Chart艺术博览会的北欧当代设计
Adorno to present contemporary Nordic design at Chart Art Fair

由专筑网李韧，邢子编译

Adorno设计展馆将在本月举办一次展览，届时将展出来自挪威、丹麦、瑞典、芬兰、冰岛的家具和工艺品。

本次展览也将作为本年度的Chart艺术博览会。

策展人选择了来自北欧国家的5至8名设计师，在本次博览会中，将会展出5件大型收藏品，而这些作品都以国家的首都命名。

Design gallery Adorno will display furniture and crafts from Norway, Denmark, Sweden, Finland and Iceland at an exhibition in Copenhagen later this month.
The exhibition will be on show at Chart Design, as part of the annual Chart Art Fair.
Curators have selected between five and eight practising designers and makers from each of the Nordic countries. The dozen or so pieces on display at the fair will form part of five larger collections named after each country's capital.


1+1+1将代表Reykjavík系列作品／1+1+1 will present a series of objects as part of the Reykjavík collection

这些收藏品反应了当前的设计趋势，它们主要应用了简约的形态和天然的材料，这些特征能代表北欧的设计风格，同时也是全球化的设计趋势。

这些作品包括由Aalto + Aalto设计的灰板饰面橱柜，这件作品由芬兰工业设计师Sebastian Jansson选送，同时还有由生物复合石灰石和生物树脂制作而成的灯具和边桌，这两件作品由丹麦皇家美术学院毕业生Jonas Edvard设计。

The collections will reflect current design trends in the region. The aim is to address whether the use of simple shapes and natural materials, which typifies Nordic design, are still evident in a globalised design world.
Items set to feature include an ash veneer cabinet on stilts by Aalto + Aalto, from the Helsinki collection selected by Finnish industrial designer Sebastian Jansson. Also, lamps and side tables in a biocomposite of limestone and bio-resin by Jonas Edvard, a graduate of the Royal Academy of Fine Arts in Denmark.


由Aalto+Aalto设计的Primitive Illusionist橱柜属于赫尔辛基系列作品／The Primitive Illusionist cabinet by Aalto+Aalto forms part of the Helsinki collection

每件收藏品都将展示不同设计地区的设计风格与特征。

奥斯陆创意工作室Kråkvik & D'Orazio的负责人、挪威系列展览策展人Jannicke Kråkvik说道：“如今的艺术家和设计师都有着强烈的热情和开放的态度，同时我们都想在艺术品中强调这一点。”

“每个人的审美也许不同，但是他们都拥有自己的思维模式，同时他们也对材质和各种可能性进行了研究。”

Each collection will demonstrate the traits of its respective design community.
"The artists and designers of today have a strong sense of enthusiasm, openness and community, and we wanted to highlight this in our collection" said Jannicke Kråkvik from Oslo-based creative studio Kråkvik & D'Orazio, curators of the Norwegian collection.
"Aesthetic-wise they might look different, but they have all got this playfulness about them and they have all studied their materials and pushed their limits."


由生物复合石灰石和生物树脂制作而成的灯具属于哥本哈根系列，设计师为Jonas Edvard／A light by Jonas Edvard in a biocomposite of limestone and bio-resin is from the Copenhagen collection

她补充说：“你可以通过设计和材质的简约和真实来了解北欧设计风格。但是在过去几年，这些特征会更加明确与大胆一些。”

“挪威的发展较为前沿，但就其设计而言，并没有诸如丹麦、芬兰、瑞典那样的文化背景，因此我也认为挪威人非常勇敢，因为没有来源于历史的压力。”

"Very often you can recognise a Norwegian and Nordic design by its simplicity and honesty in terms of both design and materials. But in the past few years it has most definitely become more playful and daring," she added.
"Since Norway is a young country in terms of design without the same cultural background as the Danes, Finns and Swedes I would say that we are the country that are the most daring without that weight of the past on our shoulders."


Tero Kuitunen设计的桌子属于赫尔辛基系列／A table by Tero Kuitunen, from the Helsinki collection.

