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Conceptual & Applied III. Surfaces and Pattern Contemporary Art from the Daimler Art Collection with Design and Architecture

April, 4 – November, 2, 2014 Daimler Contemporary, Potsdamer Platz Berlin

Curator: Renate Wiehager. Co-Curator: Luca Trevisani

ARTISTS: John M Armleder (CH), Lina Bo Bardi (I), Natalie Czech (D), Benni Efrat (IL), Egon Eiermann (D), Haris Epaminonda (CY), Susan Hefuna (EG), Iman Issa (EG), Alicja Kwade (PL), Sol LeWitt (USA), Angelo Mangiarotti (I), Mathieu Matégot (H), Bruno Munari (I), George Nelson (USA), Henrik Olesen (DK), Helga Philipp (A), Tula Plumi (GR), Gio Ponti (I), Bojan Sarcevic (SRB), Oskar Schmidt (D), Carmelo Tedeschi (I), Luca Trevisani (I), Georg Winter (D), Tapio Wirkkala (FIN)

Daimler Contemporary Potsdamer Platz Berlin 01_kat_dts_engl_kor07_conceptual_applied_III 10.04.14 13:56 Seite 2

Installation view ‘Minimalism and Applied II’, Daimler Contemporary Berlin, 2010

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Over the past ten years, the Daimler Art Collection has fo- cused on the field of constructive, conceptual and mini- malistic tendencies from the 1920s to the present day. Of particular interest were artists whose work straddles free and applied art disciplines. ‘Minimalism and Applied I’ (2007) introduced fine artists whose art work crosses over into architecture, into product design and graphic design. In contrast with this, the second part of the series (2010) fo- cused on a dialogue between outstanding early exponents of architecture and furniture design with international con- temporary art. The third part of the exhibition series is all about presenting artists and designers whose aesthetic concepts exist in the gray area between art and design, with a specific focus on surfaces, materials, and pattern. The theme for the exhibition was significantly inspired by, Installation views on the one hand, collaboration and discussions with young ‘Minimalism and Applied I’, Daimler Contemporary Berlin, 2007 Italian artist Luca Trevisani, the co-curator of the show, and, on the other hand, the art theory texts of Nicolas Bourriaud—in this case, we are referring primarily to his book ‘The Radicant’, published in 2009.1 In the introduction that follows, this is illustrated by the inclusion of quotes from Trevisani and from Bourriaud’s texts, which reflect and provide a commentary on the text itself. 3 01_kat_dts_engl_kor07_conceptual_applied_III 10.04.14 13:57 Seite 4

Translation, the removal of hierarchy, transcoding Translation, the removal of hierarchy, transcoding, trans- gression / fluidity, variables, diversity / the migration of forms into differing contexts / circulation of ideas and concepts—as key terms, these apply not only in the contem- porary art context, but also in the context of new develop- ments in architecture, design, literature and theater. These expressions go hand-in-hand with a new understanding of materials and processes, but also with the decisive decon- struction of any hierarchy, in relation to one another, of art, product design and craft work. Additionally, this levelling of hierarchies as a central factor of contemporary art brings with it possibilities for declining all forms of a theme by making use of a variety of artistic media, for the mirroring of individual inventions in the themes of architects working in parallel and in the works of forerunners in various disci- plines. Luca Trevisani, the co-curator of our exhibition, who is represented by a new spatially expensive installation in the center space of the Daimler Contemporary, summed all this up in the following prosaic words: “I believe in prolifera- tion, in the absence of hierarchy. What’s the relationship

between an object of yours and the photo you take? Is it an Installation view ‘Conceptual & Applied III’, Daimler Contemporary, echo, a replica, a double, a mirror, or just all the hypotheses Berlin 2014: f.a. Bojan Sarcevic, Jasper Morrison, Egon Eiermann 4 01_kat_dts_engl_kor07_conceptual_applied_III 10.04.14 13:57 Seite 5

I’ve written? […] It’s like my dirty habit of melting elements and stories; I can’t stop the continuous dialogue between works of others and one of mine, between documentation and creation, between two and three dimensions. It is a process of growth that has something organic about it.”2

Further current phenomena in international contemporary art include “transcoding” and “translation”. In other words, many artists of today detach meaningful context and con- stellations of meaning from their standard coding—cultural, national, politically-determined. These artists reproduce themes and adapt them to new parameters, thereby allow- ing the various contentual factors and intentions of the art- work to circulate, as it were, between different languages and contexts. On the one hand, this is a critical and self- critical act. On the other hand, it is a strategy that articu- lates an understanding that the method of ‘translation’ accepts the artistic work as a process with the end result left open, possibly with an indefinable ‘remainder’, rather than as a constant. Asked whether the scanning, reproduc- tion and circulation of images and ideas are central to his artistic aesthetic, Trevisani responds: “It doesn’t really matter what you want to say, but how you say it. While I’ve Luca Trevisani, one work from the series Die Befindlichkeit des Landes, 2013 5 01_kat_dts_engl_kor07_conceptual_applied_III 10.04.14 13:57 Seite 6

Installation view ‘Conceptual & Applied III’, Daimler Contemporary, Berlin 2014: f.l. George Nelson, Benni Efrat, Helga Philipp, Natalie Czech, Sol LeWitt 6 01_kat_dts_engl_kor07_conceptual_applied_III 10.04.14 13:57 Seite 7

Installation view ‘Conceptual & Applied III’, Daimler Contemporary, Berlin 2014: f.l. Helga Philipp, George Nelson 7 01_kat_dts_engl_kor07_conceptual_applied_III 10.04.14 13:57 Seite 8

always been interested in reasoning, talking and drawing attention to this idea of things that go together, combine, grow and celebrate an idea of unity, the main thing is think- ing about how to do it. Consequently, the idea of taking my most cherished concepts and seeing them multiplied is central, since I am convinced that their combined value is much greater than their individual worth. As I gained confi- dence with this method, in the end things exploded: they exploded in my hands and I gradually became braver about doing it.”3

