Biennial - Cité du design

Transcription

Press
pack
The Experiences of Beauty
From 12th March to 12th April
2015
www.biennale-design.com
IN 2015/////
IN 2013
42
international
delegations
Guest of
honour
Seoul
49
26
exhibitions
140 000
visitors
60
venues
exhibiting
companies
exhibitions
1 extra week
for school
visits
33
exhibition
curators
countries
represented
days
including
3 weekends
154
55
29
40
18
exhibition
curators
days
including
5 weekends
3
650
itineraries
in the city
60
PROJECTS
450
DESIGNERS
venues
15 000
schoolchildren
visited
1 week
dedicated to
professionals
The 9th Biennale Internationale
Design Saint-Etienne:
a forward-looking, cultural,
innovative, high tech,
international edition!
From 12 March to 12 April 2015, SaintÉtienne will be the world capital of
design! The Cité du design is organising
its 9th International Biennial devoted to
prospective and innovative design. In
2013, over 140,000 visitors came to the
Biennial.
The Biennale Internationale Design
Saint-Etienne 2015 will be offering, over
a one-month period, over sixty exhibitions and events (symposia, talks, forums, round tables). The IN programme
includes the exhibitions at the Cité du
design and the Manufacture site, those
at venues across the Saint-Etienne area
(Amicale Laïque Chapelon, La Serre,
Bourse du Travail, Office du Tourisme)
and all the city’s major museums (Musée de la Mine, Musée d’Art Moderne et
Contemporain de Saint-Étienne Métropole, Musée d’Art et d’Industrie and the
Le Corbusier - Saint-Pierre church site
at Firminy and the Plateau – Hôtel de
region Rhône-Alpes in Lyon) An OFF
programme will also running in SaintÉtienne and its region, accompanied by
outreach events in the Pôle Métropolitain in Lyon, Vienne and L’Isle d’Abeau
(Grand Lyon, ViennAgglo and CAPI).
Elsa Francès and Benjamin Loyauté,
general curators of the 2015 Biennial, have chosen as their theme The
Experiences of Beauty, which aims to
examine the importance of the forms
of beauty and the meanings they give
to functions, usages and the quality of
life. What values are conveyed by the
aesthetic? With what intentions? And
what do they insinuate about the state
of the world? At a time when industrial
production is ever more globalised,
how can the individual’s need for his
own unique identity be reconciled with
the signs produced by design? The
challenge of this Biennial is to show
that other routes are possible, not only
the monotonous and repetitive ones
produced by globalisation: the ambition
of the nineteen curators and exhibition designers will be to demonstrate
and share what the aesthetic aspect of
design can offer. The Saint-Étienne International Design Biennial 2015, which
expects to receive all kinds of audiences
(designers, companies, students,
schoolchildren, the general public), will
therefore be showing objects, services,
equipment and environments that offer
an experience for the senses.
The dynamic role played by design in
the economy will also be at the heart
of the Biennial, with the organisation of
the second edition of a forum dedicated
to innovation and a space known as Les
Labos (The Labs), where companies
will be able to have visitors try out their
prototypes and innovative products.
Finally, Benjamin Loyauté and Elsa
Francès have been keen to give this
9th edition a resolutely international
dimension and have called upon some
great names in design such as curators
Christophe Bailleux, Sam Baron, Frédérique Bompuis, Lise Coirier, Kim Colin,
Rodolphe Dogniaux, Gaëlle Gabillet,
Sam Hecht, Bart Hess, Alexandra Jaffré,
David-Olivier Lartigaud, Oscar Lhermitte,
Giovanna Massoni, Marc Monjou, JeanLuc Moulène, Florence Ostende, Dennis
Parren, Eric Petrotto, Kyung Ran CHOI,
Tim Simpson, Yuri Suzuki, Dieter Van
Den Storm, Sarah Van Gameren, Ionna
Vautrin, Samuel Vermeil and Stéphane
Villard.
Saint-Étienne is one of only three
European cities, with Berlin and Graz,
to be a member of the UNESCO Cities
of Design network, which consists of
eleven world cities. Seoul, guest of
honour and member of the UNESCO
Cities of Design network, will be presenting its talents under the curatorship
of Kyang Ran CHOI and the exhibition
of the sculptor Lee Bul info the Musée
d’Art moderne et contemporain de
Saint-Étienne Métropole.
Forward-looking, cultural, innovative,
high tech, international, this 9th edition
has some real surprises in store thanks
to a large number of exclusive special
productions.
The Biennial is an event produced by
the Cité du design, supported by the
Ville de Saint-Étienne, Saint-Étienne
Métropole, the Région Rhône-Alpes
and the Ministère de la Culture et de
la Communication.
The Experiences of Beauty................................................................
P06
The IN Biennial......................................................................................
P08
on the Manufacture - Cité du design site and
in the city’s major museums.....................................................
P12
1/ A resolutely international edition........................................
P13
2/ Transformations, mutations, innovations : the future
unveiled at the Biennial ..............................................................
P23
3/ Know-how, the beauty of the craftsman’s turn of hand..
P31
4/ Digital era .................................................................................
P37
5/ The ESADSE (Saint-Etienne Higher School of Art and
Design) at the Biennial: promoting young talent ...................
P45
6/ The Biennial for children: opening onto an imaginary
world..............................................................................................
P55
across the territory....................................................................
P62
1/ The exhibitions............................................................................
P63
2/ Design & public space................................................................
P74
business is in.................................................................................
P76
THE off BiENNIAL. ....................................................................................
P80
1/ The exhibitions.....................................................................
P82
2/ Echoes of the Biennial in the Pôle Métropolitain...............
P83
Symposia and talks.. ....................................................................................
P85
Map of the IN Biennial 2015..........................................................................
P86
Visit the Biennial...... ....................................................................................
P90
Partners of the Biennial............................................................................
P92
Press information.... ....................................................................................
P96
Nowhere else!
GAËL PERDRIAU,
Mayor of Saint-Étienne, Chairman
of Saint-Étienne Métropole and
Chairman of the EPCC, the public
cultural institution responsible
for the Cité du design and SaintEtienne Higher School of Art and
Design
4
USINE
MIXEUR
MARTEAU
The Biennial,
a revealer of
daily life
LUDOVIC NOËL,
Director of
the Cité du design
Saint-Etienneis always a big event.
By its length obviously, as it lasts for
an entire month to give everyone the
chance to really get the most out of the
programme.
Also by its location, as the IN takes over
Saint-Étienne from the Cité du design to
the site of the old Manufacture d’Armes,
from the tourist office to La Plateforme,
from the Amicale Laïque Chapelon to
the Musée de la Mine, from the Musée
d’Art et d’Industrie to the Musée d’Art
Moderne et Contemporain. But also the
Le Corbusier site in Firminy, the SaintPierre church, and in Lyon Le Plateau at
the Hôtel de la Région Rhône-Alpes, not
to mention some thirty OFF projects
taking place across the entire area.
And finally, by its theme since this
year it is attacking the Experiences of
Beauty... no less! Benjamin Loyauté, joint
general curator of the Biennial, with Elsa
Francès, will bring to the event his fresh
outlook, his sharp take and his expertise
in this field.
The international aspect will not be
overlooked, this year’s guest of honour
being Korea, whose capital Seoul is a
member of the UNESCO Creative Cities
network, like Saint-Étienne, the only
French city among eleven other world
cities.
Finally, the economic world will also
feature, with Industry Week, The Labs
and the Design and Innovation Forum:
this is the expression of a political will to
involve design at the heart of industrial
innovation, to build bridges between
design and business, to encourage the
creation of value, wealth and jobs.
And yet the Biennale Internationale
Design Saint-Etienneis anything
but an event that is accessible only
to connoisseurs, researchers and
designers, since all types of audiences
are invited to come and take part, from
professional to schools, from families
to those who are simply curious ...
with some 55 exhibitions there is truly
something for every taste. And the
Biennial gives pride of place to young
talent, to young creative artists and
designers: Sam Baron’s exhibition on
Europe’s art and design schools will be
simply unmissable.
As you will have guessed from reading
these few lines, Saint-Étienne is the
place to be from 12 March to 12 April
2015 - nowhere else !
The ninth edition of the Biennale
Internationale Design Saint-Etienne
remains faithful to its positioning on
projects that deal with the way we
live, communicate, travel, eat, work or
entertain ourselves. For each edition,
the Biennial looks for international
works that are able to reveal designers’
proposals to address different societal
challenges.
The Biennial is also a revealer of the
day-to-day life of the singular public
establishment that we are, bringing
together in the same entity an
educational institution, an international
event and a design centre.
The Biennial reveals young talents and
their creations in all the exhibitions. The
ESADSE accompanies the emergence
of personalities in art and design,
through the completion of personal
projects, exhibitions or projects with
partners.
For many years, the Cité du design
has been maintained that design is a
factor in competitiveness for businesses
and has given them concrete support
in their experimental, innovation or
research projects. And so once again
this year, the Biennial is showing the
most remarkable proposals from
businesses, enabling some thirty of
them to try out their new products or
services (The Labs) and encouraging
business/designer encounters.
The Biennial is open to the world and
seeks out the best projects, wherever
they are produced. The Ville de Saint-
Étienne has always acted locally whilst
aiming for an international perspective,
whether it is by establishing
partnerships between the ESADSE
and many institutions abroad, the
involvement of the Cité du design in
European networks and programmes
or joining UNESCO’s network of eleven
Cities of Design, one of which is Seoul,
our guest of honour.
Being a UNESCO City of Design means
being involved in a process of mediation
all year round, reaching out to all types
of audience, in particular children, for a
city that is exemplary in its involvement
of users in public policy-making.
Resolutely, the Biennial provides us
with a feast for the eyes and food for
thought with the very latest innovative
or singular international proposals. The
Biennial also reveals the positions of the
ESADSE and the Cité du design and
something of their day-to-day work.
5
The Experiences
of Beauty
BENJAMIN LOYAUTÉ,
joint general curator of
the Biennale Internationale
Design Saint-Etienne 2015
6
The general theme of the Biennale Internationale Design Saint-Etienne 2015 is
The Experiences of Beauty. This edition
will examine the importance of forms
and the meaning they give to functions,
usages or the quality of life. What values
are conveyed by the aesthetic? With
what intentions? What do the forms
produced say about the way of life, the
usages and practices of a society? What
do they insinuate about the state of the
world?
At a time when industrial production
has become even more globalised, how
can the individual’s need for his own
identity be reconciled with the ever
more homogeneous signs produced by
design? Can this discipline liberate us
from the issues of desire and identity
so that they can feed other ambitions?
How can our identities be reconciled
with those produced by branding? To
what extent does design play a role in
humanity’s aesthetic experience? How
can we cultivate plurality of forms and
experiences? The challenge of this
Biennial is to show that other routes are
possible, not only the monotonous and
repetitive ones produced by globalisation: the intention of the curators and
exhibition designers will be to demonstrate and share what the aesthetic
aspect of design can offer.
What is the best way to «apprehend»
the theme The Experiences of beauty?
We need to linger on the «beholding»
of beauty and reconsider some of the
narrow, preconceived ideas we have
about it. I don’t much like the false
timidity about the verb «apprehend»
because often it suggests fear and
distance rather than a desire to grapple
with a theme like beauty with gusto
and enthusiasm. Beauty is easy to
grasp, only the mean-spirited need
gloves. Abroad I learned emulation
and attack. Our gaze needs to wander
sometimes, away from what is
commonly understood and towards he
who strays the least possible from what
he can name and what he can see. This
a bold, restless theme. It is perhaps also
a subject that everyone has an opinion
on, and which we should no longer fear
to examine. Beauty tends to stabilise
according to criteria that have to do
with time, spaces, education, society,
context - which just goes to show
how mobile it actually is. It teases the
precarious models of what constitutes
the norm and the canon. It terrifies
the spinners and weavers of order and
orthodoxy, and sometimes it escapes
from the strictures of uniformity.
Every one can grasp beauty with their
senses. Its «grammar» is also one that
will generate a maximum of ideas and
predictions. This is why there are so
many opinions, convergent, divergent,
parallel, similar, far apart and coinciding.
How do we choose theme for a
Biennial?
The choice is at once logical, methodical
but spontaneous, virtually instinctive,
natural.
In France there is, with this Design
Biennial, an incredible opportunity,
which is the creation of a forum for
debate and gathering people together,
where international skills and know-how
gel around a theme. What’s important
to understand is that the Cité du design
has always been willing to showcase
a multi-faceted or polysemic form of
design - the word you use doesn’t
matter, it’s the meaning that counts.
There is an openness of mind that
characterises the major exhibition
venues and centres for future studies.
Today, more than ever, its legitimacy is
unchallenged internationally and many
come here to get ideas. A Biennial has
to choose themes that speak to both
professionals and to uninitiated visitors.
Being audible and visible by all does
not mean that there is no depth. Quite
the contrary. If the theme appears
simple, it should be remembered that
making things simple is always more
complicated because it requires control.
The theme must not be artificial or even
affected, it is there to provoke thought
and generate new contributions. In my
opinion, the aim of a Biennial is to act
and move forward, to discover and to
arouse debate.
The visual for
the 2015
Biennial was
chosen after a
workshop at the
Saint-Etienne
Higher School
of Art and
Design
For the creation of the visual identity
for this 9th edition, the Biennial called
upon the students at the ESADSE
(Saint-Etienne Higher School of Art
and Design). Under the supervision of
two teachers from the School, Denis
Coueignoux and Michel Lepetitdidier,
a group of about thirty students have
been taking part in a workshop since
October 2013. Ten proposals were
previewed at the edition of France
Design in Milan from 8 to 13 April
2014 and will be on show in a special
exhibition during the Biennial.
The proposal selected was that of
Sylvain Reymondon and Lucas Ribeiro,
two 3rd year design students. The two
winners have already worked on several
projects and workshops during their
course, in particular the production of
an installation at Le Fil (a contemporary
music venue in Saint-Étienne) during
the 2013 Biennial.
A visual identity that should give the
public pause for thought
Sylvain Reymondon and Lucas Ribeiro
have addressed the question of
aesthetics with their own language:
«The representation of beauty is not
universal. Our position, illustrated by
our visuals, was therefore to talk about
beauty through a metalanguage made
up of texts, drawings and pictograms.
All the elements are allowed to rub
against other and enter into a dialogue
where the oppositions between the
drawings and the typefaces are played
out. They open up a discussion between
the spectators, encourage the sharing
of ideas and different visions on the
question of aesthetics.»
7
How will this edition of the Biennial
respond to this theme?
You’ll have to come to the Biennial !
Catalog of forms drawn by Sylvain Reymondon et Lucas Ribeiro
THE IN
BIENNIAL
The Biennial’s IN programme
includes the exhibitions at the
Manufacture - Cité du design site
and in all the city’s major museums
(Musée de la Mine, Musée d’Art
Moderne et Contemporain de SaintÉtienne Métropole, Musée d’Art et
d’Industrie et the Le Corbusier
Saint-Pierre church site in Firminy
– Le Plateau – Hôtel de region
Rhône-Alpes) as well as a number
of emblematic local venues.
