For the second consecutive year we would like to organize an exhibition at the Obdachlosen Wohnhaus in Berlin-Moabit under the title "The element of change".
In this context, we invite artists to propose their own perspective and ideas. With glass as the main material and medium, they will make interventions and installations with works of sculpture, videos, photos, sounds and actions so that a gradual transformation of the space can take place, so that for the duration of the exhibition the building will function as a pole of creation and communication.
Last year, using mainly recycled glass, we handled various issues, such as turning the waste, useless objects and consumables into something useful either through the workshops or as the raw material for the production and creation of artistic works that we included in the exhibition.
Apart from the therapeutic value of artistic practice and handicraft in workshops, we believe that glass as a material has the qualities needed to express many other ideas on a symbolic level.
It is a material that is fragile, sensitive, supple, liquid and hard under special conditions, same as we could -in a metaphorical way- say for the human body in the modern urban environment.
Apart from excellent artistic results, the translucency of glass and its relation to light offers the ideal occasion to negotiate concepts such as the separation of public and private space, the need to illuminate traumatic aspects and issues not only at an individual psychological level, but also within sensitive social groups.
Glass can be interpreted as a shell, a "jar" as well as a space that may act as a shelter that protects but also simultaneously isolate from the outside world.
One of our main purposes is to try to change the pre-determined perceptions for the homeless and to attract the interest of the community, since through our previous experience we have seen that this was received with great enthusiasm by the public/audience. At the same time it was a very positive experience for the residents of the building, who not only took on the role of the creator/maker through during the workshops, but also participated in the proceedings of the exhibition.
What we consider essential for the project and plan to put special emphasis on, is the active encouragement of the collaboration among the artists on the one hand and the temporary or permanent residents of the building on the other, through workshops and artistic works and actions.
More information here.
’Scandinavian Glass – starting all over’ is a collaboration between three highly estimated Scandinavian museums – Glasmuseet Ebeltoft in Denmark, The Glass Factory in Sweden and The Finnish Glass Museum in Riihimäki, Finland – which aims at redefining the future for glassmaking. The project has been supported by The Nordic Culture Fund as part of their focus on ´handmade’ art and craft.
The practice and the context of glassmaking have changed dramatically over recent years. Large-scale glass production, which used to be at the core of the economy and development within craft and design, is practically non-existent today.
The collapse of the glass industry has therefore, resulted in a gap, which ‘Scandinavian Glass – starting all over’ aims to fill by a number of activities, most prominently through a touring exhibition, focussing on new and current tendencies within Scandinavian glass – the most comprehensive presentation within the last two years.
More information here.
The exhibition Handmade – Scandinavian Glass Starting all over focuses on the future of glass art and its development. Three museums specializing in glass – The Finnish Glass Museum, Finland, The Glass Factory, Sweden and Glasmuseet Ebeltoft, Denmark, have invited glass artists to show together with the museums what glass art can offer, what is relevant to the exercise of the art form and the future of glass in the Nordic region.
This is partly in the form of a travelling exhibition, which focuses on the new tendencies, and collaborations and networks. The exhibition is the first contemporary Nordic glass exhibition in twenty years.
More information here.
The exhibition shows the innovative tendencies within handmade, contemporary Nordic Glass. This includes interactive smart glass, project based collaborations, product development and business models.
BOOM! participates with the work Tacostånd/Taco Stand, a presentation of the project Utgåva 1/Issue No. 1.
More info here.
The second project of BOOM!
Ongoing through 2017/2018 with support from Kulturbryggan.
Focusing on giving children and teenagers, especially girls, a chance to meet craft and blow glass in our mobile glass studio.
The mobile furnace will be built by the members of BOOM! during spring 2018, and touring during the year for a total of ten workshops. The process is documented by illustrator Emma Rendel and published in September 2018.
This exhibit will feature new works by artists in the 2015 Pilchuck Emerging Artists in Residence (EAiR) program in partnership with Pilchuck Glass School.
About the Pilchuck EAiR program
The EAiR program supports artists who are making a transition in their professional lives. Whether moving from academia to a professional studio practice, taking up a new medium, or beginning a new body of work, artists find this independent residency ideal for contemplation, research, and experimentation. The program provides artists with a place and the time to develop an idea or project in glass, with the potential for realizing a new body of work.
2015 Pilchuck EAiRs
Nina Casson McGarva
Nam Do Kim
Visas på Nationalmuseum Design i Kulturhuset Stadsteatern.
Höstens utställning på Nationalmuseum Design rör sig i gränslandet mellan konst och konsthantverk och utmanar den traditionella synen på vad konsthantverk kan vara. Gemensamt för de tolv medverkande konstnärerna är intresset för kroppen och det kroppsliga.
