Friday , August 19 2022

South African Design Scene Is One To Watch



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In South Africa, crafts can be ancient, but the design is young. With the launch in 2017 & nbsp; world class Zeitz Museum of Contemporary Art Africa designed by British architect Thomas Heathervic in a historic silo of Cape Town on the waterfront – which was the largest public artistic space opening on the continent for more than a century – along with the successful design and beachside gallery and annual art fair, South Africa finally attracts global attention in terms of culture. South African design, in disciplines from furniture to ceramics, is one of the most exciting sectors for new collectors.

Ielda Orangutan by Porki HeferPhoto Antonia Stein

The Voodstock Design District In particular, the suburbs located between the Table Mountain and the Port, has become a key cultural center. Formerly an agricultural settlement that developed into a vibrant multicultural suburb of the 1800s, before it turned into an industrial zone in the early 1900s, which led to a mix of Victorian houses, semi-duplex town houses, factories and warehouses, Voodstock is the focal point of the largest the concentration of design shops and art galleries in the country. Over the past decade, cheap annuities for unusual spaces, proximity to the city and high crime rates in Johannesburg have attracted creativity to move to Voodstock, and today it is filled with shops, lounges, restaurants, design studios and top-notch modern areas. art galleries Stevenson, Blank Projects, SMAC i Goodman Galleri. Landscape design can now be widespread, but Cape Town is still very alive.

A lot of interest is focused on Southern Guild, the most famous collection of the continental gallery of designers, founded in 2008 by Trevin and Juliana McGovan, with its first permanent home in Voodstock, which was an instrument for enhancing the design of a limited world class edition and providing voice to the South African design. Nurturing designers, it became the first African gallery that took part in Design Miami in 2011, organized the Design Fair in Cape Town – the first international design fair in Africa – which presented international galleries in 2014 and 2015, and was first introduced at Christie's Annual Auction in London in 2015 Group GuildaThe husband and wife duet also established a sustainable creative and commercial infrastructure in South Africa, and its platforms cover practically all aspects necessary to build a credible, advanced design industry.

Hunter and Croucher of Trevor PotterPhoto Adriaan Louv

Dr. Thomas Girst, Chief BMV Group Cultural Engagement, a partner of the Southern Guild, says: "It is important as a global company with only 30 locations for our facilities around the world to engage in local culture. It is not about the export of the Munich Philharmonic, with which we cooperate, on tour around the world. It is more important as a global brand that intercultural aspects are not something we are striving for, but something that is the basis of what we do in our core business. We want to be at the forefront of cultural development, as we are with our basic product in terms of leadership in technology and digitization. "

K & amp; And with Trevin McGovan

Trevin and Julian McGovan, co-founders of the Southern GuildPhoto Antonia Stein

Tell me about the origins of the Southern Guild and how you redefined the global perception of South African design.

In fact, we started in 2003 with a supply agency for dealers around the world, such as Conran Shop, Selfridges, Liberti, Antropologie, ABC Carpet & amp; Home, Villiams Sonoma and Hardwares for restoration, with products for home use, handicraft and handicraft products. Then in 2008 we realized that we are meeting these remarkable talents whose work did not fit into the retail supply chain model – they were too big or too expensive. My husband has a background of theater design and I had architectural and interiors practice in London, so we were aware of the global landscape and it was a job we did not see anywhere. We launched the Southern Guild to launch designers to explore the areas that were on the edges, to help them, and to mentor them, and to give them a forum to push beyond what they had previously. We see our role as a conductor and facilitator for education. We made many different programs from commercial, high-level gallery work, where we are trying to educate the global world about what South African design is, educating the industry about where it is in the global conversation, helping designers achieve the level of excellence and real perfection of execution.

Maotwan Finiel bronze sculptural chair Atang TšikaraPhoto Courtesy of the Southern Guild

When was the global design community interested in South Africa?