8
GRENADE
MONTGOLFIÈRE
ARBRE
RAQUETTE
This label indicates
that the exhibition
presents a new
production produced
for the Biennial 2015.
© Gueorgui Pinkhassov
The curators
Noémie Bonnet Saint
Georges
DENNIS PARREN
LISE COIRIER
FLORENCE OSTENDE
YURI SUZUKI
© Sophie Mutterer
TIM SIMPSON
SARAH VAN GAMEREN
DAVID-OLIVIER LARTIGAUD
ERIC PETROTTO
FRÉDÉRIQUE BOMPUIS
OSCAR LHERMITTE
CHRISTOPHE BAILLEUX
ÉQUIPE POST-DIPLÔME
MARC MONJOU
RODOLPHE DOGNIAUX
BART HESS
© Dogniaux Deloire
David Richiuso
SAM HECHT
KIM COLIN
© Petr Krejci
SAM BARON
© CormacMcGloin
© F.Coquerel
GAËLLE GABILLET
STÉPHANE VILLARD
GIOVANNA MASSONI
DIETER VAN DEN STORM
11
© ShekPoKwan-Fabrica
10
IONNA VAUTRIN
ALEXANDRA JAFFRÉ
© Kleinefenn
KYUNG RAN CHOI
© Rima Musa
BENJAMIN LOYAUTÉ
JEAN-LUC MOULÈNE
DAVID DES MOUTIS
On the Manufacture Cité du design site and in
the city’s major museums
1/ A resolutely international edition
The only French city to be a member of
the UNESCO Creative Cities network,
Saint-Étienne gives its Biennial a
considerable international boost. Year
on year, the Biennial is extending
its networks and strengthening its
popularity worldwide. This is why it has
chosen twelve international curators
(Korea, Japan, Italy, Belgium, United
States, Great Britain, etc.) and will be
exhibiting pieces and inviting designers
from all over the world, and this year’s
edition will be paying tribute to Korea.
12
téléphone
lunettes
pont
Seoul, guest of honour of the 2015
Biennial
This year, the artistic programme
is showcasing Korean artists and
designers. Kyung Ran CHOI, first of all,
is offering an exhibition focusing on
the revival of Korean craftsmanship,
combining industrial know-how with
traditional skills. The Musée d’Art
Moderne et Contemporain de SaintÉtienne Métropole will be hosting the
works of Korean sculptor Lee Bul as
well as a joint project by two Korean
designers, Seung-Yong Song and HyeYeon Park.
For the occasion, the Manufacture
site will taking on Korean colours:
the Biennial shop will have a pop-up
store dedicated to products by Korean
designers (stationery, tableware,
decoration, etc.) and the bookshop will
have a selection of books on the theme
of design in Korea. The snack stands
at the Biennial and food trucks will be
offering traditional dishes.
13
VITALITY 2014:
BEYOND CRAFT & DESIGN
Cité du design – Manufacture site
Curator: Kyung Ran CHOI (KR), Director of the OCDC
(Oriental Culture & Design Center) - Seoul
14
This exhibition reveals the new
momentum enjoyed by Korean
craftsmanship through a veritable
symphony of enchanting objects,
animated by considerable wit,
enhancing the mundane with a brilliance
that goes beyond the frontiers of
design.
What our forty artisans and designers
reveal is an unprecedented use of
modern living space, with these
containers delivered by airfreight from
Seoul. This novel artistic experience
nonetheless rests on the use of natural
materials in line with the purest Korean
craft tradition, such as ceramic, paper
or wood. These materials emphasise
the aesthetic and artistic characteristics
of the object whilst adapting perfectly
to its new forms, so that it emerges
anew in our daily lives. To give life to
this artistic experiment, the designers
have spent months travelling the
world and reflecting. Each container
contains a separate universe. Videos
present their methods of working and
give us the impression that we are in
their workshops with them, as well as
showing us how to use these objects
in our daily lives. The public will also
be able to see how these craft and
design objects are moved, exhibited and
dismantled, and learn how to handle
Kyung Ran CHOI, artistic director
of the programme, states:
«As this exhibition shows, our
artists devote all their energies to
thinking outside the box, reading
consumers’ needs deciphering the
desires of our new era. What we
aspire to is to combine industrial
production and expertise with
traditional craftsmanship, in order
to introduce a novel paradigm into
contemporary art: a collaboration
between the craftsman and the
designer, embodied in an artistic
experiment.»
and display them in a sustainable way.
It is to their immutable value that these
objects owe their identity.
The meaning and value of a piece are
malleable: they evolve according to
the cultural attributes of the space
and according to the empathetic
human experience that surrounds it.
This exhibition allows us to appreciate
the new value of craftsmanship in
modern society and to access a joyous
experiment that transcends the domains
of design and craftsmanship in the
day-to-day world. Among the designers
exhibiting pieces are Ga Jin Lee, Il
Hoon Roh, Keum-Sung Kang & Atelier
Mendini, Kyung Jo Roe, Myoung Kim &
Hayoun Won, Yong Hyun Chung.
15
Pinweel
Jogakbo
Gang
Geumseong
& Alessandro
Mendini
© Gang
Geumseong
Luno Armchair
Il Hoon Roh
© Il Hoon Roh
Yeollimun Ash
Glaze Bottle
Roe Kyung Jo
© Roe Kyung Jo
BEAUTY AS UNFINISHED BUSINESS
Cité du design - Platine
Curatorship and exhibition design:
Kim Colin (US) and Sam Hecht (GB)
16
Today, the standards of beauty are
rapidly and constantly changing. They
may temporarily fall into step with the
trends of the moment, as they may
also easily be excluded from them. It
is difficult to make out wherein lies the
beauty of an object: in the way it is
made, the way it is used, its shape, its
ability to evoke personal memories, its
cultural dimension?
For us, beauty remains an abstract
concept that does not necessarily
represent an ideal or that is not
connected to the search for truth or
perfection, but which possesses an
inalienable quality that goes beyond
the mere object. Beauty is therefore, by
nature, immaterial. We may detect it in
a product independently of its spacetime context. It fits in perfectly with
our concrete and material world, whilst
still retaining a form of transcendence
due to its relationship to the context.
This context adds a dimension that
the object in itself can never entirely
contain. Everything rests on the
relationship between the product and
its spatial environment.
All the objects in this exhibition will be
displayed in an appropriate, referenced
environment that aims to enhance their
beauty conceptually, going beyond
their innovative or novel aspects. The
visitor will not be able to see more than
one object at a time (as each of them
has a particular significance) and will
discover the collection through a series
of intense individual emotions.
A selection of projects to see in
this exhibition:
- Lapris by Van den Weghe
- Multitone by Hella Jongerius pour
Danskina
- Broken mirror from ECAL by Guillaume
Markwalder & Aurélia von Allmen
- Agnese of Gianfranco Frattini for
Tacchini Italia
- Agua Mineral Natura, Agua Fuente
Arquillo by Jokin Arregui & Series
Nemo commercialisé for Aldi
Supermercados *
- Knot by Shigeki Fujishiro for Hay*
*en cours de sélection
17
Kim Colin (US) and Sam Hecht (GB)
set up the Industrial Facility studio
in 2002 out of a desire to explore
the line where industrial design
comes into contact with the world
around us. Designers and teachers
at the Royal College of Art, with
backgrounds in different disciplines,
they look at the object from a point
of view that takes into account its
relationship to space, to usage, to
culture, to the context. Their studio
is considered as one of the most
creative and innovative working
in the industrial design field. They
have developed projects, among
others, for Muji, Issey Miyake and
Yamaha in Japan; Mattiazzi and
Oluce in Italy; LaCie and Tectona in
France; Wästberg in Sweden and
Herman Miller in North America.
Luba
Ionna Vautrin,
2014
© Serralunga
Dot Chair
for HAY
Shell Dot Chair
© Scholten &
Baijings, 2013
© Inga Powilleit
Experience Beauty Through Sound
The Acoustic Pavilion at Firminy
Firminy, Le Corbusier
Saint-Pierre church site
Yuri Suzuki (JP)
18
When we see a well-designed building,
it is the beautiful shapes that we notice
first, to the detriment of the sounds it
produces. We often associate the idea
of beauty with visible features, whereas
in actual fact, music and sound also
play a role in the way we comprehend
a space. What senses do we use to
examine the beauty of architecture?
What is a sound and how can we
characterise it? Is it loud or soft? Does it
pulse or does it reverberate on the walls
of the structure? How do the intensity
and the form of the sounds change
when we modify this structure? It is
only rarely that we have the chance to
answer such questions in a pragmatic
way.
The role of sound in design has been
explored by, among others, composer
and architect Iannis Xenakis. Sensitive to
the link between shapes and sounds in
architecture, he has created numerous
structures that are remembered as
much for the sounds they emitted as for
the way they look. It is to him that we
owe the Philips Pavilion, created with Le
Corbusier for the Brussel World’s Fair in
1958, based on an astonishing system of
spatialisation of sound.
For the 2015 Biennial, we wanted to
present with the Acoustic Pavilion an
installation that will enable visitors to
explore the relationship between space,
shape and sound.
The Acoustic Pavilion is an interactive
exhibition where visitors can create
their own listening device by making
structures. Using a network of pipes,
each visitor can create long, short,
straight or bent structures and hear
how sounds change through conical
end pieces. In fact, ABS pipes are
excellent conductors of sound, with a
surprising ability to act as amplifiers. By
experimenting with them, it is possible
to identify the acoustic properties
induced by the different shapes.
19
Born in Tokyo in 1980, Yuri Suzuki
is a multidisciplinary artist:
a designer and sound artist,
composer of electronic music, he
is renowned for his work on the
physical and acoustic aspects of
sound.
He is the founder and artistic
director of Yuri Suzuki Ltd and
he explores sound through
extraordinary design pieces
presented all over the world. A
graduate of the Royal College of
Art, where he worked on projects
for Yamaha and Moritz Waldemeyer
before becoming a consultant to
different companies such as Widen
& Kennedy, KK Outlet and AIAIAI.
Experience
Beauty Through
Sound
Modélisation
© Yuri Suzuki
Experience
Beauty Through
Sound
Plan for interactive areas
downstairs
© Yuri Suzuki
LEE BUL
Musée d’Art moderne et contemporain
de Saint-Étienne Métropole
20
The Lee Bul exhibition at the Musée
d’Art Moderne et Contemporain de
Saint-Étienne Métropole presents
the prolific and protean work of one
of the most important figures on the
contemporary artistic scene in Korea.
In the central hall, visitors will be able
to move about inside four or five
labyrinthine monumental installations
produced by the artist for Saint-Étienne.
A number of graphic works created
over the last twenty years will be on
display nearby, along with a set of
preparatory models for her installations.
This is the artist’s first monographic
museum show since the presentation of
her On every new Shadow installation at
the Fondation Cartier in Paris in 2007.
For 30 years Lee Bul has been telling
a story in which she has established
surprising relationships between the
diverse forms of visual art and the
different areas of imagination. She
examines the relevance of the great
mythological and scientific stories that
give us the illusion that man is capable
of completely recreating biological
reality, and thereby also social reality.
In her work she mixes the constant
creation of myths, utopias and the
various prospects for the development
of a completely new form of existence
with the representation of her personal
world, her doubts and solitude, but also
the hopes and joy of the artist.
She offers a revised vision of our
relationship with nature and the human
and animal body, by introducing into
it scientific representations, elements
from science fiction and utopias. Her
imaginary creations, sham versions
of the modern world, include aliens,
messengers from an unknown, foreign
and anguish-inducing universe
interacting with our post-modern reality.
This combination offers an unexpected
poetry in which the solitude of the
artist and the sadness of the pseudorealities are mingled with a hedonism
and a euphoria born out of discovery
and free-ranging imagination. This
poetic utopianism links together design,
architecture and sculpture in a sensitive
form and generates a sensual crop of
hitherto unseen figures.
At the same time, the museum is also
showing the work of two young Korean
designers, Hye-Yeon Park (born in 1984)
and Seung Yong Song (born in 1978).
Mon grand
récit (Weep
into stones)
Lee Bul, 2005
© Watanabe
Osamu
© Mori Art
Museum,
Courtesy Galerie
Ropac, Paris/
Salzburg
After Bruno
Taut (Beware the
sweetness of
things)
Lee Bul, 2007
258 x 200 x 250 cm
© Watanabe
Osamu
© Mori Art Museum,
Courtesy Galerie
Ropac, Paris/
Salzburg
21
2/Transformations, mutations,
innovations: the future unveiled
at the Biennial
The transformations and mutations
undergone by society, the evolution
of technologies, the growing scarcity
of certain materials are imposing
new demands on the design industry.
Questions about our daily lives, points
of friction or convergence, uncertainty
about what our lives will be like in the
future, these have always formed the
basis for the reflection that has been
an integral part of the Biennial since
its creation in 1998. The acceleration in
the pace and the radicality of change
strongly pervades the content of certain
exhibitions.
TÉLÉPHONE
MOUSTACHE
FENÊTRE
BOÎTE
23
NO RANDOMNESS
The coherence of shapes
Curatorship: Oscar Lhermitte (FR)
Exhibition design: Oscar Lhermitte
and Stinsensqueeze
24
Have you ever wondered why manhole
covers are round? Why a metre
measures a metre? Or why an A4 sheet
of paper measures 210 mm by 297
mm? A ratio to determine the size of
an image, an octagon to represent a
pictogram, a smell to materialise the
intangible… These ideas are not new,
there is nothing original about them, noone knows or can remember the name
of the person who thought of them,
these are ideas for mass consumption …
but heavens, are they beautiful! The
modern world is full of objects that we
interact with on a daily basis; we are
so used to their presence that some
of them have taken on a form of selfevidence. We forget just how functional
and well-designed they really are.
The No Randomness exhibition
highlights the beauty and the qualities
of the standards, systems and industrial
products whose presence and use
in our environment are of such great
importance. From the specific shape of
a road sign to the pattern on a Cornish
fisherman’s jacket, the collection
presents a series of products that share
one common attribute: their shape
could not be more functional.
These objects, apparently banal, nondesign, even invisible, are actually
true heroes of design: they fulfil
their function perfectly, sometimes
so well that they become universal.
Their hidden beauty is in the detail
(a particular curve, a particular
dimension, a particular colour): their
essential raison d’être. The intention of
this exhibition is to show that design
becomes beautiful when it is thought
out and developed as a whole, within
the framework of a system connected
to other systems. This collection arouses
the public’s curiosity about their
immediate environment and leads them
to understand that nothing is random. In
other words, design is never as beautiful
as when it is invisible. The objects on
show in this exhibition will be everyday
objects: paper, long eggs, a metric
system, an orange safety vest, a STOP
sign and a tyre tread.
