http://www.markusdegerman.com markus degerman Sat, 24 Mar 2012 20:04:22 +0000 http://www.markusdegerman.com en http://www.markusdegerman.com/Moment-Ynglingagatan-1 http://www.markusdegerman.com/following/markusdegerman.com/Moment-Ynglingagatan-1 Sat, 24 Mar 2012 20:04:22 +0000 markus degerman 3070651 Moment – Ynglingagatan 1 Moderna Museet, 2011 <img src="http://payload38.cargocollective.com/1/0/28145/3070651/MOM20124.jpg" width="670" height="475" width_o="794" height_o="564" src_o="http://payload38.cargocollective.com/1/0/28145/3070651/MOM20124_o.jpg" data-mid="15665517" border="0" align="left"/> Arbeten som gav upp (sina komplex), 1998 Ynglingagatan 1 was an alternative art space. The gallery was founded in the autumn of 1993 in premises which were only 16 m2. Their motivation was that at that time no-one was showing new international contemporary art in Sweden. The aim was to create a meeting place and an atmosphere in which dialogue and discussion were possible for international and Swedish artists. The gallery was an immediate success and within one year of opening it moved to a larger two-room space at Gävlegatan 12 and increased its membership. In the spring of 1997 the gallery moved once again to a location in central Stockholm at Döbelnsgatan 2. Ynglingagatan 1 was a registered non-profit organisation. It was administered, programmed and maintained by the members: Dennis Dahlqvist, Bertil Bäckström, Karen Diamond, Thomas Ekström, Nils Forsberg, Sara Kristoffersson, Pia Kristoffersson, Gunilla Muhr, Emelie Persson, Fredrik Schollin, Elina Smidlund, Fredrik Swärd and swe.de. Swe.de members were: Johanna Billing, Markus Degerman, Ingrid Eriksson, Peter Geschwind, Carina Gunnars, Erla S. Haraldsdóttir, Karin Johnson, Anna Kindgren, Gunilla Klingberg, Bo Melin, Bella Rune and Christine Ödlund.” Curator: Thomas Ekström http://www.markusdegerman.com/Marabouparken http://www.markusdegerman.com/following/markusdegerman.com/Marabouparken Sat, 24 Mar 2012 20:04:21 +0000 markus degerman 817548 Uglycute Marabouparken, 2012 Read the Uglycute catalogue online here! <img src="http://payload.cargocollective.com/1/0/28145/817548/_MG_3806srgb.jpg" width="670" height="441" width_o="794" height_o="523" src_o="http://payload.cargocollective.com/1/0/28145/817548/_MG_3806srgb_o.jpg" data-mid="15665321" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/28145/817548/_MG_3842srgb.jpg" width="670" height="404" width_o="794" height_o="479" src_o="http://payload.cargocollective.com/1/0/28145/817548/_MG_3842srgb_o.jpg" data-mid="15665322" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/28145/817548/_MG_4005srgb.jpg" width="670" height="445" width_o="794" height_o="528" src_o="http://payload.cargocollective.com/1/0/28145/817548/_MG_4005srgb_o.jpg" data-mid="15665323" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/28145/817548/_MG_4094srgb.jpg" width="670" height="446" width_o="794" height_o="529" src_o="http://payload.cargocollective.com/1/0/28145/817548/_MG_4094srgb_o.jpg" data-mid="15665324" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/28145/817548/_MG_4103srgb.jpg" width="670" height="446" width_o="794" height_o="529" src_o="http://payload.cargocollective.com/1/0/28145/817548/_MG_4103srgb_o.jpg" data-mid="15665325" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/28145/817548/_MG_4106srgb.jpg" width="360" height="567" width_o="360" height_o="567" src_o="http://payload.cargocollective.com/1/0/28145/817548/_MG_4106srgb_o.jpg" data-mid="15665326" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/28145/817548/_MG_4121srgb.jpg" width="443" height="567" width_o="443" height_o="567" src_o="http://payload.cargocollective.com/1/0/28145/817548/_MG_4121srgb_o.jpg" data-mid="15665327" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/28145/817548/_MG_4130srgb.jpg" width="670" height="329" width_o="794" height_o="390" src_o="http://payload.cargocollective.com/1/0/28145/817548/_MG_4130srgb_o.jpg" data-mid="15665328" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/28145/817548/_MG_4157srgb.jpg" width="624" height="506" width_o="624" height_o="506" src_o="http://payload.cargocollective.com/1/0/28145/817548/_MG_4157srgb_o.jpg" data-mid="15665329" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/28145/817548/_MG_4166srgb.jpg" width="670" height="446" width_o="794" height_o="529" src_o="http://payload.cargocollective.com/1/0/28145/817548/_MG_4166srgb_o.jpg" data-mid="15665330" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/28145/817548/_MG_4293srgb.jpg" width="670" height="446" width_o="794" height_o="529" src_o="http://payload.cargocollective.com/1/0/28145/817548/_MG_4293srgb_o.jpg" data-mid="15665331" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/28145/817548/_MG_4340srgb.jpg" width="670" height="446" width_o="794" height_o="529" src_o="http://payload.cargocollective.com/1/0/28145/817548/_MG_4340srgb_o.jpg" data-mid="15665332" border="0" align="left"/> Marabouparken