Det finns verk som anammar det senaste inom interaktiv, innovativ ljusteknik som kräver våra kroppars beröring för att fungera. Det finns också verk inspirerade av biohackare som lyfter transhumanismens idé om människan och kroppen som en pågående process där teknik kan utveckla och förändra människan.
I utställningen finns det också en lekfullhet och interaktion med besökarna. Den mäktiga orgeln talar till oss genom pipor formade som människostrupar och spelar efter hur vi sätter våra fötter. Andra verk lyfter frågor som skaver i vår samtid. Om hur kvinnor upplever att vara objektifierade och feministiska strategier som motstånd. Hur psykisk smärta gestaltas i fysiska objekt som uttrycker frustration och instängda känslor. Hur cancerbehandling ger upphov till verk som berör. Det är verk i gränslandet mellan det yttre och det inre, huden och organen.
Konstnärerna spänner tidsmässigt från Annika Liljedahl som gick på Konstfack på 1960-talet till Ammy Olofsson som gick ut därifrån i maj och Maja Michaelsdotter Eriksson som nu går masterprogrammet på HDK i Göteborg.
Medverkande i utställningen:
Christian Pontus Andersson
Maja Michaelsdotter Eriksson
Jens Peterson-Berger och Olov Ylinenpää
Per B Sundberg
In the fall of 2015, I spent two months on a mountain in Washington, at Pilchuck Glass School. I was told it was remote, but I hadn’t fully understood the meaning of it until I arrived at the Tree Farm. Deers grazing just outside my cottage, whistling loudly when walking in the woods so the bears would hear you coming. Every morning I climbed down to the workshop, and every night I climbed back up again. We were few, and it’s a big campus. I spent a lot of time alone with my work and my thoughts.
I’ve never been particularly inspired by nature, but here it was inevitable; the lakes and mountains slipped into my work unnoticed. One night we were driving back from Seattle, and a mountain towered in the distance. Mount Rainier. The top was covered in fog. It was a volcano.
The Big Rock Candy Mountain
In the Big Rock Candy Mountains /There's a land that's fair and bright/ Where the handouts grow on bushes /And you sleep out ev'ry night /Where the boxcars are all empty /And the sun shines ev'ry day /Oh, I'm bound to go where there ain't no snow /Where the rain don't fall and the wind don't blow/ In the Big Rock Candy Mountains
/Oh, the buzzin' of the bees in the peppermint trees /'Round the soda water fountains /Where the lemonade springs and the bluebird sings /In the Big Rock Candy Mountains
/In the Big Rock Candy Mountains /You never change your socks /And little streams of lemonade /Come a-tricklin' down the rocks /The hobos there are friendly /And their fires all burn bright /There's a lake of stew and soda, too You can paddle all around 'em in a big canoe /In the Big Rock Candy Mountains
Lördag den 30 april öppnar vi medlemsutställningen på temat DELA. 20 medlemmar har valt att delta och vi får se många tolkningar på temat. Välkommen på vernissage lördag kl 12–16. Utställningen pågår t.o.m den 25 maj.
Öppettider: mån-fre 11.00-18.00, lör 11.00-16.00
Opening hours: Monday-Friday 11 am-6 pm, Saturday 11 am-4 pm
Glasstudion Big Pink med konstnärerna Jennie Olofsson, Marte Kartfjord, Matilda Kästel och Monica Alvestad Amundsen visar muskler i glasshowen ”Girlpower and Glassblowing”.
Action, Svett, Misslyckande, Seger, Rök och Samarbete – Girlpower
Girlpower and Glassblowing G&G, är ett projekt som vill lyfta fram yngre kvinnliga glaskonstnärer från Skandinavien och har som syfte att synliggöra den kraft, kreativitet och framtidstro som finns inom fältet trots den negativa väg som glasindustrin gått de senaste åren. Projektet startade sommaren 2015 och genomfördes för första gången under Gotland Art Week i Glasstudion Big Pink.
Svenskt glas befinner sig i en tid av förändring som kännetecknas av vitalitet, mångfald och nya kreativa uttryck. Dagens produktion av svenskt glas sker inte längre i stor industriell skala. Fokus är snarare på resultatet av experiment inom konceptuell konst, konstnärlig forskning, nya perspektiv på glas och omdefinitionen av glas som material. I utställningen visas ett urval glasverk av flera samtida konstnärer.
