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      Collaborative Kinship exhibition showcases oak-and-terrazzo furniture

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      Designer Birgitte Due Madsen, architect Anne Dorthe Vester and curator Henriette Noermark have launched an exhibition of marble, resin and wood furniture designed to explore collaboration.

      Kinship, which opened at the Alice Folker gallery in Copenhagen during the 3 Days of Design festival, showcases 18 designs that utilise terrazzo, wood, metal, resin, marble and glass.
      The exhibition was informed by existing works by Madsen and Vester, including the Lucid resin chair by Madsen and the Vitrine ash-and-steel wall hanging artworks by Vester, which are also on display in the space.
      Kinship showcased 18 furniture and design objects”As a group of three individuals who thrive in collaborative environments, it was natural for us to come together for this collaboration,” the collective told Dezeen.
      “We wanted to explore collaboration while focusing on our individual strengths, existing work, and experiences. Each of us brings different skill sets, backgrounds and practices, which we wanted to showcase in this exhibition,” the trio added.

      “The exhibition delves into the exploration of collaboration by placing a spotlight on the individuals involved.”
      Three terrazzo chairs were made in collaboration by Madsen, Vester and NoermarkIn the spirit of collaboration, the exhibitors designed three terrazzo and oak chairs together especially for the Kinship exhibition.
      These were made using wood supplied by Danish flooring company Dinesen.

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      Located in the centre of the gallery’s second room, the terrazzo bases of the chairs mimic each other in shape, with the wooden slats placed on different angles of the base.
      The terrazzo used was made from glass waste, recycled bricks and concrete to reduce the CO2 emissions generated when creating the material, the gallery said.
      The exhibition is on display at the Alice Folker gallery in Copenhagen, Denmark”The design process for the terrazzo chairs stemmed from the idea of experimenting with direct collaboration. We used Birgitte and Anne Dorthe’s previous works as a foundation to create a new collective collection,” the trio explained.
      “The chairs were designed with a consistent aesthetic and visual language that is reflected in our shared terrazzo furniture,” it added.
      “The intertwining of practices creates a cohesive display that showcases direct references to the slats found in Anne Dorthe’s pieces and the semicircular strokes seen in Birgitte’s works.”
      The exhibition was on display during Copenhagen’s 3 Days of Design festivalSurrounding the chairs, Madsen’s series of circular Neon Cast lights are displayed on her Breton marble cubes. The gypsum and glass lights come in shades of green, blue, pink, red and purple.
      Two additional neon lights hang on the walls of the gallery, each designed with a horizontal or vertical stripe of neon running through the similarly designed circular light.
      The exhibition uses materials such as terrazzo, resin, marble, wood, metal and glassThe four Breton cubes, named after sailors’ shirts originally designed to be functional, explore both form and function. The cubes feature uniform horizontal, vertical or diagonal stripes of marble, each with its own veiny pattern in green, pink and brown.
      Also at this year’s 3 Days of Design, Christian + Jade partnered with Dinesen to present the Weight of Wood exhibition and Tableau showed sculptural wooden furniture by Vaarnii.
      The photography is courtesy of Birgitte Due Madsen.
      Kinship is on show from 2 June to 29 July 2023. See Dezeen Events Guide for information about the event, plus a list of other architecture and design events taking place around the world.

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      Yoonede exhibition brings together emerging and established designers

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      Chair-shaped sculptures and a doughnut-shaped paper lantern were among objects displayed inside a Copenhagen apartment during 3 Days of Design.

      Yoonede – derived from the word “unity” – was a group exhibition featuring the work of 20 artists, designers and brands.
      Yoonede took place in an apartment on Gammel MøntThe idea behind the show was to promote collaboration, with everyone’s work displayed together. Some designers also teamed up with other participants on their exhibits.
      Objects were displayed in the rooms and courtyard of an apartment on Gammel Mønt, a street in the heart of the Danish capital.
      Works included a chair-like sculpture by Maria Brunn and Anne Dorthe VesyterLine Øhlenschlæger, one of the three founders of Yoonede, told Dezeen: “The only stipulation we made to the artists, designers and brands involved was that they should be willing to combine with others who may or may not be on the same level.”

