The Warp and Weft of Finnish Textiles フィンランド・テキスタイルアート

Total Page:16

File Type:pdf, Size:1020Kb

The Warp and Weft of Finnish Textiles フィンランド・テキスタイルアート The warp and weft of Finnish Textiles フィンランド・テキスタイルアート~季節が織りなす光と影 About the exhibition Dazaifu Tenmangu Shrine is pleased to announce a special exhibition ‘The warp and weft of Finnish Textiles’ to take place at Dazaifu Tenmangu Shrine, a Shinto shrine founded in Fukuoka, Japan in 905. This exhibition features Finnish Textile design, which is undeniably influenced by Finland’s natural environment. It explores the contrast between the bright colorful spirits of Finnish design, the weft, and contrasts it with the culture’s strong dark roots, the warp. The out-doors exhibit will feature bright, fun designs while the interior spaces will be dedicated to more serious and dramatic design which draws its influence from the dark and emotive nature of Finland’s environment. Works by Dora Jung, Maija Isola and Fujiwo Ishimoto will be on display. Details -The out-door venue, will feature the collaboration of Dazaifu Tenmangu Shrine and marimekko, the world famous Finnish textile company, by situating textiles within the shrines’ natural historic grounds. -The works of designers such as, Dora Jung, Maija Isola and Fujiwo Ishimoto representing Finnish design and the designers’ view of nature will be on display in the museum. -This exhibition also explores the similarity between Japan and Finland through each country’s relationship with nature and the artists’ thinking process by concurrently displaying selected shrine artifacts alongside Finnish design. -A temporary shop created by ima, the interior designer of marimekko’s flagship stores will be installed in the entrance hall of the shrine museum. Exhibited artists Dora Jung (1906-1980) textile designer/ artist She has and continues to be a popular designer of mostly woven textiles. She won the Milan Triennial Grand prix twice and designed table settings for Finnair. However, this exhibition focuses on her art that uses dark toned weaving motifs reminiscent of a house in winter and close in character to the homespun image of Northeast Japan. Maija Isola (1927-2001) textile designer marimekko’s most famous designer, and the creator of such well known masterpieces such as the large abstract floral "UNIKKO" pattern, and the bold black and white “JOONAS” pattern. This exhibition however, will focus on other designs, which are both more earthy and darker. They are also more closely connected with her concept of nature. Fujiwo Ishimoto (1941- ) textile designer An award-winning Japanese designer, who continues to have a significant impact on Finnish designs. He has worked with ‘marimekko’ as a textile designer since 1974 has produced more than 300 patterns. He has largely worked on natural motifs like flowers, trees and landscape which have connection with traditional Japanese sense of beauty and nature. In this show, his works act as a connecting Japan and Finland, in the past and into the future. ima (Kobayashi Takashi+ Kobayashi Mana) interior design unit A space design unit has experience in private housing, public space and individual products, with an ongoing focus on shop design. The unit actively extended its playground to overseas since 2010, working with ‘marimekko’. They have also been participating in art exhibitions in pursuit of new design possibilities. Information Period: 1 December, 2012 - 10 March, 2013 Open hours: 9:00 - 16:30 (Ticket available until 16:00) Closed on Mondays (excl. 24, 31December, 7, 14 January, 11 February) Venue: Dazaifu Tenmangu Shrine Museum and Shrine Garden 4-7-1 Saifu Dazaifu Fukuoka 818-0117 Japan Tel: +81(0)92-922-8225 Admission: Adult 400 (300) yen Website: www.dazaifutenmangu.or.jp/finlandtextileart/ Organized by Dazaifu Tenmangu Shrine Supported by Kyushu National Museum, Museum Centre Vapriikki, LOOK inc. Embassy of Finland, the Finnish Institute in Japan, Dazaifu Tourist Association Sponsored by marimekko Coordinated by biotope corp. Designed by ima Art Direction: Kei Maeda (M&C SAATCHI) .
