Editions in Craft at the World Design Capital Cape Town 2014

We are very pleased to let you know that Editions in Craft is participating in two exhibitions in Cape Town this month.

Colour cup for news letter

The Story Vases by Front & Siyazama and Coiled by BCXSY & Siyazama will be on show in Artisan at the Guild Design Fair. This is the first time they are shown in South Africa.

Our latest project by Margrethe Odgaard & Siyazama and Simunye will premiere in the exhibition Africa is Now at the Design Indaba.

In 2009 we started the ongoing collaboration with the Siyazama Project, a collective of women from KwaZulu-Natal who work with traditional beadwork. Since we have developed a variety of products by linking traditional skills with contemporary design practice and by sharing techniques and exchanging ideas.

In 2013 we held a new workshop and invited the Danish designer Margrethe Odgaard to Durban to work together with six members of the Siyazama Project: Beauty Ndlovu, Phiwe Mchunu, Celani Noyjeza, Thokozani Sibisi, Tholiwe Sitole and Lobolile Ximba. Two members of the Simunye Community also participated: Gabisile Gwala and Busisiwe Madlala.

Inspired by the material qualities of the glass beads, the designer proposed to develop a light bulb cover and presented basic sketches, which would form the starting point for the workshop. The technical solutions, colours and patterns were then further developed together.

Colour Cup is the outcome of the teamwork. Made of glass beads, it has the ability to let light through and colour it, while covering the light bulb as a second skin.
The colour cups shown in the exhibition are made by Lobolile Ximba and Phiwe Mchunu.

The workshop was organized by Editions in Craft in collaboration with WORKSPACE at the Durban University of Technology.
It was supported by the Swedish Arts Council, Stockholm, Sweden.

For more detailed information about the project, please visit our website: www.editionsincraft.com

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Editions in Craft Exhibition and seminar

at Uglycute / Research and Development

Kvarngatan 14, Stockholm

November 24th– December 2nd, 2012

Opening and BAR: November  24th 16.00 – 

 

Seminar: November 30th 13-16

Alternative strategies for the preservation of local traditional craft as intangible cultural heritage  

 

Opening hours

Tuesday – Friday 12-17
Saturday, Sunday 13-16
Monday closed

In the exhibition will present the projects since we started in 2009. Farmer’s GoldProductive Preservation of Straw Craft(2012) was an investigation into the preservation of one the most marginalized cultural heritage in the north, straw craft. We invited a group of artists and designers to participate in a weeklong workshop with local strawcraft women in Dalsland. The participants were Hrafnkell Birgisson (IS/DK), Company: Aamu Song & Johan Olin (ROK/FIN), Studio Formafantasma: Andrea Trimarchi & Simone Farresin (IT/NL), Katrin Greiling (SE/DE), Cordula Kehrer (DE), Katja Pettersson (SE) and Sagovolvo: Jonas Nobel & Bella Rune (SE).

Story Vases (2011) and Coiled (2010)are ongoing collaborative projects by Front (SE) and BCXSY (NL/ISR/JP), with the Siyazama Project, a collective of women from the rural province of KwaZulu-Natal in South Africa who work with traditional beadwork.

Seminar: November 30th 2012, 13-16

Alternative strategies for the preservation of local traditional craft as intangible cultural heritage

In the Unesco “Convention for the safeguarding of Intangible Cultural Heritage” (2003), it is defined as “as practices, representations, expressions, knowledge, skills – as well as the instruments, objects, artifacts and cultural spaces associated therewith – that communities, groups and, in some cases, individuals recognize as part of their cultural heritage”. It further maintains “intangible cultural resources as a basic factor for local cultural identity and a guarantee of sustainable development, in the age of globalization”. Traditional craftsmanship is one of the 5 domains it addresses.

The convention notably states that in order to survive, intangible heritage needs to be performed over time and as a performance, intangible patrimony should be located and integrated in the contemporary cultural context, rather than be isolated from it.
This leads to question the merely conservative strategies of museums dealing with traditional local crafts or the commercial craft production, which tends to reproduce existing expressions rather than innovating them.

The convention aims to ensure the safeguarding intangible cultural heritage, including “the identification, documentation, research, preservation, protection, promotion, enhancement, transmission through formal and non-formal education, as well as the revitalization of the various aspects of such heritage”.
But intangible cultural heritage causes complex problems of conservation. The existence of such knowledge and traditions, is not granted for ever, globalization and outsourcing threaten local crafts, whereas the act of safeguarding itself can lead to a static conservation and stationary tradition.

