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Exhibitions > Design, Present Progressive

Design, Present Progressive / Galit Gaon, Chief Curator

As the first year of activity at Design Museum Holon comes to a close, as we transition from prehistory to history, it seems that we do not yet have an unequivocal answer to the object question - its place, role, creators, creation, and meaning in a world that is increasingly filling up with more and more objects. Showing at the Museum in the course of working on and preparing for "new olds", is "Post Fossil - Excavating 21st Century Creation", curated by Li Edelkoort, in which she shares with us a long look at the future history of the world of object design. Going forward backward - designers of the future revisiting original forms, which had simple form-individual relations, with a passion for conducting a primal, human, and basic dialogue between man and object.

"New olds", an exhibition curated by Volker Albus that is being shown at the Museum thanks to the support of the Institut für Auslandsbeziehungen (The Institute for Foreign Cultural Relations) in Stuttgart and in cooperation with the Goethe-Institut in Israel, reflects, so it seems, the history of that primal wealth. The ancient world and its first objects expressed the dependence of human beings on Nature and the cycle of the seasons. The sense of security we feel today regarding the return of the rain, the blossoming carpets of anemones in the desert, or the return of strawberries just in time to adorn springtime cakes, was unfamiliar to the first desert dwellers who believed that since the creation of the world or the Garden of Eden, humanity is constantly drawing further and further away from its perfect state. Permanent settlements, cyclic rituals, as well as sacred objects were important for man's emotional and actual survival. If we can express the place of design as a kind of material continuity, then we can understand the concept whereby design (the noun and the verb) is present progressive.

Like the cycle of Nature, the cycle of design serves us as a kind of emotional safety net; old objects inspire confidence in us, they evoke memories, and serve us when we seek to define our place within the local-global tribe in which we live today. We encounter new olds in repainted rented apartments, in graduate exhibitions - deconstructed into content or material elements - and in the works of designers who engage in a material, textual, and emotional discourse with them.

A flexible text - either material or verbal - that respects its creator's right to ponder enables a personal interpretation over time for those using it. Shaping object awareness - formulating a world of imagery, developing a narrative, and cultivating a process of transforming an object into itself (a chair into a chair) - cannot become far removed from their primal presentation, the necessary information for understanding the plot, the time, the place, and the relationship.

New olds are one of our ways to move forward backward, not to prehistory, but to the near history of the world of designing the objects around us, and from there to seek a new path.

To the 'new olds' exhibiton page >>

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