      “Normally when you do a group exhibition, you have one designer in one corner and one designer in another corner, but the idea here was to lift everyone together,” she said.
      Tables by Line Øhlenschlæger displayed objects by other participating designersØhlenschlæger, who works as an art director, put together the exhibition in partnership with product designer Sofie Østerby and interior architect Maaria Repo.
      The trio, who are former colleagues, had long wanted to work together on an exhibition and decided to invite other creatives that they admired to join.
      They only expected a few of them to say yes, so were shocked to see the list reach 20 participants.
      Øhlenschlæger’s contribution to the exhibition is a series of circular tables, supported by three-pronged volumes made from either steel or aluminium.
      Anne Brandhøj and Signe Fensholt created totems that combine skills in wood and ceramicØsterby created a sculptural coffee table using wenge, an African hardwood, while Repo exhibited a bowl with a distinctive streaky glaze finish.
      MBADV – an ongoing collaboration between designers Maria Brunn and Anne Dorthe Vesyter – was behind the chair-shaped sculptures, one made from oak and the other from stone.
      Atelier Madirazza presented a grand marble-framed mirrorThe paper lantern, by lighting designer Laura Fiig, was suspended above a bench made by Studio Oro using both epoxy resin and travertine.
      Designers Anne Brandhøj and Signe Fensholt combined skills in wood and ceramic to create a series of totem-like sculptures, while Atelier Madirazza presented a grand marble-framed mirror.
      A woven textile by Bettina Nelson hung from the wallCabinet-maker Antrei Hartikainen contributed a slender, curved shelving unit as well as mouth-blown glass vases.
      Other key pieces included a minimal chandelier by Kasper Kjeldgaard and a woven textile by Bettina Nelson.
      Sofie Østerby created a sculptural coffee table using an African hardwoodBrands on show included Kusiner, which presented wool carpets, and Danish audio brand Iril, which showed its minimal speakers.
      The exhibition continued outside, where terracotta plant pots by heritage brand Bergs Potter sat alongside sculptures by artist Josefine Winding.
      Objects by Bergs Potter and Josefine Winding were shown in the courtyardThe founders plan to run Yoonede as an exhibition platform, so that it can continue beyond this 3 Days of Design debut.
      “The exhibition is built around the wish of bringing creatives together, learning from each other’s differences and sharing a passion for design, art, and objects,” said Østerby.
      The name, Yoonede, is derived from the word “unity””We’re showcasing inspiring individualism while letting a strong and curated cohesiveness stand out,” added Repo.
      The photography is courtesy of Yoonede.
      Yoonede was on show from 7 to 9 June 2023 as part of 3 Days of Design. See Dezeen Events Guide for information, plus a list of other architecture and design events taking place around the world.

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      Oltre Terra exhibition calls for “constructive relationship” between humans and sheep

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      Design duo Formafantasma has unveiled an exhibition at Oslo’s National Museum of Norway about the history and future of wool production, featuring a 1,700-year-old tunic and a carpet made from waste fibres.

      Andrea Trimarchi and Simone Farresin of Formafantasma created the Oltre Terra exhibition, curated by Hannah Eide, to unravel humanity’s past and present relationship with sheep and, by extension, the production of wool.
      Oltre Terra includes a carpet made from discarded wool fibresThe exhibition features archival and contemporary objects, including life-size replicas of seven different breeds of sheep and tools for shearing, arranged across a diorama-style set within a single gallery at Norway’s national museum.
      Among the first animals to be domesticated by humans, sheep were first culled by hunter-gatherers around 11,000 years ago.
      Tools for shearing also feature in the exhibitionThis marked the start of a complex relationship, according to Formafantasma.