25
Oscar Lhermitte is a French
designer whose particularity is that
he studied (Central Martins School,
Royal College of Arts) and has
always worked abroad. A designer
and multidisciplinary artist, he is
based in London, where he jointly
runs his own studio (Studio Oscar
Lhermitte) and where since 2012
he has managed the collective
Sidekick Creatives LTD , which he
co-founded.
No Randomness
La cohérence
des formes
Système
métrique
Oscar Lhermitte
© Arne Zacher
No Randomness
La cohérence
des formes
Orange
de sécurité
Oscar Lhermitte
© Arne Zacher
No Randomness
La cohérence des
formes
Oeuf en barre
Oscar Lhermitte
© Arne Zacher
Giovanna Massoni is a journalist
and independent design consultant,
born in Milan, but who has lived
and worked in Belgium for twenty
years. She has curated numerous
exhibitions including Fighting the
Box – 20 Belgian designers / 20
stories behind the products in 2010,
on which she already collaborated
with Dieter Van Den Storm.
SERIAL BEAUTY
Curatorship: Giovanna Massoni
with Dieter Van Den Storm (BE)
Exhibition design: Cité du design
Noémie Bonnet-Saint-Georges and Éric Bourbon (FR)
26
The design industry can no longer be
considered merely as the place where
objects are produced that are attractive
and functional in an absolute sense, but
rather as a space generating a multitude
of different signs, vectors of fluid,
shareable aesthetic experiences, but
experiences that are also personal and
personalisable. If traditional ideas
of beauty have been closely linked to
the unity of a thing or event, they are
being replaced by a new notion, that
of «serial beauty». The identity of the
object has become an open, hybrid
space. In place of a great sprawling
mechanism of universal norms, the
cogs set in motion by design generate
something more in the nature of a
modular system able to respond to
societal, cultural and ethnic shifts.
The Serial Beauty exhibition is a
collection of industrial design products
which bear witness to the necessary
link between diversity and seriality,
regionalism and globalism, creativity
and industry. The sense of what is
beautiful thus becomes the locus
of experience, the space - public
and private – where individuals and
communities can understand and
interact with each other. This new,
interconnected Tower of Babel, which
passes at high speed between the local
and the global and which draws its
creative energy and ingenuity from the
conflicts and constraints inherent in this
complexity, has become the new space
for design.
Through a selection of recent products
by twenty international designers
working for sixty companies in different
countries with different types of
production systems, the objects in the
exhibition tell stories of convergence
and conflict: they testify to the skill with
which designers and industrialists are
escaping from anonymous consumerism
to construct a new ethics of the product
and a new industrial culture.
this exhibition:
- Biomega NYC / New York de KIBISI
(Lars Larsen, Bjarke Ingels et Jens
Martin Skibsted) pour Biomega
- Sauce pan de Jasper Morrison pour
Muji
- Pen Memorystick de Big-Game pour
Praxis
- The Family of complimentary products
for VertuøLine de Konstantin Grcic
pour Nespresso
*selection in progress
Dieter Van Den Storm is an
independent Belgian journalist,
writer, critic and exhibition curator
who has worked in television and
in particular for De Standaard and
Frame. Today he is in charge of
creative industries at Bozar, the
Centre for Fine Arts in Brussels.
Already a curator at the 2010
Biennial, he is working with
Giovanna Massoni once again on a
new exhibition for the 2015 edition.
27
Sfera
Drains et plaques
d’égout réalisés
avec une technique spéciale
en fonte Territoire
et territoire
sphérolitique.
intime
Giulio Iacchetti &
Plateau
Matteo Ragni (IT)
pentagonal en
pour Montini (IT),
acier inox 18/10
2014
ou en acier coloré © Giulio Iacchetti
avec résine époxy
Matali Crasset (FR) Rival chair
Konstantin Grcic
pour Alessi (IT).
(DE) pour Artek
2014
(FI), 2014
© Adrien
Toubiana & Matali © Konstantin
Grcic, Artek
Crasset, Alessi
HYPERVITAL
Curatorship: Benjamin Loyauté (FR)
Exhibition design: Noémie Bonnet-Saint-Georges
and Eric Bourbon (FR), Cité du design
and Julie Lafortune (FR), architect
28
Saying and doing…finding the perfect
harmony, the right balance and
measure. We are in a period of great
creativity, of inventions and intense
production, but also of conflicts and
shortages that are reorganising the
world. We need to build a pragmatic
future just as we need to dream the
possible based on stark realities and
naked truths. The edification of beauty
in a world is as much about the truth of
beauty as it is about the beauty of truth.
The Hypervital exhibition thus develops
an aesthetics of unveiling through
the experiencing of truth as the vital
bedrock of our imagination. We must
deconstruct the models of acceptance
and opposition and bring together as
many minds as possible ready to shape
an architecture of new thought to
design tomorrow’s world.
This exhibition has grown out of a
reflection linked to the publication of
an article in the Guardian reporting on
a NASA-funded study carried out by
mathematician Safa Motesharrei and
a team of social scientists. The media
shockwave it generated referred to
the series of factors that will inevitably
lead to a change of civilisation if we
do not change any of our behaviours.
The report entitled Human and Nature
Dynamics (HANDY): Modeling Inequality
and Use of Resources in the Collapse
or Sustainability of Societies insists on
a multitude of criteria to which we now
more than ever need to find a response.
It is up to us as designers to contribute
to the development of scenarios that
can build a revival and be vectors of a
Happy End. To avoid fatalism of all kinds
and unrestrained gloom-mongering, it
is time to let go of the certainties and
models in which our world is steeped
and reconnect with humanity and
nature.
«Everyone thinks of changing the
world, but no-one thinks of changing
himself» (Leon Tolstoy). Considering
design as a language with an aesthetics
endowed with meaning, a depository of
a system that is at once mathematical
and poetic, we have a duty to reconcile
our gestures and our practices with
our existence. We must improve the
real world and evoke fictions of a
renaissance. Hypervital is thus built on
the analysis of a world in crisis, being
shaken up by its own practices, its
discoveries, its ideals and its failings.
this exhibition:
- Mine Kafon by Massoud Hassani
- Safety Net by Dan Watson
- Bee’s by Susana Soares
- Taste of Light from Lukas
Franciszkiewicz & Daniel Tauber
- In Wool we trust FÖHN from ECAL
by Dominic Schlögel
- Life Straw by Vestergaard
- 3D Printed Lunar Base by the
European Space Agency (ASE) by
Foster+Partners
29
BEE’S
Susana Soares
Precise object
(22*12 cm)
prototype 2007,
borosilicate,
Vilabo, Portugal
© Susana Soares
Model: Clarie
Ducruet
Mine Kafon
A silent picture
of Mine Kafon
in desert.
Massoud
Hassani, 2011
© Hassani
Design BV
Benjamin Loyauté’s work involves
both research and creation, taking
place at the intersections between
opposing or collaborative systems:
future and heritage, craftsmanship
and technology, design and art. He
teaches regularly at the University
of Art and Design in Geneva. In
2010 he was one of the curators of
the Biennale Internationale Design
Saint-Etienneand organised the
Prédiction exhibition. In 2011,he was
appointed curator of the Beijing
International Design Triennial at
the National Museum of China
and recently put together the
Nighttime Dreamreal exhibition
at the Power Station of Art, a
museum of contemporary art in
Shanghai. He has also written
several books: Pierre Cardin
Evolution, After Design, Old is Back
and Reasemotion. Since 2010, he
has been initiating installation art
projects: The Astounding Eyes
of Syria, 2014, Les Fantômes du
Design 2014 (in preparation),
Globalisation 2013, Designocraty
2012, Reasemotion 2011, The Future
of Uchronia 2010, Confort 2010.
3/Know-how, the beauty of
the craftsman’s turn of hand
Encompassing industrial aesthetics
and arts & craft, design at the Biennial
comes in multiple, versatile forms.
Behind it lie talents, skills, techniques
and know-how that are perpetuated or
reinvented thanks to the curiosity and
creativity of designers.
31
GUITARE
CALEBASSE
CACAHUÈTE
SOURIS D’ORDINATEUR
LUMINARIES
Mine colour; our past and future
Musée de la Mine – compresser room
Studio Glithero (Sarah van Gameren (NL)
and Tim Simpson (GB))
32
On the occasion of the Biennale
Internationale Design Saint-Etienne,
the Glithero designers present an
installation at the Musée de la Mine,
a former coal mine, and veritable
monument to the city’s mining heritage.
The thread running through Glithero’s
work is the instant when a product
takes on a life of its own. Glithero’s
fascination for that moment is at once
amplified and reversed in this new
installation, entitled Luminaries.
The designers have fashioned structures
that look like cages which, playing
on the interaction between glazed
surfaces and light, seem to surround
the light sources and capture them.
As he moves through this landscape of
light, the spectator sees an alternative
reality emerge, like a reflection of the
fragility of our perceptions and the
delicate tension that plays out between
the tangible and the intangible.
With this immersive installation, Glithero
are ploughing a furrow that is dear to
them. For it is intangible or ephemeral
works that the London-based agency
creates, proposing immateriality as an
escape from the overriding importance
our society gives to materialism and
consumerism. The designers thus
invite us to challenge the value that we
give to an object, by asking ourselves
Musée de la Mine – Salle des Pendus
Curatorship and exhibition design : Dennis Parren (NL)
Dutch designer Dennis Parren will
construct an illuminated installation
with LEDs especially for the Biennial in
the Salle des Pendus (the room where
the miners hung their belonging on
ropes suspended from the ceiling) at
the Musée de la Mine, which tells the
story of Saint-Etienne’s mining industry.
There is no light without shadow. Dennis
Parren is a designer who works as much
with one as with the other. He uses
colours to bring out the light, thereby
showing that colour contains light.
these questions: do we desire what we
cannot touch, what eludes us? And if
the object of our desire no longer has
any substance, no capacity, no weight,
do we still want it? The installation,
set up in the museum’s machine room,
will serve as veritable counterpoint to
the famous Salle des Pendus.
In this room with its oh-so-evocative
name, the work clothes that the miners
hung from the ceiling, are like a curtain
across which, under the eyes of the
spectator, the ghostly presence of
the minors passes.
Based in London, Studio Glithero consists of
two designers Sarah van Gameren (NL) and Tim
Simpson (GB) who met while studying at the
Royal College of Art in London. Studio Glithero
has exhibited in Paris, London, Rotterdam, as well
as in Milan, Berlin and Basel. In 2011, the Studio
was nominated for the Brit Insurance Design
Awards and the Dutch Design Award.
Luminaries
Development
models
Studio Glithero
© Glithero
CMYK LAMP
pending light
Dennis Parren,
2011
© Dennis Parren
Milkyway
Dennis Parren,
2014
© Dennis Parren
33
GLASS IS TOMORROW
Musée de la Mine – Salle de l’énergie
Lise Coirier (FR), Pro Materia
34
Glass is Tomorrow transposes the knowhow of the glassmaker into the heart of
the design of future possibilities in the
four corners of Europe and exhibits a
hundred or so prototypes produced at
six co-creative workshops at the Musée
de la Mine. These workshops gave
rise to about a hundred objects that
have something to contribute to the
experiences of beauty, challenging the
assumed fragility of the secular ceramic
and glass-making crafts and industries
or the great glass manufacturers, which,
in many cases, have collapsed. The
themes of the six workshops that took
place ahead of this exhibition: mixed
media (The Glass Factory Boda), liquid
fusion (Corning Museum of Glass - The
Glass Lab™ Boisbuchet), inside-outside
(Verrerie de Saint-Just – ESADSE),
le luxe silencieux (CIAV Meisenthal),
Light/House (Pasabahce Denizli),
making-makers (RCA London).
Reinventing the glass-making arts
through design: it is no longer industry
that drives innovation, but people who
find the inner strength to create, to
immerse themselves in the culture of
each place in the regions anchored in
a tradition of glass-making. Seeking a
revival and a future.
The meaning of beauty: an exploration
of the creative processes. Moulding
or glass-blowing, hot or cold work;
the glass-maker’s steps around the
workshop follow a pattern like a
dance by Matisse. Each gesture can
be providential, or fatal to the project
sketched out on paper. If the beauty of
the glass-maker’s gestures never ceases
to fascinate, that of the designer resides
in the transformation of this material yet
to take shape.
The designers who will be showing their
glass pieces at the Biennial are Gwladys
Alonzo, Flavie Audi, Autoban, Dina
Baïtassova, Claire Baldeck, Mark Braun,
Vincent Breed, Aude Briet, l’équipe du
CIAV, Nigel Coates, Nathalie Dewez,
Christian Ghion, l’équipe de Glass
Lab™ du Corning Museum of Glass,
Jeanne Gautier, Christophe Genard,
GGSV, Pawel Grobelny, Stéphane
Halmaï-Voisard, Kaspar Hamacher,
David Hanauer, Iveta Heinacka, Simon
Kashmir Holm, Benjamin Hubert
studio - Luca Corvatta, Matilda Kastel,
Norayr Khachatryan, Marika Kinnunen,
Matti Klenell, Tomas Kral, Clement
Le Mener, Pierre Lhoas, Eino Mäkelä,
Studio Monsieur, Tamer Nakisci, Fredrik
Nielsen, l’équipe NUDE - Sinem Hallı et
Sevgi Kes, Michel Philippon, Amaury
Poudray, Camille Roger, Adrien Rovero,
Vanessa Royant, Studio Rygalik, Lucile
Soufflet, Louis Thompson, Sema
Topaloglu, l’équipe de la Verrerie de
Saint-Just, l’équipe Ramazan et l’équipe
Ali du groupe Şişecam, Terese William
Waenerlund, Jeremy Wintrebert, Pia
Wüstenberg.
35
Glass is
tomorrow
St-JustSt-Rambert (FR)
2014
© Anne Croquet
for GITII
Glass is
tomorrow
Norayr
Khachatryan Meisenthal (FR)
2014
© Anne Croquet
for GITII
In 1999 Lise Coirier, a graduate in
management and the history of art
founded the Pro Materia agency,
a creative consultancy working
in the design field. In 2011 she
launched the European Glass is
Tomorrow network with the support
of the European Union’s Culture
programme (2007-2013). This
project, which has been awarded a
label of excellence by the EU, aims
to experiment with this know-how
in several European regions by
combining the talents of designers
and glass blowers. Engaged in a
partnership with the Bookstorming
company since 2012, she is the
founder, associate publisher and
editor of the international magazine
TLmag.
4/ Digital era
Today data are indissociable from our
environment. And they raise questions
about our place in and our relationship with the world. The Biennial, with
its emphasis on the design of objects
and service, places a forward-looking
spotlight on these very contemporary
subjects. This year the Cité du design
has joined the Numélink cluster, SaintÉtienne Métropole and a number of
local players in the digital economy
to put Saint-Etienne forward for the
French Tech label. The Cité du design’s
role would be contribute its expertise in
user-centred innovation and make available various tools that enable a better
understanding of current and emerging
digital practices in order to drive the
dynamics of innovation in digital businesses. In addition, the Saint Etienne
International Design Biennial is including
in its exhibitions the measures taken by
designers and businesses in the field of
digital products and services.
