21.1. – 8.5.2022
We often find objects and rituals in our everyday lives that appear quite self-evident but would have been barely comprehensible a short time ago: A smartphone on a desk seems hardly remarkable to us today but this flat object would represent an inexplicable enigma for viewers from the past. In this way, our respective new realities are repeatedly changed by objects as well as the behaviours attached to them, and our lives are constantly transformed by their use and their increasing everyday nature.
For the exhibition, industrial designer Konstantin Grcic creates environments in which his design objects interact with materials and everyday objects of our present. These so-called “New Normals” refer to a future in which other constellations of living and working together are tested and confront the viewers with their own ideas of utopian and dystopian futures.
Konstantin Grcic (*1965, Munich) has been designing complex, often radical solutions for everyday objects for over thirty years. In the 1990s, Grcic became known for his industrial objects for everyday life. Among other things, he created chairs, tables, clothes racks and wastepaper baskets. The mobile lamp Mayday (1999) and Chair_ONE (2004), a chair consisting of a lattice structure cast from aluminium on a concrete base, became world-famous design classics.
Curated by: Ludwig Engel, Anna Himmelsbach und Konstantin Grcic
An exhibition catalogue will be published by Verlag der Buchhandlung Walther König, including an interview between the two curators and Konstantin Grcic, with photographs by Florian Böhm.
The exhibition is funded by:
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“Rather than offer a chronological overview, Grcic’s first institutional exhibition in Berlin, titled ‘New Normals’, reimagines his well-known creations in as-yet-unknown futures. The familiar use of various pieces of furniture – staged in new combinations and cleverly altered – suddenly becomes subject to speculation.” Hili Perlson, Wallpaper*
“Konstantin Grcic Speculates on the Evolution of Design and Function” Adrian Madlener, Metropolismag