Utställningen är producerad av Glass Factory, BODA
Birgitta Ahlin & Sirkka Lehtonen, Esmé Alexander, Lott Alfreds, Lena Bergström, Olle Brozén, Tillie Burden, Anna Carlgren, Camilla Caster, Frida Fjellman, Ulla Forsell, Paul Grähs, Ylva Holmén, Annika Jarring, Espen Jensen, Ditte Johansson, Åsa Jungnelius, Gunilla Kihlberg, Ingalena Klenell, Simon Klenell, Matilda Kästel, Ludvig Löfgren, Sylvia Neiglick, Fredrik Nielsen, Karl Magnus Nilsson, Anna Viktoria Norberg, Ammy Olsson, Jennie Olofsson, Benjamin Slotterøy, Bertil Vallien, Therese William Waenerlund, Nina Westman, Anders Wingård, Ann Wåhlström.
BOOM! is a group exclusively for women working with glass. Our aim is to create new opportunities for a feminist platform in our chosen craft. We seek to find new methods for strengthening the glass scene so that the structures and norms of today’s glassmaking tradition cease to apply and a wider understanding of the possibilities that glass offers to the artist is promoted.
As a group we create meeting places where we can share our skills and experience and so provide ourselves with space in which we can grow strong, develop ideas, mount exhibitions and enter into collaborations.
BOOM! is a platform for supporting women and for cooperating on the glass scene.
We see a need for new forums in which women can show their work, collaborate and discuss!
We see a need for greater cooperation rather than regarding each other as competitors in the field!
We see a need to make room for women!
We see a need to change the structures that currently obtain on the glass scene with a feminist methodology and feminist aims!
Sara Lundkvist, Matilda Kästel, Nina Westman, Erika Kristofersson Bredberg, Ammy Olofsson
More information here.
Summer exhibition at Konsthantverkarna, with members working with glass as their main material. Everything from functional to unique objects in different techniques and expressions.
Opening hours: Monday-Friday 11 am-6 pm, Saturday 11 am-4 pm
More information here.
The Glass Factory, Boda, Sweden.
An exhibition of Swedish contemporary glass by fifty artists who examine glass as a material, and its new directions.
Erika Kristofersson Bredberg
Irina My Lindqvist
Karl Magnus Nilsson
Anna Viktoria Norberg
Terese William Waenerlund
Le Musée de la Mine de Saint-Étienne, France
Glass is Tomorrow transposes the knowhow of the glassmaker into the heart of the design of future possibilities in the four corners of Europe and exhibits a hundred or so prototypes produced at six co-creative workshops at the Musée de la Mine. These workshops gave rise to about a hundred objects that have something to contribute to the experiences of beauty, challenging the assumed fragility of the secular ceramic and glass-making crafts and industries or the great glass manufacturers, which, in many cases, have collapsed. The themes of the six workshops that took place ahead of this exhibition: mixed media (The Glass Factory Boda), liquid fusion (Corning Museum of Glass - The Glass Lab™ Boisbuchet), inside-outside (Verrerie de Saint-Just - ESADSE), le luxe silencieux (CIAV Meisenthal), Light/House (Pasabahce Denizli), making-makers (RCA London).
Reinventing the glass-making arts through design: it is no longer industry that drives innovation, but people who find the inner strength to create, to immerse themselves in the culture of each place in the regions anchored in a tradition of glass-making. Seeking a revival and a future. The meaning of beauty: an exploration of the creative processes. Moulding or glass-blowing, hot or cold work; the glass-maker's steps around the workshop follow a pattern like a dance by Matisse. Each gesture can be providential, or fatal to the project sketched out on paper. If the beauty of the glass-maker's gestures never ceases to fascinate, that of the designer resides in the transformation of this material yet to take shape.
The designers who will be showing their glass pieces at the Biennial are Gwladys Alonzo, Flavie Audi, Autoban, Dina Baïtassova, Claire Baldeck, Mark Braun, Vincent Breed, Aude Briet, l'équipe du CIAV, Nigel Coates, Nathalie Dewez, Christian Ghion, l'équipe de Glass Lab™ du Corning Museum of Glass, Jeanne Gautier, Christophe Genard, GGSV, Pawel Grobelny, Stéphane Halmaï-Voisard, Kaspar Hamacher, David Hanauer, Iveta Heinacka, Simon Kashmir Holm, Benjamin Hubert studio - Luca Corvatta, Matilda Kastel, Norayr Khachatryan, Marika Kinnunen, Matti Klenell, Tomas Kral, Clément Le Mener, Pierre Lhoas, Eino Mäkelä, Studio Monsieur, Tamer Nakisci, Fredrik Nielsen, l'équipe NUDE - Sinem Hallı et Sevgi Kes, Michel Philippon, Amaury Poudray, Camille Roger, Adrien Rovero, Vanessa Royant, Studio Rygalik, Lucile Soufflet, Louis Thompson, Sema Topaloglu, l'équipe de la Verrerie de Saint-Just, l'équipe Ramazan et l'équipe Ali du groupe Şişecam, Terese William Waenerlund, Jeremy Wintrebert, Pia Wüstenberg.