Recommended publications
  • Acquisitions
    Acquisitions as of June 30, 2009 African and David Soltker and Irving Dobkin Feldstein Endowment Fund for endowments (2008.206). Decorative Arts (2008.558). Amerindian Art North American Furniture African Mexico Artist unknown, Tea Table, Bwa, Dossi, Burkina Faso, Teotihuacan, Figurine, c. 1750/90, mahogany: Roger and Butterfly Mask, early/mid-20th a.d. 400, greenstone: gift of J. Peter McCormick endow- cen., wood and pigment: Charles Ethel F. and Julian R. Goldsmith ments; restricted gift of Jamee J. H. and Mary F. S. Worcester (2008.675). Tlatilco, Female and Marshall Field, and Carol Collection Fund (2008.190). Edo, Figurines, c. 500 b.c., ceramic W. Wardlaw (2009.58); Stand, Benin City, Nigeria, Container and pigment: gift of Ethel F. and 1790/1810, birch: gift of Jamee J. in the Form of a Leopard Head, Julian R. Goldsmith (2008.676–78). and Marshall Field (2008.679). early 21st cen., brass: gift of Omo Vladimir Kagan, Occasional N’Oba N’Edo Uku Akpolokpolo, United States Table, c. 1952, walnut and brass: Oba of Benin (2008.674). The Orbit Fund (2009.232). Navajo, northern Arizona or Mahdiyya State, Sudan, Tunic Walter von Nessen, manufactured New Mexico, Concho Belt, (Jibbeh), 1885/99, cotton: African by Nessen Studio, Inc., Occa- 1880/95, silver and leather: and Amerindian Curator’s Discre- sional Table, c. 1931, aluminum, Auxiliary Board of the Art tionary, Holly and David Ross, Bakelite, and iron: Quinn E. Institute of Chicago (2009.572); Arnold H. Crane, African and Delaney Fund (2009.156). Bow Guards (Ketoh), 1900/20, Amerindian Art Purchase, and silver, leather, turquoise, and O.
    [Show full text]
  • Vilniaus Dailės Akademijos Kauno Fakultetas Grafikos Katedra
    VILNIAUS DAILĖS AKADEMIJOS KAUNO FAKULTETAS GRAFIKOS KATEDRA Ugnės Krasauskaitės ORNAMENTO METAMORFOZĖS: AUGALINIŲ MOTYVŲ GRAFIKA Magistro baigiamasis teorinis darbas Taikomosios grafikos studijų programa, valstybinis kodas 621W10007 Magistrantė: Ugnė Krasauskaitė .................................................. (parašas) .................................................. (data) Darbo vadovė: doc. dr. Odeta Žukauskienė .................................................. (parašas) .................................................. (data) Tvirtinu, katedros vedėjas: doc. Vaidas Naginionis .................................................. (parašas) .................................................. (data) Kaunas, 2017 1 AUTENTIŠKUMO DEKLARACIJA Aš, Ugnė Krasauskaitė, kandidatas (-ė) VDA Grafikos katedros magistro laipsniui gauti, patvirtinu, kad šis baigiamasis darbas paremtas mano paties (-čios) tyrimais ir jame naudotasi tik tokia papildoma informacija, kuri nurodyta nuorodose, paaiškinimuose, šaltinių, literatūros bei lentelių ir paveikslų sąrašuose. Patvirtinu, kad baigiamajame darbe nėra naudojamasi kitų darbais to nenurodant ir nė viena baigiamojo darbo dalis nepažeidžia jokių asmens ar institucijos autorinių teisių. Taip pat nė viena baigiamojo darbo dalis nebuvo pateikta jokiai kitai aukštojo mokslo institucijai, kaip akademinis atsiskaitymas ar siekiant gauti mokslo laipsnį. Ugnė Krasauskaitė 2 Turinys SANTRAUKA ......................................................................................................................................
