Carlton room divider Italy, 1981 (design) Design: Ettore Sottsass (1917, Innsbruck-2007,Milan) Manufacture: Memphis s.r.l., Milan, Italy wood, Laminated

At the core of the exhibition “Secret Compartments” is the multi-perspectival contemplation of the museum’s own collections with regard to the phenomenon of concealment. The Museum Angewandte Kunst opened up its depot to thirty museum experts and free-lance culture producers as a way of tracing various possibilities, motifs and functions of this phenomenon with the aid of the objects they selected. Though the items chosen, but also though their curatorial staging, each individual presentation comments on the double character of revealing and concealing in its own way.

Folding screen with spring landscape and cherry blossom festival Japan, middle Edo period, 2nd half of 17th century Paper, drawing ink, mineral and earth pigments, gold leaf, gold paint; wooden frame

Sideboard Munich, Germany, 1898/1899 Design: Bernhard Pankok (1872, Munster-1943, Baierbrunn) Danube oak, dark-stained; birch, ebony-stained; grained ash; mahogany; tiles; brass fittings

Chest Venice, Italy, 1530-1550 Walnut; stucco reliefs, gilded; painted decoration

Wooden comb Spain, 18th-19th century Wood, carved Chain belt Germany, end of 16th century Silver, cast, engraved Hand mirror Bussen Castle, Swabia, 12th century Mirror; bronze, cast, chased Art Deco powder compact presumably France, ca.1920 Ray skin, dyed; brass casing Ring Cologne, Germany, ca 1937 Hermann Schmidhuber (1879-after 1945) Silver, coral

Lady Sunbeam lady’s shaver 2nd half of 20th century Plastic, metal

Toilet articles Germany, 1925-1930 silver 830/000, steel, leather, alum-tanned

Towel 17th century Linen, open-work embroidery

Kastor coffee table Germany, 1994 (design and manufacture) Design: Konstatin Grcic (b. 1965, Munich) Manufacture: classicon, Munich, Germany wood composite, veneered; metal

Three suitcases ca.1960 Leaher, silk lining, brass

360 Container Munich, Germany 2009 (design) Design: Konstantin Grcic (b. 1965, Munich) Manufacture: Magis S.p.a., Treviso, Italy (since 1976) ABS thermoplastic polymer

*Thanks Information from the exhibition of Vom Verbergen, Angewandte Kunst, Frankfurt

What.  Vom Verbergen (Secret Compartments) Where. Angewandte Kunst, Frankfurt, Germany When.  14.02.2016

From the start the studios concept was constantly revolving around the notions of accessibility and playfulness. These notions would later allow us to create a context, in which the visitor could dynamically approach the studios diverse body of work from a completely new and unexpected angle.

The decision to place all objects on the ground and arrange them in such manner, that they come to form a minigolf course, plays into the idea of creating a new approach on how to look at objects: No pedestals, no hierarchy, but a parcours that invites the visitor to playfully move through the show with a new awareness, hence proposing to experience the works through distinctive bodily perception.

*Thanks information form http://marcodessi.com/detail/items/putt_putt.html Photo by Orakarn Sayatanan

What. Putt-Putt, Studio Marco Dessi Where. La Triennale di Milano When.  09.10.2015

In the 1990s, the native Austrian rose to become a leading figure of the international fashion scene. In 2005, he left the company he had built and turned his attention to art. The Helmut Lang brand, however, is still in existence today.

Lang’s fashion design became synonymous with classically simple elegance. At the same time, he placed great value on the wearability of his designs. Rigor, precision, and a tendency toward abstraction were his hallmarks, just as much as intelligent, subtle details and the use of unconventional materials.

The combination of understatement, practicability, and attitude validated Lang’s cult status and opened up new audiences for high-priced fashions. Projects with artists like Jenny Holzer, Louise Bourgeois or Elfie Semotan were not done to cultivate an image, but were an expression of common interests and human bonding.