Meanwhile the new millennium has witnessed a so called “craft revolution”, not only in art and design, but also for example in food and fashion, in which the handmade and the traditional have become a competition to the mass produced global market and which criticizes the social and environmental consequences of our discount culture. While at the same time, due to high production and material costs small craft manufacturers are forced to outsource their production to countries where hand labor is cheaper.
Outside the museum walls craft is nowadays mostly produced as souvenirs for the tourist market and has lost much of its original function. (And also the souvenir industry has many of its craft products produced abroad.) Craft tends to evoke nostalgia about lost values and traditions, and over time became to symbolize national identity. It more often than not represents a frozen moment in time.
The 21st century also provides new challenges for the handmade, with the growing impact of new technologies, such as 3D printing, digitally-generated objects, transforming the way objects are made and can be distributed.

The seminar will address preservation of traditional crafts and the dilemmas encountered.
How can one sustain local craft in a globalised world, with outsourced markets and cheap labor? How can craft be preserved within contemporary culture, without stagnation? We look to address topics as local production and global distribution systems, outsourcing, craft as empowerment, craft as a symbol for local identity, the provenance of materials and ideas, or the impact of new technologies, such as 3D printing.

The speakers are:

Satu Miettinen (Finland), service and social designer, professor at University of Lapland

VÍK PRJÓNSDÓTTIR (Island)
Brynhildur Pálsdóttir and Gudfinna Mjöll Magnúsdóttir, product designer, co-founders of Vík Prjónsdóttir and co-directors of the project Designers and Farmers

Heidi Winge Strøm (Norway), textile designer

Katja Pettersson (Sweden) product designer, senior lecturer Beckmans College of Design and founder of The Fifty Fifty Projects

Short bio’s:

Satu Miettinen (Finland) works as a professor of applied art and design at the University of Lapland and has been working and publishing in the area of service design research for several years. She has worked as a research lead and director in the service design project called Service design for Elderly funded by the Finnish Funding Agency for Innovation and Technology. She also worked as a principal investigator in the “Experiencing Well-being – Developing New User Interfaces and Service Platforms for Leisure” project, funded by TEKES, the Finnish Funding Agency for Innovation and Technology, TEKES. From 1997 to 2006 she worked as a project manager and specialist in the areas of crafts development, cultural and creative tourism in several international and European Union-funded projects. Satu Miettinen has also worked actively in the area of social design in Namibia.

In her presentation she will discuss service design as a tool for developing new service orientated concepts in the area of crafts production. Different case studies from Lapland, Namibia, Azerbaijan and India will look at how crafts production can benefit from service design approach.
www.satumiettinen.com

VÍK PRJÓNSDÓTTIR (Iceand) is a creative brand that designs and produces quality products from Icelandic sheep wool; a unique and sustainable source and is a collaboration between the designers Brynhildur Pálsdóttir, Gudfinna Mjöll Magnúsdóttir, Thuríður Sigurþórsdóttir and the knitting factory Víkurprjón. They believe that it is their task as designers to make use of the natural materials and conditions that exist in Iceland, rather than using imported materials or outsource the production. Their ambition with Vík Prjónsdóttir is to show an unconventional image of the Icelandic woollen industry by developing new products with traditional Icelandic material.

Born in Reykjavík 1979, Guðfinna Mjöll Magnúsdóttir graduated as a product designer in 2004 from The Iceland Academy of the Arts. She believes in curiosity as the main drive for creativity. She is interested in the challenge to work with local materials and production and wants design to be participant in society. Along with many other projects Guðfinna has been lecturer for various institutions in Iceland. In the winter of 2008-2009 she was the program director of product design at The Iceland Academy of the Arts.

Brynhildur Pálsdóttir is born in Reykjavík 1979 and graduated as a product designer from The Iceland Academy of the Arts in 2004 and continued her studies at The Gerrit Rietveld Academy in Amsterdam where she graduated from the Design Lab department in 2005. Since her graduation, she has worked on various projects as a product designer with the main focus on local materials and local productions. She has also worked as a consultant and a designer for MATIS, Icelandic Food and Bio tech, and has been part of developing ceramic studies at The Reykjavík School of Visual Art. She has  lectured there since 2007.

Besides being the co-founders of Vík Prjónsdóttir, Finna and Brynhildur are also co-directors of the project Designers and Farmers (2007-2012), developed for The Iceland Academy of the Arts, were product designers and farmers were brought together to develop unique high-quality food products based on Iceland’s traditional produce.

www.vikprjonsdottir.com
www.designersandfarmers.com

Heidi Winge Strøm (1980 Porsgrunn, Norway) has a ‘Master of European Design’ from the Glasgow School of Art and a ‘Diploma’ in textile design from Ensci Textile in Paris. Her work diverges from social design and artisanal collaborations to luxury projects for architects, designers and private clients. She lives and works in Oslo and Paris.
In the seminar she will focus on two collaborative projects, Design without Borders and Cultural Weavings.

