FROM WORK TOOL TO WORK BENCH. TWO GLASS DESIGN SHOWS · from work tool to work bench. two glass design shows hot tools ecal/university of art and design lausanne 20 october 2012 –

FROM WORK TOOL TO WORK BENCH.TWO GLASS DESIGN SHOWS

HOT TOOLSECAL/UNIVERSITY OF ART AND DESIGN LAUSANNE

20 OCTOBER 2012 – 17 FEBRUARY 2013

ALL AMBICPATRICIA URQUIOLA, UPON INVITATION BY ADRIANO BERENGO

20 OCTOBER 2012 – 15 SEPTEMBER 2013

2

PRESS KITLausanne, Septembre 2012






PRESS CONFERENCE: FRIDAY 19 OCTOBER AT 2PMIN THE PRESENCE OF BETTINA TSCHUMI, CURATOR OF THE EXHIBITIONS

MEDIA CONTACT Danaé Panchaud, Public Relations+41 21 315 25 27, [email protected] available at www.mudac.ch/press (login: presse2012/images2012)

CONTENTSPress release p. 3Hot Tools p. 4-7Ronan Bouroullec and Matteo Gonet p. 8All Ambic p. 9-12Patricia Urquiola, Glasstress and Adriano Berengo p. 13Practical information and available visuals p. 14-16

3






Hot Tools and All Ambic : a double presentation enabling the mudac to pursue its exploration of glass design from the view-point of the tools entailed, be it for designers, alchemists or even those who practice sorcery...

HOT TOOLS

Upon invitation by ECAL/University of Art and Design Lausanne to create a workshop on glass, the French designer Ronan Bouroullec teamed up with Swiss glassblower Matteo Gonet to conceive and experiment with various new tools for handling this fascinating albeit demanding material. The resulting instruments thus hark back to the notion of functionalism, tradition-ally the ultimate purpose of design.

Hot Tools is the result of the experiments carried out by these second-year students in the Product Design Master’s degree course. Their workshop came up with a series of highly original proposals, comprising molds of wood, glass powder, copper, carbon fiber and even leather. Complementing this exhibition is a video explaining their manner of proceeding and showing them at work, treating viewers to a captivating vision of fire combined with speed, and precision with creativity.

ALL AMBIC

Patricia Urquiola, the Milan-based Spanish designer particularly renowned for her glamor-tinged furnishings, waxed enthu-siastic over working with glass, in acceptance of an invitation extended to her by Adriano Berengo, responsible for launching the contemporary glass biennial Glasstress in Venice.

She produced a series of vases under the heading All Alambic, a barely veiled reference to the retort and the alambic stills linked to sorcery. The vase bulges and beaks have been transformed into animal and plant shapes, into the beaks and crests of birds. and into shimmering corals. They put us in mind of the magic nature of glassblowing, and of this material’s potential for transformation. The presentation of these vases is accompanied by a video and the designer’s commentary.

From work tool to work bench represents the fourth temporary exhibition hosted by the mudac’s contemporary glass presen-tation space since 2009, following in the wake of Post Mortem, In vino veritas - un projet de Matali Crasset, and Ettore Sottsass et Pierre Charpin: en verre et contre tout.

4


Bubbleplay

Charles Mathis

An experiment involving glass rods, the glassblower’s basic tool. With the substitution of three tips for the usual single tip at both ends of the cane, the resulting cane allows to—in one gesture—create several cavities within a single object, during a single glassblowing operation

DIY Mould

Rita Botelho

Conceived as a game in which little steel sticks are set onto a tray, the DIY Mould presents a good number of shape possibilities, thus endowing what is in fact a highly precise process with a playful and random dimension.

5

Dusty Copper

Jung-Cheng Su

Copper scraps salvaged from the metal production are sandwiched between glass layers during the production process, affording viewers a play of textures and colors.

Empty Carbon

Diane du Chaxel

A distinctive feature of carbon fibers is that they resist molten glass. When placed between two layers of glass dur-ing molding or blowing, they leave their mark on the glass. Once the glass is cooled, they can be taken away, leaving a drawn image of themselves within the object.

6

Glass Type

Giulio Parini

The original goal of this process is to imbue glass with a precise color during the actual blowing stage. In the manner of stencils, the colored glass powder is strewn into a mold: since it melts once the object is set down on it, it ends up being integrated into the object.

Mould in Motion

Philipp Grundhöfer

While the glassblowing process takes place in con-tinuous motion, molding is more of a static opera-tion. With this in mind, Philipp Grundhöfer designed a “mold in motion,” whose various component parts can be handled during the molding itself. This provides the glassblower with a wide spectrum of shapes, as well as maximum control over the end result.

7

Stein

Felix Klingmüller

Since molds systematically leave marks and imperfec-tions behind on the molded objects, Felix Klingmüller chose to make the most of the esthetic potential of such a flaw: he designs molds out of bricks and stones whose mark on the final object testifies to the production process.