      “The National Museum of Norway [which commissioned Oltre Terra] was interested in us developing a body of work that relates to the local community in Oslo, because wool was an extremely important material in Norwegian culture before the development of the industry connected to oil and farming,” Trimarchi and Farresin told Dezeen.
      The exhibition design nods to dioramasOltre Terra aimed to combine artefacts typically seen in natural history museums with ones more commonly exhibited at art and design galleries, in order to highlight the interdependency between biological evolution and production processes.
      Among the pieces on show are a cream carpet by CC-Tapis made of four different wool fibres extracted from 12 Italian sheep breeds.
      This wool was left over from production and would usually be discarded for its coarseness, but the carpet intends to illustrate how these rougher fibres can still be used to make products that are not in direct contact with skin.
      The exhibition shows artifacts typically seen in natural history museums and art galleriesAlso on display is a 1,700-year-old woollen tunic, which was found preserved under a mountain ice patch 200 miles northwest of Oslo in 2011, and woollen sails that were used for Viking Age boats.
      At the centre of the installation sits a video that Formafantasma created with artist Joanna Piotrowska. Called Tactile Afferents, the film focusses on the sense of touch and explores the ways in which humans have interacted with sheep over time.
      Pieces range from contemporary to historical artefactsThe exhibition also features replicas of notable examples of the species, such as Shrek, the Merino sheep from New Zealand who – like many others – was discovered in the wild with an overgrown coat in 2004 after he escaped his domestic flock six years prior.
      This is an example of when sheep need humans, according to Formafantasma.
      “Many people are against animal farming, which, when it is intensive farming, we also think is extremely problematic,” said the designers.
      “But sheep at the moment are not like their wild ancestors, Mouflons – they do not naturally lose hair. They need humans to shear them.”
      A 1,700-year-old woollen tunic features in the exhibitionThe show’s exhibition design nods to the concept of the diorama – miniature or largescale models found in museums that are encased in glass and typically display three-dimensional figures.
      For Oltre Terra, the diorama was “exploded” into sections and left open, rather than covered in glass, to allow visitors to feel more connected to the pieces and to question the boundary between art and science.

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      “For us, it’s about unifying narratives and showing how these are complex ecologies that should be displayed together,” said Trimarchi and Farresin of the installation.
      “The scope of the exhibition is to explore this very intimate yet intricate relationship between humans and animals, in which the boundaries between tamer and domesticated fade,” continued the designers.
      Tactile Afferents is a film presented in the centre of the dioramaTrimarchi and Farresin explained that one of the exhibition’s overarching aims was to promote mutual dependence and respect between humans and sheep, especially when it comes to farming practices.
      “The relationship between humans and sheep is much more complicated and complex,” they added.
      “As with human relationships, there are abusive relationships, and there are just relationships and constructive relationships. What we’re doing now [with livestock] is, in some cases, extremely abusive, but this does not mean that sheep and animals and humans cannot live in a process of symbiosis.”
      Formafantasma created numerous sheep replicas for the exhibitionThe show took its name from the etymology of the word “transhumance”, which is formed by the combination of the Latin words trans (across, ‘oltre’ in Italian) and humus (grounds, ‘terra’) and refers to the practice of migrating livestock from one grazing ground to another.
      Founded by Trimarchi and Farresin in 2009, Formafantasma has previously presented other shows that investigate materials, including an exhibition on timber with furniture brand Artek that was held at Helsinki’s Design Museum last year. The studio also redesigned its website to reduce carbon dioxide emissions.
      The photography is by Ina Wesenberg. 
      Project credits:
      Formafantasma team: Sara Barilli, Alessandro Celli and Gregorio GonellaCurator: Hannah Eide
      Oltre Terra is on display at the National Museum of Norway from 26 May to 1 October 2023. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.

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      India Mahdavi creates colourful scenography for Pierre Bonnard exhibition in Melbourne

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      Iranian-French architect India Mahdavi has designed an exhibition to present works by French painter Pierre Bonnard at the National Gallery of Victoria in Melbourne.

      Pierre Bonnard: Designed by India Mahdavi presents more than 100 works by the famed 20th-century artist who is celebrated for applying an iridescent palette.
      India Mahdavi has offered her take on Pierre Bonnard’s paintings through the exhibition scenographyThe scenography design by Mahdavi, also known for her use of colour, is intended to create “an impression of his world, through my own eyes” according to the architect.
      Instead of typical white gallery walls, the spaces are awash with bold hues and patterns that she has chosen to complement the artworks.
      The architect chose colors and patterns to complement the artworksMany of the shades of yellow, pink, orange and green that adorn the walls and floors are lifted directly from the canvases, while floral-inspired repeated patterns offer a contrasting backdrop.