    [Show full text]
  • Human/Garden Relationships Explored in Lithograph Prints
    Outside In: Human/Garden Relationships Explored in Lithograph Prints Author Hoare, Domenica C Published 2020-03-03 Thesis Type Thesis (Masters) School Queensland College of Art DOI https://doi.org/10.25904/1912/2338 Copyright Statement The author owns the copyright in this thesis, unless stated otherwise. Downloaded from http://hdl.handle.net/10072/392390 Griffith Research Online https://research-repository.griffith.edu.au Outside In: Human/Garden Relationships Explored in Lithograph Prints Domenica Hoare Bachelor of Fine Art (Hons) Queensland College of Art Arts, Education and Law Griffith University Submitted in fulfilment of the requirements of the degree of Master of Visual Arts (Fine Art) Supervisors Dr Tim Mosely Dr Bill Platz November 2019 Abstract Outside In is an exhibition of original lithograph prints arising out of a studio-based research project into how print can capture the nuances of contemporary human/garden relationships in the local environment of Brisbane. The lithographs depict various representations of local gardens; gardens created in a range of ways; and human interactions with these. The works displayed result from a process of critical reflection and creative response in action that finds possibilities in printmaking to highlight ways of seeing gardens in prints. This critical exegesis that accompanies the exhibition draws from the work of theorists George Seddon and Val Plumwood, garden designer William Robinson, author Penelope Lively and philosopher Damon Young. The exegesis also provides discussion of works by four print artists who explore garden themes in their work, namely Virgil Marti, William Morris, Maija Isola, and Édouard Vuillard. Within this framework, the research outcome is in the form of an exhibition of original prints that engage ideas about humans’ relationships with gardens.
    [Show full text]
  • 20. Yüzyildan Günümüze Tekstġl Yüzey Tasariminin Gġyġm Tasarimina Yansimalari
    T.C. MARMARA ÜNİVERSİTESİ GÜZEL SANATLAR ENSTİTÜSÜ TEKSTİL ANASANAT DALI 20. YÜZYILDAN GÜNÜMÜZE TEKSTĠL YÜZEY TASARIMININ GĠYĠM TASARIMINA YANSIMALARI Yüksek Lisans Tezi NESLİHAN ÖPÖZ İstanbul 2018 T.C. MARMARA ÜNİVERSİTESİ GÜZEL SANATLAR ENSTİTÜSÜ TEKSTİL ANASANAT DALI 20. YÜZYILDAN GÜNÜMÜZE TEKSTĠL YÜZEY TASARIMININ GĠYĠM TASARIMINA YANSIMALARI Yüksek Lisans Tezi NESLİHAN ÖPÖZ Danışman: Dr. Öğr. Üyesi SEMRA GÜR ÜSTÜNER İstanbul 2018 GENEL BĠLGĠLER İsim ve Soyadı : Neslihan Öpöz Anasanat Dalı : Tekstil Programı : Tekstil Tez Danışmanı : Dr. Öğr. Üyesi Semra Gür Üstüner Tez Türü ve Tarihi : Yüksek Lisans – Nisan 2018 Anahtar Kelimeler : 20. Yüzyıl, 21. Yüzyıl, Tekstil Yüzey Tasarımı, Giyim Tasarımı ÖZET 20. YÜZYILDAN GÜNÜMÜZE TEKSTĠL YÜZEY TASARIMININ GĠYĠM TASARIMINA YANSIMALARI Tekstil yüzey tasarımı; dokuma tasarımı ile başlayıp, kumaşın desenlendirilmesinden giysiye dönüşmesine kadar geçen geniş bir süreci kapsamaktadır. Tekstil tasarımında desenlendirme ise kumaş yapısının oluşturulmasından sonra, yüzeyin dekore edilmesi amacı ile yapılan bezeme, renklendirme ve dikiş yöntemlerinin tümüdür. Yüzey tasarımı, Endüstri Devrimi’nde yaşanan teknolojik gelişmeler ile değişmeye başlamış, sanat akımlarından, tasarım hareketlerinden, sosyal ve ekonomik koşullardan da etkilenmiştir. Bilgisayar destekli tasarım, bitim işlemleri ve kavramsal sorgulamalar, 20. yüzyılın sonlarında yüzey tasarımlarına yeni kimlikler kazandırmıştır. 21. yüzyıl tasarım dilini biçimlendiren yaklaşımı, tasarımcıların dijital çağın olanakları ile sanal gerçeklik kavramlarını
    [Show full text]