From 2006-2008 she worked for ‘Design without Borders’ on participatory design processes in a collaborative project with Mayan weavers in Guatemala, in which they created hand woven, high quality textile-products for a western market, taking care of and making use of the crafts and know-how of the women, while inventing new textiles and products.
In Cultural Weavings (2009-2010) she worked together with a group of women from an asylum seeker reception centre and local women from Ytre Arna, a small town outside of Bergen. In 5 workshops the women came together to create textile ottomans using textile-techniques from 6 different countries and cultures, while discussing the effects of migration and the multicultural Norway of today.

www.heidiwstrom.com

Katja Pettersson (Sweden) product designer, senior lecturer Beckmans College of Design and founder of The Fifty Fifty Projects Katja Pettersson was one of founding members of Stockholm based design group Front since 2003 and has established her own design company in 2010. Katja has graduated in Industrial Design at Konstfack in 2004 and she has also a background in theatre costume design and making. With Front she worked nationally and internationally, including with companies as Moooi, Moroso, Kartell, and Established and Sons. Their work is in the collection of Museum of Modern Art in New York, Victoria and Albert Museum in London, National Museum and Rhösska Museum in Sweden amongst others. Katja is a senior lecturer at Beckmans College of Design since 2011.

katjapettersson.com

 

With generous support of:
Fonden Innovativ Kultur
Kulturkontakt Nord / Nordic Culture Point
Nordisk kulturfonden
Frispel Västra Götalandsregionen

Thanks to:

Halmens Hus
Steneby, Göteborgs Universitet

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Story Vases av Front och Siyazamaprojektet på DesignHall i Stockholm

Nu visas Story Vases av Front och Siyazamaprojektet för Editions in Craft för första gången i Sverige i samband med utställningen History is Ongoing på DesignHall!

Invigning 2 februari 2012 kl. 18.00 – 21.00

DesignHall, Telefonplan, Stockholm

3 februari – 15 april

ons – sön kl. 12.00 – 18.00

Story Vases återger fem sydafrikanska kvinnors personliga berättelser. Beauty Ndlovu, Thokozani Sibisi, Kishwepi Sitole, Tholiwe Sitole och Lobolile Ximba bor i byar i provinsen KwaZulu-Natal i Sydafrika och är medlemmar i Siyazamaprojektet, ett kvinnokollektiv som arbetar med traditionellt pärlhantverk.

Berättelserna har dokumenterats av de svenska formgivarna Front och utgör en unik inblick i kvinnornas vardagsliv på den sydafrikanska landsbygden efter apartheid. Det är historier som sällan har berättats. Projektet började med en serie samtal i Durban med Beauty, Thokozani, Kishwepi, Tholiwe och Lobolile från Siyazamaprojektet som berättade om sina liv, män och barn med Anna, Sofia och Charlotte från Front. De delade med sig av sina förhoppningar och drömmar, de pratade om kärlek, liv och död. Berättelserna berör också allvarliga ämnen – hur HIV påverkar samhället, fattigdom, arbetslöshet och genusfrågor. Kvinnorna pratade om sin affärsverksamhet, om vad pärlhantverket betyder för dem och vad de skulle göra, eller köpa, om de hade råd.

Front och kvinnorna från Siyazamaprojektet valde tillsammans ut vissa delar av samtalen. Kvinnorna förvandlade sedan sina historier till text genom att trä glaspärlor på metalltrådar. Av trådarna gjordes vasliknande gjutformar i vilka glas blåstes.

Pärlhantverk är en viktig del av Zulutraditionen och ett sätt att uttrycka sig, kommunicera och berätta historier. Tidigare vävde man in mönster och färger i pärlarbetena, vilket fungerade som ett skriftspråk som användes för att framföra känslor och idéer till älskare och vänner. Front har använt sin konceptuella aspekt på design, material och narration för att utforska nya sätt att arbeta med Zulu-pärlhantverk i samarbete med Siyazama. Detta långsiktiga projekt breddar marknaden för kvinnornas hantverk och låter deras historier bli hörda av fler människor.

Story Vases växte fram 2010 i Durban under ett arbetsseminarium som syftade till att utveckla en ny produkt genom att dela med sig av tekniker och utbyta idéer. Det initierades och organiserades av Editions in Craft. Story Vases är en pågående serie och finns i en begränsad upplaga producerad av Editions in Craft.

Med generöst stöd från Stiftelsen framtidens kultur och IASPIS.