Read more about the exhibition here.
On the up: design makes the world better. More beautiful. Handier too. And more fun. Come, see and experience it for yourself during the thirteenth edition of Dutch Design Week.
Smart solutions. Inventive design. New perspectives. Discover the upward force of design; seek inspiration in the ground-breaking work of a staggering number of designers, optimistic buzz guaranteed.
Glazenhuis, Lommel, Belgium.
Throughout history, concepts of body and sex have had a significant impact. From ancient idealization of the harmonious, athletic body to the 1960s "liberated" body and gender perceptions to the more recent depreciation of the "natural" body in favour of the "modified" eternally young body.
In the wake of the development of the concept of the body, and that many have come to realize that society not only shapes personality and behaviour, it also shapes the way in which the body appears, there have also been changes to the perception of gender.
Today, traditional gender perceptions and stereotypes, including the concept of "the ideal family unit" are in transition and there is a lively debate about equal rights, women in top positions and men in more domestic roles.
But what happens to our perception of body, sex and gender when the concepts are illustrated and reinterpreted by a group of 25 international artists from 16 different countries and cultures.
More about Glazenhuis and the exhibition here.
Ett tjugotal av våra medlemmar har lekt med idéen kring askar, lådor, burkar och behållare. Öppnar lördagen den 2 augusti och pågår t.o.m. 27 augusti.
Våra öppettider: Måndag - Fredag 11-18, Lördag 11-16
We are open: Monday-Friday 11-18 and Saturday 11-16.
Elva samtida glaskonstnärer tolkar och omtolkar arvet från Glasrikets legendariska formgivare.
I glasutställningen Pull Twist Blow – Glasriket tar ny form tänjer konstnärerna på gränserna för hur glaskonst kan – och får – se ut. Utställningen är producerad av det småländska museet The Glass Factory i Boda för att visas i USA, där den har turnerat under våren 2014.
Svenskt konstglas befinner sig mitt i en dramatisk övergångsfas, från storskalig tillverkning till formgivning av fristående glaskonstnärer och studioglaskonstnärer, som blåser sitt eget glas. Pull Twist Blow vill belysa den pågående förändringen genom att sammanföra äldre, ikoniska verk ur glasmuseets samlingar med nyproducerade verk av samtida konstnärer.
Läs mer om utställningen här.
"To my experience as visiting professor on a number of universities worldwide, the uniqueness of Konstfack is our strong awareness of gender and class issues, and the consequential development of a norm-critical approach. This norm-critical approach is of course anchored in the Swedish society and is therefore different to norm-criticality in other countries."
The “dinner table” is a moment of contemplation, where objects play a major role in reflecting on human behavior and cultural norms. Through objects describing our relationship to food the dinner-table becomes a highly political subject. Also issues of class and ethnicity can and have been communicated by controlling the aesthetic appearance of objects, for example through defining categories of “good” and “bad” taste.
Karen Pontoppidan, Professor at Konstfack
Throughout history, concepts of body and sex have had a significant impact. From ancient idealization of the harmonious, athletic body to the 1960s "liberated" body and gender perceptions to the more recent depreciation of the "natural" body in favour of the "modified" eternally young body. In the wake of the development of the concept of the body, and that many have come to realize that society not only shapes personality and behaviour, it also shapes the way in which the body appears, there have also been changes to the perception of gender. Today, traditional gender perceptions and stereotypes, including the concept of "the ideal family unit" are in transition and there is a lively debate about equal rights, women in top positions and men in more domestic roles.
But what happens to our perception of body, sex and gender when the concepts are illustrated and reinterpreted by a group of international artists? Through an Open Call, 53 artists have been selected to show their views on the subject. Although the exhibition is a group show bound together by a common theme, there is a diversity of works and 53 very independent and strong statements.
Pull, Twist, Blow: Transforming the Kingdom of Glass introduces the work of young, innovative Swedish glass artists. Glass is a part of everyday life for people all over the world, and in Sweden glass art is considered an institution. For many years, glass art in the country was defined by traditional techniques and patterns passed down through an apprentice system at glass factories in Glasriket (The Kingdom of Glass) in the region of Småland, where 15 of Sweden’s 16 glassworks are located. Following consolidations, buyouts, closure, and the globalization of the Swedish glass industry, new artists are interested in exploring their own artistic voices and challenging expectations of what glass should be.