      Large carpets continue these motifs at different scales across the floors.
      Many of the colours were lifted from the artworksMahdavi has also placed some of her own furniture designs in the gallery spaces, offering visitors the opportunity to pause and appreciate the paintings and their surroundings.
      “Mahdavi envelopes Pierre Bonnard’s works in an environment that complements Bonnard’s distinct use of colour and texture, and evokes the wistful domestic intimacy for which his paintings are renowned,” said the National Gallery of Victoria (NGV).
      Several of Mahdavi’s furniture designs are placed in the galleriesBonnard was born in 1867, and his artistic career took off in the 1890s in Paris, where he began capturing street life.
      The artist’s focus then moved to domesticity, followed by landscapes thanks to the influence of his friend and neighbour in Normandy, Claude Monet.
      The exhibition is divided into 11 themes based on the subject matter of Bonnard’s paintingsBonnard later relocated to the south of France and created a large body of work there before his death in 1947.
      “The paintings of Pierre Bonnard depict intimate domestic interiors, natural landscapes and urban scenes with subtlety, wit and a sensuous approach to colour and light,” said the gallery.
      Some of the spaces are decorated entirely in one colourThe exhibition features loans from the Musée d’Orsay in Paris, which holds the world’s largest collection of Bonnard’s work, along with significant loans from other museums and private collections from around the world.
      It is organised around 11 themes, which include landscapes, interiors, still life, early nudes, and large decorations.

      India Mahdavi’s striped scenography provides backdrop for furniture exhibition

      There are also sections dedicated to his depictions of music and theatre, views from his 1920s studio in Le Cannet, and scenes of nature and daily life around the town.
      “For Bonnard, landscape painting was a hybrid genre and often included glimpses of interiors and still lifes,” said the gallery.
      Mahdavi is renowned for her use of colourThe gallery has hosted many immersive exhibitions and installations in recent years, including a scaled-down version of Greece’s famous Parthenon temple, a mist-filled chasm in its sculpture garden, and Nendo’s take on the drawings of MC Escher.
      Mahdavi’s best-known projects include the Gallery dining room at London restaurant Sketch, which she originally created in pale pink, then transformed with golden tones in 2022.
      Pierre Bonnard: Designed by India Mahdavi runs until 8 October 2023She recently updated six rooms within Rome’s 16th-century Villa Medici to feature an array of contemporary and colourful furniture.
      Pierre Bonnard: Designed by India Mahdavi forms part of NGV’s Melbourne Winter Masterpieces series, and runs from 9 June to 8 October 2023. For more exhibitions, events and talks in architecture and design visit Dezeen’s Events Guide. 
      The photography is by Lillie Thompson.

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      Helle Mardahl fills Copenhagen apartment with candy-coloured glass

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      Danish designer Helle Mardahl has unveiled The Sensory Society, a 3 Days of Design exhibition that takes cues from Wes Anderson’s film The Grand Budapest Hotel.

      Mardahl filled an entire Copenhagen apartment with her colourful glass objects, creating installations that include a playful bar and a grand dressing table.
      The Sensory Society includes a grand dressing table filled with glass objectsThe exhibition showcases new additions to the designer’s glassware range, called the Candy Collection, including hand-blown pendant lamps, characterful wine glasses and Mardahl’s take on “the perfect bowl”.
      The aim was to create an exhibition that appeals to all of the senses.
      Tiered shelves allow hundreds of candy-coloured glass objects to be displayed”We’ve transformed this old, amazing apartment into a world of imagination, mystique and humour,” Mardahl said.

      “Inspired by the amazing Wes Anderson’s The Grand Budapest Hotel, I implemented colours from our newest addition to the Candy Collection, such as grapefruit, blue jelly, champagne and spearmint. Absolutely yummy!”
      Glass pendants are on show in the red-painted lobbyMardahl first launched her Copenhagen-based studio in 2017, after “falling in love” with glass. Her pieces typically have a candy-like aesthetic, with rich colours and round shapes.
      The designs are all hand-made by artisans mostly based in Denmark.