There were two levels. Conran went with a huge break in 2005 with a big show From Harare to Higgalin all her stores around the world, worked with 36 different designers, trying to explain the story of basket, weaving and ceramics, which is very strong in this country. And then Anthropology was next in 2007. So, for over 10 years at a retail level, visionary shops anticipated and began to watch, but I think it is a movement that has just become stronger and stronger than fashionable effects on art. The world is looking at something very viscerally, raw, authentically, the voices of people from Africa who talk about personal matters. As a gallery, we saw a change that happened, from the perspective of a collector's design, probably about five years ago. People had to see this because it was so unusual and specific. Miami design rejected us for the first time when we signed up; they said the jury did not understand your mandate, because it was all this diverse business and could not see a common thread. As soon as we made the first show, everyone got it. I think we have now seen in Basel a real change, again in people who have realized that we are talking a different story. Our designers are constantly shifting the boundaries.

Spektrum Collection Laurie Viid Van HeerdenPhoto Haiden Phipps

What are some of the most important details in the Voodstock Design District?

Casamento for truly unique upholstered furniture that is handmade from traditional handicrafts and ornaments. Each chair or couch literally tells the story that designer Starry Eve Collett springs out a rare textile and creates a story about the work using sustainable fibers as much as possible. NeighborGoods Market was a catalyst for creative development waves transformed by Voodstock. It gathers the best local farmers and craft producers, fine food suppliers, local designers and craftsmen. Stevenson presents some of the most advanced contemporary artists on the African continent, always presented in a provocative and interesting way. The list of artists includes internationally renowned artists such as Zanele Muholi and Nandipha Mntambo. Vogel is the designer's showroom designer John Vogel, who makes distinctly South African furniture. His collection work is available through the Southern Guild, but he also has a production line for seating and tables that mix complex, natural-inspired forms with woven African textures. Viid Design's exhibition space and studio is a visual treat that displays its line of innovative furniture made of cork, lighting and buildings, but also gives insight into its process and inspiration. He often works with prominent South African artists such as Lionel Smith and Ceramic Matters. Volf & amp; Maiden Creative Studio makes superb leather accessories. His luggage, bags, wallets and belts combine the elegance of a timeless leather boat with a very modern design.

Num Num table, Charles HauptPhoto Adriaan Louv

What are the characteristics of the South African design?

How personal it is. For example, the fashion designer Rich Mnisi works in the salon. His clothes are very three-dimensional, structured and almost architectural. He made this incredible bearing, so unusual. His grandmother's tears are a gift to women in his life. This is his very personal story. I believe that this is a key factor that is different, and then the fact that it's all done manually, that it's unusual and energetic, but at the same time refined, so you have that duality. And there's a lot of humor and almost a whim. You will see that someone has changed when they are interacting with the job: they will look at the bench, look again, then begin to laugh and there is this turn. It was received information that is known somewhere and again very strange at the same time. I always say that you react with your body before your head necessarily, with your memory, your heart, your physicality, and then your intellect, so that's the difference.

Mighti Ndebele sculpture Justine MahoneiPhoto Courtesy of the Southern Guild

Who are some of the most exciting contemporary South African designers?

Our top designers are Porki Hefer, Ksandre Kriel, Andile Dialvane, Atang Tshikare, Doctor and Misses, Justine Mahonei, Madoda Fani, Adam Birch, David Krinauv, John Vogel and Gregor Jenkin, because each of them works in his own way with his own materials. Everyone has his own view; no overlap.

Are designer designs in South Africa underestimated?

If you compare the quality of work and the length of work with similar designers, certainly. I think it's still a worthwhile investment. Take someone like Porque Hefer, potentially one of the most famous South African collector designers. He represented South Africa at the Biennale of Design, he had solo in New York at R & amp; The company, we made solo in Cape Town and Joburg, and we just did a project for the Leonardo DiCaprio Foundation in Design Miami / Basel. His prices with each of those shows have obviously escalated since we showed him in 2009, so his college career has been tracking the gallery path for 10 years. It's the same for our designers Doctor and Misses or Andile Dialect. I think that more and more collectors and museums are beginning to understand our story and how we sit differently.