Tension / Expansion

Sarha Duquesne

Colored glass rods form a struc-ture into which transparent glass is blown, so that the rods serve as both mold and decorative ele-ments adorning the final object.

8

RONAN BOUROULLEC

In 1999, Ronan Bouroullec (*1971), a graduate of the École nationale supérieure des arts décoratifs de Paris (ENSAD, Higher National School of Decorative Arts), teamed up with his brother Erwan Bouroullec (*1976), a graduate of the École nationale supérieure d’arts (Higher National Art School) of Cergy-Pontoise, to work together in a spirit of a shared ideas and a demand-ing outlook. Ronan Bouroullec has been a teacher at the ECAL/University of Art and Design Lausanne since 2000.

In 1997, presenting their multifunctional kitchen unit Cuisine Désintégrée at the Paris Salon du Meuble (Furniture Fair), they attracted the attention of Giulio Cappellini, who commissioned their first industrial design projects—notably, the Lit clos (closed bed) and the Spring Chair. A decisive encounter with Rolf Fehlbaum, president of Vitra, led them to launch a new kind of office system under the name Joyn in 2002. It also marked the start of a special partnership as attested by numerous pro-jects, including Algues, Alcove Sofa, Worknest, Slow Chair, and Vegetal Chair… Since 2004, they have also joined forces with the furniture design editor Magis, providing the latter with two entire furniture collections, respectively Striped and Steelwood. The creation of various textile wall systems, like North Tiles and Clouds, represents the brothers’ collaboration with the Danish firm Kvadrat. And in 2010, they teamed up with two new European furniture design editors: for Alessi and Axor/Bouroullec, they created the complete tableware collection Ovale; for Axor/Hansgrohe, a new bathroom collection. The year 2011 saw the launching of additional collaborative projects, with, notably, Flos, Nani Marquina, Mattiazzi and Mutina.

Presently, Ronan and Erwan Bouroullec design for various manufacturers such as Vitra, Kvadrat, Magis, Kartell, Established and Sons, Ligne Roset, Axor, Alessi, Issey Miyake, Cappellini, Mattiazzi, Flos and Mutina. In parallel, they have also been carry-ing out design research at the Galerie kreo in Paris, leading to four solo shows mounted between 2001 and 2012. From time to time, too, they have taken up various architectural projects, including the Maison Flottante (Floating House) in 2006, and the Kvadrat showrooms in Stockholm (2006), Copenhagen (2009) and Rome (2011).

Their work has enjoyed several solo shows: at the Design Museum of London in 2002; the Museum of Contemporary Art of Los Angeles, the Museum Boijmans van Beuningen of Rotterdam and La Piscine Museum of Art and Industry of Roubaix in 2004; Villa Noailles in Hyères (France) in 2008; the Grand Hornu, Belgium, in 2009; the Victoria and Albert Museum of Lon-don in 2011; and, finally, the Vitra Design Museum of Basel (Switzerland) and the Centre Pompidou of Metz (France) in 2012. Their creations belong to such institutional collections as the Centre Pompidou and the Musée des Arts Décoratifs of Paris, the Museum of Modern Art of New York, the Art Institute of Chicago and the Design Museum of London.

Released in 2012, a new monograph on Ronan and Erwan Bouroullec—Works (Phaidon)—follows upon Ronan et Erwan Bour-oullec–Catalogue de raison (Éditions Images Modernes / kreo, 2002) and Ronan et Erwan Bouroullec (Phaidon, 2003). The Bouroullec brothers are also the recipients of numerous international prizes and awards.

MATTEO GONET

Born in Lugano (Switzerland) in 1979, Matteo Gonet started out at the Glasfachschule (GlassTechnical College) of Zwiesel (Germany), before attending the CERFAV (Centre européen de recherche et de formation à l’art verrier) in Nancy, France. During this period from 1996 to 1998, he also acquired work experience in various European countries, as an assistant to different established artists. Upon completing this first phase of his preparation, he took up studies at the Gerrit Rietveld Academie in Holland, under the direction of Richard Meitner and Mieke Groot, both of whom in turn were acknowledged artists and co-directors of the Glass Center (1998-2001). Here he obtained his Bachelor of Arts degree.

He found employment with the CIRVA (International Center of Research on Glass and Visual Arts) in Marseilles as a glassblower and head of their “Hot Shop” (glassblowing workshop). Working there from 2001 to 2004 gave him a chance to meet designers and artists from all over, including Ettore Sottsass, Philippe Parreno, Jean-Michel Othoniel, Jana Sterbak, Ronan and Erwan Bourroulec, Pierre Charpin and Andrea Branzi.

