Pop-UpDesign between dimensions

22 November 2012 – 3 March 2013

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PRESS KITLausanne, November 2012

POP-UP. DESIGN BETWEEN DIMENSIONS22 November 2012 - 3 March 2013

PRESS CONFERENCE: WEDNESDAY 21 NOVEMBER 2012 AT 2 PM

WITH LIDEWIJ EDELKOORT, CURATOR OF THE EXHIBITION, PRESENT

PRESS CONTACTDanaé Panchaud, public relations+41 21 315 25 27, danae.panchaud@lausanne.chAvailable visuals: www.mudac.ch/press (login: presse2012/images2012)

CONTENT Press release p. 3Selected projects p. 4-15Practical information p. 16Available visuals and captions p. 17-18

Front, Sketch Furniture, 2005

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POP-UP. DESIGN BETWEEN DIMENSIONS22 November 2012 - 3 March 2013

Conceived by Lidewij Edelkoort and upcoming at the mudac, the exhibition Pop-Up. Design between dimensions addresses the changes that the 21st century is undergoing, as revealed in the emergence of temporary, mobile and recyclable practices — be it in art, design and/or society. The pop-up phenomenon is distinguished in particular by the increasingly fluid, or even blurred, passages between 2-D and 3-D. Examples at this show might be the origami-like garments constituting Issey Miyake’s 132 5 collection, or Molo’s slinky furniture that you unfold in one fluent movement into a beautiful piece of furniture. This two-way flow occurs as well between the digital and the analog, in the wake of the development of widespread new, intuitively operated technologies.

The pop-up trend is rooted in the singular context of the early 21st century, marked as it has been by upheaval generated by the mixing of cultures, economies strained to the limits, hyper inventive media and state-of-the-art technologies. The disap-pearance of familiar structures has incited a renewed desire for synergy — a desire that feeds on practices that are flexible, immediate and temporary, making the most of the unexpected and the appropriated in the public domain. Thus pop-up bou-tiques, events and museums have tended to spring up amidst the urban fabric, only to disappear, like so many spectacular but ephemeral guerilla brands.

In the Pop-Up exhibition by Paris-based trend forecaster and curator Lidewij Edelkoort, the featured designers and artists embody this movement that mingles different disciplines and links various realms: 2D and 3D, analog and digital, culture and capital, science and art, nature and technology, local and global.

In the words of Lidewij Edelkoort:

This still rather young century is going through a huge shift in mentality that creates a growing need to combine, to layer, to ac-cumulate and then to intimately blend that which has previously been seen as contrasting.

Nestled in this no-man’s land –, a new era with new work is being prepared; artistic and elastic statements that without a doubt are shifting between all disciplines and all dimensions.

Pop-up energy and exuberance impacts on this exhibition. Thus, ready-to-use furniture springs up instantaneously from sim-ple designs sketched in space (such as in Sketch Furniture by Front). Hippopotamuses majestically emerge from a carpet by Rodrigo Solorzano. The parts of an actual chair, designed by Eric Ku, spell out the word “chair.” Then, too, Hide, a hut by Laurens Manders, appears to sink into the ground, drowning in tears shed by the designer for his lost love. Or again, Camille Scherrer’s Le Monde des Montagnes [The World of Mountains] invites readers to an interactive experience defying the frontier between the two- and the three-dimensional.

DESIGNERS AND ARTISTS

Borre Akkersdijk (NL) ; Atelier Oï (CH) ; Maarten Baas (NL) ; Big Game (CH) ; Tord Boontje (NL) ; Catharina van Eetvelde (BE) ; Kiki van Eijk (NL) ; Eley Kishimoto & Ben Wilson (UK/JP) ; Front (SW) ; Anna Garforth (UK) ; Jaime Hayon (SP) ; Niels Hoebers (NL) ; Rei Kawakubo (JP) ; Anthony Kleinepier (NL) ; Eric Ku (USA) ; Laurens Manders (NL) ; Andrea Mastrovito (IT)  ; Niels Meulman (NL)  ; Issey Miyake (JP)  ; Molo Design Ltd (CA)  ; Bartosz Mucha (PL)  ; Neozoon (DE/FR)  ; Camille Scherrer (CH) ; Rodrigo Solórzano (MX) ; Studio Job (BE) ; Richard Woods & Sebastian Wrong (UK).