is pleased to present a retrospective exhibition with the art and design group Uglycute. Markus Degerman (artist), Andreas Nobel (interior designer), Jonas Nobel (artist) and Fredrik Stenberg (architect) began collaborating as Uglycute in 1999 as a reaction against the Swedish design climate at the time. The group was part of a generation of designers and artists that used craft and design to discuss taste, quality, class, gender and politics. Their activities have branched out into the Swedish and international art and design worlds through objects, exhibition architecture, interior design and teaching. According to Uglycute, their practice takes place between art, design and architecture. The goal is to expand the notion of design by cross-fertilizing it with the members’ different professions and by analyzing the effects of design on society not only through their own practice, but also through writing, teaching, and organizing workshops. In Uglycute’s quest for new approaches to material, beauty, economy and collaboration, they developed their characteristic uglycute “look” whereby furniture, objects and interiors are created out of chipboard, styrofoam and clay. The exhibition in Marabouparken’s 500 m2 main gallery will be presented as a labyrinth of transparent metal cages, just as much sculpture as exhibition architecture. The audience will be able to walk around in this maze-like space which functions as a three-dimensional archive over Uglycute’s methods seen through objects, furniture, interiors, films and educational practices. Uglycute’s movement between art, architecture and design has brought into immediate focus the common interests as well as crucial differences of these disciplines. Even if the goal has been a renewal of design, much of the work and discussions have taken place in the art world. Why is this? Perhaps because the art world provides a place for criticism and self-reflection and is one of the most sophisticated contexts in which to discuss form issues. By providing Uglycute with their most comprehensive solo show to date, Marabouparken brings to the fore the role that the art space can play for such an important political and social discussion as is the debate about form. To mention a few examples of the contexts in which Uglycute has featured over the years: interiors to the Cheap Monday headquarters in 2010, Härmapan, scenography to choreograph Anna Källblad, Moderna Dansteatern, Stockholm 2008, Dreamlands Burn, Mücsarnok Budapest 2006 (exchibition architecutre to the group exhibition of Swedish contemporary art), Konceptdesign, design exhibition at Nationalmuseum, Stockholm 2005, Sonic House at Utopia Station, Venice Biennale 2003, Stilen förde oss hit, design exhibition at Röhsska muséet, Gothenburg 2002, Project Djurgårdsbrunn, interior for Magasin 3, Stockholm 2002, lounge for the Moderna Museet, Stockholm 2000. http://www.markusdegerman.com/Gavle-Konstcentrum-The-University-of-Gavle http://www.markusdegerman.com/following/markusdegerman.com/Gavle-Konstcentrum-The-University-of-Gavle Sun, 12 Jun 2011 16:49:40 +0000 markus degerman 1580674 Workshop collaboration with Gävle Konstcentrum and the University of Gävle The workshop was done with students from the Design department at the University of Gävle. The project aimed to create a new reception, bookshop and meeting place for Gävle Konstcentrum. Participating students: Bobo Bäckström, Emelie Englund, Simon Gustavsson, Chatrine Jonsson, Timmy Jonsson, Nina Morin, Emelie Åström Gävle Konstcentrum, 2011 <img