A key area of Hulmut Lang’s corporate archive (reflecting the company’s overall brand presence) went to the MAK in its entirety. Various collections are represented by individual pieces. This room is exhibit and storehouse in one. The entire stock of Hulmut Lang items owned by the MAK is in the middle of the room, with certain pieces organized by theme in the display cabinets to the side.

Between Accessory and Clothing

This display cabinet shows a characteristic portion of Lang’s creative work, which he called “Accessoires vetements”. This designation expresses the liminal status of the pieces between fashionable appurtenances and items of clothing.

Since the year 2000, Helmut Lang has used industrially finished rubber bands, which, while conceived to be functional, positively attain the character of a signature item beyond that. Bands on bare skin are another recurring motif.

Lang’s clothing designs employed unconventional materials, often radically reduced. A cardigan is shrunk to just a zipper, a T-shirt to single shoulder strap with a single sleeve. These are objects that reflect upon traditional clothing items by “disrobing” them down to their essentials.

“Casings” made of elastic bands, which in some cases are worn over loosely tailored clothing, bring the material close to the body and give it form. Other pieces feature bands that hang down loosely, without fastening anything, signifying release from a “cage”.

Helmut Lang , Shoulder Holster with V Strap,  Homme Femme Collection 2003 Spring / Summer, Cotton, spandex, metal

Hulmut Lang, Padded Organza Holster, Homme Femme Collection 1999 Spring/Summer, Silk, Cotton

Helmut Lang, Cage, Homme Femme Collection 2001 Spring/Summer, Silk, Lycra

Helmut Lang, Polyviny/Leather Beaded Top Homme Femme Collection 1991 Spring/Summer, Leather, Polyvinyl, wood

Helmut Lang, Cutout Knit Top with Armstrap Homme Femme Collection 2003/04 Autumn/Winter, Wool, plastic

Helmut Lang, Polo Knit V Strap Homme Femme Collection 2003 Spring/Summer, Cotton

Helmut Lang, Cutout Cardigan, Homme Femme Collection 2003 Spring/Summer, Cotton, plastic

Helmut Lang, Selected Perfumes and Body Care Products New York, ca. 2000

*Thanks information from MAK, Vienna, Austria

What.  Helmut Lang Where. MAK, Vienna, Austria When.  23.12.2015

Simon Lemmerer and Stefan Leitner also use the expressiveness of objects for their range of posters Bam & Mr. Dero- This and That. With the aid of nylon cords, old musical instruments and speakers were elaborately arranged to create letters. In its content, the poster thus references the medley of funk, reggae, hip hop, and house of DJ Mr. Dero and rapper Bam (aka Afrika Baby Bam): unusual combinations transform the similar into something brand new.

The series of posters Bag tell stories quite literally let the product speak itself. For the leather goods and accessories label Ina Kent, the design studio TBWA/Wien designed a handbag alphabet, which makes direct reference to the way owners can cuntomixe their bags via urban slogans like “two night stand,” “SOS-kit,” or “sleepless.”

Chistine Zmolnig and Florian Koch from Vienna-based design studio sensomic are responsible for the corporate  design of this year’s competition, the catalog, and the new web visuals. Since June 2014, the online archive on the 100 Beste Plakate e. V. website (www.100-base-plakate.de) has provided a complete overview of all award-winning works from 2001 to 2014.

The exhibition will be accompanied by the catalog 100 beste Plakate 14. Deutschland Osterreich Schweiz/100 Best Poster 14. Germany Austria Switzerland, designed by sensomatic (Vienna), with the feature article “on the dialectics of image and text in today’s poster” by Thomas Friedrich, Verlag Hermann Schmidt Mainz, 2015, 216 pages.

The exhibition is a cooperation between the mak and 100 Beste Plakate e. V.