Nicolas Bourriaud has coined the term ‘altermodernity’ to describe the concepts of ‘duplications’ and ‘in toto value’. John M Armleder, Avec les deux lustres (FS), 1987-1993 This relates directly to ‘translation’ and ‘synchronisation’ in Acrylic on canvas, 2 lamps aesthetic praxis: “This twenty-first-century modernity, born of global and decentralized negotiations, of multiple discus- at coordination, this constant elaboration of arrangements sions among participants from different cultures, of the to enable disparate elements to function together, consti- confrontation of heterogeneous discourses, can only be tutes both its engine and its import. The operation that polyglot. Altermodernity promises to be a translation-ori- transforms every artist, every author, into a translator of ented modernity, unlike the modern story of the twentieth him- or herself implies accepting the idea that no speech century, whose progressivism spoke the abstract language bears the seal of any sort of ‘authenticity’: we are entering of the colonial West. And this search for a productive com- the era of universal subtitling, of generalized dubbing. An promise among singular discourses, this continuous effort era that valorizes the links that texts and images establish, 8 01_kat_dts_engl_kor07_conceptual_applied_III 10.04.14 13:57 Seite 9

Tapio Wirkkala, Pyörre [Whirl], 1954, plywood Jasper Morrison, Glo-Balls, 1998-2009, aluminum, blown glass, plastic

the paths that artists forge in a multicultural landscape, the fication and translation as part of their working process, so passageways they lay out to connect modes of expression that the method itself becomes a transitional phase. The art- and communication.”4 work may initially find expression in a sculptural form, but, in the next stage, may experience a process of reinterpretation, So, how does the term ‘translation’ make itself felt as a key through photography, copying, transformation into language, category for our exhibition? Many of the figures from the material destruction etc. This approach is demonstrated by worlds of art, architecture and design featured in the exhi- organically shaped furniture objects (Philipp, Bo Bardi), me- bition subject their themes and methods to a gradual modi- andering text images (Czech), abstract/ornamental spatial 9 01_kat_dts_engl_kor07_conceptual_applied_III 10.04.14 13:57 Seite 10

structures (Trevisani), fashionable accessories that can be worn (Tedeschi) or temporary and performative “objects of aggression” (Winter). In addition, the transfer of ideas, ma- terials and histories between diverging ‘systems of order’ and ‘codes’ invariably produce factors of deconstruction or ‘chaos’ in terms of identifiable and comprehensible per- spectives of meaning. In his productions, Luca Trevisani constantly addresses the collision of two factors—“order and chaos”. Specifically, he uses translation as a way of subverting and enriching the meaningful content of quoted texts—a process that also plays a key role in the artworks of Natalie Czech: “I wanted to use extracts from books origi- nally published in English. Instead of looking to the original quote, I had the Italian version translated back into English. That was one of these changes of state.” (L. Trevisani)5 Henrik Olesen, Intervention in to an ideological system (After Cildo Meireles), 2003, eggshell, letraset, paper John M Armleder is a master of self-reflexive irony who is capable of constantly creating new transformations. He is also the spiritual originator of many ideas and concepts of contemporary art—of artistic processes and strategies such as ‘re-reading’, ‘transfer’ and ‘transport’ of -isms/tech- niques/styles by means of diverging contexts.

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The Furniture Sculptures (FS)—two significant examples of which are present in our exhibition—are a central artwork group in this respect. Ever since the early 1970s, Armleder has been ‘re-editing’ the programmatic interconnection of art and design in Russian constructivism, in association with the further developments of these ideas by the Bau - haus and in the sculptural ensembles of the early American minimalists. This idealistic impetus, however, is subverted by his use of trivial furniture or fittings found on the rubbish heap, which utilize the full spectrum of ‘high and low’: car headlamps and wickerwork stools by Egon Eiermann, crys- tal chandeliers, radiant heaters, neon lights and disco balls. Armleder’s artwork plays around with art history and with its “abundance of meaning”. The longer we look at it, how- ever, the more it produces an impression of precisely the opposite, of abject ‘emptiness’. The polar relationship

between the spirit and the material—between the ideal and George Nelson, Bubble Lamps, 1947 (Design), plastic coating over a steel the rubbish—no longer obtains. This represents a gain and a wire-frame, brushed, nickel-plated steel loss simultaneously: we lose our system of reference, but gain the freedom to decide.

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Helga Philipp, Kinetisches Objekt and Seating furniture, 1970 Lina Bo Bardi, Bowl Chair, 1951, steel, leather, mixed media Installation view ‘Leben mit Kunst’, furniture store Ertl, Graz, 1970

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Tapio Wirkkala, Golden Bowl, 1971, Design for Rosenthal

John M Armleder, EE (Furniture Sculpture), 2004 Canvas and 3 stools “EH 23“, (Design: Egon Eiermann)

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Installation view ‘Conceptual & Applied III’, Daimler Contemporary, Berlin 2014: Luca Trevisani, Iman Issa, Natalie Czech

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Leveling, transgression drawing attention to unconscious gestures, without reflect- Previously, the term ‘de-hierarchization’ was introduced. We ing about any kind of mould. Without expressing judgments, might add the term ‘leveling’ (used in a positive sense), without pledging my allegiance. I find it quite annoying seen as a conceptual and reflective leveling of existing val- when people have to line up in support of something at all ues, as a new evaluation and an opening up of new horizons costs. This thing happens, and that’s all. When someone for idea and form invention. Let us return to a statement faces it, they have to formulate their own opinion, I just made by Luca Trevisani during the run-up to this exhibition; want them to face it. And I try to do that.”6 his statement could be taken to represent the views of many of the participating artists: “It’s all about lowering the level of things […] to move the reading. […] It’s an exercise in re- spect towards a tradition, handled with lightness, humility and the awareness of possible failure. In confrontation with history, I show my respect for it and line up behind all those who have already done this. When I approach something I’m unfamiliar with I want to lower my tone, but not to dese- crate it, because desecrating something means taking it off a pedestal in order to somehow throw it down on the ground as if it were a dictator’s statue. Lowering the level in order to put it within everyone’s reach, to unmask a certain reverence towards certain things. For me, placing every- thing on a horizontal plane and saying they are all the same

is not the same as taking away their ‘power’, rather it means Installation view ‘Conceptual & Applied III’, putting them within everyone’s reach. […] I’m interested in Daimler Contemporary, Berlin 2014: Haris Epaminonda 15 01_kat_dts_engl_kor07_conceptual_applied_III 10.04.14 13:57 Seite 16

Installation view ‘Conceptual & Applied III’, Daimler Contemporary, Berlin 2014: Luca Trevisani, Susan Hefuna