src="http://payload.cargocollective.com/1/0/28145/1580674/dt09_34.jpg" width="670" height="459" width_o="737" height_o="506" src_o="http://payload.cargocollective.com/1/0/28145/1580674/dt09_34_o.jpg" data-mid="7741197" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/28145/1580674/DSC_0044.jpg" width="670" height="501" width_o="737" height_o="552" src_o="http://payload.cargocollective.com/1/0/28145/1580674/DSC_0044_o.jpg" data-mid="7741201" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/28145/1580674/dt09_17.jpg" width="670" height="521" width_o="737" height_o="574" src_o="http://payload.cargocollective.com/1/0/28145/1580674/dt09_17_o.jpg" data-mid="7741208" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/28145/1580674/DSC_0040.jpg" width="670" height="502" width_o="780" height_o="585" src_o="http://payload.cargocollective.com/1/0/28145/1580674/DSC_0040_o.jpg" data-mid="7741219" border="0" align="left"/> http://www.markusdegerman.com/Curators-in-Conversation http://www.markusdegerman.com/following/markusdegerman.com/Curators-in-Conversation Tue, 15 Mar 2011 14:29:55 +0000 markus degerman 1174106 CURATORS IN CONVERSATION#2: CRITIQUE OR ACTION? Presentations by Tone Olaf Nielsen of Kuratorisk Aktion and Natasa Petresin-Bachelez, followed by a conversation with Corina Oprea of CuratorLab and Johan Lundh. Respondent and spatial design: Markus Degerman and Pål Rodenius Konsthall C, Stockholm 2011 <img src="http://payload.cargocollective.com/1/0/28145/1174106/KonsthallC_3.jpg" width="670" height="501" width_o="709" height_o="531" src_o="http://payload.cargocollective.com/1/0/28145/1174106/KonsthallC_3_o.jpg" data-mid="5658136" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/28145/1174106/KonsthallC_4.jpg" width="670" height="501" width_o="709" height_o="531" src_o="http://payload.cargocollective.com/1/0/28145/1174106/KonsthallC_4_o.jpg" data-mid="5658147" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/28145/1174106/3.jpg" width="531" height="709" width_o="531" height_o="709" src_o="http://payload.cargocollective.com/1/0/28145/1174106/3_o.jpg" data-mid="5658185" border="0" align="left"/> Under the title Curators in Conversation, Konsthall C, in collaboration with independent curator Johan Lundh, invites curators and curating artists to discuss their working methods and experiences. Curators in Conversation aims to foster discussion about curating by inviting contemporary actors in the field and to highlight historically significant projects, both local and international. For the second conversation in the series, Critique or Action?, we are collaborating with Konstfack’s CuratorLab, allowing us to invite both Tone Olaf Nielsen and Natasa Petresin-Bachelez for two individual presentations and a roundtable conversation with Johan Lundh and Corina Oprea. Kuratorisk Aktion and Natasa Petresin-Bachelez act on different territories that extend the field beyond the exhibition frame, generating spaces for debate and critical thinking. http://www.markusdegerman.com/PRE-SPECIFICS-ACCESS-X http://www.markusdegerman.com/following/markusdegerman.com/PRE-SPECIFICS-ACCESS-X Mon, 29 Nov 2010 15:12:47 +0000 markus degerman 817557 PRE-SPECIFICS: ACCESS X! Onomatopee, Dutch Design week, Eindhoven 2010 <img src="http://payload.cargocollective.com/1/0/28145/817557/pre-specifics.jpg" width="670" height="446" width_o="850" height_o="567" src_o="http://payload.cargocollective.com/1/0/28145/817557/pre-specifics_o.jpg" data-mid="3889366" border="0" align="left"/> Photo: Ingmar Swalue Not only humankind might have an "X" Factor; an environment or a product may equally have one. If a person has an "X" Factor, his power increases. Similarly, as soon as an environment or a product has an "X" Factor, it gains control over us... Let's make this production more accesible! PRE-SPECIFICS: ACCESS X! not only showcases luring products, spaces and concepts by contemporary artists, designers, architects and others, but actually also provides insight into their strategies. The exhibition thus features both sensory works and accountable strategies and motivations. The accompanying publication offers further notions into designed culture's X: its productive conditions and modes of mediation. Over recent years, 'Design' has progressed into a collective term for various activities of research, conceptualisation, production and even criticality. As 'Design' became synonymous to widespread professional authority, 'Design' became the name for physically imposed control and