  • Urr~Sl .. ~!Lcjfiy -Cdldjl C!Ljj1lcj! NEWS LETTER
    urr~sl .. ~!lCJfiY -CDlDJl C!lJJ1lCJ! NEWS LETTER NUMBER 182 May-June 1966 ANNUAL MEETING ISSUE REPORT OF THE 35TH ANNUAL MEETING STATLER HILTON HOTEL, NEW YORK, NEW YORK 35TH ANNUAL I don 1 t know whether it was Max Salzman 1 s excellent panel J ISCC MEETING discussion on Instrumental Approaches to Color Formulation or whether it was Midge Wilson's excellent banquet speaker and arrangements or publicity, but something must be credited with bringing out an unusuaJ.ly large number of people to attend the 35th Annual Meeting of the Inter-Society Color Council. One hundred and fifty-six were registered, one hundred and seventy-one attended the banquet. One does not ordinarily expect to be charmed by a lecture on geology. Dr. Paul D. Lowman, Jr. of NASA's Goddard Space Flight Center achieved the unusual by teaching his audience a great deal about the synoptic geology, by arousing enthusiasm for a contribution of space flights to our geologic knowledge, and by showing us a large number of fascinating and beautiful color photographs made from the Gemini II space flight. Although many of us found faults in his photographs, few found fault with his lecture. The program as announced in Newsletter number 180-81 was an error. The panel members should have read as follows: Moderator - Max Saltzman - Allied Chemical 1. Dr. Gunter Wyszecki - National Research Council of Canada "Precision and Accuracy of Color Measurement" 2. Miss Ruth Johnston - Pittsburgh Plate Glass Company "Advances in Instrumentation for Colorant Formulation" 3. Dr. Edwin Stearns - American Cyanamid "Application of Instrumental Colorant Formulation Techniques - Session I" 4.
    [Show full text]
  • Bendigo Art Gallery Curator Requested Additional Garments to Bring the Exhibition Content up to 2018
    Curatorial consideration Exhibition theme Established during the golden age of post-war modernism, Marimekko is the Finnish textile and fashion company that achieved international fame in the 1960s and 70s with its bold screen prints and pop-art style graphics. Coinciding with the emerging liberation of women, the founding of Marimekko, or ‘Mary dress’ as the name literally translates, represented a pure concept; free from rules and constraints. The exhibition traces Marimekko’s meteoric rise from the 1950s to the present, and explores the dualities that define its aesthetic. Its iconic fabric patterns and unconventional ready-to-wear outfits brought colour and informality to an otherwise self-conscious fashion world. With more than 60 outfits, swathes of original fabrics, homewares, sketches and other archival materials, the exhibition focuses on the work of the talented individuals who defined this local textile practice and created its internationally recognisable designs. Who/what is Marimekko? • A Finnish design company based in Helsinki • Textiles, furnishings, homewares – a lifestyle approach • Established during the golden age of post-war modernism in 1951 • Artists and designers invited to create textile designs – a collaborative approach Marimekko’s mission • Armi Ratia envisaged a bold future for textile design • Coincided with the liberation of women in 60s, radical loose fitting designs • Original mission is still relevant – to bring joy to everyday moments Marimekko’s first fashion show was held in restaurant Kalastajatorppa, Helsinki, Finland in May 20th, 1951. The fabrics were designed by several designers including Maija isola, Eelis Muona and Eeva-Inkeri Tilhe. Garments were designed by fashion designer Riitta Immonen, who had her own fashion salon / atelée in Helsinki.