CURATOR: LIDEWIJ EDELKOORT

CONCEPT AND PRODUCTION: MOTI, MUSEUM OF THE IMAGE, THE NETHERLANDS

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SELECTED PROJECTS

STUDIO JOB (Belgium and The Netherlands)Nynke Tynagel + Job SmeetsDe Koning Drinkt (Elements III), 2012. MirrorPaper, wood, mixed media, polished bronze

This piece was specially designed for the mudac on the occa-sion of the exhibition. As such, it is a continuation of Studio Job’s Elements III series, also known as “props,” which imbues differ-ent recreated film set elements with volume. Here, however, the theme stems from a comic strip: Willy and Wanda, created by the Belgian Willy Vandersteen in 1970. The piece’s title, De Koning Drinkt (The King Drinks), in turn harks back to the Flemish painter Jacob Jordaens’ (1638) oil depicting a king in the throes of drink-ing himself under-the-table while surrounded by his court. The mirror, drawn in its comic-strip bi-dimensional form, has been turned into a faithful three-dimensional version of itself, all in simple and expressive lines. Like the comic strip heroes, we the viewers are invited to go through the mirror and enter into a new dimension, namely time.

The Studio Job design team draws inspiration from the icons of their youth, making plays on historical and cultural references by thrusting us into an off-kilter world of their imagination.

studiojob.be

ANDREA MASTROVITO (Italy)L’isola del Dr. Mastrovito, 2010. Installation1200 hand-cut books

In parallel with his activity as a painter, photographer and perform-er, for several years now Andrea Mastrovito has resorted to pa-per cutouts as a means of expression. In the installation displayed here, first shown in a group show at the unusual site of Gover-nors Island (New York) in 2010, the artist concocted a microcosm teeming with fauna and flora cut out from over 1200 books.

Mastrovito describes the natural cycle of his own work:In the beginning you’ve got a flower. From the flower comes a tree. From the tree we obtain wood, from wood paper and from paper books. And in the end, with just few cuttings, I’ve gone back to the original flower.

By multiplying and repeating cutout images, the artist invites us to discover space in new ways that, thanks to the pop-up effect, invite viewers into a third dimension, a world where, swirling and leaping about, the animals and flowers come alive.

andreamastrovito.com

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FRONT (Sweden)Sofia Lagerkvist + Charlotte von der Lancken + Anna Lindgren + Katja SävströmMaterialized Sketch of a Table, 2005. Table. Thermoplastic powderSketch Furniture, 2005. Video

Is it possible to let a first sketch become an object, to design di-rectly onto space? (F)

When a furniture collection can be sketched in the air by simply using the hand and imagination, you know that we have reached the 21st century. Front’s sketch performance (seen on YouTube more than 250,000 times), uses the same motion capturing technology that is used in digital animation, before the sketched items are grown layer by layer with a rapid prototyping machine.

The collective reflects a tendency common to the Pop-Up Gen-eration, couples or groups that collaborate as a team. The Front girls explain: We’re always dependent on each other. On our dif-ferent angles and skills. Together we can realise something that none of us could have managed alone.

designfront.org

MAARTEN BAAS (The Netherlands)Real Time, 2009. Video installation

Whatever I make – whether it be a watch or a building – I want to create something with a new approach. (MB)

With Real Time, Maarten Baas has embodied alternative ways of looking at time with a collection of clocks that encompass dif-ferent elements such as art and design, digital and hand-made, action performance and serial production, beauty and function, low-tech and high-tech, local and global, and the list goes on…

By integrating film into the clocks’ design, each minute of the day has been individually recorded to literally express what real time is. In Sweepers, two cleaners gradually sweep away a pile of garbage, aligning the hands of the clock into position accu-rately every 60 seconds. This digitalised 2D representation of a low-tech 3D action merges opposites into one powerful pop-up work.