personally imposed power at large: from the spatial design of McDonald’s to the branding of the new hybrid car, from the executive stance of the spin doctor to the services of the shrink and beyond. Li Edelkoort, design guru and former director of the Design Academy, even expressed a demand for the designer-politician…. The research project PRE-SPECIFICS: ACCESS X! offers you both a rich scope of forms of "X" as an instrumental toolbox to engage the "X" in our designed culture, offering ACCESS to X! Onomatopee commissioned a variety of proposals, first of all to map out to what extent the addressed 'design' practice touches upon conditions of such a type of production and, second, to situate X in practice by means of a newly produced work. The proposals have been exhibited at Röda Sten Kulturforening Göteborg. From these proposals, Onomatopee has selected the majority to be actualised at Onomatopee Eindhoven during the Dutch Design Week. Contributors: Platform for Pedagogy (US), Uglycute (SE), Olaf Nicolai (DE), Dexter Sinister (US), Joana Meroz / Andrea Bandoni / Saron Paz (NL), Unfold (BE), Metahaven (NL), Lust (NL), Claire Fontaine (FR), Société Réaliste (FR), Ryan Gander / Abake (UK), Dave Hullfish Bailey (US) Florian Conradi / Michelle Christensen (DE). Curators: Freek Lomme (NL) & Michael Capio (US) Exhibition design: Dave Keune (NL) Graphic design publication: Eric de Haas (NL) http://www.markusdegerman.com/Research-as-Aesthetics http://www.markusdegerman.com/following/markusdegerman.com/Research-as-Aesthetics Mon, 01 Nov 2010 22:44:46 +0000 markus degerman 748107 Chto Delat #17 2007 Research as Aesthetic <img src="http://payload.cargocollective.com/1/0/28145/748107/illustration_archive.jpg" width="670" height="669" width_o="850" height_o="850" src_o="http://payload.cargocollective.com/1/0/28145/748107/illustration_archive_o.jpg" data-mid="3533038" border="0" align="left"/> How has the development, with a language and formal structure culled from the values of research and academia, influenced an aesthetically based context such as art? On what level or levels should the new products associated with and created in the field of art be interpreted? Are not, for instance, many of the usual seminars deceptively similar to performances or happenings, and do not the archives that have started to pop up within various art institutions often resemble installations rather than actual records of documents? I recall, when I was at art college in the mid-90s, how it became increasingly common to describe the artist’s work as a form of research. At the time, this was perceived as a new way of looking at artistic practises, whereas today, more than ten years later, this terminology could be regarded as fairly accepted as a description of the contemporary artist’s activity. The development towards using research as a reference point and theoretic model for art has also had a more general impact. The fact that it became possible a few years ago in Sweden to get a doctor’s degree as an artist, and that many art institutions describe and pursue their activities in terms of research, can be seen as results of this. Thus, today, terms and phenomena such as laboratories, seminars, symposia, publications and archives have come to be common features of contemporary art. Although, on a plane of reference, this may appear to represent a movement away from a more distinctly aesthetically based language, contemporary art must surely still be seen as an essentially aesthetic activity. Therefore, it is interesting to attempt to discuss what the previously described development could implicate in an aesthetic perspective. To provide a background to these aesthetic perspectives and the discussion as a whole, it may be wise to look back briefly at how everyday life was aestheticised, a subject that also arose increasingly in debates in the early 1990s. The aestheticising of everyday life is often described summarily as a blurring of the boundaries between art and life in general, and a merging of so-called “high-brow” culture with popular culture. Simultaneously with this blurring of the boundary between art and life, art lost its aura and could be anything, anywhere. As a logical consequence of this, it became possible also to regard mass-produced objects as art. Another symptom of this aestheticising of