CRAYON
DOUILLE
TROMBONE
FLÈCHE
TOUR
37
A-T-T-E-N-T-I-O-N
Curatorship: David-Olivier Lartigaud
and Samuel Vermeil (FR)
Exhibition design: Cité du design
Noémie Bonnet-Saint-Georges and Éric Bourbon (FR)
38
A state, suspension, experience, caring,
practice... In the design process, attention can take on multiple forms that the
A-T-T-E-N-T-I-O-N exhibition is seeking
to explore through different projects
involving graphic design and digital
plastic art practices (existing projects,
experimental projects, students’ projects…).
The exhibition will be structured around
a few key notions representative of
issues relating to attention. It will offer
visitors a contemplative or interactive
journey during which they can consider the theme of the experiences of
beauty from the particular angle of the
dialogue that arises between the designer and the intended audience of the
project.
When designing an object (whether
everyday items or graphic objects), the
attention paid to its future user, the
work done by the designer to «interpret the other» is based on an aesthetic
appreciation as well as bringing into
play knowledge gleaned from studies of
human perception. Thus, the attention
can become the object itself of the designer’s work.
But attention in design is not limited to
the care taken with details or the capturing of the beholder’s interest. Diverting
the attention to an object by a process
of disconnect, surprise or intrigue or, on
the contrary, supporting and guiding
the attention are different modes of an
exercise in dynamically directing attention through design. In particular, this
can be a path to awareness and learning
in an educational context.
And if in the context of our digital
society, where we delegate attention to
machines to extract meaning from the
billions of data generated on a daily basis, human attention has retained its value to the extent that it is at the heart of
an «economy» that is constantly being
redefined, ranging from the concentrated user (playing a video game or using
software, for example) to young social
media users who have become adept
at multi-tasking. All the more reason
to question how we develop, from an
ethical, structural and aesthetic point
view, the objects and environment that
make up our daily, connected world.
this exhibition:
- JODI: http://geogoo.net
- Phonopaper by Alexander Zolotov
- Non Facial Mirror by Shinseungback
Kimyonghun
- On the Origin of Species: the
Preservation of Favoured Traces
by Ben Fry
- Drone Survival Guide by Ruben Pater *
- Pointerpointer de Moniker *
39
Nonfacial
Mirror
Shinseungback
Kimyonghun, 2013
© Shinseungback
Kimyonghun
PhonoPaper
Decoding the
PhonoPaper code
Alexander Zolotov,
2014
© Alexander
Zolotov
David-Olivier Lartigaud is a lecturer
specialising in digital theory and
practice in art at the ESADSE.
Samuel Vermeil has been
responsible for the graphic design
of Azimuts, the post-graduate
design and research magazine of
the ESADSE (Saint-Etienne Higher
School of Art and Design) since
2013. He has taught graphic design
at the ESAD-GV (Higher School
of Art and Design of GrenobleValence) since 2001 and has also
taught at the ESADSE (2007 -2013).
RÉSERVE DÉBOUSSOLÉE
Curatorship: 1D touch (FR)
Exhibition design: Inclusit design (FR)
Interactiv design: Avant-goût Studios
40
The Réserve déboussolée (Disorientated
storage) exhibition is a voyage inside
a laboratory that mingles sound and
image, the organic and the digital.
Sound is the core: music of every
style, taken from the catalogue of the
independent music platform, 1D touch.
The images, photographic and screenprinted, dialogue through the senses,
the matter and the music that we
simultaneously imagine in harmony, in
dissonance, in resonance. The exhibition
designers, Inclusit Design, are staging
a production balanced between the
different media. Rhythms, breaks, paces
of movement in situations to listen to
and watch.
Interactive designers Avant-Gôut
Studios are developing an innovative
programme so that visitors, through
gesture, can interact with the works
whilst stimulating all the senses. The
hand becomes a tool for exploring this
landscape, combining sight, hearing and
touch. Beauty is sometimes enveloped
in things we cannot see or hear; the
images presented in large format will
reveal the textures and the materials,
whilst immersion will transport us into
worlds where we are free to stay or go
or come back. Each visitor constructs
his own path through this artistic
proposition, a geotagged path that
will reveal the footprint of his 1D touch
discoveries.
A selection of items to discover in
this exhibition:
- Photographs:
• Lewis Durham, March 2009, London
by Richard Bellia
• Backstage concert Young Gods,
at Les Nuits Sonores de Lyon,
May 2011 by Richard Bellia
- Silkscreen prints:
• The Archipelago of Enamel
by Elza Lacotte
• Destiny’s eye is a compass
by Elza Lacotte
- Songs:
• Automaton by B R OAD WAY
• Chopping Beauty by Si Begg
41
Eric Pétrotto is an entrepreneur
and professional musician who
has been committed to defending
independent creation for the
last ten years. Co-founder of the
national federation of independent
music labels CD1D (which he has
presided since its creation), he
has participated at national level
in numerous reflections on how to
adapt the creative economies to
the digital era (Centre National de
la Musique, Lescure mission, Hearn
report).
Harbouring a passionate interest
in the new digital strategies, he
is also the originator of the 1D
touch project, a new fair streaming
platform for independent cultural
content (music, video games,
photography, documentaries, etc.).
King Ju
10ème anniversaire
La Coopérative
de Mai ClermontFerrand, Avril 2010
© Richard Bellia,
2010
L’Archipel de
l’Email
Sérigraphie,
Elza Lacotte, 2014
© Elza Lacotte
FORM FOLLOWS INFORMATION
Gaëlle Gabillet and Stéphane Villard (FR)
42
The Form follows information exhibition
presents a collection of creations that
materialise the invisible. It includes
objects whose contours are based on
sociological data, scientific facts or
spiritual considerations.
Certain pieces are figurative, others
involve more elaborate mechanisms
and aim to break away from deceptive
appearances to reveal other forms of
reality. The age pyramid becomes a
jar, a territory is deformed because of
our presence, a mathematical puzzle
is interpreted in three dimensions,
containers invite us to meditate...
By taking up abstract notions and
giving them shape, design applies
itself to depicting things in order to
give them substance. It produces
representations that enable us to see
familiar things in a different light or to
perceive the imperceptible. But what is
the meaning of the objects made? Are
they receptacles for knowledge? Do
they propose aesthetic issues to think
about? Do they challenge our beliefs?
The exhibition proposes a diorama of
objects with varying powers: research
objects, objects for contemplation,
objects of remembrance, objects
that serve as camouflage… Without
departing from its decorative or
utilitarian vocation, here design will
be seen to be fashioning aesthetic
landscapes for thought and imagination.
this exhibition:
- L’Âge du Monde Monde by Mathieu
Lehanneur, Korea and Russia, piece
loaned by Carpenters Workshop
Gallery
- Make it, Break it by Madeleine
Montaigne, piece loaned by
Galerie Mica
- Linear Circle by BCXSY
- Série Vessel by Felipe Ribon
- Ant Colony Castings by Anthill Art
- Le chant des quartz by Laura Couto
Rosado
- Sea Chair by Studio Swine
The Studio GGSV was founded
in 2011 by Gaëlle Gabillet and
Stéphane Villard. The same year
they won the VIA Carte Blanche
award with the Objet Trou Noir
project. Their partnership has led
to an atypical approach, covering
areas ranging from curatorship
to research design. They are
published by Made in Design,
Petite Friture and the Galerie Cat
Berro. Recently, they designed
the interior architecture of an Arts
centre in Aix-en-Provence and that
of the Théâtre de La Commune,
the National Drama Centre in
Aubervilliers.
Gaëlle Gabillet teaches design at
the ESAD in Reims and Stéphane
Villard directs the INFORME project
workshop at the ENSCI-Les Ateliers.
«Our work oscillates between
concrete proposals and manifestprojects. We look for forms that can
give rise to several interpretations.
The material is the focus of our
concerns».
MAKE IT,
BREAK IT
Madeleine
Vessels
Montaigne, 2014
Félipe Ribon, 2013 © Colombe Clier
© Félipe Ribon
ANT COLONY
SEA CHAIR
CASTINGS
Studio Swine, 2012 Anthill Art, 2014
© Studio Swine
© Anthill Art
43
5/The ESADSE (Saint-Etienne Higher
School of Art and Design) at the
Biennial: promoting young talent
The Biennial was created at the instigation of the ESADSE (Saint-Etienne Higher
School of Art and Design) in 1998. The
School continues to occupy a prominent
place in its programme through the exhibitions and talks it offers, the design of the
visual for the 2015 Biennial, and the participation of its students in the installation
of the Biennial exhibitions.
45
CHAPEAU
MARMITE
ESCARGOT
The ESADSE in
the Biennial
YANN FABÈS,
Director of the Saint-Etienne Higher School
of Art and Design (ESADSE)
46
Les sens du beau (The experiences of
beauty) followed by a question mark
is a proposition that we could well find
in the written entrance exam to an art
school. Beyond the endless plays on
words that the word «sens» lends itself
to (the «essence» of beauty, beauty
and the senses, «censé être beau»
(supposed to beautiful) …), the question of the meanings and personal
experiences of beauty arises as soon
as design begins to analyse by its form
everything that is around us. Beauty by
design is a question that is consubstantial with schools of art and design
and particularly the creative designers
that we are training. If our establishments have primacy when it comes to
a creative design fulfilled by subjective forms, it has to be said now that
the ESADSE also sees design through
the prism of new conditions that give it
a wider definition. Practices, the digital
sphere, the organisation of work and
society are issues that are progressively transforming our concept of
design and of the training we give.
Collaboration with institutional partners,
economic and academic players consolidates this opening up and greater
sense of accountability that characterise our approach to art and design. The
local territory and the wider world have
joined beauty in our scale of perceptions of meaning.
Saint-Etienne, as it was created by the
School in 1998, offers this complex,
multi-faceted mirror in which the
ESADSE has always been reflected as it
has accompanied its success, its professionalism, its ethics and its uniqueness.
For its ninth edition, the ESADSE
will be present with four exhibitions.
Continuing on from the invitation issued
to European schools of art and design
in 2013 with The dream team curated
by Alexandra Midal, we have decided
to entrust this new event to Sam Baron,
for an exhibition entitled L’essence du
Beau (The essence of beauty) which will
bring together projects by young designers from different European schools
that illustrate what attention paid to
meaning and forms can encompass in
terms of beauty.
Tu nais, tuning, tu meurs (You’re born,
tuning, you die) is an exhibition organised in partnership with the Musée
d’Art et d’Industrie under the curatorship of Rodolphe Dogniaux and Marc
Monjou. It will attempt to disentangle
the chronological and conceptual intertwining of the issues involved in the
practice of tuning, which has taken on
board the aesthetics of popular culture,
artistic culture and the industrial world.
Another event that also takes place in
the years between biennials, the 2014
graduates’ exhibition by the ESADSE’s
art and design students will be present
under the title of On savait, on savait
que ça n’allait pas durer (We knew, we
knew it wouldn’t last).
Finally, the Région Rhône-Alpes will
be giving the schools in the Culture
We knew,
we knew it
wouldn’t last
IT could
have been!
This exhibition shows the work of the
2014 crop of Art and design graduates
at the Saint-Etienne Higher School of
Art and Design. The works produced
by the Art and design graduates after
five years of study are a vessel for the
energy and convictions of a generation
that has seen the ESADSE set up and
develop on its new site, and they give a
measure of the osmosis with the design
ecosystem in Saint-Etienne. The exhibition brings together in the field of art
and design as many conceptions of the
world and artistic creativity as there are
graduates.
Under the supervision of two lecturers, Denis Coueignoux and Michel
Lepetitdidier, about thirty ESADSE
students took part in a workshop over
a six-month period to reflect on the
visual identity of the 9th Saint-Etienne
International Design Biennial. Ten
proposals were put forward by these
students and they will all be shown in
exhibition during the 2015 Biennial. In
the end just one of them was selected,
that of Lucas Ribeiro and Sylvain
Reymondon.
Cité du design
Manufacture site
Curatorship: ESADSE
network and the University of Lyon the
opportunity to present creative projects
born out of a joint reflection by science
PhD students and art students, designers and architects.
In addition to these exhibitions, other
projects will also be present in different
forms, in particular with the work done
in partnership with the Institut Paul
Bocuse in one of the Biennial restaurants, which should be proposing
creations in the culinary field, for catering-related services or even the interior
design of a restaurant space.
The creation of outdoor furniture in the
form of prototypes in partnership with
the company Tolerie Forézienne should
also feature in the heart of the «creative
quarter» around the Manufacture, which
now hosts a part of the Biennial events.
Finally, a more visible involvement of
the rest of the territory will enable us to
join in a festive, popular event, with the
Design Parade, which will bring together a large number of associations and
populations for a parade through the
city centre.
PROJET DE
DIPLÔME DE
MATHIEU PERRAIS
© sbinoux, 2014
Ten proposals for the visual
identity of the 2015 Biennial
Cité du design
Manufacture site
Curatorship: ESADSE
47
TU NAIS, TUNING, TU MEURS
Musée d’Art et d’Industrie de Saint-Étienne
Curatorship: Rodolphe Dogniaux and Marc Monjou (FR)
Delegated curatorship, exhibition design and graphic design:
Design and research postgraduates at the ESADSE (Yann Alary, Léa Barbier, Timothée Deloire,
Cécile Galicher, Julie Gayral, Adrien Houillère, Jason Michel, Romain Leliboux)
Joint curator: Nadine Besse, Head Curator of the Musée d’Art et d’Industrie de Saint-Étienne
48
A waning form of popular, working
class and non-learned culture, often
considered «kitsch», pointless and
vulgar, tuning remains a marginal
practice, neglected by «established
culture». And yet it appears that tuning
questions in a disconcerting way the
relationship with objects in postindustrial societies: beyond its social
and identity-related values, tuning can
indeed be considered as a creative
practice that mobilises categories
detached from technical performance
alone, close to aesthetic values
sanctioned by «legitimate culture».
This material culture can then – all
things being equal and at least
hypothetically – be compared to the
values of design that it is reactivating
from scratch.
One of the intentions of the Tu nais,
tuning, tu meurs exhibition consists
of using tuning to put to the test
design understood as an aesthetically
policed discipline, culture-bound and
subservient to the command, real or
supposed, of the markets. In the light
of tuning considered as an unofficial
practice, both a captive of and liberated
from official consumerism, the issue
here is to reconsider the question of
beauty in creative design in general,
by challenging the standard,
appropriation, hybridisation, quotation,
the relationship with the surface,
the motif, etc., to get the measure
of certain impasses in material culture.