Exhibition of color field design in the Southern Guild gallery in Cape TovnPhoto Kate McLuckie

Is the design a way for South Africa to overcome its history of segregation and division in order to become a force for integration?

No shadow of doubt. We made huge progress in the industry: 75% & nbsp; home accessories that are exported all over the world are going through our company. Even as industry, design and art came at the same time, it was a huge increase in money brought to the ground and raising skills through training through demand. When we work on ten 40-meter containers, women living in nature whose children went to cities looking for work, returning to help with these huge orders, and seeing the old-fashioned skills their grandmothers did. as something that a young chick in New York was looking for, and they find it relevant to that skill. So, you save skills, make money, create a job. Sisters Haas return to their homes in cities and do not only work for a small animal for aids project, they are rock stars who were in New York and met Beionc & eacute; This is really a change of life for these women. It is an opportunity for a different kind of career, where people have not seen it before. Designers such as Atang Tshikara who grow up in search of heroes, inspire him and help people continue to push themselves forward.

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In South Africa, the craft can be old, but the design is young. With the launch of the 2017 Zeitz Museum of Contemporary Art of World Class designed by British architect Thomas Heathervick in a historic Cape Town silo on the coast – which was the largest public artistic space open on the continent for more than a century – with an advanced design and beach gallery and annual fair Art, South Africa finally attracts global attention in terms of culture. South African design, in disciplines from furniture to ceramics, is one of the most exciting sectors for new collectors.

Ielda Orangutan by Porki HeferPhoto Antonia Stein

In particular, the Voodstock Design District, a suburb located between Table Mountain and Port, has become a key cultural center. Formerly an agricultural settlement that developed into a vibrant multicultural suburb of the 1800s, before it turned into an industrial zone in the early 1900s, which led to a mix of Victorian houses, semi-duplex town houses, factories and warehouses, Voodstock is the focal point of the largest the concentration of design shops and art galleries in the country. Over the past decade, cheap rentals for unusual spaces, proximity to the city and high crime rates in Johannesburg have encouraged creators to move to Voodstock, and today it is full of shops, lounges, restaurants, studios and top-notch contemporary art. galleries such as Stevenson, Blank Projects, SMAC and Goodman Galleries. Landscape design can now be widespread, but Cape Town is still very alive.

A great interest was centered on Southern Guild, the most famous gallery of design on the continent, founded in 2008 by Trevin and Julian McGovan, with his first permanent home in Woodstock, which was an instrument for enhancing world-class design, locally designed designs and giving South African design voice. Nurturing designers, it became the first African gallery that took part in Design Miami in 2011, organized the Design Fair in Cape Town – the first international design fair in Africa – which presented international galleries in 2014 and 2015, and was first introduced at the Christie's Christie's annual auction in London in 2015. Through the Guild group, the duo of a husband and wife has also established a sustainable creative and commercial infrastructure in South Africa, and its platforms cover practically all aspects necessary to build a credible industry design.

Hunter and Croucher of Trevor PotterPhoto Adriaan Louv

Dr Thomas Girst, Head of BMV Group Cultural Engagement, a Southern Guild partner, says: "It's important as a global company with only 30 locations for our worldwide operators to engage local culture. It is not about the export of the Munich Philharmonic, with which we cooperate, on tour around the world. It is more important as a global brand that intercultural aspects are not something we are striving for, but something that is the basis of what we do in our core business. We want to be at the forefront of cultural development, as we are with our basic product in terms of leadership in technology and digitization. "

Questions and Answers with Trevin McGovan

Trevin and Julian McGovan, co-founders of the Southern GuildPhoto Antonia Stein

Tell me about the origins of the Southern Guild and how you redefined the global perception of South African design.