everyday life that is frequently referred to is the importance of realising oneself by shaping, or “designing”, a lifestyle, also described as turning life into art. The once so radical motto of the avant-garde, that life should be a work of art, has thus become mainstream and part of everyday life itself. Finally, this aestheticising of everyday life can also be seen as a devaluation of the functional value of objects, in favour of what is sometimes termed the secondary value. Originally, most objects were judged according to their practical use, their utility, whereas today, this judgement is said to focus infinitely more on how one object relates to another. This relationship is primarily of a symbolic nature, and thus relates more to what the various objects symbolise vis-à- vis one another. This shift from purely practical function to a function that encompasses what something represents or symbolises generated new values that are commonly referred to as secondary functional values. The symptoms of this aestheticising of everyday life are probably familiar to most people nowadays, but, as mentioned previously, they can provide an interesting starting point in this context for interpreting the development within the field of art with a language and formal structure borrowed from the values of research and academia. Despite, or perhaps thanks to, the fact that the work of art has lost much of its aura, and that the commodity has instead assumed many of the functions of the art object, the issue of the commercialisation of art and the aestheticising of the commodity appears to remain, and is linked to the language and formal structure from research and academia that is applied in contemporary art. One blatant example of this is the recent debate on public funding of art, which, in short, focused on issues relating to the development of art either towards greater instrumentalisation or harsh commercialisation, or alternatively, towards exploration, critique and discourse and not necessarily complying with traditional exhibition activities. This debate revealed the opposition that could be said to be ingrained in the viewpoints on the conditions for art as being either explorative, discursive and critical, or more one-sidedly commercialised or instrumentalised. Moreover, it is within the former of these contemporary genres that we most commonly find references to the values of research and academia. Seen in that light, the act of emphasising art as research could be a strategy, in a context where everyday life has been aestheticised, and which in many ways is intent on asserting the commercialisation of art and aestheticisation of commodities, to create scope for an art that is critical, and not restricted to objects or specific exhibition spaces. There is an inherent risk, however, that the result would resemble that described by Helena Mattson in the essay “Forms of Politics”, where she discussed the transcendence of disciplinary boundaries between art and commodities (everyday objects): In some instances, this is a conscious action, a transcending strategy, where we seek to operate within the economic and political field using art as an instrument; in other cases this is merely an involuntary and destructive consequence whose causes we are unable to identify. For the avant-garde, this transcendence was a political action that tore down the boundaries of contemplative art and opened up its spaces – eliminating the sanctuary – and confronted the spectator with reality. Art and life were thus one and the same: There is no sanctuary! In many cases, we can regard the claims of relational aesthetics to subscribe to the same artistic and political strategy, which may appear increasingly ineffectual as the removal of the boundary between art and life entails the incorporation of art into the aesthetic universe of the commodity. Thus, there is a danger, in this perspective, that research- related art would not offer a sanctuary from the world of the aestheticised commodity. The traditional production of objects would simply merge into a creation of new products and services. Which, if the issue of utility is forgotten, would mostly resemble props for universities or libraries. Research-related activities that are generated in an art context, such as seminars, archives and