Between design and contemporary
art, and by its use of «tuned» objects,
video, installations, sound, photography,
graphics, digital art, the Tu nais, tuning,
tu meurs exhibition puts tuning or
different varieties of tuning (in the
widest sense) on display, examining
them as living forms of contemporary
material culture.
this exhibition:
- Jetdog by Konstantin Grcic loaned by
Courtesy galerie kreo
- Psychomoulages by Olivier Peyricot
- Soft Serve Boat by Maxime Lamarche
- La Ferrari sur voiture sans permis by
Benedetto Bufalino
- AeroFiat et autres by Alain Bublex *
- IXOOST Dock loaned by IXOOST
Company *
49
Burnout serie *
© Simon Davidson,
2012
Soft Serve Boat
Maxime Lamarche,
2012
© Camille Ayme
Rodolphe Dogniaux is a designer
and in joint charge of the Design
and research postgraduate
programme at the ESADSE. After
training at the ENSCI – Les Ateliers
and the ENSAAMA (National School
of Applied Arts and Crafts), he
worked as a designer at different
Parisian design agencies, before
becoming artistic director for the
companies Xalchimie and Celevenus
Japan.
Marc Monjou is a philosopher and
semiotician by training. He now
teaches at the ESADSE (SaintEtienne Higher School of Art and
Design) where he has been in joint
charge of the postgraduate Design
and research programme and
editorial manager of the Azimuts
magazine since 2010.
L’ESSENCE DU BEAU
Curatorship and exhibition design: Sam Baron (FR)
«The essence is the intrinsic nature or
the indispensable quality of a thing that
defines its character.»
50
In response to the invitation to curate
an exhibition issued by the ESADSE
(Saint-Etienne Higher School of Art and
Design), our proposal, specially designed to fit in with the general theme of
the Saint-Étienne International Design
Biennial 2015, «The Experiences of
Beauty», reduces the wide spectrum
of possible interpretations to a more
fundamental, in-depth examination of
its components and potentialities.
This exhibition will look at design as a
practice through a selection of projects
by the young generation of designers
who have graduated from European
design schools.
L’essence du Beau (The essence of
beauty) shows the different possibilities for giving form to an idea, from
its fist expression on paper to its final
concrete form, as a product ready to
meet the needs of consumers, taking in
the necessary confrontation with technical research and the choice of material
inherent in the prototype phase.
The visitor will be immersed in a dictionary of products, an organised cabinet
of curiosities, revealing a certain multiculturalism thanks to the diversity of the
concepts and objects presented. The
aim is to stimulate each visitor’s perception by means of an unusual route
through representations of ideas also
resting on the visual/physical impact
of the projects, in order to generate a
reflection on our habits and develop our
curiosity.
By identifying a number of major
themes closely connected with aesthetics, functionality and usage, this
possible vision will be a way of discovering the expectations, the preoccupations and the likely propositions of the
future. Design is shown here not only as
a result, but also a process that answers
a question, a means of transforming an
idea into a solution, real or fictitious, like
beauty.
this exhibition:
- Ashes by Birgit Severin
- Affone by Léo Virieu
- Sustento by Pablo Mateu
- Regalvanize by Tino Seubert
- Gueridon by Maud Piccolini
- Bute Fabrics by Marcin Rusak *
Sam Baron, a graduate of the
ESADSE (Saint-Etienne Higher
School of Art and Design), is
currently working as a designer
for brands such as Vista Alegre,
Hennessy or Dinh Van whilst
also holding the position of
creative director of the design
section of Fabrica. His recurrent
reinterpretations of traditional
know-how (craftsmanship or
industrial know-how) are an astute
questioning of the usefulness
of manufacturing today, as well
as of the very existence of new
objects. By anchoring his designs in
functional and artistic research, Sam
Baron takes a contemporaneous
view, without omitting to tell the
cultural and historic story.
51
The European design schools represented in this exhibition: ECAL –
Switzerland, Universitat Politècnica
de València - Spain, ESADSE ((SaintEtienne Higher School of Art and
Design) - France, Lahti Institute of
Design Lahti – Finland, Royal College
of Art, London, etc.
Bonne mère
Série “Bonne Mère”
composée de trois
contenants en verre
recouverts de cuivre
par galvanoplastie.
Thibault Huguet,
2014
© Thibault Huguet
Vetita
Acrylic letter opener
Yu Hiraoka, 2014
© YU HIRAOKA
DESIGN
The Design
Parade
Event in Ville
de Saint-Étienne
Curatorship: ESADSE
52
The Design Parade is a humorous,
learned, joyful game played by the
actors of the Cité du Design and the
ESADSE (Saint-Etienne Higher School
of Art and Design); it is a celebration
half-way between a carnival parade
and a marching band thought up by
the design students and their teacher.
It will take place on the afternoon of
Wednesday 11 March 2015 and it will
be followed by the official opening of
the Saint-Etienne International Design
Biennial 2015.
The fact that the Biennial exhibition
venues are spread across the territory
of Saint-Étienne Métropole required
an event that would be at once informative, creative and festive and that
would bring them all together in the
city centre: this is the aim of the Design
Parade, which will blend in with the
carnival traditionally organised by the
City. The people of Saint-Etienne will
thus be invited into the heart of the Cité
du Design, whilst the Biennial guests are
led into the city centre.
The city’s social and cultural centres and
different neighbourhood associations
are partnering the project. It is their
members, dancers and musicians who
have teamed up with some students
of higher school of art and design
Saint-Etienne to create the floats, the
decorations and the costumes for a
parade that will provide an abstract
and colourful interpretation of the vast
scope of the design projects on show:
outsized geometric forms, wire structures, frames made of timber, resin,
painted cardboard, fabric, etc. A feel
for materials, shapes, their organisation and structures, for colours and their
applications is at the very heart of the
designer’s know-how: as the Parade
will illustrate, with plenty of zest and
humour. The parade will be accompanied by dancers carrying signs; certain
actors will be handing out strange
objects from their floats, little sculptures, useful items... Others will be presenting communicating objects such as
giant cardboard mobile phones, whilst
others will be driving floats consisting
of simple chassis, bikes held together
by lightweight frames, trailers or cheap
structures, others will be on roller skates
or walking… Altogether, they will form
a thrifty parade, exemplary in terms in
energy saving.
The Parade is a popular event, a mixture
of the staged and the spontaneous.
It is organised by Michel Philippon,
teacher of spatial design and interaction at ESADSE, architect, artist and
scenographer based in Geneva and
Saint-Étienne.
Parade du design
Croquis des
costumes, 2014
Line Braekevelt &
Noémie Auzet
Parade du design
Croquis du char
«Manufrance», 2014
Thomas Larbain &
Lauriane Carra
ART-LAB
CONNEXION
(Art-lab’ des ARCs) exhibition
of the Communautés de Recherche
Académique de Rhône-Alpes
Curatorship: Région Rhône-Alpes
The Communautés de Recherche
Académique de Rhône-Alpes are
putting out a call for proposals to art,
design and architecture institutes in
Rhône-Alpes who are members of
the Réseau Culture (Culture network)
to set up a Research-Creation action
that will bring together the worlds of
contemporary creative art and scientific research. After a residency at Les
Grands Ateliers in L’Isle d’Abeau on 27,
28 and 29 October 2014, the science
PhD students and art students, designers and architects will present about
ten creative projects in an exhibition at
the 2015 Biennial: installations, graphic
works, video, performance art, etc., and
a scenography produced as a result of
their joint reflections.
53
6/ The Biennial for children:
opening onto an imaginary world
One of the strengths of the Biennial
is that it is aimed at every kind of
audience. Each edition includes an
exhibition with a workshop to familiarise
a young audience with design and invite
them to think about a particular theme
for the year. After matali crasset in 2013,
designer Ionna Vautrin has been chosen
for this exercise this year.
55
SHORT
TIPI
AGRAFEUSE
TRÉTEAU
VOUS AVEZ DIT BIZARRE ?
Bart Hess (NL) and Alexandra Jaffré (FR)
56
The Vous avez dit bizarre ? (Did you say
bizarre?) exhibition explores the notion
of the contemporary grotesque through
a selection of about forty designers.
Co-directed and co-designed by
Dutch artist Bart Hess and art historian
Alexandra Jaffré, the exhibition brings
together design projects that play with
the codes of the grotesque style to
demonstrate the social implications
of behaviours that can sometimes be
over-the-top.
The grotesque is commonly regarded as
a ridiculous, exaggerated character. And
yet, its semantic field, generous, fluid
and changing, allows the expression
of anything from the ridiculous to the
absurd with humour, mockery or uneasiness. The questions it raises go far
beyond the received values of beauty
or good taste: it makes us aware of the
vices of our times
The exhibition is structured by two
traditional aspects in the grotesque
style: the playful side of grotesque
with an imaginary world connected to
childhood with its colours, forms and
pleasures, and the frightening side of
grotesque that feeds of the fears of
adults, darker and more tormented. The
frontiers between the two, however, are
more porous than it might at first seem.
Visitors will experience a rich and chan-
ging range of emotions, with room to
react and reflect freely.
Irrespective of the outward appearance of the grotesque, playful or frightening, it spurs us to question not only
aesthetic norms, but also our own behaviour as super-consumers and as we
veer towards ultra-narcissism, through
our ambiguous relationship with the
animal side of life, or our so unclear
social or emotional interactions. The
feeling of detachment provoked by
exaggeration gives visitors food for
thought about our contemporary vices
which result from our ever-unsatisfied
desires and a now-globalised anxiety.
this exhibition:
- Grotesque textile by Bart Hess
- The Importance of the Obvious by
Kollektiv Plus Zwei
- My Knitted Boyfriend by Noortje Van
Keijzer
- Zoomorf by Frank Verkade
- Jungle vases by Eelko Moorer
- The Aesthetic of Fears by Dorry Hsu
- Untitled by Ryohei Kawanashi
57
Bart Hess explores creativity in
a range of different fields in a
surrealist way, mixing the study
of materials with animation and
photography. Fascinated by the
human body, he pushes back the
boundaries between textile and
the skin a little further each time.
Today, his work sets him apart in
the world of fashion, art and design.
His high-profile customers include
Lady Gaga, Lucy McRae, the Palais
de Tokyo and Nick Knight.
Alexandra Jaffré is an art historian
who trained at the Ecole du Louvre.
Her specialisation, the history of the
decorative arts in the 20th century,
enables her to merge history and
contemporary design. She worked
with Benjamin Loyauté on the
Reason Design Emotion exhibition
at the National Museum of China in
Beijing in 2011 and the NighttimeDreamreal exhibition at the Power
Station of Art in Shanghai in 2013.
Hug Me
Si Chan, 2012
© Sara Pista
My Knitted
Boyfriend
UntiTled
Noortje de Keijzer,
Ryohei Kawanishi
2011
© Jorn Bergmans © Niall McInerney
The Bestiary
Ionna Vautrin (FR)
58
As crafty as a monkey, as cunning as a
fox, as proud as a peacock, as stubborn
as a mule or as gentle as a lamb… In the form of a collection of disguises,
this bestiary offers children the chance
to get into the skins of animals of all
kinds, from the tamest to the wildest.
How can simple paper costumes
capture the imagination so effectively for such an enchanted interlude?
Beyond their plasticity, it is the comic
metamorphosis that they produce in
children that gives meaning to this great
menagerie.
In conjunction with the adjoining exhibition, the workshop designed by Ionna
Vautrin offers each child the chance
to get into the skin of a designer then
that of the wild animal, feathered or sea
creature he has created. Just like for
the designers invited to take part in the
exhibition, the child will have the chance
to illustrate and make up the animal
of his choice on a blank disguise. This
workshop with its look of a giant, exotic
pet shop will then be transformed into a
peculiar sort of design laboratory. And
to keep a souvenir of his first steps as
a graphic artist, each child will pose in
a photo booth specially designed for
the occasion. Once the workshop is
finished, the animals will be able to be
released into the Biennial!
The Bestiary: An exhibition and a
workshop designed for children by
Ionna Vautrin
The Cité du design asked Ionna Vautrin
to design a workshop for young visitors, to enable them to discover graphic
design through the theme of a bestiary,
as well as an exhibition adjoining the
workshop. Amélie Doistau and Tomoë
Sugiura are in charge of the children’s
workshop.
The designers participating in the exhibition are Bonnefrite, Leslie David,
Louise de Saint Angel, Malika Favre,
Amélie Fontaine, Les Graphiquants,
Joachim Jirou-Najou, Anne Lutz, Felipe
Ribon, Studio Brichet Ziegler, Twice,
Perrine Vigneron & Gilles Belley and
Ionna Vautrin.
Children’s workshop: every Saturday
and Sunday 10.30, 13.30 and 15.00.
Monday 6 April 2015 (Easter Monday) at
10.30, 13.30, 15.00.
Duration of workshop: 1 hr 30
Price: €5 per child
59
Ionna Vautrin, famous for her Bicnic
lamp produced by the lighting firm
Foscarini, opened her own studio
in 2011 after gaining experience
working for the Bouroullec brothers
in particular. Since then, she has
collaborated on a succession of
projects inspired by her feminine
and poetic, but artfully offbeat
universe.
Le Bestiaire
Collection
Le coq
Perrine Vigneron &
Gilles Belley, 2014
© Ionna Vautrin
Le Bestiaire
Collection
L’escargot
Studio Brichet
Ziegler, 2014
© Ionna Vautrin
Le Bestiaire
Collection
Le raton laveur
Malika Favre, 2014
© Ionna Vautrin
Le Bestiaire
Collection
Le perroquet
Amélie Fontaine,
2014
© Ionna Vautrin
Le Bestiaire
Collection
L’ours
Joachim
Jirou-Najou, 2014
© Ionna Vautrin
Families at
the Biennial
Deciphering things together: the interest of the guided tours organised by
the Biennial lies in the way they are
conducted, putting parents and children
(ages 6 to 12) on an equal footing and
thereby prompting a dialogue. For
an hour, the guide highlights some of
the key elements in the event before
inviting the participants to continue
their discovery of the exhibitions at their
own pace.
60
Guided tours
for families:
SURPRISE!
Une beauté
inattendue
Surprise! An unexpected beauty
From the standard to the bizarre, come
and discover design and experience
beauty in all its surprising forms. This
guided tour, designed for children aged
6 to 12 and their parents will take them
through the following exhibitions: No
Randomness by Oscar Lhermitte and
Vous avez dit bizarre ? by Bart Hess and
Alexandra Jaffré.
The guided tours for families will take
place every Wednesday at 14.30 and
on Saturdays and Sundays at 10.30 and
14.30, as well as on Monday 6 April 2015
(Easter Monday) at 10.30 and 14.30.
Duration: 1 hour
Price: €11 for one adult and up to two
children.
The Biennial
for school and
out-of-school
groups
Through its exhibitions and its children’s
workshop, the Biennial endeavours
to raise the younger generation’s
awareness of design through special
provisions. Schoolchildren and teachers
will be able to visit the Biennial from 16
March to 10 April 2015. The 2015 edition
has added an extra week to enable
schools to attend in the best possible
conditions. The Biennial was attended
by over 15,000 schoolchildren in 2013
on the old Manufacture d’Armes de
Saint-Étienne site, the Cité du design,
in the heart of the Manufacture Plaine
Achille «creative quarter».
