, Berlin
Designmuseum Danmark Röhsska Museum, Gothenburg The Stockholm Arts Council: Stockholm City Library & Site specific work, Serafen Supportive housing complex in Stockholm The Swedish Art Board: Embassy of Sweden in Cuba, Havana The Danish Arts Foundation
Representation
The School of Interior Design (now The Royal Danish Academy of Fine Arts – The School of Design), Copenhagen Surface designer, Kiyoshi Yamamoto Design Studio, Tokyo
The Danish Design School (now The Royal Danish Academy of Fine Arts – The School of Design), Copenhagen Traineeship with Jeppe Hein, Berlin University of Art and Design, Helsinki Apprenticeship test cabinetmaker/ joiner, bronze medal Exhibitions
Education
Education
Exhibitions
Söderberg Prize, Röhsska Museum, Gothenburg Three-year working grant from the Danish Arts Foundation 5th International Textile Competition, ITF Industrial Technique Award, Kyoto Ole Haslunds Kunstnerfond, honorary grant
Textile and visual artist b. 1965 www.louisesass.dk
Designer b. 1977 www.eskerex.com Grants and honours
Louise Sass
Eske Rex
Education The School of Decorative Art (now The Royal Danish Academy of Fine Arts – The School of Design), Copenhagen Master of Industrial Design, MID, Pratt Institute, New York
Grants and honours Working grant from the Danish Arts Foundation Annie & Otto Johs. Detlef’s Ceramics Award Three-year working grant from the Danish Arts Foundation
Education
The Arts and Crafts School in Kolding (now Kolding School of Design)
Musée National de Céramique de Sèvres, France Fond National d’Art Contemporain, France Room 141, Contemporary Ceramics, Victoria and Albert Museum, London Traces, ‘Art along Hærvejen’, a project by the Danish Arts Foundation
Representation
MINDCRAFT11, Fuori Salone, Milan Dans les Nuages, Galerie Maria Lund, Paris KIAF 2010, Korea International Art Fair, Seoul Adventures of the Fire, The Invitational World Contemporary Ceramics Exhibition, Korea Mellemistid (Interglacial period), Galleri Nørby, Copenhagen Glasurstykker (Glaze works), Galleri Nørby, Copenhagen
Three-year working grant from the Danish Arts Foundation Working grants from the Danish Arts Foundation Biennale Prize in cooperation with Jobim Jochimsen
Grants and honours
MINDCRAFT11, Fuori Salone, Milan Statistics><Ceramics. Museum für Kunst und Gewerbe, Hamburg and Röhsska, Gothenburg Craft in Dialogue, Nationalmuseum, Stockholm Stelvision 2, Galleri Nørby, Copenhagen New Danish Ceramics, Designmuseum Danmark, Copenhagen
Exhibitions
Nationalmuseum, Stockholm Designmuseum Danmark, Copenhagen Service plates for Bo Bech’s Restaurant Paustian
Ceramic designer b. 1960 www.atop.dk
Ceramist b. 1961 Co-founder of Copenhagen Ceramics www.skjoettgaard.dk
Exhibitions
Representation
Anne Tophøj
Bente Skjøttgaard
Three-year working grant from the Danish Arts Foundation Grant from Kunstforeningen af 14. august Gold medal, Bayerischer Staatspreis (Bavarian State Award) Inga and Ejvind Kold Christensen’s honorary award
The School of Decorative Art (now The Royal Danish Academy of Fine Arts – The School of Design), Copenhagen Assistant in ceramic workshop Tobo Sugi, Tokoname MA, Royal College of Art, London
MINDCRAFT11, Fuori Salone, Milan Køkkenting (Kitchenware), Royal Copenhagen “Modern masters”, Munich New Danish Glass, Holstebro Kunstmuseum, Designmuseum Danmark, Copenhagen Tora Urup Design Collection, Neon, Ambiente, Tokyo Solo exhibition, Gana Art Center, Seoul Solo exhibition, gallery Scremini, Paris
Exhibitions
Royal Scandinavia, Holmegaard Fritz Hansen Kimura Glass European Museum of Modern Glass, Coburg Hans Hansen Collection, Hamburg Designmuseum Danmark, Copenhagen Danish Arts Foundation, Copenhagen
Representation
Education
Grants and honours
Education
Clients
Designer, artist, musician b. 1972 www.henrikvibskov.com
Glass and ceramic designer b. 1960 www.toraurup.dk
Thorsten and Wanja Søderberg’s award Danish Art Agency’s award Grundfos Travelling Scholarship Talent Award
Grants and honours
MoMA PS1 Palais de Tokyo Zeeuws Museum Wilhelm Wagenfeld Museum Nederlands Architectuurinstitut Rotterdam (NAi)
Exhibitions
Central Saint Martins, London
Henrik Vibskov
Tora Urup
Danish Crafts
DANISH CRAFTS is an institution under the Danish Ministry of Culture. The aim of DANISH CRAFTS is to promote, encourage high standards and increase awareness of the qualities and potentials of contemporary Danish craft. In recent years, DANISH CRAFTS has received a number of recognitions and awards for its annual collection Danish Crafts Collection and the MINDCRAFT exhibition, including Best Craftsmanship at ICFF, New York, Best C ontribution to 100% Design, London and a Wallpaper* Design Award. Furthermore, DANISH CRAFTS has developed international collaborations with partners like Spazio Rossana Orlandi, Milan, Mint, London, Republic of Fritz Hansen, Denmark, MoMA, New York and Skandium, London. DANISH CRAFTS collaborates with makers, retailers, manufacturers as well as organisations and government institutions. DANISH CRAFTS participates in international trade fairs and engages independent curators to create exhibitions and collections. www.danishcrafts.dk
Credits
Published by:
Danish Crafts
Editorial:
Birgitte Jahn Bo Kolbye Kristian Kastoft
Interviews:
Laura Engstrøm
Translation:
Dorte H. Silver
Curator & exhibition concept:
Cecilie Manz
Graphic design:
Rasmus Koch Studio
Photo: Danish Crafts 2012 / jeppegudmundsen.com
MINDCRAFT12 is supported by the Danish Ministry of Culture Exhibition design sponsored by Forbo.
Kongens Nytorv 1E, 1. DK - 1050 Copenhagen Tel (+45) 3312 6162 Informationscenter for dansk kunsthåndværk Information Centre of Danish Crafts
mail@danishcrafts.dk www.danishcrafts.dk