Craft Art 2002
During the past few years, Craft Art has made significant
advances in the world of design and fascination with handicraft
as an artistic form of its own has shown itself to be noteworthy
at international fashion gatherings. In an era of mass production
in which globalization is maneuvering our artistic xpressions
towards greater and greater standardi-zation, people are searching
nergetically for individual articulation, for the unique specimen,
for unmistakably personal expressions. The exhibition Contemporary
Craft Art 2002, to be shown at the Stockholm Furniture Fair
in Hall B, will be held in the borderland between what is
traditio-nally considered Art and what we call Craft Art.
The exhibit will be showing the work of 15 artists with unique
objects of glass, ceramics and textile materials.
Inger Molin, who has run her Galleri IngerMolin in the
Östermalm district of Stockholm since 1998, is responsible
for the choice of products on display. She has been trained
in textile design and worked for ten years as a manager at
blås&knåda, a renowned gallery for ceramics
and glass in Stockholm - When I opened my own gallery, I realized
how tired I was of the constant battle over boundaries between
art and craft," says Inger Molin.
"I feel that the antagonism which exists between these
terms depends to a great extent upon an alleged romanticism
regarding materials used in craft
art. It is a common belief that central to handicraft is the
particular material used. But for me, and many other artisans
alike, this is completely uninteresting. The essential thing
is quality and expressiveness and if something is being said,
something important. This is done with the help of clay, oil
paints, glass, metal, acrylic, textiles or paper - it's not
any stranger than that. This exhibition will be showing works
of what I consider to be some of the most outs-tanding contemporary
artists in their areas.
I have chosen to call this show within the show Contemporary
Craft Art 2002.
is it that really characterizes
Nordic design? That is one of the most common questions we
scandinavians are faced with when we meet colleagues from
abroad. And it is often followed by: What is the difference
between design created in Denmark, Finland, Iceland, Norway
or Sweden? The Stockholm Furniture Fair has taken these two
questions as a starting point for an in-depth study of the
subject Nordic Design. 25 different products from the five
Nordic countries will be presented in the entrance lobby in
an exhibit entitled 5x5. Initial preparations
have been made by Denmarks Design Center, Design Forum
Finland, Form Iceland, NorwegianForm and Swedish Society of
Crafts and Design.
Andersson, newly elected president of IFL (International
Federation of nterior Architects/Designers) has made the final
choice of products to be put on display. Mr. Andersson is
chairman of White Design in Gothenburg and part-ner in White
Arkitekter, one of the largest architectural offices in Europe.
He is rofessor in Interior Architecture at the Art Academy
in Oslo and has also served as professor in the same subject
at HDK, the Department of Design and Craft, Gothenburg University.