MAY 13 TO JUNE 9, 2013
Presented by the METAL COLLECTIVE
Sixteen Canadian metal artists set the table, each offering a different scenario through which to explore the memories, sensual enjoyments and rituals associated with the Table, in all its literal and figurative meanings. The exhibition weaves together ideas about community, consumption, worship and want, as filtered through the perspectives of European, Asian and Indigenous cultures.
Together, the artists offer a feast for the eyes, and an opportunity to contemplate what really nourishes us.
ABOVE: KYE-YEON SON
CANADIAN TABLE HONOURED / HOMMAGE Á LA TABLE CANADIENNE, 2012
PHOTO: GUY McCRUM
MAY 1 TO MAY 30, 2013
I AM STANDING IN THE PLACE
WHERE I LIVE
IMAGES TAKEN BY 4 KENYAN STUDENTS IN GRADE 8
AT EMORI JOI HIGHSCHOOL - A Video Exhibition
Although I asked the Kenyan students to provide their version of "public" and "private" space according to the 2012 CONTACT Photography Festival theme, the theme for 2013, "photography as an extension of vision", applies more appropriately to how they view their world.
When I first received the images, I was somewhat shocked. In North America we tend not to let humanity infringe upon a "perfect" existential shot. However, the more I studied the images, the more I was charmed by them. Each image says simply, "this is me in my world" and (to capture the song lyric of REM) "I am standing in the place where I live" and their understanding of the photograph as an "extension of vision" is an holistic vision a world separated into two spheres: marketplace and silentplace.
Christopher Nokes - teacher
THE HAPPY SHOW
January 9 - March 3, 2013
Internationally renowned Graphic Designer Stefan Sagmeister is as celebrated for his commercial work for brands like LEVI’s or his album covers for The Rolling Stones and Talking Heads as he is for his provocative public art installations.
The Happy Show offers visitors the experience of walking into the designer’s mind as he attempts to increase his happiness via meditation, cognitive therapy, and mood-altering pharmaceuticals. “I am usually rather bored with definitions,” Sagmeister says. “Happiness, however, is just such a big subject that it might be worth a try to pin it down.” Centered around the designer’s ten-year exploration of happiness, this exhibition presents typographic investigations of a series of maxims, or rules to live by, originally culled from Sagmeister’s diary, manifested in a variety of imaginative and interactive forms.
Stefan Sagmeister The Happy Show
is organized by the Institute of Contemporary Art, University of Pennsylvania.
Stefan Sagmeister The Happy Show
is curated by ICA’s former Daniel W. Dietrich, II Director Claudia Gould.
ICA is grateful for primary sponsorship from The Pew Center for Arts and Heritage through the Philadelphia Exhibitions Initiative. Additional funding has been provided by ICA’s Leadership Circle. We are grateful for the support of The Horace W. Goldsmith Foundation; The Dietrich Foundation, Inc.; the Overseers Board for the Institute of Contemporary Art; friends and members of ICA; and the University of Pennsylvania. General operating support provided, in part, by the Philadelphia Cultural Fund. ICA receives state arts funding support through a grant from the Pennsylvania Council on the Arts, a state agency funded by the Commonwealth of Pennsylvania and the National Endowment for the Arts, a federal agency. ICA is also grateful to The Chodorow Exhibition Initiative Fund for support of the exhibition’s tour. (as of May 1, 2012)
Knolling Canadian Design
November 27-December 12
Design Exchange Lobby – Free Admission
What's Knolling, you ask?
“Knolling”: The process of arranging like objects in parallel or 90-degree angles as a method of organization.
The term was first coined in 1987 by Andrew Kromelow, a Janitor with Frank Gehry’s furniture fabrication shop. At the time, Gehry was designing chairs for Knoll, a company famously known for Florence Knoll’s angular furniture. Kromelow would arrange displaced tools at right angles on all surfaces, and called this routine knolling, inspired by Gehry's then-client. Not long after, American Sculptor Tom Sachs spent two years in Gehry’s shop as a fabricator and adopted use of the term. Today, Knolling is integral to his studio process, having coined the rule “Always Be Knolling” (abbreviated as ABK).
“Knolling is essentially a method of organization and an interesting way to display objects. The smaller items within the DX’s Permanent Collection aren’t often given prominence, so this is their chance to be seen in a fun, albeit very composed way. Permanent collection items are knolled alongside those on loan from Chromoly, Castor, Paige Russell, Science + Sons and more."
Curated by Sara Nickleson, Director of Collections and Acting Curator, the Design Exchange
Know Your Knolling: an internet guide
Teach yourself all you need to “knoll” through these blog, social, and video-based websites:
Knolling Video by Tom Sachs
Vertical Urban Factory
Sept 13 – Dec 8
Can factories be re-integrated into urban centres and present sustainable solutions for future self-sufficient cities? A renowned exhibition and research project presents the history and provokes the future for urban factories coming to the DX from New York via Detroit. It features a timeline comparing industrial technology, social issues, and factory design over the centuries. There is an in depth look at over 30 factories – illustrated with over 200 photographs, diagrams, drawings, models, and historic films. Both historic and contemporary examples of urban factories are displayed including – American Apparel in Los Angeles and the VW “Transparent Factory” in Dresden Germany (designed as a marketing tool). If entrepreneurs and urban planners reconsidered the potential for building factories vertically in cities, this will in turn reinforce and reinvest in a natural feedback loop leading to a new sustainable urban industrial paradigm. Visitors can imagine how the city would be if we brought factories back into urban centres – with additional skilled jobs and vital mixed uses. Local manufacturing is a significant topic in today’s economy – this exhibits shows concepts for the future. Cleaner and greener production could make vertical urban factories the engines of urban revitalization.