Bam&Mr.Dero - This and That Series of three posters Graphic design: Simon Lemmerer, Stefan Leitner Client: Tiefparterre Records, Graz Technique: offset print Printing: flyeralarm, Wr. Neudorf, Austria

Bags tell stories Series of three posters Studio: TBWA/Wien Graphic design: Gerda Reichl-Schebesta, Bernhard Grafl, Robert Wohlgemuth, Julia Hengstberger, Tobias Werkner, Christina Niederdorfer, Robert Staudinger Client: Ina Kent Lederwaren, Vienna Technique: digital print Printing: Weitsprung, Vienna, Austria

50th Solothurn film festival from a series of four posters Studio: Raffinerie AG fur Gestaltung Client: Solothurner Filmtage Technique: silk-screen print Printing: Serigraphie Uldry, Hinterkappelen/ Switzerland

Destroy Borders Studio: lindhorst-emme Graphic design: Sven Lindhorst-Emme Client: Eigenauftrag Commissioned by the artist Technique: digital print Printing: laser-line, Berlin, Germany

Not the End of Print

Graphic design: Isabel Seiffert Client: Merz Akademie Hochshule fur Gestaltung, Kunst und Medien, Stuttgart; lvy HeuBler Technique: silk-screen print on aluminum rescue blanket Printing: lsilk-screen printing workshop of the Mer Akademie Hochshule fur Gestaltung, Kunst und Medien, Stuttgart; Joachim Herter, Germany

This is how we do it/This is how we party Series of two posters Graphic design: Christian Nicolaus, Germany

YONI

Studio: gggrafik Graphic design: Gotz Gramlich Client: Esther Ritschel, Heidelberg Technique: offset print Printing: flyeralarm, Germany

fritz-kola-hauptsache wach From a series of five posters

Studio: Rocket&Wink Graphic design: Garald Rocketson, Petronious Amund Wink, Karolina Waal Client: fritz-kulturguter, Hamburg Technique: offset print Printing: Ellerhold Wismar, Germany

*Thanks information from 100 Best Poster 14 Exhibition, Mak, Vienna, Austria

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As every year, graphic designers, agencies, and students from Germany, Austria, and Switzerland once again rose to the challenge of competing in front of an international panel of experts. Comprising Richard van der Laken (Amsterdam, chairman), Christof Nardin (Vienna), Jiri Oplatek (Basel), Nicolaus Ott (Berlin), and Ariane Spanier (Berlin), the jury was presented with 708 individual posters in the final round, which had been narrowed down online from a total of more than 1800 entries. Some 575 entrants had taken part in the competition, 48 of whom were from Austria, 128 from Switzerland, and 399 from Germany. The front-runner among the top 100 posters is Switzerland with 51 winning projects, followed by Germany with 44 and Austria with 5 selected submissions.

For Austria, it was once again a student from the graphic design class at the University of Applied Arts Vienna under the direction of Oliver Kartak who achieved success. Dasha Zaichanka uses a banana as a graphic stylistic device for the poster of the end-of-year exhibition The Essence 14. Her work is reminiscent of Thomas Baumgartel, the “Banana Sprayer” from Cologne, who has been furishing art venues, museums, and galleries with his sprayed banana logo since 1986, which, in turn, quotes Andy Warhol’s design for a record cover for the Velvet Underground from 1967. As an unofficial artistic “seal of approval,” the banana on Dash Zaichanka’s poster, too, promises good art with “multi-layered” images.

The Austria indoor poster series Segel setzen (Set sail) and Gas geben (Step on the gas) by the advertising agency WIEN NORD for the promotion of the hotel Villa at Lake Millstatt in Carinthia transcend the confined space of two-dimensionality. Folding the poster creates movement and plasticity: the sailing boat’s sail blows in the wind, the motorboat leaves waves in its wake.