publications, ought, in that case, to be judged first and foremost on the grounds of their secondary value, rather than their functional value. In other words, the focus should be greater on how things are said, and not merely on what is said literally. The additional meanings that are engendered in this way make it possible, among other things, to perceive the seminar as a performance, the archive as an installation, and the publication as an art object. When the often too tacit aesthetic concerns are enhanced, this changes the meaning of the product, and thus, the potential to circumvent the matter of content by focusing on the design. This does not necessarily mean, however, that research- related art is less reliable or that it has reached an intellectual dead end. Perhaps, paradoxically, it is in aesthetics that there is a possibility to avoid a further aestheticisation. In that case, greater attention and more importance should perhaps be devoted to the forms and implementations in which, say, seminars, archives or publications are expressed. This would create an opening for new meanings and functions. In the essay referred to above, Helena Mattson also describes a possible model for such a strategy: An intriguing aspect here could be that it is the design, ornamentation and superfluity that provide the impetus for a reprogramming of space and function that most decidedly has both social and political implications. So where could all this lead? First of all, we must acknowledge design and architecture as political activities in that they are configurations of space, site and object. This also means that the aesthetic sphere can be regarded as a purely political sphere where reorganisation, reprogramming and reconfiguration is acceptable that would not be allowed in our everyday reality. This, in turn, opens up for a strategy that is entirely contradictory to the avant-garde strategy, and frequently to that of relational art – instead of breaking down the boundary between art and life, this boundary can be utilised and that which is usually regarded as commonplace can be transferred to an aesthetic playing-field to be “reprogrammed” and subsequently serve as art in a real situation. In my own practice as an artist, I have often been involved in designing environments within various art institutions, and in producing publications, seminars or essays such as the one at hand. Therefore, I have to admit that I have contributed to the aestheticisation that I am writing about. Perhaps I am contributing even further towards that development with this essay, and perhaps I should have chosen to express myself in a different way. In a way that could hopefully, in itself, make some resistance. But the question that arises then is: how far is it possible to depart from the accepted perspective on aesthetics in a certain context, before the things one is saying start to turn into incomprehensible gesticulating? http://www.markusdegerman.com/Exhibition-of-the-exhibtion http://www.markusdegerman.com/following/markusdegerman.com/Exhibition-of-the-exhibtion Mon, 01 Nov 2010 22:15:53 +0000 markus degerman 748017 Correct me if I'm Critical Exhibition of the exhibition... PROGRAM, Berlin 2010 Markus Degerman contributes to the exhibition program correct me if i'm critical, curated by Adnan Yıldız, at two critical levels of production. Firstly as an architectural eye for designing the exhibition ground, which is composed of the Felleshuset and Nest; and also as an artist who opens a post-scriptum discussion through a solo presentation at PROGRAM aiming to reflect his experience on the form of exhibition making. 

 A shared proposal from Carson Chan, Adnan Yıldız, and Markus Degerman, Exhibition of an exhibition relates to the ongoing discussion at PROGRAM about how artistic production interacts with architecture and design. This post-scriptum can be understood as an examination of how spaces for presentation of art are conferred with meaning through their design and how art can serve as a possible tool for the creation of additional understandings. Degerman's installation at PROGRAM, alongside with his work at Felleshuset, investigates the possibilities for an artistic practice as a form of critically oriented design strategy in relation to exhibition architecture and the presentation of artworks. 