Baas’ Analog clock was launched as an iPhone application dur-ing 2010’s Salone del Mobile and is still available for 99 cents.

maartenbaas.com

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ISSEY MIYAKE (Japan)132 5. ISSEY MIYAKE, 2010. Textile

Developed by Miyake and his Reality Lab in Japan, a ground-breaking collection in its application of pop-up methodologies and ecological awareness is born. The project follows A-POC (A Piece Of Cloth, since 1997), where the designer invites consumers to cut-out and customise their garments from a pressed roll of tube fabric which is pre-designed into various flat shapes.

Working closely with a geeky computer scientist, mathematical algorithms were designed into 3D origami shapes that were then folded and heat-pressed into two-dimensional forms. Made using recycled plastics and other recycled polyester fibres, Miyake’s latest creative challenge is based on the key ideas of ‘regeneration’ and ‘re-creation’.

Miyake explains how the collection’s title was born: ‘1’ refers to a single piece of cloth, while ‘3’ refers to its three-dimensional shape. The following ‘2’ comes from the fact that a 3D piece of material is folded into a two-dimensional shape, and the ‘5’ separated by a single space refers to the time needed between when the folded forms are made and when people actually put them on, giving birth to clothing.

isseymiyake.com

MOLO (Canada)Stephanie Forsythe + Todd MacAllenSoftblock Modular System (LED lighting), 2006. FurnitureCloud Softlight, 2010. LightCardboard, paper, textile, LED

While pleated paper and cardboard have long been associated with pop-up crafts, it wasn’t until Molo unfolded their products onto the interior scene that one fully understood the useful and aesthetic po-tential of serial compressible design. Durable kraft paper or resistant tyvek textile are used to create soft pods, organic walls and cloud-like mobiles with which consumers can divide space and landscape their interiors.

For Softblocks, the walls’ fluid movements expand and contract to im-provise architecture, embedded with flexible ribbons of LEDs (light-emitting diodes) to illuminate from within. Similarly, the Cloud Soft-lights gently float as a cluster above.

Molo have even started a Softshelter Journal, tracking how a member of their team has been living a pop-up existence since August: Over the months he has continually adapted the space to suit his needs and the ever-changing needs of the functioning workshop he is living in. The true flexibility of Softshelter has become apparent as his living area has been expanded, contracted, moved, put away, and re-deployed as his own needs and the requirements for space around him change.

molodesign.com

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ATELIER OÏ (Switzerland)Aurel Aebi + Armand Louis + Patrick ReymondLes Danseuses, 2009. InstallationTextile and metal

To start with, cut out textiles mounted on ceiling fans are put into movement and shape by the centrifugal and centripetal forces. Once in rotation, the fabric becomes disc-like, in reaction to air resistance as well as to a cutting principle that emphasises the wave effect. By varying the rotational speed, the discs glide from a horizontal posi-tion to a vertical one, offering a true choreography in which the “dan-seuses” are coordinated and programmed.

These dancers, born from animated matter, help us understand how flamenco dancers create a hypnotic visual effect by swirling their coloured skirts. The installation is also reminiscent of Whirling Der-vishes, religious Sufis, dressed in white with red fezs’, that spin on themselves. Accompanied by sacred music, the Dervishes set out on a mystical journey reaching out to religious ecstasy.