    [Show full text]
  • Marimekko Patterns
    Who/what is Marimekko? • A Finnish design company based in Helsinki • Textiles, furnishings, homewares – a lifestyle approach • Established during the golden age of post-war modernism in 1951 • Artists and designers invited to create textile designs – a collaborative approach Marimekko’s mission • Armi Ratia envisaged a bold future for textile design • Coincided with the liberation of women in 60s, radical loose fitting designs • Original mission is still relevant – to bring joy to everyday moments Marimekko’s first fashion show was held in restaurant Kalastajatorppa, Helsinki, Finland in May 20th, 1951. The fabrics were designed by several designers including Maija isola, Eelis Muona and Eeva-Inkeri Tilhe. Garments were designed by fashion designer Riitta Immonen, who had her own fashion salon / atelée in Helsinki. Photograph by Kolmio. Image courtesy Design Museum, Helsinki CHARACTERISTICS OF MARIMEKKO • Contrasts: urban and rural, restrained and bold, colourful and black and white, traditional and modern. • Founded in the early 1950s, the period known as the golden age of post-war modernism in Finland. • (note: Golden Age of Couture – Paris and London were 1947- 1957) • Emerging liberation of women from the traditional role of housewives. • The change in women’s fashions was particularly evident in Marimekko clothes in the mid-1950s. • Vuokko Nurmesniemi’s designs in 1950s: minimized use of cuttings in clothes was typical of her designs, ensuring the original fabric design was as complete as possible. The clothes represented a pure, new concept; they were free from the rules that constrained dress and dictated how women were supposed to look and what they should represent.
    [Show full text]
  • Repeat Patterns
    Brain into gear activity: Lesson 4 Why is recycling clothes important to the environment? Give two reasons why? * * Brain into gear activity: Lesson 4 Why is recycling clothes important to the environment? Give two reasons why? * * Brain into gear activity: Lesson 5 Can you circle the 6 R’s of recycling? Recycle Reproduce Repair Refuse Rethink Redo Reuse Reduce Give a definition of one of the key words? Repeat Pattern Design Literacy By the end of project you will understand what the following words mean: Seam .......................................................................................................... Bunting ....................................................................................................... Bias binding .................................................................................................... Cotton ............................................................................................................ Decoration ..................................................................................................... Tie dye ........................................................................................................... Batik ............................................................................................................... Embroidery .................................................................................................... Printing .......................................................................................................... POP ART ........................................................................................................
    [Show full text]
  • Marimekko Classics 2019 Sisus 170X245mm FIN ENG.Indd
    MARIMEKKO CLASSICS Designed for life CLASSICS 2 3 MARIMEKKO OUR HERITAGE Art of printmaking Marimekko’s own since 1951 textile printing factory in Helsinki, Finland, is the heart and soul of our pattern design. About one million Finland. Photograph: Matti Saanio, 1968 metres of fabric Factory workers printing fabric by hand in Helsinki, is printed there The printing factory has a crucial role in Marimekko’s design process. every year. Located at the Marimekko headquarters, it allows designers to work closely with the professionals who translate the designs into printed fabric one step at a time. Doing things together feeds creativity and innovation. We believe that being a pioneer in print design goes hand in hand with in-house production. Timelessness has been a key ingredient of Marimekko design since the very beginning. We constantly seek new ways to make our timeless, distinctive designs a lasting part of people’s everyday lives. 4 5 MARIMEKKO OUR HERITAGE Armi Ratia signing a message Japan. to Photograph: Matti Saanio, 1978 “Marimekko started out with printed textiles because that was the option that was available to the company. However, the concept could have been equally well expressed in the form of music, poetry, architecture – or even as a new kind of bread, rugs, furniture, ceramics, glass, jewellery, cars, a florist’s shop, ice cream or toys. It is worthwhile for us to be aware of this and keep it in mind when thinking about tomorrow’s – and today’s – Marimekko.” – ARMI R ATIA Marimekko, a Finnish design house and one of the world’s first real lifestyle brands since 1951, was founded by Armi Ratia (1912–1979) – a visionary woman of exceptional courage and imagination.