School and out-of-school groups
offer: guided tours with commentaries
adapted to the age of the children.
A number of themed tours of the exhibitions will be offered: Les formes de
l’information (the forms of information)–
Les Sens du Beau (The experiences of
beauty) – Le Beau, l’utile et l’objet industriel (The beautiful, the useful and the
industrial object). Each of them will take
in two or three exhibitions including a
selection of projects and an explanation
of the exhibition curator’s intentions.
The children’s workshop designed by
Ionna Vautrin is open to children from
the last year of nursery to the final year
of primary school during the week, and
to social centres for children aged 6 to
12 on Wednesdays. Each child taking
part in the workshop will be given a
copy of Le petit journal du design
(Little design newspaper) of the
Biennale Internationale Design SaintEtienne 2015.
A preparatory guided tour will be
organised on 13 March 2015 from 17.00
for all teachers who have booked a
visit or a workshop with their class. On
the programme: a presentation of the
Biennial and a tour with a guide.
Other workshops across the territory
will be open to school groups: the
Captain Ludd association gives children
the chance to plunge into the world of
manual printing with two workshops
on printing with a printing press and a
demonstration of silkscreen printing.
Place: Captain Ludd Atelier
16, rue Roger Salengro
42000 Saint-Étienne.
Information and booking:
cpt.ludd@gmail.com
M. +33 (0)6 31 09 73 41
The Atelier Regards collective
offers children the chance to make a
3-dimensional plastic composition on a
production line.
Place: La Serre
15 rue Henri Gonnard
42000 Saint-Étienne.
Information and booking:
biennale2015.regard6@gmail.com
M. +33 (0) 6 85 39 06 41
School and out-of-school groups can
sign up for unaccompanied visits,
guided tours and workshops between
8 December 2014 and 4 March 2015 at
16.00 on
T. +33 (0) 4 77 49 95 92 (excluding
the Christmas school holidays).
For more information:
infobiennale2015@citedudesign.com
Pour plus d’informations:
infobiennale2015@citedudesign.com
61
Chaîne des ateliers
Regard(6)
Croquis de la chaîne des
ateliers présentés dans
l’exposition Regard(6)
© Atelier Regards, 2014
Around the territory
1/ The exhibitions
The Biennial «around the territory»
consists of exhibitions and events with
designers in public places.
63
62
BOÎTE
BASSINE
BONNÊT D’ÂNE
CHÂTEAU
AIMANT
ARTIFACT
Bourse du Travail and Cité du design – Manufacture site
Curatorship: Noémie Bonnet-Saint-Georges
Exhibition design: Éric Bourbon
and Noémie Bonnet-Saint-Georges,
in collaboration with Bérangère François
64
Artifact is an exhibition that dates
back to the origins of the Biennale
Internationale Design Saint-Etienne
and whose purpose is to present a
selection of projects resulting from 500
international candidatures. Unlike the
other exhibitions where the curators
invite designers and artists to show
their work on a theme or based on
affinities specific to them, Artifact is
an opportunity to see what is in the
air at the moment, to discover the
preoccupations of creative artists today
and the forms that come out of them.
The 2015 edition of this exhibition
therefore proposes a selection of very
varied projects, ranging from industrial
objects to poetic ideas, formal or
conceptual projects, which illustrate the
preoccupations of today’s designers.
A part of the selection is on display
at the Bourse du Travail, an important
historic site situated in the heart of the
city, echoing another part on display in
the H buildings at the Cité du Design Manufacture site, which is hosting a part
of the Biennial events.
this exhibition:
- SCENTence by Sofie Boons
- INKO by Alexandre Echasseriau
(the development of this project is
currently being supported by the
cultural sponsorship programme Audi
Talents Awards.)
- Paysages Endoscopiques by Cédric
Bohnert
- Serres Urbaines by Luc Beaussart,
Audrey Charré, Clémentine Schmidt
- Les tableaux radiographiques by
Studio Isabelle Daëron
- Beautification by Johanna Pichlbauer
and Maya Pindeus
65
Emissaire
Design Studio
Celia-Hannes, 2013
© Design Studio
Celia-Hannes
Holy Yourself
Bottle
Emilie Voirin, 2013
© Emilie Voirin
NDESIGN
La Serre – Former École des Beaux-Arts
Curatorship: Captain Ludd and Atelier Regards
66
The purpose of Ndesign is to bring
together the amateur public and the
event’s organisers to share a convivial
moment demystifying the mechanisms
of production.
Made up of four object, space and
graphic designers, the Captain Ludd
group has opened its workshops in the
heart of Le Crêt de Roch. This place
centralises all the group’s production
activities as well as providing support
for projects open to the public. As for
the Regard (6) collective created by
seven designers and graphic designers,
for the Biennial it is offering a series
of workshops tracing the sequence
of steps in the artisanal production of
objects in small series. At the same time,
each of the members is pursuing their
own career as an independent designer.
No humanist future without public
know-how: this orientation constitutes the first component of NDesign as
addressed by the Captain Ludd group
and various contributors united in their
adherence to the social construction of
the project, or an exhibition covering a
number of sensitive initiatives to redefine a design that has been drained of
its lifeblood, as well as initiation workshops at the Atelier du Marquee, rue
Roger Salengro, Saint-Étienne.
The objective of the exhibition at La
Serre in the former Ecole des BeauxArts is to create a living, interactive
space based on three distinctive areas,
with a series of participatory workshops open to the public where each
visitor will be able to design and make
an object that he will then take home
with him, and two exhibitions: one
displaying objects made by members of
the collective in these same workshops
and the other showing pieces that illustrate their personal practice. Thanks to
NDesign, the Captain Ludd and Regard
(6) groups are attempting to drag the
sometimes perplex visitor out of his
passivity by considering him more as an
enlightened practitioner than as a subjugated user. Beauty in joint action and
sharing – popular or ancestral aesthetics – a tribute to Utopies Réalisables by
Yona Friedman.
http://ndesign-france.fr/
67
Ateliers
Recyclab
de Faubourg 132
Objets réalisés dans
le cadre des ateliers
Recyclab, conçus et
proposés par
Faubourg 132
© Faubourg 132
Meuble
Capharnaüm
Meuble de rangement
destiné aux gens
désorganisés.
© David Tisserand,
2013
Atelier presse
pour enfant
Atelier d’impression
pour enfant destiné
à faire découvrir
des techniques
d’impressions
© Captain Ludd
Ideal Lab’ /
Replanted
Identity
LE ROLLING CLUB
Objets d’art, de design et singuliers
LYON – Le Plateau – Hôtel de Région Rhône-Alpes
Curatorship: Florence Ostende (fr)
in collaboration with Jean-Luc Moulène (fr)
with the assistance of Mathilde de Croix (fr)
68
Rolling Club will remain the first IN
exhibition in Lyon ! From the first
miniature trains to the development
of factory production lines, the attraction for mechanised circuits has been
part of history since the industrial
revolution. Who has never felt their gaze
carried along by the slow progression
of goods on a supermarket conveyor
belt? If assembly lines, airport baggage
carousels and roller coasters evoke the
menacing threat of the runaway acceleration of a technology without human
intervention, these mechanical ballets
also exercise an immediate fascination. The research hypothesis thought
up by Florence Ostende with the assistance of Jean-Luc Moulène is based on
the production of a chain of moving
objects, the experience of which would
be determined neither by its producer
nor its consumer, but by its «objector».
Thus, the exhibition rests on the speculative relationship of the visitor who
becomes the «objector» with random
combinations generated by crossing
circuits. Each node that we perceive
invites us to break off the continuity
established by the sequence in operation. As it sees the trays of chirashis,
makis and sashimis on the rolling bar in
a Japanese restaurant, the pupil carefully scans each detail which is then
decoded by our digestive system. It is
through this quest for meaning that the
motorised track leaves room for the
object to emerge in all its singularity:
with its history, its materiality, its workmanship, its beauty.
INVITATION DE L’ENSASE À IDEAL LAB’
SALLE D’EXPOSITION DE L’ÉCOLE
NATIONALE SUPÉRIEURE
D’ARCHITECTURE DE SAINT-ÉTIENNE,
1, RUE BUISSON, 42000 SAINT-ÉTIENNE
Bilibo
Alex Hachstrasser
40 x 37 x 40 cm
collection particulière
In a world where everyone are in
contact with everyone else, having
something truly collective emerge
often as difficult. In this context of
globalisation and migrations, the issue
of identity is more and more prevalent.
An identity in its original sense means:
what is identical to us, keep us together.
Beyond differences, what make us
identical? To explore this question, Ideal
Lab’ invited artists, designers and the
inhabitants of two harbour cities and
industrial micropolis: Saint-Nazaire
in France and Florø in Norway. After
having exchanged and found recurring
issues, the Agents have imagined
objects and art pieces producing
identity. An identity based on what
brings people together, local techniques
and aesthetics. Three scenarios
structure the exhibition:
Share / Adapt / Belong.
« C’EST D’ABORD
DEHORS QUE TOUT
COMMENCE… »
It is outside that it all begins…
Puits Couriot
Parc Musée de la Mine
École Nationale Supérieure d’Architecture de Saint-Étienne
L’Atlas des paysages is the result of
an educational experiment initiated
by a team of lecturer-architects at the
ENSASE (École Nationale Supérieure
d’Architecture de Saint-Étienne) during
an off-site workshop: the Atelier Rural.
The initial process in a collective quest,
L’Atlas combines the didactic singularities of the two project semesters
of the BA and MA cycles. The experiment starts without any preliminaries
- no studies or documents, no introductory talks – with explorations out
of doors, for three whole days. After
being out and about discovering the
rural area on foot, the participants then
move indoors, into a workshop, to draw
up a shared knowledge base : L’Atlas
des paysages (The landscape atlas).
Inventing and making maps in all sorts
of forms, sometimes enigmatic, proposing sensitive ways of restoring a fragmented world, this atlas is a record of a
concrete immersion in shared imaginary
worlds.
INFRASTRUCTURES
POSITIVES
Puits Couriot
Parc musée de la Mine
Commissariat: École nationale
supérieure d’Architecture de
Saint-Étienne
The design and the destiny of cities are
closely linked to those of their infrastructures. Engineers of various sorts
create spaces; mines, bridges, railway
lines and stations and motorways are
a challenge to the old town. At a time
when cities are engaged in a race for
mobility, how can new urban territories
be invent where technology and engineering would offer infrastructures of
a new type, a quality of space enabling
numerous uses for the population?
Examples most often unseen before
now have been collected across Europe
and will be presented for the most part
as scale models.
69
RL Streamline
Life (1940-1970)
Industrial Aesthetics and Fiction
or how Raymond Loewy designed
his life.
Saint-Étienne Tourisme
La Plateforme
Curatorship: Christophe Bailleux
and Frédérique Bompuis
70
Jaguar XK140
personnalisée,
carrossier Mario Boano,
Turin (Italie), 1955 :
maquette échelle 1 / 1 en
bois et argile,
examinée par Mario
Boano (accroupi) et son
fils et associé Giampaolo,
photographiés dans leur
atelier à Turin.
Photographe Foto
Moisio, 1955
© ILIÔM
The exhibition offers a fresh look at
the character of Raymond Loewy
through images and documents from
the archives. It covers several fields or
themes dear to the designer and revealing his passions, from an angle that
mixes of genres, fiction and reality,
communication and privacy, public
image and personal representation,
elements that were probably inherent
in Loewy’s own personality. The documents that can be seen in the exhibition include photos and films from the
archives, including some original semiautobiographical films (home movies)
dealing with themes developed in the
exhibition, mixing private and public
items such as unique models of cars
that personally belonged to the designer, his private residences in the United
States and in France, original graphic
documents accompanied by technical notes, recordings of images of
the auctioning of the archives of the
Raymond Loewy Associates studio,
original books and press publications presenting images in context,
images from public archives (television
programmes, interviews), etc.
All of which will be accompanied by
texts and captions explaining the role of
the image in the designer’s communication strategy.
Shenzhen Design DESIGN IN BOX #2 SANS TITRES,
and exhibition venue:
Award for Young Curatorship
2015
The Chamber of Commerce and
UNTITLED
Industry of Saint-Étienne
Talents 2013
Amicale Laïque Chapelon,
Montbrison, Saint-Étienne
Saint-Étienne
(SZ-DAY 2013)
Curatorship: Benjamin Loyauté
The Chamber de Commerce et d’IndusAt the Espace International
at Saint-Étienne City Hall
Travelling exhibition presented
by Saint-Étienne,
UNESCO Design City
Saint-Étienne, a UNESCO Design City
and member of the Creative Cities
network is hosting, in the Espace
International at Saint-Étienne City
Hall, the travelling exhibition Shenzhen
Design Award for Young Talents
(SZ-DAY) 2013. Among the 17 winners
of the 2013 international prize, three
projects from Saint-Etienne have
received awards: Animali Domesticki
Outdoor by Jean-Sébastien Poncet for
Éditions sous Étiquette, Incredibox by
So Far So Good and Ancrages by Laure
Bertoni and Sébastien Philibert.
On this occasion Shenzhen (China),
UNESCO Design City and member
of the Creative Cities network, will
announce the launch of the Shenzhen
Design Award for Young Talents 2015,
which aims to recognise the success of
young designers aged 35 and under.
trie de Saint-Étienne - Montresor offers
companies and the general public the
chance to see what design contributes
to businesses’ development and innovation initiatives.
To inform, raise awareness and experiment, Design in box #2 puts businesses
in direct contact with designers and
users, with the aim of developing new
products and services that are even
better adapted to the expectations of
tomorrow.
Thanks to three different offers: the
educational area, the running of expert
workshops for companies and experimental sessions named “Labos express”
involving companies and the general
public, the Chamber of Commerce and
Industry (CCI) demonstrates that design
is a factor of development as well as
a badge of identity for companies in a
globalised economy.
Each experiment will serve as a
demonstration to encourage the
company to want to integrate design
into its business, whether industrial, in
the service industries or the hotel, catering and commercial fields.
Exhibition open from 12 March to 10
April 2015. Free access to the educational area from 8.30 to 18.00. Expert
workshops: sign up in advance.
It is with an art installation that this
exhibition addresses the world of the
abstract spare parts in a workshop and
that of the sculptural matrices of factories, those shaped in the territory of
Saint-Etienne. It addresses and reconsiders through the prism of production
rules, automatic control and manoeuvres,
the poetic relationship between the
worker’s gestures and thoughts and
his machine. The mechanical contraption which has sometimes become a
powerful computer-controlled robot does
not erase the know-how that lingers on
in the person, who day after day bonds
with his machine and is confronted with
these devices full of complications, as if in
an instinctive, innate resistance to automation. Beyond the reflex gesture and
the pre-established constants, there is a
concealed area of magnetic freedom and
an instinct to tame the beast, where the
worker navigates, dreams often, invents
regularly and resolves sometimes. The
exhibition revises the poetry of gesture,
more paradoxical and effervescent than
uniform and systematic. Our gaze needs
to wander sometimes, away from what
is commonly understood and towards he
who strays the least possible from what
he can name and what he can see. A
brand new short film made with the assistance of young director Nora Jaccaud
will contain extracts from interviews and
capture something of that often inexpressible and all too often ignored liaison that
we find in our factories and production
plants.