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      “The process of creating the glass is magical,” said Mardahl.
      “It’s hot, it’s sweaty, it’s absolutely perfect. It is truly a love story between the glass and the artisan.”
      A bar showcases tableware objects at different heightsWhen you arrive at The Sensory Society, the first room you encounter is a lobby where almost every surface is red, creating a bold backdrop to glass pendants hanging down from the ceiling.
      In the bar area, glass tableware objects – including the popular Bon Bon cake stand – are displayed at different heights, while wine glasses are hung around a cylindrical column.
      Wine glasses take centre stage in a turquoise-painted roomA grand dressing table is finished in pale shades of lilac, pink and blue. It incorporates tiered shelving, supporting hundreds of glass vessels.
      There is also a turquoise-coloured room where the new wine glasses take centre stage.
      The glasses form part of a range of tableware objects by Mardahl. Photo is by Amy FrearsonSmall details throughout the apartment are also made from glass, including drawer handles and orbs fixed to the sides of the chairs.
      “It’s a candy world of flavours and colours, a universe that simulates your senses and feelings,” added Mardahl.
      The Sensory Society is on show from 7 to 10 June 2023 as part of 3 Days of Design. Follow live coverage on Dezeen live: 3 Days of Design in Copenhagen, or see Dezeen Events Guide for information about the event, plus a list of other architecture and design events taking place around the world.

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      Christian + Jade explores the Weight of Wood with exhibition at 3 Days of Design

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      Danish design studio Christian + Jade has created an exhibition in collaboration with wood flooring manufacturer Dinesen that explores the density of wood and its significance and history as a commodity.

      The Weight of Wood exhibition, which takes place at the Dinesen showroom as part of Copenhagen festival 3 Days of Design, was the result of a year-long research project commissioned by the brand’s recently founded Dinesen Lab.
      Weight of Wood is an exhibition by Christian + JadeDinesen Lab invited Christian Hammer Juhl and Jade Chan, founders of Christian + Jade, to take part in a residency in which local artists were asked to work with wood harvested by the company to produce a research project and explore the weight of wood.
      The Weight of Wood installation is located within a large exhibition space at the brand’s showroom in Copenhagen. This was divided into a series of smaller rooms via sheets of textured paper hung vertically from a wooden pavilion.
      It takes place at the Dinesen showroomEach of the smaller rooms separates the exhibition into three different parts titled Forest and Wood, Wood and Wood, and Human and Wood.

      Throughout the exhibition space, wooden tables hold a number of experiments and interventions completed by Christian + Jade using different types of wood that were harvested by Dinesen.
      “We were fascinated by the idea that no two pieces of wood weigh the same, not even if it comes from the same tree trunk,” the studio explained at a preview of the exhibition. “This was really what sparked our interest in this project.”
      The exhibition explores the ways in which wood has been commodified”Through this exhibition, we have tried to work with this idea in various scales,” the studio founders added. “It sort of presents a design methodology, combining different pieces of wood with different densities.”
      “What we have created is not only a series of furniture but also a rocking horse, a rocking chair and lots of small experiments that visualise this intangible quality of wood, which is the weight of wood.”

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      A collection of different-sized cubic wooden volumes were presented in the exhibition, made from 11 different species of wood including beech, cherry, Douglas fir and elm. Each of the pieces of wood weighs 250 grams and conveys the different densities of wood through volume and size.
      A seesaw placed at the rear of the exhibition space featured a base made from Douglas fir and topped by a seat constructed from equal parts Douglas fir and oak. As a result of oak having a higher density than Douglas fir, the seesaw will always lean towards its oak-constructed side.
      The designers used Dinesen’s wood for their experiments”We chose three different furniture archetypes that require weight and balance in their function – the seesaw, the rocking chair and the rocking horse,” Chan said.
      “So in designing or reimagining the furniture, we’ve worked with four of Dinesen’s main wood species; that is Douglas fir, oak, pine and ash.”
      The exhibition was divided into three parts”The seesaw is an example of one of the simple principles that we apply – the pivot point is made using Douglas and the seat is made using oak and Douglas,” Chan added.
      The rocking horse was constructed from 87 per cent Douglas fir and 13 per cent ash. Because of its Douglas fir-heavy construction, the horse always tilts towards one side, which provides it with a unique movement.
      The exhibition included a rocking horse, seesaw and rocking chairChan concluded the preview of the Weight of Wood exhibition with a poem by H P Dinesen, a relative of the company founders:
      “To those who love the tree, those who may be fighting the tree, the one who plants the tree, the one who fells the tree, the poet who praises the tree, and the one who simply settles with enjoying the tree.”
      Also at this year’s 3 Days of Design, Nemo Lighting unveiled a light designed by architect Le Corbusier and a lamp by architect Charlotte Perriand and Takt launched a fully disassemblable sofa that can be replaced and recycled.
      The photography is by Claus Troelsgaard.
      Weight of Wood is on show as part of 3 Days of Design 2023, from 7 June to 9 June 2023. See Dezeen Events Guide for information about the event, plus a list of other architecture and design events taking place around the world.