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Installation view ‘Conceptual & Applied III’, Daimler Contemporary, Berlin 2014: f.l. Oskar Schmidt, Gio Ponti, Eero Aarnio, Tula Plumi, Gio Ponti 17 01_kat_dts_engl_kor07_conceptual_applied_III 10.04.14 13:57 Seite 18

and what it could or even should be. The current economic crisis and accompanying political/social unrest has exacer- bated the difficulty into which architecture has long been sliding: challenged by other professions and a culture of conservatism, architecture is in danger of losing its prized status as one of the pre-eminent visual arts. Transgression opens up new possibilities for practice. It highlights the Lina Bo Bardi, Egon Eiermann, Sep Ruf, positive impact that working on the architectural periphery Casa de Vidro, São Paulo 1951 German Pavillon for World Exhibition, Brussels, 1958 can make on the mainstream, as transgressive practices have the potential to reinvent and reposition the architec- tural profession: whether they are subverting notions of progress; questioning roles and mechanisms of production; aligning with political activism; pioneering urban interven- A new publication by Rachel Sara—in which she presents tions; advocating informal or incomplete development; the architectonic life’s work of Lina Bo Bardi, who also fea- actively destabilizing environments or breaking barriers of tures in our exhibition—is entitled ‘The Architecture of taste. In this new dispersed and expanded field of opera- Transgression’. The kind of ‘transgression’ that is under tion, the balance of architectural endeavor is shifted from discussion here is the subversion or exceeding of standard object to process, from service to speculation, and from norms of behavior, the radical reinterpretation of architec- formal to informal in a way that provides both critical and tonic praxis, of how architecture understands its role in so- political impetus to proactively affect change.”7 cial and political terms: “Transgression suggests operating beyond accepted norms and radically reinterpreting practice This neatly and concisely describes the concept of ‘trans- by pushing at the boundaries of both what architecture is, gression’ as it exists on all levels of contemporary aesthetic 18 01_kat_dts_engl_kor07_conceptual_applied_III 10.04.14 13:57 Seite 19

the field of contemporary art include the process-oriented sculptural ‘workshops’ of Carmelo Tedeschi and Georg Winter.

Lina Bo Bardi (born in Rome in 1914) was an architect, stage set designer, editor, illustrator, furniture designer, museum planner and curator of art and craft exhibitions. She is cur- Lina Bo Bardi, Museo d’Arte Moderna rently being rediscovered as one of the foremost visionary São Paulo (MASP), 1968 practitioners of living the unity of art, culture and society in the 20th century.8 In 1946, Lina Bo Bardi moved to São Paulo. She succeeded in translating the roots of Brazilian

Lina Bo Bardi, SESC Fábrica da culture into the language of modernism—overcoming the Pompéia, São Paolo, 1977 hierarchical relationship between art and craft, transcend- ing disciplines and always proceeding toward the visionary

and cultural discussions. It is a term borrowed from the physical sciences: in geography, it describes the advancing of the sea over large expanses of land, and, in biology, it describes the emergence of new, dominant genotypes. Lina Bo Bardi and Egon Eiermann are outstanding historical ex- amples of the referenced ‘translation’ of the concept as de- ployed by Sara in the context of architecture—engagement, urban intervention, a wider field of action etc. Examples in Lina Bo Bardi, Lina’s World, Edition for Bowl Chair, Re-edition Arper 2013 19 01_kat_dts_engl_kor07_conceptual_applied_III 10.04.14 13:57 Seite 20

Egon Eiermann, Berlin Hansaviertel, 1954

Egon Eiermann, Headquarter Stahlbauwerke Müller, 1958

goal of demonstrating to the people of her time their own severe minimalism with the enlivening factors of morphol- individual potential and thereby opening up new spaces of ogy and ornament, always with a view to accomplishing a experience, insight and social responsibility.9 clearly defined social objective: “I see the smallest worker’s house and the largest building produced with equal care, The visionary potential in the work of architect and furni- directed by that high responsibility, the ensuring of the ture designer Egon Eiermann is possibly seen most clearly rights of life for every individual. This is, however, the high- in his transparent buildings of the 1950s to 1970s, with est revelation of the democratic way of thinking […] To their focus on appropriate use of material and their quality serve the present day and the people of the present day: of urban/natural integration, but also in his highly practi- anyone who succeeds in doing this for the time in which he cal, organically-shaped furniture designs, which were cre- lives has achieved something of such unheard-of greatness ated for serial production. Eiermann succeeded in doing that it is entirely superfluous to think of the history of these something remarkable: he united the reductive aesthetic of things in the future.”10 20 01_kat_dts_engl_kor07_conceptual_applied_III 10.04.14 13:57 Seite 21

“In the case of Carmelo Tedeschi’s objects, which, over the course of the artistic process, may become sculptures, but may also become wearable bracelets, it is the context and the audience for the discourse that decides how the art- works are interpreted, in what way they are used and how they are received. At the same time, all of his artworks exert a form of stage presence—this may be the result of his professional origins in costume and the theater. At an early stage, he began charting a course between the spheres of various media and specialist areas, presenting his artworks Carmelo Tedeschi, leather accessoires in a variety of contexts, allowing them to appear as fashion or as high art. […] The spiritual influences behind the artis- tic work of Carmelo Tedeschi have a significant link with the town of Fez in Morocco, his home and the base for his ac- tivities—including all-year-round workshops with young artist-craftspeople—when he is not in Berlin. It is this realm of interaction between centuries-old crafts and contempo- rary design that constitutes his vision for the union of two normally separated worlds and very different production methods, as a productive synergy, transcending the di- verging extremes of nostalgia and an unreserved faith in technological progress. In Tedeschi’s ‘migration’ not only between different ‘target groups’ but also between different Studio Tedeschi, Berlin 21 01_kat_dts_engl_kor07_conceptual_applied_III 10.04.14 13:57 Seite 22

Installation view ‘Conceptual & Applied III’, Daimler Contemporary, Berlin 2014: Carmelo Tedeschi

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commercial markets, he traverses, or transcends, socio- political boundaries, and this finds expression in the aes- thetics and impact of his objects.”11