Villa Verdin//Activity holiday at Lake Millstatt Series of two posters Studio: WIEN NORD Werbeagentur Graphic design: Geotg Rernbock, Edmund Hochleitner, Andreas Lierzer, Katja Claus, Walter Janda Client: Villa Verdin, Millstatt am See Technique: digital print Printing: Druckerei Hans Jentzsch, Vienna, Austria

Contrast medium

Studio: gggrafik Graphic design: Gotz Gramlich Client: David Kirchner, Mannheim Technique: offset print Printing: flyeralarm, Wurzburg, Germany

Deutsches Theater Berlin From a series of five posters

Studio: Velvet Creative Office in Zusammenarbeit mit in collaboration with Max Christian Graeff Client: Deutsches Theater Berlin Technique: offset print Printing: Protyp Print, Berlin, Germany

Weingart Typogrfie From a series of five posters

Graphic design: Ralph Schraivogel Client: Museum fur Gestaltung Zurich Technique: silk-screen print Printing: Lezard Graphique, Brumath, Switzerland

AGI Sao Paulo

Studio: cyan Graphic design: Daniela Haufe, Detlef Fiedler Client: Eigenauftrag fur Commissioned by the artist for AGI Congress Sao Paulo Technique: silk-screen print Printing: Novak Siebdruck, Berlin, Germany

Bed family tree From a series of three posters

Studio: thjnk ag Graphic design: Armin Jochum, Bettina Olf, Georg Baur, Torben Otten, Niko Auf dem Berge, Karl Wolfgang Epple, Kerstin Lakeberg Client: IKEA  Technique: digital print Printing: BEISNER DRUCK, Germany

On the lake - in the city

Studio: SW Graphic design: Dominik Sieber, Dominique Widmer Client: Sur le Lac-Fest, Eggersriet Technique: offset print Printing: Weibel Druck&Design, Switzerland

*Thanks information from 100 Best Poster 14 Exhibition, Mak, Vienna, Austria

What.  100 Best Posters 14 Where. MAK, Vienna, Austria When.  23.12.2015

This exhibition at MAK attempts to analyze and recontextualize the diversity of Josef Frank’s pioneering oeuvre, whose culturalcritical approaches are also relevant to our time. It also compares Frank’s complex and critical attitude toward the possibilities of architecture and design with similar approaches by other figures in architecture, design, and art, from Leon Battista Alberti to Rem Koolhaas: in such contexts, Frank’s Viennese position proves worthy of its standing and offers insights for his time and our own.

*Thanks information from the exhibition of Josef Frank, MAK, Vienna

What.  Against Design, Josef Frank Where. MAK, Vienna, Austria When.  23.12.2015

Sagmeister has won numerous awards, including two Grammys for his album designs, the Lucky Strike Designer Award, and the Communication Award from the Cooper-Hewitt National Design Museum, New York. Jessica Walsh has been a partner of the Sagmeister & Walsh studio since 2012.

In the exhibition The Happy Show, Stefan Sagmeister not only tests the boundaries between art and design, he often transgresses them. He takes visitors on a journey through his mind and his attempts to increase his happiness by training his mind as other train their bodies. The Happy Show is Sagneister’s second exhibition at the MAK since 2002. It stretches across the MAK Columned Main Hall, the MAK Permanent Collection Contemporary Art, the MAK DESIGN LAB, and the MAK GALLERY, as well as corridors, staircases, and even the museum’s “spaces in between,” and documents Sagmeister’s ten-year exploration of happiness though videos, prints, infographics, sculptures, and interactive installations. In handwritten comments on walls, railings, and in the restrooms throughout the museum, the designer explains his thoughts and motivations behind the projects on display. Alongside his personal narrative, he presents the social data of psychologists Daniel Gilbert, Steven Pinker, and Jonathan Haidt, anthropologist Donald Symons, and prominent historians to contextualize his experiments with mind and typography. This exhibition shows the designer’s experiences with meditation, cognitive therapy, and mood-altering drungs. 

TRYING TO LOOK GOOD LIMITS MY LIFE.

ASSUMING IS STIFLING.

EVERYTHING I DO ALWAYS COMES BACK TO ME.

BEING NOT TRUTHFUL WORKS AGAINST ME.

MONEY DOES NOT MAKE ME HAPPY.

STEP UP TO IT.

FEEL OTHERS FEEL.

*Thanks information from the exhibition, The Happy Show, MAK, Vienna, Austria

What.  Stefan Sagmeister, The Happy Show Where. MAK, Vienna, Austria When.  23.12.2015