Returning to Switzerland in 2005, he began working with the ECAL/University of Art and Design Lausanne, with Bern as his home base, together with the Swiss glassblower Thomas Blank, whose workshops he shared for three years. Moving into a longstanding foundry of the Basel region as of 2009, he linked up with a region already very active in the field of contemporary glass in France. Extending from Nancy to Strasbourg, this area harbors the greatest concentration of at once the most renowned manufacturers (Daum, Gallé, Saint-Louis, Baccarat and Lalique), training centers (including the CERFAV, the University of Nancy and the Ecole Supérieure des Arts Décoratifs de Strasbourg /Higher School of Decorative Arts of Strasbourg, collections, and studio galore.

9


PATRICIA URQUIOLA

Patricia Urquiola was born in Oviedo (Spain) in 1961. After studies in the Architecture Department of Madrid’s University of Technology, she went on to Milan’s University of Technology. In the early ‘90s, appointed assistant to Eugenio Bettinelli and Achille Castiglioni, she taught at both the latter university and the ENSCI (Higher National School for Industrial Creation) of Paris. Thereupon, she embarked on several collaborative projects, including opening an architecture & design firm, team-ing up with Vico Magistretti, managing the firm Lissoni Associati, in addition to working with a number of prestigious design companies.

Patricia Urquiola’s pieces are particularly known for their harmonious usage of shape and light. In 2001, upon the opening of her first studio, Urquiola’s work attracted international attention, with several of her pieces being selected for Italian Design exhibitions and The International Design Yearbook.

GLASSTRESS ET ADRIANO BERENGO

The second edition of Glasstress, a contemporary glass biennial held in parallel with the Venice Art Biennale, took place in 2011. The focus was on the complex relations linking art, design and architecture in the wake of modernism. Glasstress makes a point of inviting various major international artists and designers to work with glass; in 2011, these included Domenico Bi-anchi, Tony Cragg, Jan Fabre, Francesco Gennari, Zhang Huan, Liu Jianhua, Michael Joo, Tony Oursler, Javier Pérez, Jaume Plensa, Bernardi Roig, Thomas Schütte, Doug and Mike Starn, and Fred Wilson. That edition’s curators were Bonnie Clearwa-ter, Lidewij Edelkoort, Peter Noever and Demetrio Paparoni.

Adriano Berengo, who was born in Venice in 1947, set up his studio in 1989. Responsible for launching Glasstress in 2009, he is currently involved in setting up the first Italian museum devoted to contemporary glass art, in Murano, destined to house one of the world’s largest glass collections. He is responsible for promoting exhibitions in such museums as the Pushkin State Museum of Fine Arts of Moscow, the Museum of Fine Arts of Dusseldorf, the Corning Museum of New York, and the Belve-dere Museum of Vienna.

10

11

12

13

14

INFORMATIONS PRATIQUES

Curator Bettina Tschumi, curator in charge of the Glass Art Collection

Press Conference Friday, 19 October 2012, at 2pm

Opening Friday, 19 October 2012, from 6pm. Official ceremony at 6:30pm

Exhibition Hot Tools: 20 October 2012 – 17 February 2013 All Ambic: 20 October 2012 – 15 September 2013

Jeudi Design Spring 2013 (date and program forthcoming)

Opening hours Tu-Sun 11am-6pm. Open on holidays (incl. Mondays), and Mondays in July and August

Contact details mudac – musée de design et d’arts appliqués contemporains Place de la Cathédrale 6 CH-1005 Lausanne t +41 315 25 30 f +41 315 25 39 [email protected] www.mudac.ch

Media contact Danaé Panchaud, Public Relations t +41 21 315 25 27 [email protected]

Press visuals available at www.mudac.ch/press (login : presse2012/images2012)

In partnership with:

View of the All Ambic exhibition at Glasstress in 2011

15

AVAILABLE VISUALS

ECAL/HOT TOOLS

Images available at www.ecal.ch/images_images_presse_hd.php?id=1378

All images: photography © ECAL/Nicolas Genta

Bubbleplay. ECAL/Charles Mathis DYI Mould. ECAL/Rita Botelho

Dusty Copper. ECAL/Jung-Cheng Su Empty Carbon. ECAL/Diane du Chaxel

Glass Type. ECAL/Giulio Parini Mould in Motion. ECAL/Philipp Grundhöfer

Stein. ECAL/Felix Klingmüller

Tension / Expansion. ECAL/Sarha Duquesne

16

ALL AMBIC

High resolution images can be downloaded at www.mudac.ch/press (login : presse2012/images2012).

All images: Patricia Urquiola, All Ambic, 2011, blown glass. Courtesy Studio Urquiola, Milan, and Berengo Private Collection, Venice.

Photographie © Francesco Allegretto






Photographie © Francesco Ferruzzi







Documents

FROM WORK TOOL TO WORK BENCH. TWO GLASS DESIGN SHOWS · from work tool to work bench. two glass design shows hot tools ecal/university of art and design lausanne 20 october 2012 –