We started in 2003 with an agency for supplying dealers around the world, such as Conran Shop, Selfridges, Liberti, Antropologie, ABC Carpet & Home, Villiams Sonoma and Hardwares for restoration, with products for home use, handicrafts and handicraft products. Then in 2008 we realized that we are meeting these remarkable talents whose work did not fit into the retail supply chain model – they were too big or too expensive. My husband has a background of theater design and I had architectural and interiors practice in London, so we were aware of the global landscape and it was a job we did not see anywhere. We launched the Southern Guild to launch designers to explore the areas that were on the edges, to help them, and to mentor them, and to give them a forum to push beyond what they had previously. We see our role as a conductor and facilitator for education. We made many different programs from commercial, high-level gallery work, where we are trying to educate the global world about what South African design is, educating the industry about where it is in the global conversation, helping designers achieve the level of excellence and real perfection of execution.

Maotwan Finiel bronze sculptural chair Atang TšikaraPhoto Courtesy of the Southern Guild

When was the global design community interested in South Africa?

There were two levels. Conran went with a huge break in 2005 with a big show From Harare to Higgal in all her stores around the world, worked with 36 different designers, trying to explain the story of basket, weaving and ceramics, which is very strong in this country. And then Anthropology was next in 2007. So, for over 10 years at a retail level, visionary shops anticipated and began to watch, but I think it is a movement that has just become stronger and stronger than fashionable effects on art. The world is looking at something very viscerally, raw, authentically, the voices of people from Africa who talk about personal matters. As a gallery, we saw a change that happened, from the perspective of a collector's design, probably about five years ago. People had to see this because it was so unusual and specific. Miami design rejected us for the first time when we signed up; they said the jury did not understand your mandate, because it was all this diverse business and could not see a common thread. As soon as we made the first show, everyone got it. Мислим да смо сада у Базелу видели праву промену, поново у људима који су схватили да ми причамо другачију причу. Наши дизајнери стално померају границе.

Спектрум Збирка Лаурие Виид Ван ХеерденФото Хаиден Пхиппс

Који су неки од најважнијих детаља у Воодстоцк Десигн Дистрицт-у?

Цасаменто за заиста јединствени тапацирани намештај који је ручно израђен од традиционалних рукотворина и украса. Свака столица или кауч дословно прича причу како дизајнер Старри Еве Цоллетт извори ријетке текстиле и ствара причу око дјела користећи одржива влакна колико год је то могуће. НеигхбоурГоодс Маркет је био катализатор таласа креативног развоја који трансформише Воодстоцк. Она окупља најбоље локалне пољопривреднике и занатске произвођаче, добављаче фине хране, локалне дизајнере и занатлије. Стевенсон представља неке од најнапреднијих савремених уметника на афричком континенту, увијек представљене на провокативан и занимљив начин. Листа галерија укључује међународно признате уметнике као што су Занеле Мухоли и Нандипха Мнтамбо. Вогел је изложбени салон дизајнера Јохна Вогела, који прави изразито јужноафрички намјештај. Његов колекционарски рад доступан је преко Соутхерн Гуилд-а, али он има и производну линију за сједење и столове који мијешају сложене, природно-надахнуте форме са тканим афричким текстурама. Изложбени простор и студио фирме Виид Десигн је визуална посластица, која приказује своју линију иновативног намјештаја од плута, расвјете и објеката, али и даје увид у његов процес и инспирацију. Често сарађује са истакнутим јужноафричким уметницима као што су Лионел Смит и Церамиц Маттерс. Волф & Маиден Цреативе Студио прави изузетну, врхунску кожну галантерију. Његов пртљаг, торбе, новчаници и појасеви комбинују елеганцију безвременског кожног пловила са веома савременим дизајном.

Нум Нум табле, Цхарлес ХауптПхото Адриаан Лоув

Које су карактеристике Јужноафричког дизајна?