71
2/ Design & public space
Design for
a new school
Établissement public
d’Aménagement de Saint-Étienne
Under the spotlight !
As part of the events for the
International Year of Light adopted
by the UNESCO General Conference,
an itinerary is being put together to
enhance the city’s heritage and the
work done under the Light and Design
plan of Saint-Étienne Métropole.
The aim is to have several publics places
such as the Châteauneuf chimney at
Rive de Gier, the observatory tower
at the Cité du design and the Parc de
Novaciéries , the Musée d’art Moderne
et Contemporain de Saint-Étienne
Métropole as well as the Musée de la
Mine.
72
Banc d’essai: urban furniture in public
spaces
Banc d’essai (Test bench) is a call for
projects put out by the 2015 Biennial
to industrial companies, publishers and
designers in the urban furniture sector,
with the aim of putting on show throughout the duration of the Biennale a
range of urban objects - in the wider
sense of the term - in public spaces
(urban furniture, connected objects,
temporary fixtures, plug-ins, graphic
design, sound design), the objective
being to set up in public spaces prototypes and projects that are not yet
commercially available or just coming
onto the market. The idea is for users
to try out these urban objects, which
will be installed on the main sites
in and around Saint-Etienne during
the Biennial, but also to conduct an
in-depth experiment, concluding with
the production of a scientific study
compiling the feedback from users
and the analyses of a team of experts
and designers («usage report»).
The P.J. Thiollier School, a school designed by children in the Manufacture
creative quarter: an experiment in
beauty in all its diversity. Design was
involved at every stage in the planning
and construction of the school overseen by the local urban planning body,
the Établissement Public d’Aménagement de Saint-Étienne. This was an
unusual and very special experiment
conducted with the children who are
the school’s future occupants. Until now
very few projects have involved their
future users as much as this. Designer
Sara de Gouy’s work released the children’s imaginations and helped them to
construct their representation of the
space. Use of the spaces, design of the
signage and furniture were the fruits of
the children’s and the teachers’ involvement in this project. The Etablissement
Public d’Aménagement de Saint-Étienne
proposes to showcase the work done
by putting together an exhibition and a
booklet and offering visits to the school
during the Biennial.
CROCODILE
ARBRE
COUTEAU
SCIE
SAINTÉ
ITINÉRAIRES
CROISÉS
Ville de Saint-Étienne,
Cité du design, Établissement
Public d’Aménagement de SaintÉtienne and the Carton Plein
association
This project consists of creating animations in ground floor shops, with the
intervention of artist-designers and
proposing an itinerary for a stroll
through the Jacquard neighbourhood.
Commercial units will be made available
to designers invited for a residency and
each designer will have the objective of
providing an animation for a particular
place for the duration of the Biennial.
General public – free access.
73
CABANE
BORN IN THE
BRACKEN.
RESEARCH IN
TERRITORIES
Cour est – Cité du design
Installation by David des Moutis
David des Moutis refuses to follow a
specific path, preferring to let himself
be guided by intuitions, enthusiasms
or encounters. After his training in the
design of objects, he set out very early
on to meet craftsmen and women, from
whom he learned to listen to materials
and to master them.
For the Biennial, he will be creating
a work that is at the crossroads of
sculpture, ephemeral construction and
performance: a cabin.
74
«On the margins of cities and societies,
they help to re-form a certain idea of
nature, which we would like to confront,
whilst at the same time fearing it. This
fundamental ambivalence makes the
cabin a place of contradictions, where
high and low, open and closed, mobile
and immobile, the playful and the
seriousness, life and death co-exist».
Gilles A. Tiberghien Notes sur la nature
… la cabane et quelques autres choses,
Éditions du Félin.
It is as if his CABINS were woven into
the materials that surround them they are an integral part of the space
in which they are built. Here, his CABIN
takes form, layer after layer, element
after element, in an accumulation of
offcuts of materials collected from
different Biennial exhibitions. This
ephemeral installation built over the
course a week, before the opening
of the event, will provide a spot for
observation, introspection and reflection
right in the heart of the Biennial.
La Serre – Platine, Cité du design
le pôle recherche de
la Cité du design
CABANE
Croquis
David des Moutis, 2014
© David des Moutis
We do not know where design was
born, but it probably wasn’t in SaintEtienne. Or Paris. Any more than it was
in London, Tokyo or New York. But
we do know when. Probably in the
Neolithic Period when a group of men
and women embarked on a collective
life project. For when it came to making
technical choices, then the observation of practices and the proposal for a
solution and the shaping of that solution into a practical form were done
by design. On the other hand, what
has been born in Saint-Etienne in the
21st century is a territory of existences
that fits in neatly with the radicality of
design. Here we are not talking about a
capital that generates a design of codes
and statuses. Here we are talking about
a life project taking place in a space that
is the city undergoing a renaissance.
French radical design is born in SaintEtienne because it has got the measure
of the city: it matches the size of its
territory and involves the progressive
modification of the living environment.
The Née dans les fougères. Recherche
en territoires (Born in the bracken).
Research in territories) exhibition
explores, roams, discovers and reveals
why design research could only have
been born in Saint-Etienne.
« 2051 »
Cité du Design, under the arches
of the Bâtiment de l’Horloge
Commissariat : EDF Lab
The in-house designers at EDF R&D
have seized the opportunity provided
by the Saint-Etienne Design Biennial to
join forces with external personalities
to produce fictional projections of what
shape our relationship with energy
could take and the place that an energy
engineer could have in the face of the
changes happening in the world and
society. In order to shift the intended
effect away from the here and now,
the designers and their partners have
placed themselves on a time horizon
situated in 2051, in other words 1 year
after most «classic» projections and have
deliberately produced new scenarios that
make a clear break with current trends
and observations.
These imaginary stories are designed
to unveil potential versions of the
future, some of them contradictory, but
systematically putting the finger on
the eminently societal, technical and
emotional nature of our relationship with
energy. Starting from environmental,
technological and sometimes political
hypotheses, they are a means of trying
out our possible collective and individual
acceptance of models that could
potentially emerge in the future, here or
elsewhere.
Between dependence and autonomy,
technology and nature, fears and desires,
each vision is appreciated with its own
beliefs, its own aspirations and enables
a large number of questions to be put
on the table immediately. Energy here
proposes a between-the-lines reading of
past civilisations and those we may or
may not choose to build in the future.
Credits: Guillaume Foissac, Élise Prieur, Gilles
Rougon, Étienne Vallet and external personalities :
Christophe Gaubert, Olivier Peyricot, Rémi
Sussan.
COPIER COULER
Agora – Platine, Cité du design
Installation de David Richiuso
Copier Couler («copy-cast») is a
machine that operates in interaction
with its environment.
It moulds domestic items such as plates
and bowls from plaster, directly in the
earth.
The system consists of a rack and pinion
that acts like a press with a mould at
the end.
The mechanics of the system are
left visible so as to create a contrast
between the industrial aspect of the
machine and the more empirical objects
it produces.
The contrast is heightened by the
surface appearance of the plaster
objects: on the top they are smooth,
thanks to the mould, but the underneath is more random, formed by the
roughness of the earth.
The machine therefore produces unique
objects with a visible imprint left by
the environment during the process of
producing the objects.
This demystifies industrial processes
and turns the mass-produced object
into a unique item, whilst emphasising
the value of amateur methods in the
practice of design.
75
BUSINESS IS IN
76
The role of design and its added value
In a complex world where global
competition is constantly calling into
question the relationship between
principals and suppliers, design is
coming to be seen as an asset and
a way of standing out from the
crowd and building a long-term
strategy. Accordingly, design is being
recognised more and more as a tool
for innovation, and de facto, as a factor
of competitiveness for businesses.
Design can provide original solutions
for SME/SMIs, as it can for large
groups, to enable them to address
the societal challenges defined by
European strategy: industrial renewal,
health and well-being, food security
and the demographic challenge,
mobility and energy, information and
communication, etc. Design is also a
response to the challenge of creating
an innovative, inclusive and adaptive
society. Design is actually a discipline
that uses methodologies focused
on the user, placing the person at
the heart of the ecosystem and the
innovation process. The results obtained
therefore respond to users’ needs or
desires, either explicitly expressed or
detected as low-level signals, which
enable previously unknown or original
products to emerge. Innovation through
practices uses methods of co-creation
specific to design, but complementary
to marketing tools. A participative
approach to a design project creates a
dynamic favourable to sharing and open
innovation.
Motivating project teams and trust
between partners are added values
precious for human relations and
management. Design plays a transverse
role, enabling multidisciplinary teams
to be involved. It also favours crossovers between sectors, enabling intercluster projects to be developed and
cross-fertilisation.
The Cité du design and business
The Cité du design is a benchmark
when it comes to innovation through
practices. The achievements of the
Cité du design’s Business & Innovation
Centre over the last five years in figures:
- 2,500 companies have undergone
design awareness raising
- 250 companies supported in their
search for a suitable designer or to
integrate design in their business
- 50 companies supported to include
business design management in their
design strategy
- 20 companies have benefitted from
the «business design cheque», a
financial scheme aimed at SME/SMIs
getting involved with design for the
first time
- 25 companies have benefitted
from the collective Design and
-
-
-
-
-
Subcontracting scheme, which aims
to raise awareness and support
SME/SMIs in Rhône- Alpes in the
subcontracting sector getting
involved with design for the first time
1 online marketplace on the
designmap.fr platform and about
a hundred designer/company
collaboration offers
3 Design to Business business
conventions attended by 900
participants and generating almost
2,000 meetings between designers
and businesses
1,000 samples of innovative materials
in the Matériauthèque, a materials
library dedicated to presentation,
advice and research
50 SME/SMIs and 50 professional
designers (50 contracts) involved in
a «Laboratory of Innovative Uses and
Practices» (LUPI®), which consists
of an innovative methodology for
creating new products, services or
systems based on usage scenarios
14 Labs, spaces for trying out
products or services with users and
numerous co-creation workshops with
users.
BIENNALE TO
BUSINESS
DESIGN TO
BUSINESS:
The Design &
Innovation Forum
The Biennial will be strengthening its
position as an unmissable event for
companies.
General managers, innovation or marketing managers, agency or in-house designers, engineers or researchers will
come together on this occasion to share
their experiences and discover interesting and original projects.
An entire week is dedicated to professionals, Biennale to Business, from 30
March to 5 April 2015, offering quality
content with high added value for the
economic world.
An international conference on the
economic impact of design will be organised with the Cité du design’s network
of European partners (DG Enterprise,
BEDA, ERRIN, etc.) to assert the recognition of design as a tool for innovation in Europe. Finally, a range of
services will be on offer to professionals, enabling them to organise working
meetings, private evening events (for
their own staff or for their best customers) and guided exhibition tours.
a business convention on design
with an international reach on the
occasion of the Biennial!
The second highlight, the 4th Design
to Business business convention
initiated by the Cité du design with the
backing of the Ministry of the Economy,
Productive Recovery and the Digital
Sector and the Région Rhône-Alpes,
will take on an international dimension
at the 2015 Biennial. It will enable participants (designers and companies) to
organise relevant meetings and optimise their time in Saint-Etienne, dividing
it between business meetings, talks and
visiting the exhibitions.
the meanings of value
The first highlight of the week from 30
March to 5 April 2015, the 2nd edition
of the Design & Innovation Forum will
be devoted to the new forms of innovation in business. As we have seen,
companies are always looking for new
ways to differentiate themselves, to
innovate or to tackle new markets
and the discipline of design has the
ability to make them more competitive. The emotional will be the central
theme of the event and the focus of
the debates about innovation at the
Forum. Are human-centred initiatives
capable of producing innovation and
breakthroughs? Can the emotional be
considered as a source of future development? The 2013 edition attracted
250 participants over two days, and the
objective for this 2015 edition is to put
together the Forum programme with
the partners - and three workshops will
be organised ahead of the Biennial for
this purpose. This forum combines talks
and participatory workshops, sources of
training in the methodologies of innovation through practices. After the Design
& Innovation Forum, a document will be
published containing the case studies,
the tools and the methodologies tried
out in the workshops and mentioned in
the talks.
The in-house designers’ evening, a
special event for company designers
from all over France, will enable them
to share their experiences at a festive
event.
77
The Service
Design prize
awarded by the
La Poste Group
For the second edition, the Cité du design
and the La Poste Group are coming together to highlight the most innovative
projects in service design. This prize rewards
young talents, working designers aged
under 35 or students. This competition asks
young designers to develop original services
on the theme of «Embodying e-commerce».
The three winners in each category will be
presented with their prizes at a ceremony
on Tuesday 31 March 2015 completing the
1st day of the Design & Innovation Forum.
In partnership with the La Poste Group.
78
5 edition of
the Marc Charras
and Laurent &
Charras Creation
& Innovation
Prize
th
For the fifth time, the Laurent & Charras
firm will be supporting the Biennial in its
efforts to make the work of talent young
designers more widely known. The judging
panel for these prizes is made up of
leading figures from the world of industry,
design professionals, teachers and researchers with an interest in innovation. The
projects are rewarded for their originality, their ability to be marketed and their
degree of complexity.
Les Labos :
THE LABS
prototypes or models undergo
real-life testing
Les Labos (The Labs), initiated at the
2013 Biennial, are areas for trying out
with users products or services that
will be offered to six companies and/or
clusters per week in turn throughout the
Biennial. During the second week of the
Biennial, these areas will be dedicated
to the theme of the Silver economy (the
economy serving the elderly). Located
in amongst the exhibitions, these areas
generate a direct and original confrontation between the company and the
end user. Professionals will be presenting their projects at different stages of
their development (prototype, mockup, demonstrator, etc.), thereby giving
visitors to the Biennial the opportunity
to discover and test new concepts and
the chance to play an active role in the
creative process. The companies who
will be taking part so far are Yamaha,
Legrand, EDF, Sigvaris, Carrefour,
Focal JM Lab, pôle Agroalimentaire
Loire, pôle Imaginove et Manutech.
The Les Labos (The Labs) concept
leaves the exhibition site for other experimentation sites, just for the day: Labos
Express events will be held at SaintÉtienne Chamber of Commerce and
Industry, at Le Mixeur (Saint-Étienne
Métropole) or at the Balay nursing
home and the Maison de l’Autonomie
(Conseil Général de la Loire).
Les labos
Biennale Internationale
Design Saint-Etienne 2013
© Pierre Grasset
79
THE OFF
BIENNIAL
The 2015 edition of the Biennial
will be spread across the entire
territory, involving numerous
players in Saint-Etienne life as
well as those of the Pôle Métropolitain. Numerous cultural and
economic players will be involved
in the programming.