In another relation to spirituality, a “danseuse” at rest becomes a mandala, a support for meditation that reminds us of the sacred cir-cle, of transforming forms in both our body and spirit. In either situ-ation, this trance is related to a transformation, literally to forms that transform themselves, that are created depending on laws beyond our knowledge, with perhaps a touch of unknown, uncertainty and unforeseen. At atelier Oï it is precisely this phenomenon that we choose to explore. (AO)

atelier-oi.ch

CAMILLE SCHERRER (Switzerland)Le Monde des Montagnes, 2008. Mulimedia installation

Camille Scherrer has created her own universe, saying that her nar-rative vocabulary brings 2D visuals to life in projects that play at the intersection of technology and art, looking for new fields of investi-gations. As a designer, she has created and collaborated on motion animations, books, communication and art, yet her interactive pro-jects best illustrate her pop-up philosophy.

This project from Scherrer’s media and interaction design gradu-ate studies at ECAL/University of Art and Design Lausanne saw the screen come to life in response to specific pages of the book being read. An experience in 3D is enhanced on a 2D screen, flipping our perceptions, enchanting our imagination and blurring the borders between the real and the virtual.

chipchip.ch

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KIKI VAN EIJK (The Netherlands)Textilesketch, 2011. FurnitureMetalMade in collaboration with Geton Roestvrijstaalindustrie B.V.

Kiki van Eijk has explored scale and the transition be-tween different materials, leading her to a furniture col-lection that brings flat and mobile textile shapes to life in solid heavy metal; van Eijk says that the different tech-niques she discovered in Geton’s workshops inspired her to capture the delicate nature of fabrics: laser-cutting lace, 3D laser-cutting piping, welding and blow-torching fringe, coating gold and nickel thread, and even attempt-ing to fluff-up a metal pillow!

kikiworld.nl

ANNA GARFORTH (UK)Wandering Territory, 2011. Sculpture. CardboardMade in collaboration with Vinke Display B.V.

Anna Garforth’s ephemeral public works use materials as diverse as moss, leaves, food, garbage and paper to cre-ate typographic installations and temporary sculptures. Her ecological philosophy and a background in design and illustration make Garforth an interesting member of the pop-up generation.

In Wandering Territory, a 3D digital model of a bear was converted into a 2D cardboard template before it was popped back into a sculptural form, its polygon sides unfolding like a map, illustrating the idea of migration and the contrast of the urban world against the curious animal’s natural habitat: The pop-up culture challenges stationary environments and creates temporary change in the everyday landscape. (AG)

crosshatchling.co.uk

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RODRIGO SOLÓRZANO (Mexico)Carpet Hippo, 2011. CarpetTextile and cardboardMade in collaboration with Desso B.V.

Rodrigo Solórzano’s designs invite both the young and old to playfully interact with them, and the Car-pet Hippo realised in co-operation with Desso is no exception: the rug or carpet plane is reinvented to be-come three-dimensional, flirting with abstraction like the other faceted animal characters the designer has previously created in cardboard or metal sheeting.

Like in his other works, Solórzano has played with volume, saying the dramatic change of scale is an at-tempt to make the spectator feel like a child again.

rodrigosolorzano.com

LAURENS MANDERS (The Netherlands)Hide, 2008-2011. Performance and multimedia installation

The power of story-telling is contained within a hut where a poetic boy plays a blues song following his girl-friend’s betrayal, crying so many tears that his house starts to sink…

Hide was first conceived as Laurens Manders’ gradu-ation project in the communication department at the Design Academy Eindhoven; explaining that the live element is a crucial part of his expression, he says If I sing about my sadness live, the experience of the song is more intense. This installation uses temporary architecture, a pop-up book, acoustic music and live performance to perfectly embody the unplugged spirit.

daphnalaurens.nl

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NIELS HOEBERS (The Netherlands)Motion Cabinet, 2010. Cabinet for stop motion animationMultimediaWalter: A Dialogue with the Imagination, 2010. Animation movie

The Motion Cabinet is a portable stage equipped with all of the tools needed for stop motion animation, updating the art of pup-peteering for the 21st century. Its mobility makes it flexible enough to adapt to different situations and especially practical for collabora-tions and hosting pop-up workshops with others.

