It finally arrived at my doorstep! The incredible Atlas of Furniture Design, published by the Vitra Design Museum, was decades in the making, and I was proud to contribute an extended essay with Avinash Rajagopal that anchors the contemporary design section of the book. I also contributed several biographies of Italian designers, joining a stellar group of contributors that worked in this encyclopedic effort. Congratulations to the editors and all the team for a fantastic result!
Meret Oppenheim, Gloves (Parkett Edition, no. 116/150), 1985
Courtesy of Ursula Krinzinger, photo: Jasha Greenberg, copyright for the works of Meret Oppenheim: © VG Bild-Kunst,Bonn 2019
I contributed an essay on the entanglements between Surrealism and gender for the catalogue of the Vitra Design Museum’s recent exhibition on the movement, titled Objects of Desire: Surrealism and Design 1924-Today and curated by Mateo Kries and Tanja Cunz. My essay proposes a re-evaluation of Surrealist notions of love and violence, analysing their relevance in the twenty-first century and detailing the problematic relationship between the two terms from the inception of Surrealism to the present day. It also covers the movement’s problematic relationship with gender, and with women in particular. It starts off with this fantastic quote by Leonora Carrington:
“The idea that ‘Our Masters’ are right and must be loved, honored and obeyed is, I think, one of the most destructive lies that have ever been instilled into the female psyche. It has become most horribly obvious what These Masters have done to our planet and her organic life. If women remain passive I think there is very little hope for the survival of life in this earth.”
– Leonora Carrington, 1970
The refusal to let women in is something that can be widely observed in the Surrealist movement. While it has been pointed out several times that women were indeed part of Surrealism, their voices were rarely heard, and even then, only well into the 1940s and later when the movement has arguably already dissolved and mutated, having lost much of its initial impetus. Yet, if women’s voices were overwhelmingly excluded, or just not recorded as part of the discourse, their bodies on the other hand were everywhere, as the prime subject of the male gaze in literature, films, the visual arts, and photographs. For the Surrealists, the woman is the ungraspable and fascinating other, the object of ecstatic love, the cause of ultimate misery and madness. Yet, no dialogue with this ungraspable other is attempted; instead, she is only further fetishized, imagined, objectified, destroyed.
My essay ends with a plea for a re-evaluation of the movement, and a revisionist take that doesn’t seek to redeem the male Surrealists’ reinforcement of patriarchal power relations.
It is perhaps by looking to the margins of the movement and peering into the interstices for traces of instability, that a re-evaluation of Surrealism can happen—beyond the misogyny, the violence, and objectification of women, and outside the gender binary. The power relations advocated by the Surrealists “are not natural but social constructs”, as Kuenzli asserts. “The male Surrealists’ blatant reinforcement of patriarchal power relations should not be theorized away in order to redeem Surrealism”, he continues. “They should be resisted, they should be rejected.” It is in this rejection, combined with an exploratory, revisionist attitude beyond the binary, where a dismantling of the Surrealist canon can begin.
The Atlas of Furniture Design, published by the Vitra Design Museum. Photo by Kobi Benzeri Studio.
This November marks the release of the Vitra Design Museum’s Atlas of Furniture Design, a comprehensive overview of the last two centuries of furniture design. I was happy to contribute to this volume with an extensive essay co-authored with Avinash Rajagopal, focusing on the last forty decades of the design discipline and its developments during that period. Looking forward to holding this important tome in my hands later this year!
Cover of Victor Papanek: The Politics of Design, the accompanying publication to the Vitra Design Museum’s most recent exhibition.
I contributed to the catalogue of the Vitra Design Museum’s most recent exhibition, Victor Papanek: The Politics of Design, with not one but two pieces. One, an interview with Critical Making and Disobedient Electronics author Garnet Hertz, and another, an essay co-written with Jan Boelen on how the spirit of Papanek lives on in the work of several contemporary designers. The publication is impressive and gathers the voices of many luminaries and experts on Papanek and his significance. I’m happy to be among such incredible authors! You can find out more about the book in the e-shop here.
An aspect of the Forum 4 – Knowledge. Photo courtesy Depot Basel
I was delighted to represent TEOK at Depot Basel’s initiative Forum for an Attitude. During the 4th iteration of the Forum, with the topic “Knowledge”, I gave a lecture on the many different ways of knowing that we encounter in life, and how the development of TEOK allowed us to further our definitions of what we know and what we think we know. It was great to spend some time with the fantastic participants of the Forum and enhance my understanding of knowledge over the weekend. Thanks to Depot Basel and Matylda Krzykowski for the invitation!
The #SociableMuseum panel at MuseumNext Geneva, April 2015
As part of Superscript, I had the opportunity to co-moderate the #SociableMuseum panel at the European Museum Conference MuseumNext in Geneva, Switzerland. In the midst of one of the most significant gatherings of museum professionals in the world, the panel reunited Alin Tomacov, experience designer and associate partner at C & G Partners in New York, Seb Chan, Director of Digital and Emerging Media at the Cooper Hewitt in New York, and Viviane Stappmanns, Head of Communications at the Vitra Design Museum in Weil am Rhein, Germany, to talk about how can museums go from being “social” to becoming “sociable”.
Drawing from extensive research by Superscript co-founders Molly Heintz and Avinash Rajagopal, the panel advocated that while many museums today consciously use technology to become more social and open to the communities around them, there is a need for a further step, where these institutions become sociable — willing to actively engage with other people — creating conversations that forge true connections with their audiences. It was a pleasure to listen to such meaningful insights as the discussion unfolded: the panel (as it was recorded by Twitter users) can be seen here.
A detail of the Mathare Slum as seen in the MapKibera initiative. Image © MapKibera
Avinash Rajagopal and I, as part of Superscript, contributed an analysis of contemporary digital design in Africa to the accompanying catalogue of Making Africa. The natural culmination of our role as Consultants for New Media and Technology, and members of the Advisory Board, the essay was a pleasure to write and research, and wouldn’t have been possible without the invaluable assistance of Dalia Ohtman, a Research Fellow at the Berkman Center for Internet & Society at Harvard University and a Visiting Scholar at the MIT Center for Civic Media. An excerpt of the essay can be read after the jump.
Making Africa: A Continent of Contemporary Design, published by the Vitra Design Museum accompanying the exhibition of the same name. Photo by Double Standards
As part of Superscript, Avinash Rajagopal and I served as Consultants for New Media and Technology and members of the Advisory Board of the most recent exhibition at the Vitra Design Museum, Making Africa: A Continent of Contemporary Design. Curated by Amelie Klein and born out of three years of research, this ambitious exhibition seeks to change perceptions on what the continent is and can be, presenting Africa as a hub of experimentation generating new approaches and solutions of worldwide relevance — and as a driving force for a new discussion of the potential of design in the 21st century. The exhibition focuses on a new generation of entrepreneurs, thinkers and designers from and within Africa, who – as “digital natives” – address a global audience and provide the world with a new vantage point on their continent.
Avinash and I further contributed an essay to the catalogue and assisted the editing of the English edition of the Making Africa catalogue. It was a pleasure to work with Amelie and the Vitra Design Museum team in this fantastic project.