 <img src="http://payload.cargocollective.com/1/0/28145/748017/IMG_0320.jpg" width="670" height="502" width_o="680" height_o="510" src_o="http://payload.cargocollective.com/1/0/28145/748017/IMG_0320_o.jpg" data-mid="3532417" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/28145/748017/IMG_0318.jpg" width="670" height="893" width_o="1944" height_o="2592" src_o="http://payload.cargocollective.com/1/0/28145/748017/IMG_0318_o.jpg" data-mid="3532427" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/28145/748017/IMG_0328.jpg" width="510" height="680" width_o="510" height_o="680" src_o="http://payload.cargocollective.com/1/0/28145/748017/IMG_0328_o.jpg" data-mid="3532440" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/28145/748017/IMG_0349.jpg" width="670" height="502" width_o="680" height_o="510" src_o="http://payload.cargocollective.com/1/0/28145/748017/IMG_0349_o.jpg" data-mid="3532444" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/28145/748017/IMG_0353.jpg" width="670" height="502" width_o="680" height_o="510" src_o="http://payload.cargocollective.com/1/0/28145/748017/IMG_0353_o.jpg" data-mid="3532447" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/28145/748017/IMG_0358.jpg" width="510" height="680" width_o="510" height_o="680" src_o="http://payload.cargocollective.com/1/0/28145/748017/IMG_0358_o.jpg" data-mid="3532451" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/28145/748017/program.jpg" width="670" height="482" width_o="720" height_o="519" src_o="http://payload.cargocollective.com/1/0/28145/748017/program_o.jpg" data-mid="3532458" border="0" align="left"/> Photo: Ania Pabis http://www.markusdegerman.com/Rooted-Design-for-Routed-Living http://www.markusdegerman.com/following/markusdegerman.com/Rooted-Design-for-Routed-Living Mon, 01 Nov 2010 22:15:52 +0000 markus degerman 747887 Rooted Design for Routed Living Exhibition Architecture and Curator Laboratory, CCA, Warsaw 2010 The exhibition at the Laboratorium Building is the first public presentation of objects created by 10 young designers from Poland and Norway as part of the project Rooted Design for Routed Living. Alternative Design Strategies. The presented objects were created in the course of a two-year process and were created specifically for two artist residence centres: a-i-r laboratory in Warsaw and NKD in Dale, Norway. Both institutions run artist-in-residence programs, albeit in different conditions. NKD is based in a village on the west coast of Norway, whereas a-i-r functions in the centre of a European metropolis. Artists live and work in both, and it is with them in mind that the design group has created objects that, based on a analysis of the two countries’ material culture, are meant to respond, in a universal albeit tradition-rooted fashion, to the resident artists’ needs. During the project, the designers visited both institutions, becoming their residents for some time in order to experience their specificity ‘on their own skin’. Today’s artists travel a lot between exhibitions, projects and commissioned jobs. Over the last decade, the model of the artist travelling between residences has also become popular. The life of the contemporary artist, always on the move, is characterised by a lack of rootedness, which can also be said of the often too pragmatic spaces in which they stay. The fact of the two institutions’ running similar residence projects in extremely different conditions became the common platform for their exchange. Both place became, for themselves and for young designers, a source of inspiration, knowledge and experience with regard to the possible and impossible ways in which interior spaces can significantly refer to their immediate, local environment. The project itself was so formulated as to allow both Polish and Norwegian designers to do research in the other country. Is the production of durable objects rooted in specific realities and tradition possible in the contemporary world? Do the present-day living and economy models allow for the conscious creation of design that will stand the test of time? Can the objects surrounding us age, like people, but without ceasing to fulfil their intended functions? How is it possible to defend the presence of long-lived, durable objects on the market? Is global design at odds with that rooted in specific cultural realities? Is an alternative approach possible in design and production? These are only some of the questions that the project’s participants tried to answer by travelling and studying the material culture of the two countries. The exhibition presents objects created in response to the above questions. Following its close, they will find a place in residence spaces, serving the resident artists’ needs.