Curated by architectural historian and critic, Nina Rappaport.
With contributions from
Duggal Visual Solutions
Elise Jaffe + Jeffrey Brown
Israel Berger Associates
Santiago Calatrava Architects
Netherlands Architecture Fund
A project of New York Foundation for the Arts
Considering the Quake:
Seismic Design on the Edge
Sept 13 – Nov 13
Many speak of architecture as both a science and art, but few ever truly witness the “science” part of architecture. Behind the building’s skin lies much of its initial premise, developed between the union of architect and engineer; an intersecting communication, creating unparalleled synchronicity when each profession just plainly gets it right. What if we could bring these two seemingly disparate elements under the roof of one comprehensive exhibit; and do this through the principle of earthquake engineering? A domain thought of most singularly under an engineer’s autonomous control. Exhibit will display various projects that surpass conventional approaches to seismic design and portray the relationship between the architect and engineer (will feature full scale seismic technology, architectural and structural models, renderings, animation and other multimedia platforms). Design meets practical application. Examples: From ARUP's Hermès Building featuring the work of Renzo Piano Architects in Tokyo, Japan and their York University Subway Station with Foster and Partners in Toronto, to Daniel Libeskind's Contemporary Jewish Museum in San Francisco, to Cast Connex's seismic technology that will be included in New York City's World Trade Center 3 design.
Curated by Dr. Effie Bouras, Postdoctoral Fellow and Professor Ghyslaine McClure, P.Eng, of McGill University, Department of Civil Engineering and Applied Mechanics.
With contributions from the Canadian Seismic Research Network.
Photo: Hansha Reflection House, Japan. Designed by Kevin Lim / Studio SKLIM.
Photo by Jeremy San.
DX 2012 MAJOR EXHIBITION
60 Years of Designing the Ballet
July 11 – September 2
Exhibition Hall – Paid Admission
This exhibition offers an intimate look at the design of one of Canada’s most celebrated treasures – the National Ballet of Canada. The exhibition is organized thematically – highlighting the various ways in which the ballet as an institution is designed through hundreds of items from the ballet’s archive. The exhibition provides a private invitation into the world of one particular company. Unique to this exhibition is that the players themselves – the designers, dancers, creative directors, amongst others – are invited to comment on the process of designing costumes, dance, lighting, sets and so on. This back stage pass offers viewers a rare opportunity to engage with the theatricality, innovation, glamour and beauty that is the National Ballet of Canada.
Photo: Celia Franca as Swanilda from Coppélia (1955). Photo by Ken Bell. First performed October 22, 1952. Designed by Kay Ambrose.
DX 2012 SUPPORTING EXHIBITION
The Tutu Project
July 11 – September 2
Lobby – Included with the price of admission
The iconic tutu remains among the most coveted and imitated articles of clothing in Western culture. In celebration of its 60th anniversary, The National Ballet of Canada has engaged friends, audience members and professional designers from across the country to participate in this interactive and international art and community-outreach project. The Tutu Project features pieces by Canadian fashion designers such as David Dixon and Juma, artists like Julie Moon and Tania Sanhueza, and jewellery designer Shay Lowe. Many tutus have been created collaboratively by visitors to TIFF Kids International Film Festival, Toronto Fashion Week, Word on the Street, Toronto Pride, Canada Day Celebrations in Ottawa, Share the Magic and members of Kids Corps. The Tutu Project also includes costumes from great moments in The National Ballet's history along with original pieces created by artists from Dance Victoria, The Port Theatre, Canada's Royal Winnipeg Ballet, Alberta Ballet, Giles Deacon for The English National Ballet, designers from the Fashion Design Council of Canada, and staff designers from The National Ballet.
For more information about The Tutu Project, click here.
The Tutu Project is generously sponsored by the Volunteer Committee, The National Ballet of Canada.
August 9 – 23, 2012
Historic Trading Floor
BRAVOS: Groundbreaking Spanish Design is an innovative exhibition that unleashes the mastery of a new generation of Spanish designers. Curated by Juli Capella, BRAVOS offers the opportunity to experience product design from 21 of Spain’s most talented industrial designers including Jaime Hayon, Patricia Urquiola and Nacho Carbonell.
Lynne Cohen: Nothing is Hidden
Scotiabank Photography Award
May 3 – June 30, 2012
This exhibition showcases the photography of Lynne Cohen, a Montreal-based artist whose work captures institutional and domestic interior spaces including living rooms, factories, spas, retirement homes, laboratories, offices, showrooms, shooting ranges, and military installations. Her work has been featured in more than 50 public collections across Canada and around the world. Cohen is the first recipient of the Scotiabank Photography Award, Canada's largest contemporary photography award for an established Canadian artist.
Stephen Burks: Man Made Toronto
January 23 – April 1, 2012
Stephen Burks: Man Made Toronto features the work of New York industrial designer Stephen Burks and his studio, Readymade Projects. Burks can be considered a design activist, whose work challenges the way that we think of traditionally crafted objects and contemporary design.
Burks collaborates with artisans in the developing world to transform raw and recycled materials into clever, functional products. Linking these products with the distribution and marketing of global design brands such as Artecnica, Cappellini and Moroso, Burks brings social, cultural and economic benefit to people in remote locations. In doing so, he also introduces new forms and aesthetics to contemporary design in the industrialized world.
For Man Made Toronto, Burks invites the Toronto public to consider basket lamps, shelving, tables and other interior products that he developed with Senegalese basket weavers in a village outside of Dakar. As authentic hybrids of two cultures, these products seem simultaneously fresh and familiar.
VIDEO DOWNLOAD THE EXHIBITION POSTER EVENTS