Hlín Helga Guelaugsdóttir和 María Kristín Jónsdóttir共同策划了Reykjavík系列作品展览。

他们认为冰岛是小型、实验性、紧密联系的场所，在这里有着“普遍的跨学科合作与交流”。

与挪威相同的是，冰岛的设计方式也不受传统的束缚，同时设计作品与工艺自身和设计师的能力呈正相关关系。与北欧其他的国家不同的是，冰岛缺乏大规模的工业基础，同时也缺乏生产和制造设施。

就这个角度而言，冰岛的诸多设计仅仅停留在概念层面，同时这也是策展人希望展示的部分。

设计师Róshildur Jónsdóttir设计制作了冰岛鱼骨模型套装，而另一位设计师Magnús Ingvar ágústsson则重新设计了象棋游戏，从而更加真实地反应了现代战争的现实。

Hlín Helga Guelaugsdóttir and María Kristín Jónsdóttir jointly curated the Reykjavík collection.
They describe the Icelandic design scene as small, experimental and tightly connected, a place where "it's very common to collaborate across disciplines".
As in Norway, Icelandic design is not bound by tradition, and is closely linked to craftsmanship and the capabilities of the designers themselves. The country lacks a large-scale established industry and has few manufacturing facilities, unlike other Nordic countries.
For this reason, much Icelandic design is conceptual – something the c0-curators have sought to demonstrate in their choices.
Contributing designer Róshildur Jónsdóttir has previously created a modelling kit of real Icelandic fish bones, while another of their choices, Magnús Ingvar ágústsson, redesigned the game of chess to better reflect the realities of modern warfare.


由Tero Kuitunen设计的流苏镜子属于赫尔辛基系列／A fringed mirror by Tero Kuitunen features in the Helsinki collection

本次展览将于2018年8月31日至9月2日在当代艺术中心展出，而在adorno.design则会举办数字展览。

数字展览的内容会包含来自不同国家的展品，同时通过简短的视频和采访来表达设计师及其作品背后的故事。

在9月1日，丹麦设计博物馆馆长Pernille Stockmarr和冰岛设计中心的主要负责人Hella Helgadóttir会进行一次会谈，他们将谈论其他5个国家的不同特征与风格，以及在当今的文化背景下，这些风格将何去何从。

Jannicke Kråkvik说：“在过去，挪威的设计比现代更加超前。”

“我们处在信息大爆炸的时代，每个人都可以与整个世界合作与互动，我们的信息来源广泛，各位设计师之间相互影响着彼此。”

The exhibition takes place at the Den Frie Centre of Contemporary Art from 31 August to 2 September 2018. There will also be a digital exhibition at adorno.design.
The digital content will include further design objects from each country and explore the processes behind the designers' work through short films and interviews.
A talk on 1 September, with a panel including Pernille Stockmarr, a curator at the Design Museum in Denmark and Hella Helgadóttir, managing director of the Iceland Design Centre, will consider what makes the design vernacular particular to each of the five countries, and whether these distinctions can be maintained in today's design monoculture.
"In the past Nordic design was easier to recognise than today," said Jannicke Kråkvik.
"Thanks to the enormous flow of information through the online platforms we collaborate worldwide and gather our information from the same places. We are all influenced by each other."


Aalto+Aalto设计的金属椅，其包裹着编织物，该作品属于赫尔辛基系列／A metal chair upholstered with crochet by Aalto+Aalto, from the Helsinki collection

Adorno平台于2017年2月由科技企业人员Kristian Snorre Andersen和Martin Clausen共同创立，该平台为欧洲、中东、南美洲等区域的12个设计区域提供了交流的机会。

在这里，每座城市的设计人员都能欣赏到其他设计师的优秀作品，以及关于他们详细的场景纪实。到今年年底，除了北欧的现有的5个国家之外，Adorno平台计划将其覆盖范围扩大至17座城市。

Adorno was set up in February 2017 by tech entrepreneurs Kristian Snorre Andersen and Martin Clausen. The platform offers a window into 12 design communities around the world in Europe, the Middle East, Central and South America.
Design experts in each city direct a global audience towards limited-edition work by local designers, and document the design scene of their hometown. Adorno intends to expand into 17 cities by the end of the year, in addition to the five countries represented at Now Nordic.


冰岛设计师Tinna Gunnarsdottir设计的概念作品，来源于Reykjavík系列／A conceptual work by Icelandic designer Tinna Gunnarsdottir, from the Reykjavík collection

Snorre Andersen补充说：“几十年来，北欧设计一直由一些大型传统公司所主导，他们的产品简约而实用。”

“北欧设计作品的风格和类型流传至今，但是越来越多的设计师却希望能够打破这种传统，同时创造一些新东西，但是新想法仍然来源于传统的北欧设计理念与工艺技术。”

11月，他们会将这些北欧作品带到迪拜，届时会在UEA展出北欧设计师与艺术家的作品。

"For decades Nordic design has been dominated by older and larger design companies known for perfecting design products characterised by simplicity and functionality," added Snorre Andersen.
"This style, and type of production, has dominated the Nordic design scene up until recently, but now more and more designers want to break free from this tradition, and create something entirely new, which somehow still builds on the strong Nordic design and crafts heritage."
In November, they will take Now Nordic to Dubai to show the pieces alongside those produced by designers and craftsmen in UEA.