Hoebers introduces us to Walter, a hybrid character who is: being confronted with reality, an understanding that has a completely dif-ferent meaning for puppets than for humans… In this story Walter discovers his own reality. He realizes that he has been created and animated by humans. Walter is starting to doubt his whole existence. But he is told that his existence is about a co-operation between man and puppet and that they need each other to meet in the im-aginary world. Walter has to accept that he’s being animated by a higher power. But this higher power has to make sure that Walter leads a happy and pleasant life. (NH)

nielshoebers.nl

ERIC KU (USA)CHAIR / CHAIR, 2010. Chair

A chair is improvised out of a flat-pack, its stencil spelling the defini-tion of its function and literally popping out of its typographic mean-ing. The current flat movement in design is considered a sustain-able tool: compact and lighter shipping leaves less of an imprint on resources and the environment.

Eric Ku took his inspiration from the contemporary artist Joseph Kosuth, a chair that is a chair / a chair that becomes a chair: Instead of giving new definition, I redefined the concept of a chair by using the alphabet. One is able to construct a chair by assembling the re-designed letters. (EK)

ericku.org

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RICHARD WOODS + SEBASTIAN WRONG (UK)WrongWoods cabinet, 2007-2009WrongWoods night table, 2007-2009RICHARD WOODS (UK)Wood Rug, 2010

Installation. Wood, textile and mixed media

Richard Woods is a British artist known for his work with repeti-tious motifs. He has applied these to façades, floors and walls across the world in commissioned work and gallery installations. These designs are often abstractions of building materials; the woodblock being his particularly recognisable signature print.

Sebastian Wrong is a London-based designer who teamed up with Woods in the first design for Established & Sons’ Collabora-tions programme, where individuals from two creative fields work together. Woods’ block-printed motifs were applied to Wrong’s utilitarian cabinets, reminiscent of modernist furniture – a fitting vehicle because much of Woods’ work is based on a nostalgia for mid-century domestic interiors:

This aesthetic, combined with Woods’ vibrant, graphic wood block print, puts the idea of ‘DIY’ back into design and adds decoration with a twist. (SW)

The utilitarian feel of the furniture that we have made is somewhat at odds with the cartoon graphic surface that covers it, and I feel this marriage illustrates perfectly the success of the collaborative process. (RW)

establishedandsons.comrichardwoodsstudio.com

ANTHONY KLEINEPIER (The Netherlands)MushRoom, 2011. SculptureTextile and mixed mediaMade in collaboration with Vescom B.V./Léo Schellens B.V.Construction: John Vos

Anthony Kleinepier’s textile landscapes push the imagination beyond what furniture or carpeting are usually used for. As the designer says – Who needs a chair when you can sit under a tree?

Or indeed a giant mushroom! In association with Schellens, Eu-rope’s last-standing manufacturer of mohair velvets, hallucinat-ing colours were used to create an oversized MushRoom around which to congregate.

anthonykleinepier.nl

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NIELS SHOE MEULMAN (The Netherlands)Drip Drop, 2011Performance and installation (images: liquorice; at the mudac: chocolate).

The difference in letterforms is physically defined: With a pen you use your hand and with a brush you use your wrist. Of course I’m very used to doing bigger stuff with a spray can, in which you use your whole arm. And recently I’ve been experimenting with big brooms on the pavement. The shapes have the same starting point but the physical aspect really defines how it looks in the end. (NM)

Niels Meulman has developed a typographic language that uses action calligraphy on large surfaces. Having taken the streets and walls of public space, he now tackles the museum floor in a distinct-ly Swiss material: chocolate. The leftover pieces of his intervention are intended to become unique edible drip-drop bites.