The best way to start to understand Georg Winter’s way of thinking and working is through Ukiyo Camera Systems (UCS), the label that Winter himself set up in 1992 as an ‘umbrella organization’ for his complex, interlinking artistic work. ‘Ukiyo Camera Systems. Office for development of camera technology and new media’, to give it’s full title, is based in Stuttgart and Budapest and is further broken down into various ‘subsidiary companies’ (UCS moving pictures, Telemotorik, Telegrooming; Emergence and Pictorial Organi- zation Research Post etc.). A development office like UCS acts subversively and operates within a “working field that tries to undermine established commercial and production Georg Winter, Psychotektonische Prozesse (back: "Kölner Krümmung") Mixed Media, UCS High Black Monitor, Model Solitude 1 structures, using phenomenological approaches at first, Ukiyo Camera Systems, painted wood and then tries to claim a different concept of technology for Installation view Kunstmuseum Stuttgart, 2012 itself.” (G.W.) Georg Winter translates the (Japanese, Bud- dhist) concept ‘Ukiyo’ with the sentence: attentiveness to the moment overcomes sadness about the passage of time. In the 1990s, Ukiyo Camera Systems developed a broad range of instruments—various types of still camera as well 23 01_kat_dts_engl_kor07_conceptual_applied_III 10.04.14 13:57 Seite 24

as devices relating to video, film and TV technology. When used, they expand the conventional notion of media towards fundamental orientation questions—understood spatially and intellectually. Georg Winter has developed a fundamen- tally new way of understanding of the categories of pro- duction, communication, interaction and reception in the artistic field. The path the artist is following is one that leads from a certain set of problems—camera technique, on- tological questions, cultivation and politicization processes etc.—to research results derived from these. The appropri- ate operational forms in their turn are developed from these results in each case, and are followed by the paths for me- diating and transmitting them into social and public space. In parallel with this, there are the questions (newly gener- Georg Winter, Psychotektonische Prozesse ated for each project) of de-potentiation and condensation Exercises for and against aggressions of three-dimensional actions and processes in the sense of Installation view Kunstmuseum Stuttgart, 2012 returning experience to existential, cognition-related and body-conditional bases: how can the original meaning of concepts that we handle largely subconsciously be re- vealed again? What actions attach them as a matter of course to the ‘true’ meaning that makes itself known in this way and to the origin of the words in their basic meanings? What instruments can I offer in order to make the links 24 01_kat_dts_engl_kor07_conceptual_applied_III 10.04.14 13:57 Seite 25

between word and thing, between concept and object, manageable again and thus physically and tangibly compre- hensible?

Wandering forms Honeycombs, grids, chain elements, networks and (numeric) symbols/spheres, circles, bowls, Möbius strips, spirals/ stylized symbols and abstract spatial figures—this world of forms drawn from culture, nature, abstract geometry and architecture approximately describes the wide-ranging in- ventory of forms that can be encountered in our exhibition.

Sol LeWitt’s 16-part graphical portfolio Lines of One Inch in Four Directions and All Combinations of 1971 is an early iconic conceptual work that creates a relationship between the static qualities and changeability of abstract structures. In these artworks, the clearly predefined regularity of the graphical process goes hand-in-hand with the rhythmic Sol LeWitt, Lines of One Inch in Four Directions and All Combinations, 1971 openness of the visual result. Sol LeWitt’s artwork is 16 parts (detail) echoed, with a different emphasis, by the Kinetic Art and Op Art-inspired graphical artworks and light objects created by Austrian concrete artist Helga Philipp. The artist uses 25 01_kat_dts_engl_kor07_conceptual_applied_III 10.04.14 13:57 Seite 26

Helga Philipp, Untitled, 1970, silkscreen

P. 27: Installation view ‘Conceptual & Applied III’, Daimler Contemporary, Berlin 2014: Alicja Kwade 26 01_kat_dts_engl_kor07_conceptual_applied_III 10.04.14 13:57 Seite 27

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Lina Bo Bardi, Designs for Bowl Chair, 1951

Gio Ponti, Living Room, Villa Arreaza, Caracas, 1956

Gio Ponti, Poltrona D.153.1, 1953 Leather, brass

Lina Bo Bardi, Re-editions Bowl Chair Arper, Italien 2013 28 01_kat_dts_engl_kor07_conceptual_applied_III 10.04.14 13:57 Seite 29

graduations of gray to white and changes in light intensity to give the serial sequence of circles of the same size a spatial dimension. It is given an additional perception-re- lated quality and a multiplicity of meaning by the move- ments of the viewer.

L’architettura è un cristallo was the subtitle of a publica- tion by the Italian architect and designer Gio Ponti that appeared in 1945. In addition to being the subject of this

wide-ranging study of architectural history, however, dia- Gio Ponti, Tavolino D.555.1, 1954-55, mond and crystal forms were a prominent geometric theme Metal, crystal, hand painted metal grid in his buildings (the Pirelli Tower, Milan) and his interior de- signs (one such being his design for the living room of the Diamantina Villa in Caracas, 1957). Inspired by the abstract ornaments that are a part of Venezuelan culture, Gio Ponti designed wall panels with a cool, blue-and-white diamond pattern, which gives his interior space and furniture ensem- ble a pictorial dimension. In our ‘Conceptual & Applied III’ exhibition, we have placed a wall object and a sculpture by the young Greek artist Tula Plumi on and in front of a wall featuring designs by Gio Ponti. This arrangement allows

the primary colors of her images or sculptures, which are Gio Ponti, Tappeto D.754.1, 1954 inspired by the Bauhaus abstract avant-garde and by the pony leather 29 01_kat_dts_engl_kor07_conceptual_applied_III 10.04.14 13:57 Seite 30

Installation view ‘Conceptual & Applied III’, Daimler Contemporary, Berlin 2014: Luca Trevisani, Susan Hefuna

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material studies conducted at the Bauhaus in the early 20th fascinated by the mosaic floors of Roman city houses century, to engage in dialogue with the forerunners that also dating from the 1st to the 4th century AD. His artwork (Die provided an important foundation for the work of Gio Ponti. Befindlichkeit des Landes [The mental state of the land], 2013, 5 parts, UV ray print on plastic mirror foil, each ca. “When he was commissioned to create an artwork in the 152 x 270 cm), which aims to allow people to experience the Museo di Santa Giulia (as part of the exhibition ‘Novecento location in a new way both physically and mentally, there- mai visto’, staged by the Daimler Art Collection in Brescia fore uses the abstract patterns found in the mosaics of the 2013) Luca Trevisani quickly concentrated on the Domus Domus Ortaglia—reconstructed to scale by the Italian artist Ortaglia part of the complex. In particular, the artist was in the form of wood models—as its basic forms. Trevisani juxtaposes these maquettes with living snakes—pythons and boas—whose patterns are based on the original coloration of the flooring. Trevisani deploys the snakes simultaneously in a symbolic and in an instrumental way—the creatures make the shapes accessible, centimeter by centimeter. As they enliven and fully explore the wooden lattice, their smooth forms contrast with its angular form. ‘Snakes know that feeling an object’s surface is learning it, but under- standing it in its depth means inventing it.’ (L.T.). Addition- ally, the title, which references a song by the German music

