From the Archive; listening to Kalle Lasn

2017-02-06 15.32.43

The outpourings of unease, dread and fear that recent political events have caused reminds me of an earlier era, 1999 (although back then we were asked to party too). The run up to the Millennium witnessed the kind of end-of-days headbanging practiced by religious zealots since the Middle Ages, spiced with a dose of fin de siècle decadence and topped with the techno-paranoia of the Y2K Bug and the predicted meltdown of communications, power and defence systems worldwide. With the Internet still in its infancy and social media merely a glint in its circuitry, hysteria was polarised. Mainstream media presented experts and button-holed politicians while conspiratorial survivalists used grass-roots networks to challenge official messages meant to placate the public.

One media practitioner commanding attention was Kalle Lasn not because he peddled doom-laden prophecies, although he was angry, but because the magazine he had launched a decade before seemed to (now) perfectly fit the zeitgeist. Adbusters gave a message of resistance and not from a place of despair. It advocated for urgent action using the incendiary power of the image, documentary and manipulated, while retaining a stance of positivity, and the look and feel of the magazine – colourful, glossy, eye-catching – helped promoted that can-do, future-focused message.
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Voting for Design; Designs of the Year

For its annual Designs of the Year award, London’s Design Museum employs social media, an email campaign and a micro-site to engage with its audience and entice it to judge the exhibits. It also suggests that talent-spotting curation offers a glimpse into the future.

For its annual Designs of the Year award, London’s Design Museum employs social media, an email campaign and a micro-site to engage with its audience and entice it to judge the exhibits. It also suggests that talent-spotting curation offers a glimpse into the future.

Designs of the Year 2014
Design Museum
Shad Thames, London SE1
26 March to 25 August 2014
Nominees’ Party
25 March 2014

An exercise in engagement, a sure-fire media event, and a comprehensive round-up of the best design launched in a year, the Design Museum’s Designs of the Year award and exhibition is now in its seventh year, showcasing design across a range of categories; Architecture, Digital, Fashion, Furniture, Graphic, Product and Transport. Designs of the Year was instigated by the current Director, Deyan Sudjic, to replace the “Designer of the Year” award, when a winner was picked from just four nominated individuals whose careers and recent achievements were being judged rather than any particular outcomes. Increasingly, that competition attracted criticism for pitting star-designers against rank outsiders, and for some controversial decisions. Opening up the nomination and judging process to a wider panel, Designs of the Year provides the public with an annual, international round-up of headline-grabbing ideas, solutions and products.

The selection process for this new format has also generated a worldwide network of judges and nominatee from across the design industry — the museum’s extended “family” — who are now known to curators, with both parties mutually benefitting from the association. For the past three years, I’ve been asked to nominate, and each year had a couple of my choices make it through to the “exhibition” round. Proof of how much designers and their clients appreciate this opportunity to exhibit at the Design Museum may be judged by the massive amount of social media and personal thanks generated on the “shortlist” day, when the selection is announced; and by the packed, riotous party on the eve of opening. I’m writing this after attending the nominees party, so excuse the lack of focus on particular exhibits; this show demands repeat viewing as there’s so much to see.
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From the Archive; Design Criticism in New York

This post was originally published on Eye Blog. I’m reposting it because I recently added a separate post about Fiona Raby’s talk at this conference, which provides background to the Dunne & Raby exhibition, “United Micro Kingdoms: A Design Fiction”, reviewed here.

Counterpoint
The 2013 D-Crit Conference, School of Visual Arts, New York City
Attended 11 May 2013

Brigette Brown argues that segregation is alive. Drawing by Nina Frankel.

Brigette Brown argues that segregation is alive. Drawing by Nina Frankel.

Monday 12:15am, 24 June 2013
“Sharing the stage…sharing ideas”
by Liz Farrelly
Originally published on Eye Blog

Five D-Crit students team up with experts to make presentations at their graduate symposium

It’s that time of year again, when a host of graduating art and design students prepare to launch themselves upon the world. The degree shows have gone up and this year’s crew are buzzing with anticipation. That’s fine if your work looks good on a wall or in a gallery. But what about the new breed of design critics on Masters courses on both sides of the Atlantic? Just how do writers make their mark?
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Fiona Raby tells it like it could be

Fiona Raby speaks at Counterpoint
The 2013 D-Crit Conference, School of Visual Arts, New York City
Attended 11 May 2013

View from the stalls.

View from the stalls.

Before hearing Fiona Raby’s talk at this Design Criticism conference in New York City, I had already visited Dunne & Raby’s new exhibition, “United Micro Kingdoms: A Design Fiction”, staged at London’s Design Museum, but the majority of the audience hadn’t. Fiona, however, gave such an insightful explanation of the show that, thanks to my notes from the day, this account of her talk might supplement my previous post about the exhibition, here. Following this is an Archive post from Eye Blog, reporting on the conference.

Fiona describes her practice (Dunne & Raby, est. 1994 in partnership with Anthony Dunne) as dealing with emerging technologies and imagined behaviours. She defines design as “a tool for collective imagining” and designers as “making it tangible”, the aim being to broaden our worldview.
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Show Don’t Tell, with design fiction

Communo-Nuclearists let the train take the strain. Image by Tommaso Landa. ©All rights reserved by d_&_r

Communo-Nuclearists let the train take the strain.
Image by Tommaso Landa
©All rights reserved by d_&_r

United Micro Kingdoms (UmK): a design fiction
Design Museum, Shad Thames, London
1 May to 26 August 2013
Visited 30 April and 15 August 2013

I was lucky enough to be in the right place at the right time, attending a Designer Breakfast (8am start!) at the Design Museum, and was invited into the Press View for United Micro Kingdoms. There I bumped into Fiona Raby and Anthony Dunne, the instigators of this groundbreaking exhibition, which is billed as “a design fiction”. True to my journalistic roots, I fired a few questions and scribble some answers, before PRs whisked them away.

Tony and Fiona use design to provoke debate; they call it “critical design”. With “UmK” they’ve created a near-future scenario for our little island, populated by four tribes defined by differing attitudes to technology and ecology. These in turn are manifested as imagined transportation and energy choices, which mirror each tribe’s ethical and ideological beliefs.
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Design Culture Salon

Design Culture Salon
Victoria and Albert Museum, London.
From November 2012 to April 2013
Attended 27 November 2012, 29 January 2013, 29 April 2013

In November 2013 I participated in the first Design Culture Salon as a panel member asked to discussion, “What can museums do with contemporary design”. The brainchild of Dr Guy Julier, Professor of Design Culture and Principal Research Fellow in Contemporary Design at University of Brighton and the V&A, it was followed by four more in the series, until April this year.

Here’s the official description…
“The Design Culture Salons are occasional discussion events hosted by the Victoria and Albert Museum, London. They provide a space to: develop advanced debate and discussion of the complex, dynamic and pervasive role of design in contemporary society; and consolidate discussion as to how design culture, criticism, representation and practice can be further developed. Each event features an invited panel, chaired by Guy Julier, University of Brighton Professor of Design Culture at the V&A. Panelists provide brief, personal overviews of the respective event’s theme. This is followed by open discussion. These salons are supported by the University of Brighton and the Learning Department and Research Department of the V&A.”

On the excellent website dedicated to the Salon, there are previews and reflections on each event, written by Guy and his colleague, Leah Armstrong. I attended three out of the five (bad winter weather being my excuse), and I’ve left comments on the website each time. Here are my comments again, but visit the site to read them in context.
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