He notes that we live in exciting and fluid times: First there was the internet bubble that exploded, then we had the banking system that collapsed and now I feel that post-modernist bullshit artists and their elitist galleries and museums are being taken at face value. There are so many great artists with roots in the urban asphalt emerging at the moment, it’s not even funny!

calligraffiti.nl

BORRE AKKERSDIJK (The Netherlands)Ready-Made, 2010. Textile

At a time when new technologies quickly make old machinery ob-solete, some designers are reinventing uses for them with surpris-ing results. By using the TextielLab’s jacquard weaving machines and Innofa’s round-knitting mattress-making equipment, Borre Ak-kersdijk has translated a quilting technique into a style of his own. Literally popping out of the cloth from which the garments are cut and gaining volume as the project comes to life, the designer il-lustrates how the production process is actually as important as the final product, and thanks the machine for its collaboration:

Dear Circular knitting machine,I’m grateful that I had the opportunity to work with you, to play with you, to learn from you and create with you. I hope that if you could talk, you would tell me you enjoyed it too…(BA)

The designer’s collection has grown and led to several collabora-tions with other brands and creatives including Niel Hoebers, with whom he has produced a stop-motion film presenting this pop-up process.

byborre.com

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ELEY KISHIMOTO + BEN WILSON (UK/Japan)Chairfix, 2010. Chair kitWood

Mark Eley and Wakako Kishimoto are two London-based designers known around the world for their vibrantly-print-ed textiles, fashions and lifestyle products. Declaring them-selves as the ‘Patron Saints of Print’, Kishimoto says of their work: I like working with storytelling. I like to think in charac-ters. We’re definitely more into the narrative approach.

Collaborating here with Ben Wilson, they have lent their Flash pattern to his flat-pack chair that is able to pop-out of its mould just like a plastic toy-kit model.

eleykishimoto.combenwilsondesign.co.uk

JAIME HAYON (Spain)¿Que Pasa Guey?, 2011. TextileMade in collaboration with TextielLab/Musée du textile de Tilburg

The narrative nature of Jaime Hayon’s work reflects a con-stant play with humour, fantasy, colour, form and pattern to tell stories, as he explains: Life is inspiration. Art has always been really important to me. But I’m also curious about things that are a little bit strange, like carnivals at the beginning of the century or the Mexican ‘luchador’ wrestlers.

Wrestling culture in Mexico is a blend between sport and the performing arts, like a contemporary interpretation of the circus gone ‘Latin’. Hayon has worked with the TextielLab to innovate a laser and embroidering technique that is as in-tense in its colour and rich in its graphics as the masks that have inspired this illustrative pop-up project; the title of the piece is a colloquial greeting in Mexico meaning ‘What’s up, man?’ and is used frequently amongst young people.

hayonstudio.com

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CATHARINA VAN EETVELDE (Belgium)ILK, 2011Metal, wood, plexiglass, paper, ceramic, textile, rubberMade in collaboration with sundaymorning@ekwc

A residency at sundaymorning@ekwc in Den Bosch allowed this Paris-based Belgian artist to integrate 3D ceramics that literally pop out of the 2D animation at the core of ILK:

Objects present themselves in their intermedi-ate states, as systems unfold, extend and bend: they accommodate observation. There is a his-tory, but there is no timeline. There are a lot of connotations, but there is no immediate con-text. There is mind and matter, each trying to mark identity. There is not one dimension that is able to exercise a prerogative. There is the narration as a recipe for the human state, un-able to leave what is around alone. (CVE)

catharinavaneetvelde.com

NEOZOON (France & Germany)Fox, 2011. Performance and installationFurAt the mudac & other non-permanent works located at different locations in Lausanne

Neozoon is a collective of artists based in Ber-lin and Paris, interested in using public space as a venue for ephemeral artworks. By using recycled fur coats and reshaping them into a flat figurative or abstract shape, Neozoon’s temporary pop-up installations and films ex-plore the third dimension and the strange interaction between humans and animals: These fur forms are placed on trees and other obstacles in the urban environment, appear-ing to be playful zoo animals in the city. (N) (Designboom) 

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BIG-GAME (Switzerland/Belgium/France)Grégoire Jeanmonod + Elric Petit + Augustin Scott de MartinvilleMoose, 2005Birch plywoodCreated at ECAL/University of Art and Design Lausanne