Luca Trevisani, Die Befindlichkeit des Landes [The mental state of the land], 2013, 5 parts, UV ray print on plastic mirror foil, installation view, ›Novecento mai visto‹, Daimler Art Collection in Museo di Santa Guilia, Brescia, 2013 31 01_kat_dts_engl_kor07_conceptual_applied_III 10.04.14 13:57 Seite 32

group ‘Einstürzende Neubauten’ (‘collapsing new buildings’), reveals the political dimension in Trevisani’s work: it is a criticism of the zeitgeist or spirit of the times and of the way the Italy’s cultural heritage is currently being treated.”12

Applied languages There are a number of additional contemporary art media and metaphors that go hand in hand with the issues of Susan Hefuna, Untitled, 2010 ‘translation’ and ‘the circulation of forms and ideas’ that Ink on two layers of tracing paper were introduced in the last chapter: language, mobility of theme and content, the overcoming of fixed classes and categories. Within our exhibition, ‘Conceptual & Applied III’, language is present in a number of forms as a raw material for art: as reproductions of literary or poetic texts (Czech), as pictorially descriptive title/text compositions (Issa), as editorial praxis or critical-theoretical praxis (Bo Bardi, Ponti), as an abstract language of symbols (Trevisani, Efrat, Hefuna). Nicolas Bourriaud has coined the term “semio- nauts” to describe the representatives of “transportable

Benni Efrat, Adding to Subtract, 1969-70 practices” in art. Rather than trying “to pile up heteroge- Ink on squared paper neous elements in their works”, the artists of today are 32 01_kat_dts_engl_kor07_conceptual_applied_III 10.04.14 13:57 Seite 33

Natalie Czech, A poem by Repetition by Bruce Hainley, 2013, pen (lightfast) on 2 color-prints

trying “to create significant connections within the infinite cultural connections, the construction of a space of negoti- text of world culture. In a word, to produce itineraries in the ation going beyond postmodern multiculturalism, which is landscape of signs by taking on the role of semionauts, in- attached to the origin of discourses and forms rather than ventors of pathways within the cultural landscape, nomadic to their dynamics. It is a matter of replacing the question of sign gatherers. […] What I am calling altermodernity thus origin with that of destination. ‘Where should we go?’ That designates a construction plan that would allow new inter- is the modern question par excellence.”13 33 01_kat_dts_engl_kor07_conceptual_applied_III 10.04.14 13:57 Seite 34

“Natalie Czech uses the medium of photography to investi- gate the multi-faceted interaction of pictures and texts, re- vealing new levels of meaning in her search for inherent poetic potential. She finds the raw material of her poetic concept photographs in found material from old papers, magazines and illustrated volumes; she reveals the poems hidden within the flow of the text. In her ongoing photo- graphic series Hidden Poems, which she embarked upon in 2010, Czech works with illustrated pages from magazines and books, bringing to the fore individual letters or words within passages of text by underlining them or highlighting them in color and thereby delineating the poems whose existence within the text had previously been concealed. These interventions provide Czech with a model for her photographs. When put together, the marked sections strategically scattered throughout the original text form a text in their own right, which can then be read alongside Natalie Czech, A poem by Repetition by Gertrude Stein, 2013 the already existing textual material, interacting with it and Pen (lightfast) on 2 color-prints permitting a number of different readings. Czech uses visual art as a tool to reveal the hidden possibilities inherent in language and to set words in motion, releasing them from the established directional conventions of text reading so that their meaning can no longer be established in a linear 34 01_kat_dts_engl_kor07_conceptual_applied_III 10.04.14 13:57 Seite 35

sense. Instead of running always in the same direction, the interrelated meanings in the text develop a life of their own, one that can move in any direction.”14

“Iman Issa’s series Material, 2010-11, updates these con- cepts for the 21st century. The artist, who is Egyptian by birth, creates clear forms without any clearly defined mean- ing—the antithesis to set-in-stone ideological monuments. She uses a minimalist vocabulary of forms to create her proposed and alternative public memorials. Each of these artworks (described by Issa as a “display”) consists of a collection of objects combined with a vinyl text on a nearby wall, and relates to an existing monument in Issa’s home Iman Issa, Material for a sculpture commemorating the life of a soldier who died defending his nation against intruding enemies, 2011, mixed media city of Cairo. These very long, informative titles are an inte- gral part of each of Issa’s display. The descriptions interact with the referenced monument, but without giving details or the location of the memorial.”15

Synchronizations of geometric and organic abstraction For his commissioned artwork for the Daimler Art Collec- tion exhibition at the Museum Santa Giulia Brescia, 2013, Luca Trevisani, whose work has already been discussed 35 01_kat_dts_engl_kor07_conceptual_applied_III 10.04.14 13:57 Seite 36

Installation view ‘Conceptual & Applied III’, Daimler Contemporary, Berlin 2014: f.l. John M Armleder, Egon Eiermann, Eero Aarnio, Henrik Olesen, Tapio Wirkkala

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Installation view ‘Conceptual & Applied III’, Daimler Contemporary, Berlin 2014: Oskar Schmidt, Georg Winter

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above, had five hanging banners printed. They showed the characteristic abstract ornaments from the Roman mosaic floors of the Domus Ortaglia (2nd century BC), translated into a bronze or silver pattern on semi-transparent reflective foil. Trevisani has enriched the two-dimensional, ornamen- tal latticework by adding curved forms in the form of snake- like bodies of different sizes. These transport the ancient motifs into the present day and a contemporary artistic in- terpretation, but they also bring these abstract forms de- rived from natural shapes back into ’synchronization’ (Bourriaud) with emblems of organic nature.16

Luca Trevisani, Design for Daimler Contemporary, Berlin 2014

Nets for the cultivation of sea shells 38 01_kat_dts_engl_kor07_conceptual_applied_III 10.04.14 13:57 Seite 39