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Story Vases at exhibitions

We are pleased to announce that this fall the Story Vases by Front and the Siyazama Project are exhibited at:

NOW. The experience of time and contemporary design, Museum Marta Herford, Germany
September 11 – November 6, 2011

Contemporary Craft, HERE & NOW, Cheongju International Craft Biennale 2011, Korea
September 21 – October 30, 2011

With a Story, Cibone, Tokyo
October 29 – November 5, 2011

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Farmer’s Gold – Productive Preservation of Straw Craft

Farmers’ Gold (Productive Preservation of Straw Craft) explores the relation between craft and design and unite local tradition and culture into contemporary practice. Challenging traditional distinctions between design and craft, it is an investigation into the preservation of a marginalized cultural heritage.

Today straw craft is one most challenged crafts in the Nordic countries. Due to high production costs commercial straw craft is mainly outsourced into countries where hand labour is cheaper. As a result skills and knowledge are rapidly disappearing. But straw has many advantages. It grows locally and it is widely available, it is cheap as a material and there are multiple ways to use it. Moreover it is environmentally friendly. It is thus worth to explore what the material and the craft could mean today.

Farmer’s Gold will be organized in the form of a workshop in which Swedish and international designers work together with local straw craft persons. By exchanging expertise, ideas and techniques, they will develop new products that can challenge the current effect of the global market economy. The workshop will take place in Dalsland, the center of Swedish straw craft. It is organized in collaboration with partner institutions Halmens Hus (Bengtsfors), the only museum dedicated to straw craft in the Nordic countries and Steneby (Dals Långed).

Participating designers:
Katja Petterson (SE)
Katrin Greiling (SE/DE)
Hrafnkell Birgisson (IS)
Cordula Kehrer (DE)
Sagovolvo: Jonas Nobel & Bella Rune (SE)
Forma Fantasma: Andrea Trimarchi & Simone Farresin (IT/NL)
Company: Aamu Song & Johan Olin (FIN)

Participating straw craft makers from Dalsland:
Eva Bryntesson
Ann- Christine Gustafsson
Anna Lena Ingemansson
Lisa Järnberg
Christina Lundin
Mai Flognman
Christina Johansson
Christina Axelsson
Doris Karlsson
Anita Harnell
Eje Arén

The workshop will take place from June 18 until June 23rd 9.30-16.30
Steneby
Hemslöjdsvägen 1
660 10 Dals Långed


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Coiled vase at MAD New York

Coiled vase by BCXSY and the Siyazama Project at the MAD (Museum of Arts and Design) in New York.
Stephen Burks | Are You A Hybrid?
May 3 – October 21

Stephen Burks | Are You A Hybrid? explores the presence, impact and influence of the developing world on contemporary design. It is curated by Stephen Burks whose Brooklyn-based design studio, Readymade Projects has made cultural fusion its signature strategy. Contextualizing his own approach, Burks celebrates the work of other artists, designers and photographers whose influential projects have set global trends and promoted a pluralistic vision of design. Both historical and contemporary, they share common formal influences and DIY conceptual strategies that favor the spirit of immediacy and craftsmanship that is readily found in cultures of the African diaspora and beyond.

Stephen Burks | Are You A Hybrid? is part of the MADProjects exhibition series which explores emerging trends and innovation in the design world. Evolving out of the core themes of MAD’s recent show The Global Africa Project, this exhibition explores in greater depth the issue of cultural fusion in design.

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The Story Vases by Front and the Siyazama Project for Editions in Craft at Spazio Rossana Orlandi during the Salone Internazionale del Mobile / Milan Design Week 2011

Spazio Rossana Orlandi

April 12-17, 2011, 9am – 8pm

Via Matteo Bandello 14, 20123 Milano

The Story Vases tell the personal stories of five women from South Africa.

The project began with a series of conversations in Durban between Anna, Sofia and Charlotte from Front and Beauty, Thokozani, Kishwepi, Tholiwe, Lobolile of the Siyazama Project, a collective of women working with traditional beadcraft. They told about their daily lives, their husbands and children. They shared their hopes and dreams, and talked about love, life and death. Their stories also touch on such serious subjects as the effect of HIV on their society, gender, poverty and unemployment. They talked about their businesses and what beadwork meant to them.

Each of the vases tells a part of these stories, and documents the daily life of women in rural, post apartheid South Africa. Each woman formed their own story into text by threading glass beads on to metal wires. These wires were made into vase-shaped moulds, into which glass was blown.

With the Story Vases, Front used its conceptual approach to design, material and narrative to explore new ways of working with Zulu beadcraft in collaboration with the Siyazama. This long-term project aims to broaden the market for the women’s craft and to let their stories, which are seldom told, be heard by more people.

The workshop was initiated and organized by Editions in Craft.

For more information: www.editionsincraft.com

Photo: Anna Lönnerstam

Photo:Anna Lönnerstam

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