May 10, 2016 - No Comments!

Ironical distances and body-add-ons –
Professor Dr. Rainer Funke on “Dingverhältnis”

As a Design theorist and Professor at University for Applied
Science Potsdam, Prof. Dr. Funke permanently deals with
questions concerning the “Dingverhältnis”.

As for him relationships between humans and objects are tied to
use and function of an object. Thus, within one product group
there are many different operational conditions and codes that
tell the user what to do and how to use and appreciate a
product. In the last couple of decades a huge industry of giving
has developed. Funke explains that “at the end of the day we are
standing under a constant pressure to give and receive as well
as to show our appreciation. We want to show this in a way that
seems appropriate for us. By this we also negotiate our

relationships and show appreciation in the process of giving.”
Funke also talks about "Kitsch”. As for him “Kitsch” gives
meaning to relationships in our lives in a very particular manner.
“The classic definition of Kitsch is based on the inferiority of
objects, hence objects are producing great emotional benefits
with very little effort”, clarifies Funke. One can say that with
"Kitsch" we reduce the complexity of the world in order to
establish a positive ratio. The question about the need for
“Kitsch” also deals with processes of revaluation. “For example
the 'Wackeldackel' used to be a sign of coziness for our
granddads. They could take a piece of home with them on the
journey. And nowadays when we put a 'Wackeldackel' in our
car, most of the time it includes a kind of ironical distance. In any
case there is a specific meaning and emotional benefit.” The
example Funke gives also lead to the perspective that the
realtionship to things also changes in the course of time. After
reflecting on our emotional attitudes to “Dingverhältnis”
Funke reveals another perspective on the relationship between
things and persons.

As for Funke an interesting culmination is happening, when
people work very hard to get their dream object. “There is an
experience symbolized by this object. You will always perceive,
recognize and build this object into your every day life differently
than a thing that came to you by chance.” In this case,
appreciation grows by the commitment and dedication to own the
object. But commitment can also come up with reagular usage.
„For example, I see my glasses as an add-on of my body. I don’t
only need them to see but they belong to my body
as an extension.”

This strong statement reveals even more that there are deep
relationships we build to things which even can be perceived as
part of our natural, human body.

May 10, 2016 - No Comments!

The interface between object and subject – Design expert, theorist, and author UTA BRANDES on “Dingverhältnis”

Pinkdot meets Uta Brandes in her living-and-work place in Köln City. As she opens
her doors a variety of chairs, artworks of all sizes, materials and colors are inspiringly welcoming us. The ensembles emphasize Uta's first interpretation of "Dingverhältnis".
She points out that objects can establish a relationship between each other and create something new by their unique combination.

Uta Brandes Stühle
However Uta's second interpretation is channeling to one of her fields of research.
She pictures "We love or hate objects, find them necessary or indifferent, ignore them,
collect or hide them. All of this expresses a kind of 
ratio that evaluates the relationship we
have with a thing. Uta Brandes calls 
this the interface between subject and object."
Further Uta focusses on the sexual dimension on this interface. She says that if we like
a thing or not is (often) gender-related. "This is not natural in terms of biology but based on how we grow up and how we are trained. Also the context of use and the motivation why we have things can differ between sexes. Sport Utility Vehicles are bought by men and women in equal parts. However the intentions of women who buy these cars are havin a better overview, feel saver and more in control of things. In contrast, for men rather the feeling of being in the Australian outback although driving on a street in Colgne makes the point."

Uta Brandes Dinglichkeiten
Further we want to know how Uta Brandes defines Design. "In contrary to art, design is
only becoming ‚real‘ trough usage. A design object which is standing around somewhere is senseless. I wouldn’t use a painting as a tray but a table that isn’t allowed to be used is
senseless or wrong as a concept 
of design." The utilization concept always carries a deep relationship between human and object wich leads us to the term Non Intentional Design
that Uta Brandes came out with. "People always use things different than the original
intention. Interestingly we all do this all over the world in different 
cultures." For example we make wooden veggie boxes to shelfs on the wall, a used wine-bottle becomes a
candlestick, or we use the chair as a ladder.

This all makes clear, up to Uta Brandes we give things additional or different using
concepts out of various intentions. We have many different motivations why we use
things, and our gender plays a not un-important role. Relationships are everywhere,
in the world of things among each other as well as in the world of humans and on their intersections.

March 15, 2016 - No Comments!

The moment selections are made: An insight into the pinkdot Jury Day 2016.

The doors of erstererster in Berlin Prenzlauer Berg open with the smell of fresh coffee and more than 130 submitted design-objects welcoming the jury members Nils-Holger Moormann, Jennifer Reaves, Max Borka, Pascal Johanssen, Christof Flötotto, Ania Bauer and Sophie Lovell.

Quickly the jury explores the various approaches on the topic „Relationship to Things“ (Dingverhältnis) submitted by designers from all over the world. For the first round, some prefer to look through them all on their own, highly concentrated; extremely focussed - others group up in teams. For round two all object-prints left are pinned at the walls of erstererster Gallery, giving a whole visual impression of the variety of interpretations the young designers created. At this point the jury individually discusses every object, sometimes with amazement, sometimes very seriously they reveal notably ideas. The process of seperating from submissions is not at all simple, but there is no other way. 