For the ‘Conceptual & Applied III: Surfaces and Pattern’ ex- hibition, we, in our turn, asked Luca Trevisani for a space- related commissioned work. His design is based on an ornamental, abstract/organic grid of individual elements made of the material Corian that meander over the floor and height of the exhibition space. This net-like structure is inspired by the structure of maritime nets used for raising mussels in the sea or for conveying them. When one looks at Trevisani’s spatial/urban interpretation, one is put in mind of the minimalist structures of a Japanese Zen gar- den—gardens that one traverses only with the eye and that invite one to imagine and to meditate. At the same time, the artwork is conceived in such a way that the elements, made from stone-like Corian material, can be walked on: the viewer, balanced on the unstable web elements, is more like an active dancer than a passive user. The structure plays over the right angle between the floor and the wall, putting one in mind of an abstract choreography, a terraced topography or a field of oversized, abstract rice grains. “It’s the empiricism that leads me to play with things,” explains Luca Trevisani, “somehow, for my own personal Luca Trevisani, Sieb [Sieve], 2014, corian development, I’ve never limited myself to the sphere of (detail) images and art because I don’t think that there are inert 39 01_kat_dts_engl_kor07_conceptual_applied_III 10.04.14 13:57 Seite 40

materials and maybe there are no rejects in the world. I putting down new roots, for it constitutes a laboratory of mean that everything also depends on what light you look identities. Thus, today’s artists do not so much express the at it in. […] For me, it’s important to start with things that tradition from which they come as the path they take be- are important to me, which I choose, but have their own in- tween tradition and various contexts they traverse, and they trinsic quality, which somehow I have the presumption to do this by performing acts of translation. Where modernism think of as objective. […] It’s fundamental to believe in your proceeded by subtraction in an effort to unearth the root, own fallibility, doubt, modifiability and openness towards or principle, contemporary artists proceed by selection, ad- others and towards things. These days, as ever, I think it’s ditions, and then acts of multiplication. They do not seek an important to repeat that others may be more right than us ideal state of the self or society. Instead, they organize and we must always be modified by the world around us. It signs in order to multiply one identity by another.”18 is an exercise in humility, but also in real breathing, you A quality of synchronization between geometric and organic could say. […] I’ve recently realized that for me true re- abstraction close in spirit to that of Trevisani occurs in the search is never-ending research, a laboratory that’s not put- drawings of Susan Hefuna and the photographic collages of ting up results. What’s important, in my opinion, in order to Bojan Sarcevic. avoid a waste of time, is to elaborate your own rules and regulations. A settled operating system.”17 “In her drawings, performances, videos and photographic works, Susan Hefuna works with opposites and with transi- The image of the ‘laboratory’ occupies a central place in tions, with series, layerings and penetrations. In this way, Nicolas Bourriaud’s book ‘The Radicant’. The book’s title the Egyptian-German artist reflects cultural conventions refers to a plant shoot (which occurs, for instance, in straw- and addresses the constructs of history and of identity. The berry plants), which, depending on the ground available to ink drawings by Hefuna that have been acquired by the receive it, puts down secondary roots. “Contemporary art Daimler Art Collection are based on dots, grids and line provides new models for this individual who is constantly systems on two layers of transparent paper that create 40 01_kat_dts_engl_kor07_conceptual_applied_III 10.04.14 13:57 Seite 41

Susan Hefuna, Untitled, 2010, ink on two layers of tracing paper

1954/D, 2004 1954/C, 2004 both: Bojan Sarcevic, offset print, collage 41 01_kat_dts_engl_kor07_conceptual_applied_III 10.04.14 13:57 Seite 42

Angelo Mangiarotti, Eros, occasional table, around 1971, Carrara marble

Lina Bo Bardi, Bowl Chair, 1951, steel, leather, mixed media

Eero Aarnio, Tomaatti Armchair, 1971 Fiberglass

Mathieu Matégot, Bagdad, lamp, 1954 Painted and perforated steel sheet

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reticulated, abstract/geometrical structures; these could Sarcevic’s series of 76 collages called 1954, 2004, they ap- be seen as subjective architecture designs, as elements in pear in a state of artistic destruction. A clear look at history urban cartography, as design drafts or as biological organ- gives way to the view through a kaleidoscope. Sarcevic’s or- isms. This began with Hefuna’s interest in structures found namental insertions create historical empty spaces, and the in the physical sciences, such as molecules, DNA and mod- documentary significance of the photos is diminished. ular elements; she later discovered their similarity to the mashrabiya—the ornamental, abstract window screens, On that note, let us conclude by taking a brief look at the made from turned wood and permeable to breezes, which 1960s/1970s design objects that were chosen for our ‘Con- can still be seen everywhere in Egypt.”19 ceptual & Applied III: Surfaces and Pattern’ exhibition, based on discussions with Luca Trevisani. All of them are Issues of the 100-year old architecture magazine ‘baumeis- characterized by the previously mentioned synchronization ter’ dating from 1954 provided the basis for Bojan Sarcevic’s of geometric and organic abstraction: as a synthesis of black-and-white offset prints, to which he has added ab- fractured crystalline forms derived from the circular and up- stract pictorial ornaments. The crystalline structures or right triangle forms (a primal symbol for the union of femi- meandering bands add an attractive, second visual layer to nine and masculine energies) in the Bagdad lamp, 1954, by various austere entrance halls, living rooms, staircases and Mathieu Matégot; as combinations of vertical-conical and classrooms. They begin to break the images up into fractal horizontal-round forms with similar connotation, as demon- details, like a jigsaw puzzle that has been put together strated by the Eros, 1971, stone table by Angelo Mangiarotti; wrongly. These living rooms and homes, furnished and as a synthesis of rising swirl and horizontal surface, as decorated in what was then the advanced spirit of the day, characterized by the wonderful Pyörre [Whirl] table, 1954, must have been photographed immediately after they were by Tapio Wirkkala; as a coordinated design of delicate sup- completed, when they were in impeccable condition. In port and well-padded bowl like the Bowl Chair design, 1951,

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by Lina Bo Bardi; or, finally, implemented in the organic- erotic fusion of triangle and circular forms seen in the orange-red ‘Armchair’ design, 1951, by Eero Aarnio.