The 2015 Biennial’s OFF programme
is represented by the exhibitions
and events organised by cultural
and voluntary bodies, companies
from all sectors of business, designers, educational establishments,
self-employed people, etc. The festive day to launch the OFF events
will take place on 14 March 2015.
80
HÉRISSON
CRASSIER
BONNET
HUTTE
A/ The OFF exhibitions
82
These are independent initiatives by
designers or artists which will provide
opportunities to enter new places
revealing another side of the SaintEtienne urban district. There will therefore be numerous exhibitions to see all
over the city and in the surrounding
area. This year many OFF events will
be taking place in Saint-Étienne and its
region (extract from the programme –
programme currently being drawn up) :
- The Firminy and area History Society
will present its De Carton et d’acier
(Of cardboard and steel) exhibition at
the Château des Bruneaux in Firminy.
- Saint-Jean-Bonnefonds town hall will
present its Véronique Vernette-Annick
Picchio exhibition at the Maison du
Passementier.
- At the bottom of the Crêt de Roch
steps, Captain Ludd will present, in
its workshop, the Ndesign + 1, event,
consisting of co-creation workshops
for the general public.
- The Atelier du Coin will present
Dessins pour objets édités (Designs
for published objects).
- The Atelier Blandine Leroudier will be
putting on an exhibition entitled
La Grande Bellezza.
- Saint-Etienne’s centre for artistic
trades, the IRMACC, will be holding its
L’objet d’un dialogue #2 exhibition at
the IRMACC.
- The La Cure tourist and cultural centre
will be presenting its exhibition 9 bols²
in Saint-Jean-Saint-Maurice-sur-Loire.
The OFF will also extend to several
other places in the territory as well as
Saint-Etienne’s art galleries, including
Une Image, L’Assaut de la Menuiserie
and Greenhouse.
B/ Echoes of the Biennial on
the Pôle Métropolitain
The Biennial will echo throughout
the Pôle Métropolitain made up of
the district authorities, Saint-Étienne
Métropole, Le Grand Lyon, the
Communauté d’Agglomération Porte
de l’Isère (CAPI) and ViennAgglo,
with events echoing the design,
contemporary art, dance and circus
biennials and Jazz à Vienne being
organised in each territory. The events
presented here are all part of a new
dynamic of sharing and dialogue
between territories, offering the public
and the residents of these four urban
districts original, innovative cultural
initiatives that are enriching as well as
entertaining. These four local authorities
are taking up an opportunity to gain
a voice in a world economy organised
around large metropolitan areas.
83
TOMATE
PAIN
LUNETTES DE SKI
CAPSULE
POMME DE TERRE
LYON CITY
DES!GN URBAN
FORUM
Quartier de la Part-Dieu, Lyon
84
For its 2nd edition, LYON CITY DES!GN
Urban Forum is taking up residence
in the La Part-Dieu area of the city
from 19 March to 12 April 2015. The
event will include an urban itinerary in
the heart of the La Part-Dieu district,
as well as series of exhibitions, talks
and debates on the changing city. La
Part-Dieu has been chosen for the
2015 edition as it concentrates all
the issues in urban transformation to
which urban design can contribute.
This district is in fact the subject of an
ambitious project, emblematic of urban
change and representative of what
tomorrow’s city could look like: an ideal
place to experiment where numerous
architectural, economic and social
emulations are born.
Designers, architects, urban planners
and creative professionals will be taking
part in LYON CITY DES!GN Urban Forum
where they will propose innovative
solutions for the transformation of the
city.
2,000 years of
design, GalloRoman glass
and design
Musée de Saint-Romain-en-Gal,
Vienne
Under the auspices of the Biennale
Internationale Design Saint-Etienne2015,
Vienne tourist office, the CCIRVA
(International centre for research on
glass and the plastic arts) and SaintRomain-en-Gal museum will working
together to extend the event and offer
a different view of the design world
through an exhibition on glass.
By displaying opposite each other
twenty-eight modern vases from the
E. Sottsass collection and a series of
Gallo-Roman vases from the Musée
des Beaux-arts in Lyon and the GalloRomains museums in Fourvière and
Saint-Romain-en-Gal, the exhibition will
offer a brief journey through the fragile
world of glass production spanning
no less than 2,000 years. The visitor
will discover glass objects in many
forms, classical or unique, familiar or
unexpected, for decorative, utilitarian,
domestic or funerary purposes. The
confrontation of the two collections, by
a process of reflection, comparison and
opposition, will raise questions about
the place objects held in the GalloRoman world and the place they hold in
our contemporary environment.
THE COMMUNAUTÉ
D’AGGLOMÉRATION
PORTE DE L’ISÈRE
The Communauté d’Agglomération
Porte de l’Isère is proposing a project
involving students on the graphic
design and product design BTS
courses at the Lycée Léonard de Vinci
in Villefontaine as well as the Yoann
Bourgeois circus company. The aim of
this project is to confront circus artistes
in the process of creation with the work
of design students on a common theme.
Symposia
and talks
Each year the Biennial provides
opportunities to meet other people
and exchange on the issues involved
in design. This year, an inaugural talk
will be given on 12 March 2015 on the
Manufacture – Cité du design sign
along with interventions related to
the general theme The Experiences of
Beauty. A symposium on the theme
Animer l’espace public (Enlivening
the public space), a topical issue for
designers, will take place on 19 and 20
March 2015 at the Cité du design. There
will be talks on the Tuning theme to
link in with the exhibition organised by
the postgraduate Design and Research
students at the ESADSE at the Musée
d’Art et d’Industrie in Saint-Étienne
during the Biennial as well as at the
Centre Georges Pompidou in Paris
(dates to be confirmed).
CONFÉRENCE
Lors de la convention
design map 2013
© F. Caterin
85
IN 2015 BIENNIAL
CITÉ DU DESIGN
PLATINE
1
BEAUTY AS UNFINISHED BUSINESS
2
HYPERVITAL
3
LE BESTIAIRE
p16
P28
P56
BUILDING H SUD
88
4
FORM FOLLOWS INFORMATION
5
A-T-T-E-N-T-I-O-N
6
SERIAL BEAUTY
7
VITALITY: BEYOND CRAFT & DESIGN
8
NO RANDOMNESS
9
it COULD HAVE BEEN
P42
P38
P26
P47
BUILDING H NORD
10
RÉSERVE DÉBOUSSOLÉE
11
artifact
P14
89
P24
P40
P60
12
LES LABOS
13
VOUS AVEZ DIT BIZARRE ?
14
L’ESSENCE DU BEAU
15
WE KNEW, WE KNEW IT
WOULDN’T LAST
P47
P73
P50
P54
between the designer and
the intended user of the
object.
Visit the Biennial
1. What are the dates to
remember?
11 March 2015 : official
opening and inaugural talk
From 12 March to 12 April
2015 : open to all
2015 : open to schools
2015 : professionals’ week
2. How to make the most of
the Biennial?
90
2015
Cité du design - Manufacture
site: from 10.00 to 19.00
every day
Late opening every Friday
until 21.00.
A mobile application
offering information and
services will be offered to
all Biennial visitors with all
the IN and OFF programmes
of the Biennial, plus a
geomapping feature.
Guided tours for all:
A themed guided tour is
available for all visitors to
the Cité du design site: The
Experiences of Beauty.
Beauty every which way! The
Exhibitions visited with the
guide/mediator: Beauty as
unfinished business by Sam
Hecht and Kim Colin et Serial
Beauty by Giovanna Massoni
and Dieter Van Den Storm
perception, interpretation
and analysis what is
beautiful in design cannot
be generic. Everyone can
find that something is «really
beautiful» while anyone
else can say the opposite of
the same thing. The guided
tour will examine the values
and intentions conveyed
by aesthetics. What do the
forms produced say about
the way of life, the usages
and practices of a society?
Guided tours in French sign
language
- Wednesday 25 March at
15.00 (booking required, for
deaf visitors only)
- Saturday 4 April at 15.00,
open to all, the visit will
be translated by a guideinterpreter
Exhibitions presented by
the guide/mediator : Beauty
as unfinished business by
Sam Hecht and Kim Colin,
A-T-T-E-N-T-I-O-N by DavidOlivier Lartigaud and Samuel
Vermeil and No Randomness
by Oscar Lhermitte.
Magic bus visits!
An unusual type of tour will
be offered to enable visitors
to discover the experimental
projects sponsored by the
Cité du design throughout
the year.
These are free guided tours,
for groups of about fifty
people. Visitors will be able
to sign up online in advance
and names will be drawn
out of a hat for a half-day
visit. This is an amusing and
convivial experience, which
will take place on Saturday
mornings from 9.00 to
13.00. Participants will arrive
at the Cité du design and
then set off to see design
projects across the territory:
experiments, meetings with
Guided tours every Saturday
and Sunday, starting at
10.30, 11.00, 13.30, 14.00,
15.00, 15.30 and on Fridays
at 19.00. Monday 6 April
2015 (Easter Monday) tours
start at 10.00, 11.00, 13.30,
14.00, 15.00 and 15.30.
Duration : 1 hr 30
Prices : €15/€11
Lunchtime guided tours
Thursday 12 March and
Thursday 2 April from 12.30
to 14.00
sponsors and designers,
a chance to see design
projects in public spaces, etc.
The aim is to get out into
the field and meet all the
partners involved in these
design projects, in order to
get an idea of the quality and
originality of Saint-Etienne’s
model: Saint-Étienne,
experimental site.
Guided tours for
professionals:
Le beau, l’utile et l’objet
industriel (The beautiful,
the useful and the industrial
object): by definition, design
is a creative act serving
a functional purpose. It
therefore consists of creating
a product that is as effective
as it is beautiful (it aims to
democratise the notion of
beauty to make it accessible
to as many people as
possible). Does the beauty
of an object reside in fluidity
of form? In functionality?
In the use of advanced
technologies or, on the
contrary, in craftsmanship?
Through a number of typical
industrial objects, the guided
tour will address the scope
of aesthetics through the
prism of the relationship
Each visit concludes in the
Les Labos (The Labs) area:
oral presentation of the
principle followed by time
to visit unaccompanied.
Duration: 1 hr.
Groups of 25 to 30 people
maximum.
Information/booking (from
12 January 2015 from 9.00
to 12.30): infobiennale2015@
citedudesign.com /
T. +33 (0)4 77 33 33 27
Where to buy tickets?
Where to buy a Pass
Biennale: The Pass will be
on sale from 15 October 2014
in the France Billet network
(Intermarché, Magasins U,
Géant, Fnac, Carrefour,
www.francebillet.com).
The Pass will be on sale
from the opening of the
Biennial on 12 March to 12
April 2015 at: Cité du design,
Musée d’Art Moderne et
Contemporain de SaintÉtienne Métropole, Musée
d’Art et d’Industrie de
Saint-Étienne, Musée de la
Mine and at the Firminy – Le
Corbusier site.
Prices
1) Pass Biennale:
€12 full rate/€8 reduced rate
Access to all the exhibitions,
one admission to each
event. It gives free access to
each site taking part in the
event. Valid throughout the
Biennial. No re-entry.
developing alternatives
to the car, Saint-Étienne
Métropole offers a bike hire
scheme, the «Véliverts».
www.velivert.fr
Informations:
2) Pass Biennale with guided
tour on the Cité du design
Manufacture site: €15 full
rate/€11 reduced rate
3) Permanent Pass
Biennale: €20. Unlimited
access to all the exhibitions.
3. How to get around during
the Biennial?
By bus and by tram!
The STAS (Saint-Étienne
Métropole public transport
authority) offers special
rates for groups and young
people, available from ticket
machines, the Points Service
and STAS sales outlets.
www.reseau-stas.fr
To get to the Cité du design
site:
Tram line T1 (Solaure Hôpital Nord), stop «Cité du
design»
Tram line T2 (Châteaucreux
Terrasse), stop «Cité du
design»
Use the Véliverts!
In France, car drivers cover
an average of 15 km an
hour in town. 15 km/h is the
average speed of a bike!
As part of its policy of
91
Partners of the Biennial
Official partners
Logo IKEA utilisé avec l’accord
de Inter IKEA Systems B.V.
Institutional partners
The Biennale Internationale Design Saint-Etienne is produced by the Public Institution for Cultural Cooperation Cité du design
and Saint-Etienne Higher School of Art and Design, funded by Saint-Étienne Métropole, Ville de Saint-Étienne, Région RhôneAlpes, the Conseil Général de la Loire and the Ministry of Culture and Communication.
Associate partners
93
92
Partners of the Biennial
Major partners
Media Partners
94
Avec le soutien actif de l’agence 14 septembre
Press information
96
Tools
Download the press releases, the press
pack, visuals, curator biographies from
the website:
presse.citedudesign.com
Visit the Biennale Internationale Design
Saint-Etienne website:
Follow the Cité du design on twitter
as well as its press department
(biennaledesign15):
http://twitter.com/lacitedudesign
http://twitter.com/EugenieBardet
Follow the Biennial on instagram:
http://instagram.com/citedudesign
Become a friend of the Biennial on
Facebook:
www.facebook.com/
biennaleinternationaledesign
Dates of the press trips
11, 12 and 13 March 2015 for the national
and international press.
There will be a reception service for the
local, regional, national and international
press throughout the entire Biennial.
A central reception area during the
Biennial
Press and partners room: a special
area set aside for the press and the
Biennial’s partners in the H buildings
on the Cité du design site. Free access
to computers, Wi-Fi, printers and
documents.
Local and regional press contact
Eugénie Bardet
eugenie.bardet@citedudesign.com
T. +33 (0) 4 77 39 82 75
M. +33 (0) 6 29 39 69 08
National press contact
Agence 14 septembre Grand Sud
T. +33 (0) 4 78 69 30 95
Isabelle Crémoux-Mirgalet
isabellecremoux@14septembre.fr
M. +33 (0) 6 11 64 73 08
Aude Charié
audecharie@mlapresse.fr
M. +33 (0) 6 11 35 09 74
Julien Mansanet
julienmansanet@14septembre.fr
M. + 33 (0) 6 17 98 43 27
International press contact
Charles Camicas
charlescamicas@14septembre.fr
M. + 33 (0) 6 11 35 63 13
Online press contact
Marc El Menshawi
marcelmenshawi@14septembre.fr
M. + 33 (0)6 11 35 17 33
Cité du
design and
Saint-Etienne
Higher School
of Art and Design
3 rue Javelin Pagnon
42000 Saint-Étienne
www.citedudesign.com
www.esadse.fr
Editorial director
Marielle Gobron
Graphic design
Sylvain Reymondon, Lucas Ribeiro
There are no known restrictions on
the use of the images included in this
publication.
In the event of any error or omission,
the publisher apologises and is at the
disposal of the rights holders to discuss
rectification.
tomate
clé USB
pain
capsule
pomme de terre

Biennial - Cité du design

Transcription

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