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      Tomás Saraceno adapts Serpentine gallery to welcome all species

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      Argentinian artist Tomás Saraceno has changed the HVAC and electrical system of the Serpentine gallery in London, in an effort to make an exhibition for all the nearby species.

      Titled Web(s) of Life, the exhibition presents some of the artist’s most recent and well-known environmentally focused works, while also encompassing interventions into the building itself.
      These interventions aim to make the Serpentine South building housing the exhibition more porous and responsive to its setting in Kensington Gardens, challenging anthropocentric perspectives that only consider the interests of humans and not any other beings.
      Tomás Saraceno has made changes to the Serpentine South building for his exhibitionSculptures made for the enjoyment of a variety of different animals are placed on the building’s grounds, facade and roof as well as inside the building, while complex webs woven by multiple types of spiders working “in collaboration” with Saraceno feature inside the dimly lit galleries.
      “You see that many architectures today are somehow not so inclusive of what is happening on the planet,” said Saraceno, who trained as an architect. “I’m very happy to think that for the first time at the Serpentine, there are many spiderweb pavilions.”

      “It’s a little bit about trying to think how animal architecture could enter into the discourse and how we need to have a much more equilibrated and balanced way of building cities today on Earth,” he told Dezeen.
      Saraceno’s Cloud Cities sculptures can be found in the groundsTo make the gallery interior more comfortable for spiders and other insects, the equipment that controls the building’s temperature and humidity has been switched off and some doorways opened to allow for free movement of both air and animal life.
      Given the exhibition will run throughout the British summertime, this might mean some discomfort for human visitors – but within limits. According to the Serpentine’s chief curator Lizzie Carey-Thomas, the gallery will allow the staff on its floor to decide when conditions are too hot for them to work safely or for visitors to have an enjoyable time.
      At that point, the gallery will close rather than switch on the air-conditioning, encouraging visitors to enjoy the installations outside in the park and under the trees.
      The sculptures also feature inside the galleryA further intervention by Saraceno comes in the form of a new solar array on the Serpentine’s roof, which will power all the films and lights in the exhibition.
      The destructive effects of lithium mining on the environment and Indigenous communities is a key theme of the exhibition. So Saraceno and the Serpentine are avoiding the use of a lithium battery and instead embracing the intermittency of solar power by adapting the exhibition’s energy use to the level of sunshine outside.