To finish by quoting Nicolas Bourriaud once again: “The altermodernity emerging today […] is fueled by the flow of bodies, by our cultural wandering. It presents itself as a venture beyond the conceptual frames assigned to thought and art, a mental expedition outside identitarian norms. Ultimately, then, radicant thought amounts to the organiza- tion of an exodus. […] Translation, which collectivizes the meaning of a discourse and sets in motion an object of thought by inserting it into a chain, thus diluting it’s origin in multiplicity, constitutes a mode of resistance against the Oskar Schmidt, The American Series I-XII, 2011 Museo Silver Rag Print generalized imposition of formats and a kind of formal guerilla warfare.”20

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1 Nicolas Bourriaud, The radicant, New York, 2009 11 Julia Müller, exhibition text ‘Conceptual & Applied III’. 2 Luca Trevisani, L.T. in conversation with Stefano Ariente, 12 Christian Ganzenberg, exhibition text ‘Novecento mai Becky Beasley, Martino Gamper, Daniela Lotta, in: Catalogue Visto’. Daimler Art Collection at Museo Santa Giulia Brescia of Museo Carlo Zauli, Residenza d’Artista, VIII Editione, Work- 2013. shop Di Ceramica nell’Arte Contemporanea, 2009, no page 13 Bourriaud (as with note 1), p. 38 f. given (p. 74). 14 Friederike Horstmann, exhibition text ‘Conceptual & 3 Ibid., no page given (p. 64). Applied III’. 4 Bourriaud (as with note 1), p. 43. 15 Friederike Horstmann, exhibition text ‘Conceptual & 5 Trevisani (as with note 2), no page given (p. 71). Applied III’. 6 Ibid., no page given (pp. 78, 80). 16 For photographs of important details see: http://com- 7 Rachel Sara, The architecture of Transgression AD, Wiley mons.wikimedia.org/wiki/Category:Ancient_Roman_mo- John + Sons, London 2013, Introduction. saics_in_the_Domus_dell’Ortaglia_(Brescia). 8 Cf. Catherine Veikos, Lina Bo Bardi: The Theory of Architec- 17 Trevisani (as with note 2), no page given (p. 71, 75, 67). tural Practice, Routledge, Taylor & Francis, Oxford 2014. 18 Bourriaud (as with note 1), p. 51–52. Zeuler Rocha Mello de Almeida Lima / Barry Bergdoll, Lina 19 Friederike Horstmann, exhibition text ‘Conceptual & Bo Bardi, Yale University Press, New Haven/London 2013. Applied III’. Olivia de Oliveira, Lina Bo Bardi—Built Work (2G Books), 20 Bourriaud (as with note 1), p. 77, p.131. Gustavo Gili Publisher, 2nd Revised Edition, São Paulo 2010. 9 Cf. the remarks of Noemi Blager, curator, on the touring ex- hibition ‘Lina Bo Bardi Together’: http://linabobardito- gether.com/it/2012/07/17/about/. 10 Egon Eiermann, quoted from: E.E. 1904–1970. Die Konti- nuität der Moderne, HatjeCantz, Ostfildern 2004, p. 16. 45 01_kat_dts_engl_kor07_conceptual_applied_III 10.04.14 13:57 Seite 46

Installation view ‘Conceptual & Applied III’, Daimler Contemporary, Berlin: Oskar Schmidt, Georg Winter

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Eero Aarnio Avec les deux lustres (FS), (*1932 in Helsinki, FIN, lives in 1987-1993 Kirkkonummi near Helsinki, FIN) Acrylic on canvas, 2 lamps Tomaatti Armchair, 1971 Painting: 300 x 200 cm, lamps: Fiberglass ø1,35 cm, overall: 300 x 425 cm 69 x 140 x 113 cm Acquired 2003 On loan from Modernity, Stockholm Daimler Art Collection

John Armleder Lina Bo Bardi (*1948 in Geneva, CH, lives in (1914 Rome, I – 1992 São Paolo, BR) Geneva, CH) Bowl Chair, 1951 EE (Furniture Sculpture), 2004 Bowl: ø 89 x 42 cm Canvas and 3 stools „EH 23“, Frame: ø 65 x 31 cm rattan, natural finish and lacquered Steel, leather, mixed media, in white (design: Egon Eiermann, Ed. 500 1957, producer: Heinrich Murmann, On loan from Arper SPA, Monastier Johannisthal, Deutschland) di Treviso 190 x 200 x 40 cm On loan from gallery Mehdi Chouakri, Berlin

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Natalie Czech Benni Efrat (*1976 in Neuss, D, lives in (*1936 in Beirut, LB, lives in Israel) Berlin, D) 2 Drawings A poem by Repetition by Bruce Adding to Subtract, 1969-70 Hainley, 2013 Ink on grid paper Pen (lightfast) on 3 Color-Prints, 45 x 58 cm framed Acquired 2014 3 parts, each 84,6 x 60,1 cm, Daimler Art Collection Ed. 3/5 + 2 AP

A poem by Repetition by Gertrude Stein, 2013 Egon Eiermann Pen (lightfast) on 2 Color-Prints, (1904 Potsdam, D – 1970 Baden- framed Baden, D) 2 parts, each 101,8 x 49,1 cm, Ed. Floor work, 1959-62 1/5 + 2 AP Ceramics Both: Acquired 2014 House Eiermann, Baden-Baden, Daimler Art Collection Krippenhof 16-18, 1959-1962

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Haris Epaminonda Susan Hefuna (*1980 in Nicosia, CY, lives in (*1962 in Düsseldorf, D, lives in Berlin, D) Düsseldorf, D and Cairo, ET) Untitled #06 o/g, 2012 3 Drawings Four old chinese monochromatic Untitled, 2010 glazed porcelain vases, metal Ink on two layers of tracing paper vitrine with wooden base 48,5 x 61,2 cm Overall 140 x 90 x 65 cm Acquired 2012 Acquired 2014 Daimler Art Collection Daimler Art Collection Iman Issa Untitled #03 o/g, 2012 (*1979 in Cairo, ET, lives in Cairo, Wall, framed found image ET und New York, USA) Overall dimension variable, image Material for a sculpture commem- 35,2 x 29 cm orating the life of a soldier who On loan from the artist died defending his nation against intruding enemies, 2011 Mixed Media, Ed. 1/3 Overall 86 x 200 x 50 cm and 60 x 38 x 9 cm Acquired 2014 Daimler Art Collection

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Alicja Kwade Sol LeWitt (*1979 in Katowice, PL, lives in (1928 Hartford, Connecticut, USA Berlin, D) – 2007 New York, New York, USA Bordsteinjuwel [Curb stone jewel] Lines of One Inch in Four (Brunnenstraße), 2007 Directions and All Combinations, Cut pebble, pedestal 1971 Pebble: 2 x 3,8 x 2,6 cm, pedestal: Lithograph on Magnani paper 92 x 26 x 25 cm Ed. 35/50 16 parts, each 60 x 60 cm Watch (2 x TN), 2009 Acquired 2014 2 clocks, metal, mirror, Daimler Art Collection atomic watch 32 x 32 x 14 cm Both: Acquired 2010 Angelo Mangiarotti Daimler Art Collection (1921 Milan, I – 2012 Milan, I) Eros, Occasional table, Gegen den Lauf [Counterclock- around1971 wise], 2014 Carrara marble Found clock, photosensor, micros- 45 x 75 x ø 18 cm processor On loan from Furniture Gallery, 9 x Ø 30 cm, unique object Milan On loan from: Gallery Johann König, Berlin