Can we buy ourselves a legacy? Hunting trophies bring to mind those chalets in the Ardennes Mountains or the Alps to which many head on weekends to take a break from ur-ban stress. Here, Grégoire Jeanmonod, Elric Petit and Au-gustin Scott de Martinville, the three designers forming the BIG-GAME design collective, revamp a traditional icon. Fit-ting together a number of multiplex plaques, they have cre-ated these moose, stag and deer heads. In their flattened delivery form, these resemble the sort of construction games in which something provided two-dimensionally is assembled in all simplicity to achieve a three-dimensional result.

big-game.ch

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PRACTICAL INFORMATION

Press conference Wednesday 21 November 2012 at 2 om. With Lidewij Edelkoort present

Opening Wednesday 21 November 2012 from 6 pm Performances by Niels Meulman and by Laurens Manders

Exhibition 22 November 2012 – 3 March 2013

Contact information mudac – musée de design et d’arts appliqués contemporains Place de la Cathédrale 6 CH-1005 Lausanne t +41 315 25 30 / f +41 315 25 39 www.mudac.ch / info@mudac.ch

Press contact Danaé Panchaud t +41 21 315 25 27 danae.panchaud@lausanne.ch

Available visuals www.mudac.ch/press login : presse2012 / images2012

The exhibition is generously supported by

Niels Hoebers, Motion Cabinet, 2010. Multimedia installationInstallation view at MOTI, The Netherlands, 2011. Image © MOTI

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Studio Job, De Koning Drinkt (Elements III), 2012Mirror. Paper, wood, mixed media, polished bronze Image © Studio Job

Issey Miyake + Reality Lab, 132 5. ISSEY MIYAKE, 2010. TextileDirector: Issey Miyake. Textile engineer: Manabu Kikuchi. Pattern engineer: Sachiko Yamamoto. Images Hiroshi Iwasaki © Miyake Design Studio

AVAILABLE VISUALS

High-resolution visuals can be downloaded on www.mudac.ch/press (login : presse2012/images2012).

Maarten Baas, Sweepers Clock, 2009. Video installation

Molo, Softwall with LED lighting, 2009. Furniture. Paper, cardboard, textile and LED

Front, Materialized Sketch of a Table, 2005. Furniture. Thermoplastic powder. Front, Sketch Furniture, 2005. Video

Camille Scherrer, Le Monde des Montagnes, 2008. Mutlimedia installationImage © Daniel Droz

Anna Garforth, Wandering Territory, 2011. Sculpture. CardboardView of the installation at MOTI, The Netherlands, 2011. Image © MOTI

Atelier Oï, Les Danseuses, 2009. Installation. Textile and metalImage © Yves André

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Neozoon, Fox, 2011. Installation and performanceFurView of the installation at MOTI, The Netherlands, 2011. Image © MOTI

Rodrigo Solórzano, Carpet Hippo, 2011. Carpet. Textile and cardboard. View of the installation at MOTI, The Netherlands, 2011. Image © MOTI

Niels Hoebers, Motion Cabinet, 2010. Motion movie cabinet.Image © Astrid Zuidema

Laurens Manders, Hide, 2008-2011. Performance and mutlimedia installation.

Eley Kishimoto + Ben Wilson, Chairfix, 2010, Chair kit. Wood

Eric Ku, CHAIR / CHAIR, 2010. Chair Richard Woods, Wood Rug, 2010. CarpetImage © Peter Guenzel

Anthony Kleinepier, MushRoom, 2011. Sculpture. Textile and mixed mediaView of the installation at MOTI, The Netherlands, 2011.Image © MOTI

Borre Akkersdijk, Ready-Made, 2010. TextileView of the installation at MOTI, The Netherlands, 2011Image © MOTI

BIG-GAME, Moose, 2005Birch plywood Created at ECAL/University of Art and Design LausanneImage © Milo Keller

Jaime Hayon , ¿Que Pasa Guey?, 2011. TextileView of the installation at MOTI, The Netherlands, 2011. Image © MOTI