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      On cloudy or partly cloudy days, films will run less frequently and lights will be dimmed. On particularly sunless days, the films may switch to audio-only, while some lights will switch off altogether.
      “The irony there is that on the extreme heat days with lots of sun, we will have full power but we won’t be able to open the exhibition,” said Carey-Thomas.
      As the Serpentine South building is heritage listed, both Carey-Thomas and Saraceno say the process for making any alterations was complex and drawn out, with approval for the solar panels taking two years and other plans to remove windows and doors quickly abandoned.
      The exhibition environment is meant to be more comfortable for spiders, whose webs are on displayThe works within the exhibition include Saraceno’s Cloud Cities sculptures, which feature compartments specifically designed for different animals such as birds, insects, dogs, hedgehogs and foxes.
      The artist is also screening a film that documents one of the instalments of his Aerocene project, which involves making an entirely fossil-free aircraft powered purely by air heated by the sun with no need for batteries, helium, hydrogen or lithium.
      In the film, the Aerocene team completes the world’s first piloted solar-powered flight, flying a balloon sculpture over the highly reflective salt flats in Salinas Grandes.
      A film in the exhibition documents Saraceno’s fossil-free flight projectThere is also a work created specifically for children, called Cloud Imagination, which is accessed through a dog-shaped door that’s too small for most adults to enter.
      Saraceno and the Serpentine describe the Web(s) of Life exhibition as having been created “in collaboration” with a host of different contributors, both human and non-human.
      These include the communities of Salinas Grandes and Laguna de Guayatayoc in Argentina, spider diviners in Cameroon, the communities around Aerocene and Saraceno’s Arachnophilia project, and the lifeforms found in the Royal Parks surrounding the Serpentine, which will continue to evolve the works over the next three months.
      The films may run less frequently when the levels of solar energy are affected by cloud coverThe artist and gallery also want to extend the ethos of the exhibition to the potential sale of the artworks by developing a scheme called partial common ownership or, Saraceno hopes, “partial common stewardship”, which means any buyer would “co-own” the work along with a designated species or community.
      Another recent artwork to have explored ideas of intermittency in energy and design is Solar Protocol, which looks at the potential of a solar-powered internet.
      The photography is by Studio Tomás Saraceno.
      Tomás Saraceno In Collaboration: Web(s) of Life will take place at Serpentine South in London, UK from 1 June to 10 September 2023 and culminate with a day-long festival on Saturday, 9 September including a weather-dependent Aerocene flight. For more information about events, exhibitions and talks, visit Dezeen Events Guide.

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      Another Seedbed is a Brooklyn apartment that doubles as a performance space

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      In this renovated loft in Brooklyn, the owner both resides and hosts public art performances within a space divided by a variety of inserted volumes.

      The loft is located in a late 19th-century cast iron building in Williamsburg that once served as a hat factory, and was renovated by a team of architects.
      A team of architects renovated the loft, inserted volumes to conceal private areasIgnacio G Galán, Jesse McCormick, Khoi Nguyen and Julie Tran of Future Projects collaborated to turn the industrial space into a residence that could also serve as a venue for artistic performances and other public events.
      Named Another Seedbed, the project recalls the use of lofts in New York City by artists in 1960s to 1980s for developing experimental works.
      The bedroom is hidden behind red-stained plywood panels and accessed through a concertina doorThe owner and activator of this apartment began organising parties, performances and other events in a similarly industrial space in Bushwick.

      He then decided to create a dedicated space for himself to live and work, as well as host other artist friends who needed square footage to bring their ideas to life.
      Hand-troweled earthen clay plaster covers the bathroom volume”Neither just a private studio nor an art gallery, the space is equipped to welcome gatherings that operate between a dinner party and a public performance,” said the project team.
      “Artists appropriate the space and become hosts themselves, expanding the communities which the project brings together.”
      Inside, the bathroom is lined with blue penny-round tilesThe apartment is organised as a largely open-plan space, with private areas concealed inside inserted volumes.
      Red-stained pine plywood panels hide the bedroom, which is accessed via a concertina door, and also contain storage.
      Moveable furniture helps to arrange the apartment for performancesThe bathroom occupies another volume that’s covered in hand-troweled earthen clay plaster outside and lined entirely is blue penny-round tiles inside.
      An open kitchen with grey cabinetry sits below a framework of coloured wood, featuring smokey polycarbonate panels that are lit from behind.

      Vipp Studio in Manhattan functions as both showroom and apartment

      This frame extends into the living area to form a floor-to-ceiling shelving unit, on which books and objects are displayed, and a projector for screening videos onto the opposite wall is housed.
      A variety of moving furniture pieces, including an ochre-toned sofa on wheels, help to choreograph the events and arrange the apartment as desired by whoever is using it.
      The owner and his artist friends are able to transform the space to present their work”The space will not advertise its performances,” said the team.
      “Some neighbors might not know of its existence. Others will hear about an event through friends. Some might find themselves there often and will develop networks of neighbourliness within it.”
      Performances are open to the public but not advertisedBrooklyn has both a thriving arts scene and a wealth of defunct industrial buildings for hosting exhibitions, performances and events.
      Herzog & de Meuron recently completed the transformation of a derelict power plant in the borough into arts centre, while the Public Records creative venue added a bar and lounge on an upper floor of its former warehouse building earlier this year.

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