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Mathieu Matégot Bruno Munari (1910 Tápió-Sully, HU – 2001 (1907 Milano, I – 1998 Milano, I) Angers, F) Concave-Convex, 1949 Bagdad, lamp, 1954 Wire gauze, 70 x 80 x 40 cm Painted, perforated sheet steel In-house production based on the 27,5 x 17 x 27 cm publication: Bruno Munari, “Design On loan from Vitra Design as Art”, 1966 Museum, Weil am Rhein

George Nelson Jasper Morrison (1908 Hartford, Connecticut, USA (*1959 in London, GB, lives in – 1986 New York, New York, USA) London, GB) Bubble Lamps, 1947 (Design) Glo-Ball Basic Zero, 2009 Ball 16 x ø 19 cm Size M: 39,4 x ø 48,3 cm Size L: 59,7 x ø 6 cm Glo-Ball Basic 1, 1998 Saucer 27 x ø 33 cm Size L: 35,6 x ø 88,9 cm Size M: 25,4 x ø 63,5 cm 2 Glo-Ball Basic 2, 1998 Cigar 36 x ø 45 cm Size L: 83,8 x ø 38,1 cm All: Aluminum, blown glass, plastic All: Plastic coating over a steel On loan from Flos, Bovezzo wire-frame, brushed, nickel-plated (Brescia) steel On loan from Dopo-Domani, Berlin 51 01_kat_dts_engl_kor07_conceptual_applied_III 10.04.14 13:57 Seite 52

Henrik Oleson Untitled, 1970 (*1967 in Esbjerg, DK, lives in Silkscreen Berlin, D) 6 parts, each 60 x 60 cm Intervention in to an ideological All: Acquired 2014 system (After Cildo Meireles), Daimler Art Collection 2003 Eggshell, letraset, paper 7 x 9,5 x 5,5 cm Tula Plumi On loan from: (*1980 in Kreta, GR, lives in Helga Maria Klosterfelde Edition, Berlin, D) Berlin/Hamburg 2 works Untitled (Lines and circles series), 2012 Spray paint on metal Helga Philipp 110 x 156 x 100 cm (1939 Vienna, A – 2002 Vienna, AU) and 80 x 25 x 27 cm Kinetisches Objekt, 1971 Acquired 2014 Acrylic glass, mirror Daimler Art Collection 120 x 80 x 30 cm

Seating furniture, around1965 7 parts, 45 cm x ø 100 cm and 45 x 50 x 1,20 m Foam plastic

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Gio Ponti Bojan Sarcevic (1891 Milan, I – 1979 Milan, I) (*1974 in Belgrad, SRB, lives in Tavolino [Tea Table] D.555.1, Berlin, D and Paris, F) 1954-55 1954/C, 2004 Metal, clear crystal, hand-painted Offsetprint, Collage metal grid 7 parts, 11,7 x 8,4 to 18 x 12 cm 37 x ø 80 cm 1954, D, 2004 Poltrona [Armchair] D.153.1, 1953 Offsetprint, Collage 103 x 77 x 80 cm, seat 35 cm 8 parts, 11,2 x 9 to 18 x 13,2 cm Leather, brass Both: Acquired 2005 Tappeto [Rug] D.754.1, 1954 Daimler Art Collection Pony leather, various colors 240 x 245 cm All: On loan from Molteni&C, Giussano, I

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Oskar Schmidt Carmelo Tedeschi (*1977 in Erlabrunn, D, lives in (*1978 in Sicily, I, lives in Berlin, D Berlin and Leipzig, D) and Fez, MA) The American Series I-XII, 2011 Untitled (black & silver), 2012 Museo Silver Rag Print Molded and hand stitched vegeta- 7 parts, picture 29 x 22,9 cm, ble tanned leather, 47 x 53 x 62 cm passepartout 46 x 38,4 cm, Ed. Erworben 2014 5/12 + 3 AP Daimler Art Collection

Chair, 2011 Untitled (black & silver), 2014 Museo Fine Art Print Molded and hand stitched vegeta- 116 x 93 cm, Ed. 1/5 + 2 AP ble tanned leather 47 x 37 x 25 cm All: Acquired 2014 Daimler Art Collection Bracelets, 2008-2012 Leather and pigments 10 parts, various dimensions

Untitled (black & raw), 2012 Molded and hand stitched leather 47 x 58 x 65 cm

Untitled (natural & silver), 2014 Molded and hand stitched vegeta- ble tanned leather 34 x 67 x 110 cm 54 01_kat_dts_engl_kor07_conceptual_applied_III 10.04.14 13:57 Seite 55

Prototype (black & silver), 2012 Die Befindlichkeit des Landes [The Molded and hand stitched leather mental state of the land], 2013 47 x 37 x 25 cm 5 parts, UV ray print on plastic All: On loan from: mirror foil xavierlaboulbenne, Berlin Each about 152 x 271 cm Acquired 2013 Daimler Art Collection Luca Trevisani (*1979 in Verona, I, lives in Berlin, D) Sieb [Sieve], 2014 Space installation made of 60 Corian elements Each 65 x 100 x 1,9 cm overall 320 x 358 x 810 cm Acquired 2014 Daimler Art Collection

Seven Boards of Skill, 2008 Copper, aluminum, cork, foil, metal bracket, 51 x 35 x 9 cm Acquired 2010 Daimler Art Collection

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Georg Winter Installation view ‘Conceptual & Applied III’, (*1962 in Biberach, D, lives in Daimler Contemporary, Berlin 2014: Lina Bo Bardi Stuttgart, D) Psychotektonische Prozesse: Black Out, 2013 Mixed media Dimensions variable Acquired 2014 Daimler Art Collection

Tapio Wirkkala (1915 Hanko, FIN – 1985 Helsinki, FIN) Golden Bowl, 1971 2,5 x Ø 31 cm Design for Rosenthal On loan from: Kari Kenetti, Kippes, Berlin

Pyörre [Whirl], 1954 Plywood, laminated birch 140 x 159 x 70 cm Photographic Reproduction

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