After a super-delicious and beautiful lunch, made by Knedl, the last phase of the selection-process is starting. All the perspectives of the jury come together into a sea of ideas, where it is never easy to snag the „best fish“; where it needs time and going forward and back; where it needs different opinions and arguments until the diverse jury comes to a common and shared decision. But negotiating, perspective-changes, and debating always is worth the effort. At the end of the day the Jury and the pinkdot team can pop the corks for the five winners of the pinkdot contest „Relationship to Things“. All of them did great work in combining conceptional thinking with design and will be exhibited at Salone del Mobile on Milan Design Week from 12th till 17th of April 2016.

January 5, 2016 - No Comments!

Blickfang designfair CEO Jennifer Reaves completes the selection committee.

"I can actually nothing except blickfang - but this really good!"

These words spoken, Jennifer Reaves (36) opens the international design fair blickfang six times a year. - A fair that established itself as the largest design trade fair in the German-speaking Europe. Reaves works for blickfang since graduating from high school in 1999. From an internship through project management jobs like at blickfang Tokyo she developed her position as CEO (Geschäftsführerin and strategic director). In addition to the expansion into new cities and in the online trading, Reaves promoted especially the high design standard which differs blickfang of comparable consumer fairs. Secondary conveyor formats like "blickfang selected" and the "MINI Design Award" or the idea of ​​a "curator of the year" go back to Reaves engagement. These renown Individuals ar“ accompany, challenge and encourage blickfang for the duration of one season and share their experience in an annual "blickfang design workshop“ with young design companies. Jennifer Reaves also participates in the workshop as a mentor: Since they maintain close contact with thinkers and leaders from design, production, trade and press - it can reflect design and career strategies holistically. Being responsible for international partnerships and sponsor acquisition, Reaves is a passionate traveler but works and lives in Stuttgart.

January 5, 2016 - No Comments!

Introducing Berlin-based art dealer and curator Pascal Johanssen, head of Direktorenhaus Berlin.

Pascal Johanssen, born in 1973 in Berlin , is an art dealer, curator and head of the Direktorenhaus Berlin. Johanssen studied law and history, according to scientific activities at the University of the Arts Berlin (UdK), Pascal Johanssen was announced artistic director of the Biennale Illustrative in Berlin, Paris and Zurich in 2005. In the same year he opened his own gallery whose collection he presented in extended form since 2010 at the Direktorenhaus. Since 2013 Johanssen is curator of the "Handmade in Germany World Tour" which shows 150 German manufacturers in an international traveling exhibition.In 2015 he took over the management of Deutsche Manufakturenstrasse.

www.direktorenhaus.com
www.deutsche-manufakturenstrasse.de

January 5, 2016 - No Comments!

Author, curator and consultant Max Borka contributes his wide experience

Belgium-born but Berlin-Based Max Borka worked as an allround journalist, before becoming a curator, author and consultant in the field of design. He’s a former director of the Interieur Foundation and designbrussels, was a co-founder of DAMn¨ magazine, and founded Mapping The Design World, communicating socially more responsible forms of design on a worldwide level. He’s also a co-founder and –director of State of Design Berlin, a new design festival that will live its first edition in May 2016, and teaches Design Theory at the Fachhochschule Potsdam. Exhibitions curated by Borka include Nullpunkt, Nieuwe German Gestaltung and Spagat!, Design Istanbul Tasarimi, both at MARTa Herford, and Istanbul Alphabet, at the Museum der Dinge in Berlin. He’s also member of the selection committee of the Interieur Biennale.

December 10, 2015 - No Comments!

Multidisciplinary design studio llot llov attends our selection committee

We are overwhelmed by presenting a new part of our jury, the berlin based duo Ania Bauer and Jacob Brinck, better known as studio llot llov! <3

llot llov’s design is both functional and emotional. Often playful, always visionary, they work conceptually to aesthetically improve our day-to-day world. Their guiding principles are: Content, efficiency, clarity and sustainability.  Usefulness is a priority without foregoing complexity.

llot llov’s work is mostly application-oriented. Their products and interior designs are determined bythe choice of materials and their specific composition. Suppliers from Germany, the neighbouring states and the use of local structures are de rigueur for the team.

llot llov works in close contact with its producers and clients and promotes a close relationship to the demanding consumers as well as to the international users and artists. llov llot is deeply rooted in the creative culture of Berlin and profits from a lively urban environment.

http://www.llotllov.de/

 

December 1, 2015 - No Comments!

Sophie Lovell adds new perspectives to the jury board

Sophie Lovell is a freelance writer, editor, curator and consultant in the fields of architecture and design and the Editor-in-Chief of the Berlin-based international online magazine uncube. Originally from London, she graduated in Biology at Sussex University and Design at Chelsea College of Art before moving to Berlin in 1994. Here she rapidly became an active member of the city’s burgeoning multidisciplinary creative scene, where she developed an interest for mixing and crossing creative borders. This has remained a key feature in her approach to her international projects from designing exhibitions to writing books, making magazines and advising a broad range of clients. “Exploring interfaces and transcending disciplines is where new possibilities arise,” she states, “it is precisely within these interstitial spaces that contemporary innovation is generated”.