More on the Rooted Design for Routed Living project at www.design-in-residence.org Designers: 
Maja Ganszyniec, Amy Hunting, Paweł Jasiewicz, Ola Mirecka, Oscar Narud, Trond Nicholas Perry, Tomek Rygalik, StokkeAustad (Jonas Ravlo Stokke & Øystein Austad), Jakub Szczęsny
 Curators: Markus Degerman, Marianna Dobkowska, Ula Siemion, Ika Sienkiewicz-Nowacka <img src="http://payload.cargocollective.com/1/0/28145/747887/arch.jpg" width="670" height="501" width_o="709" height_o="531" src_o="http://payload.cargocollective.com/1/0/28145/747887/arch_o.jpg" data-mid="3531777" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/28145/747887/fallen_wall.jpg" width="670" height="501" width_o="709" height_o="531" src_o="http://payload.cargocollective.com/1/0/28145/747887/fallen_wall_o.jpg" data-mid="3531785" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/28145/747887/leaning_wall.jpg" width="425" height="567" width_o="425" height_o="567" src_o="http://payload.cargocollective.com/1/0/28145/747887/leaning_wall_o.jpg" data-mid="3531787" border="0" align="left"/> http://www.markusdegerman.com/at-work-with http://www.markusdegerman.com/following/markusdegerman.com/at-work-with Mon, 01 Nov 2010 21:25:32 +0000 markus degerman 747838 at work with Uglycute at The Nordic Pavilion, Architecture Biennale di Venezia 2010 At Work With is a project focusing on architecture as practise. Initiated by Economy (Tor Lindstrand) and Testbedstudio (Anders Johansson and Erik Wingquist), it takes the form of an office environment with a residency program during the three months in the Nordic Pavilion at the Venice Biennale. At Work With is conceived as a workspace for seminars, screenings, discussions, displays, practices, projects, meetings, modelling, projections, provocations, interactions, broadcasts, dreams, cooking and whims. Constructed as a continuous staging of meetings between practitioners and visitors, it is a working office as well as a social meeting point that emphasizes exchange and conversations about architecture. The project was commissioned by the Swedish Museum of Architecture. <img src="http://payload.cargocollective.com/1/0/28145/747838/bygge2.jpg" width="500" height="333" width_o="500" height_o="333" src_o="http://payload.cargocollective.com/1/0/28145/747838/bygge2_o.jpg" data-mid="3531528" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/28145/747838/bygge.jpg" width="510" height="340" width_o="510" height_o="340" src_o="http://payload.cargocollective.com/1/0/28145/747838/bygge_o.jpg" data-mid="3531540" border="0" align="left"/> http://www.markusdegerman.com/Correct-me-if-I-m-Critical http://www.markusdegerman.com/following/markusdegerman.com/Correct-me-if-I-m-Critical Fri, 24 Sep 2010 14:01:07 +0000 markus degerman 656132 Correct me if I'm Critical Curated by Adnan Yildiz Exhibition Architecture Felleshuset, Berlin 2010 Markus Degerman contributes to the exhibition program correct me if i'm critical, curated by Adnan Yıldız, at two critical levels of production. Firstly as an architectural eye for designing the exhibition ground, which is composed of the Felleshuset and Nest; and also as an artist who opens a post-scriptum discussion through a solo presentation at PROGRAM aiming to reflect his experience on the form of exhibition making. <img src="http://payload.cargocollective.com/1/0/28145/656132/correct_me4.jpg" width="531" height="709" width_o="531" height_o="709" src_o="http://payload.cargocollective.com/1/0/28145/656132/correct_me4_o.jpg" data-mid="3061111" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/28145/656132/correct_me2.jpg" width="531" height="709" width_o="531" height_o="709" src_o="http://payload.cargocollective.com/1/0/28145/656132/correct_me2_o.jpg" data-mid="3061117" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/28145/656132/correct_me3.jpg" width="670" height="501" width_o="709" height_o="531" src_o="http://payload.cargocollective.com/1/0/28145/656132/correct_me3_o.jpg" data-mid="3061118" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/28145/656132/correct_me1.jpg" width="670" height="501" width_o="709" height_o="531" src_o="http://payload.cargocollective.com/1/0/28145/656132/correct_me1_o.jpg" data-mid="3061121" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/28145/656132/floor hump.jpg" width="670" height="448" width_o="720" height_o="482" src_o="http://payload.cargocollective.com/1/0/28145/656132/floor hump_o.jpg" data-mid="3531350" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/28145/656132/natascha_sadr_haghighian.jpg" width="670" height="448" width_o="720" height_o="482" src_o="http://payload.cargocollective.com/1/0/28145/656132/natascha_sadr_haghighian_o.jpg" data-mid="3531356" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/28145/656132/unni.jpg" width="670" height="448" width_o="720" height_o="482" src_o="http://payload.cargocollective.com/1/0/28145/656132/unni_o.jpg" data-mid="3531363" border="0" align="left"/>{