Колико је лично. На примјер, у Салону дјелује модни дизајнер Рицх Мниси. Његова одећа је врло тродимензионална, структурирана и готово архитектонска. Он је направио овај невероватан лежај, тако необичног облика. Сузе су његове баке и то је поклон женама у његовом животу. То је његова врло особна прича. Вјерујем да је то кључни фактор који се разликује, а онда чињеница да је све то ручно израђено, да је ту неуобичајеност и енергија, али је истодобно рафинирана, тако да имате ту двојност. А ту је и много хумора и готово каприц. Видећете да се неко променио када су у интеракцији са послом: погледаће у клупу, погледати поново, а онда почети да се смеше и ту је тај заокрет. Примљена је информација која је позната негдје а опет врло чудна у исто вријеме. Увек кажем да ви реагујете са својим телом пре него вашом главом обавезно, са својим сећањем, срцем, физикалношћу, а затим својим интелектом, тако да је то разлика.

Мигхти Ндебеле скулптура Јустине МахонеиФотографија љубазношћу Соутхерн Гуилд-а

Ко су неки од најузбудљивијих савремених јужноафричких дизајнера?

Наши врхунски дизајнери су Порки Хефер, Ксандре Криел, Андиле Диалване, Атанг Тшикаре, Доктер и Миссес, Јустине Махонеи, Мадода Фани, Адам Бирцх, Давид Кринаув, Јохн Вогел и Грегор Јенкин јер сваки од њих ради на свој начин са својим материјала. Свако има своје гледиште; нема преклапања.

Да ли су радови дизајнера у Јужној Африци подцијењени?

Ако упоредите квалитет рада и дужину трајања рада са сличним дизајнерима, свакако. Мислим да је то још увијек вриједна инвестиција. Узмите некога као што је Порки Хефер, који је потенцијално један од најпознатијих јужноафричких колекционарских дизајнера. Представљао је Јужну Африку на Биенналу дизајна, имао је соло у Њујорку у компанији Р & Цомпани, радили смо соло у Кејптауну и Јобургу, а управо смо урадили пројекат за Леонардо ДиЦаприо Фоундатион у Десигн Миами / Басел. Његове цене са сваком од тих емисија су очигледно ескалирале откако смо га показали 2009. године, тако да је његова колекционарска каријера 10 година пратила путању галерије. Исто је и за наше дизајнере Доктер и Миссес или Андиле Диалване. Мислим да све више колекционара и музеја почињу да разумеју нашу причу и како ми другачије седимо.

Изложба дизајна колорног поља у галерији Соутхерн Гуилд у Цапе ТовнуПхото Кате МцЛуцкие

Да ли је дизајн начин да Јужна Африка превазиђе своју историју сегрегације и подјеле како би постала снага за интеграцију?

Без сенке сумње. Направили смо огроман напредак у индустрији: 75% кућног прибора који се извози широм свијета пролази кроз нашу компанију. Чак и као индустрија, дизајн и уметност су дошли у исто вријеме, тако да је то био велики пораст новца који је донесен у земљу и подизање вјештина кроз обуку кроз потражњу. Када радимо десет контејнера од 40 метара, жене које живе у природи чија су деца отишле у градове тражећи посао, враћају се да помогну у овим огромним налозима, и виде старомодну вештину коју су њихове баке учиниле. као нешто што је тражио млади пилић у Нев Иорку, и они сматрају да је релевантност за ту вјештину. Дакле, чувате вештине, доносите приходе, стварате посао. Сестре Хаас се враћају својим кућама у градовима и не раде само једну животињу за пројекат подршке АИДС-у, оне су роцк звезде које су биле у Нев Иорку и упознале Беионце. Ово је заиста промена живота за ове жене. То је прилика за другачију врсту каријере, гдје људи то раније нису гледали. Дизајнери као што је Атанг Тшикаре који млади одрастају у потрази за херојима, инспиришу га и помаже људима да се и даље гурају.

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