    [Show full text]
  • Superbrands Finland 56 Market Marimekko Corporation, Established in 1951, Is a Leading Textile and Clothing Design
    In the 1970s, Marimekko introduced simple ment and the systematic implementation of company’s future. A new state-of-the-art business idea drew on the ideals of this exci- In 2004, Kirsti Paakkanen, President everyday clothing in subtle designs, such as new ideas. printing machine and screen-making equip- ting and impulsive era and combined a strong of Marimekko, was named as the Ernst & the small-patterned shirts, dresses and unisex Marimekko has consistently nurtured and ment were acquired for the company’s textile belief in the future with freedom, joy and Young “Entrepreneur of the Year” in Finland. clothing created by Pentti Rinta. Marimekko’s refined its operations in line with the basic printing factory in Helsinki. By modernising power of creativity. However, the business idea Paakkanen represented Finland in the “World printed textiles division gained a versatile new philosophy of its business idea. The image of its printing production, the company gained was also built from daily realities. Entrepreneur of the Year 2005” competition in designer in 1974 when Fujiwo Ishimoto joined the Marimekko brand is bright. The company’s greatly needed additional capacity. Moreover, Monte Carlo in May. the company. The production of the still-popu- product profile is distinct, strengthening the the new machines and equipment will give achievements lar canvas bags also began in the 1970s. brand’s image. The international respect given Marimekko’s designers more latitude for bring- Marimekko has claimed its place in the History Armi Ratia’s passing in October 1979 her- to the products has increased its brand recog- ing their ideas to life.
    [Show full text]
  • Annual Report 2004 Annual Report 2004
    ANNUAL REPORT 2004 ANNUAL REPORT 2004 Contents Marimekko 3 Financial statements 22 Another name for business could be “life” 4 Report of the Board of Directors 22 Marimekko’s core values 5 Income statement 28 President’s review 7 Statement of changes in financial position 29 2004 in brief 8 Balance sheet 30 Marimekko’s visions, objectives, strategy 8 Notes to the financial statements 32 Shares and share capital 40 Marimekko's business operations 9 Per-share data 43 Formulas for the key figures 44 Net sales by market area and product line 9 Quarterly trends 2003–2004 45 Clothing 11 Five-year review 45 Interior decoration 13 The Board of Directors’ proposal for Bags 14 the distribution of profit 46 Retail sales 15 Auditors’ report 46 Domestic wholesale 15 Administration and auditors 47 Exports and international operations 16 Information for shareholders 48 Licensing 16 Information on Marimekko as an investment 49 Design 17 Stock exchange releases in 2004 49 Production 17 Securities brokers analysing Marimekko 50 Personnel 18 Addresses 51 Risk management 18 Social responsibility 19 Corporate governance 20 Maija Isola – Life, Art, Marimekko Exhibition at the Design Museum in Helsinki, 25 May – 4 Sept. 2005 Maija Isola (1927–2001) designed her first printed textiles in 1949 “Bon soir children. I’m having a wonderful time these days. I’ve started for Printex Oy, Marimekko’s predecessor. She worked as head designer working. Once again, I feel as if I’ll never find the time to do even a fraction of Marimekko’s interior fabrics until 1987. She also had an illustrious of all the things I want to do.
    [Show full text]
  • Yearbook 2012
    YEARBOOK 2012 1 Colour and joy to the world Marimekko is a Finnish textile and clothing design company. The core of its business is the design and manufacture of timeless and individual, CONTENTS practical and beautiful consumer goods. The array of Marimekko design 1 embraces household products ranging Colour and joy from furnishing fabrics to tableware to the world as well as clothing, bags and other accessories for people of all ages. 2 When Marimekko was founded in From the President 1951, the unparalleled patterns and and CEO colours of its printed fabrics gave it a strong and unique identity. A heritage 4 acquired over decades, with its values Armi Ratia and legends, is an inexhaustible 100th birthday treasure from which it is good to draw courage and the strength for 6 renewal, even today. The meaning of The origins of Oiva Marimekko design is to create aesthetic experiences for every moment in life. 8 For Marimekko, 2012 was filled Building a clothing with many unforgettable moments collection with new and old friends. The strongest impression left by the year is one of 10 rapid internationalisation. In the United A Normi for States, the company-owned store all seasons network expanded to the West Coast, and the public at the New York Fashion 12 Week were able to see Marimekko 2012 in figures for the first time in a striking and joyful show. China’s first Marimekko 16 store opened in Hong Kong, and in Highlights of 2012 Shanghai Marimekko provided colourful experiences both in a display at the 22 Museum of Contemporary Art and by Vision, goals holding a fashion show in the People’s and strategy Park.
    [Show full text]