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Pompidou Centre in Paris opens Architect & Designer Ron Arad – ‘No Discipline’

arad_design_museumThe Centre Pompidou is to devote an exhibition to the work of Israeli architect and designer Ron Arad, his first major one-person show in France. From its beginnings, the Centre has played a key role in presenting design and designers to the wider public, with exhibitions such as Design Français 1960-1990 (1988), Manifeste: 30 ans de création en perspective, 1960-1990 (1992) and D. Day, le design aujourd’hui (2005), as well as monographic exhibitions devoted to such figures as Carlo Mollino (1989), Ettore Sottsass (1994), Gaetano Pesce (1996), Philippe Starck (2003), Charlotte Perriand (2005), and now Ron Arad.

Born in Tel Aviv and trained at the Bezalel Academy of Art and Design in Jerusalem, Arad moved to London in 1973 to study at the Architectural Association. Having settled in the British capital, he has since produced a diverse array of objects, sinusoidal, elliptical or ovoid in form, from one-offs to limited editions to mass-produced pieces. He lives and works in London.

Mention of Ron Arad’s name immediately brings to mind such pieces as the Bookworm bookshelf (1993) and the Tom Vac chair (1997) but, his ground breaking work, has taken him beyond conventional categorization: a creator who recognizes no a priori boundaries, who in his practice moves freely between architecture, design and the visual arts. This retrospective will present emblematic examples of Arad’s work as a designer, from prototypes to mass-produced objects, as well as a number of architectural projects, together with audio-visual documentation.  On exhibition 1 February through 16 March, 2009.

Ron Arad’s design for the exhibition in the Galerie Sud draws the visitor into a strikingly distinctive world. The first space offers an identical reproduction of his foyer and staircase for the Tel Aviv Opera House (1994), onto whose elliptical form is projected a film on the Holon Design Museum currently under construction, while plasma screens on the wall present some two dozen of his architectural projects.

The work exhibited illustrates as well as Arad’s long-standing interest in technology, the way in which innovative research, materials engineering and the use of high-precision machinery are combined in unique experiments: sculptural chairs in carbon fibre or silicone, vases produced by stereolithography, lamps that receive and display text messages. And in his work for manufacturers, these technical and formal innovations find expression in the design of everyday objects. Arad’s architecture is equally idiosyncratic, identifiable by its deployment of a formal vocabulary that suggests the application of design to space, as in his Y’s Store for designer Yohji Yamamoto in Tokyo, the Duomo hotel in Italy, and the Holon Design Museum in Israel.

After the Centre Pompidou, the Ron Arad exhibition will be shown at MOMA, New York, from July 28 to October 19 2009, and then at the Stedelijk Museum, Amsterdam, in the Spring of 2010.

Born in Tel Aviv in 1951, Ron Arad studied at the Bezalel Academy of Art and Design in Jerusalem from 1971 to 1973. After graduating in 1973, he settled in London and continued his training at the Architectural Association. His teachers included Peter Cook and Bernard Tschumi, and he became a close associate of Nigel Coates, Peter Wilson and Zaha Hadid. He qualified as an architect in 1979, and worked in an architectural practice before setting up his own design agency, One Off Ltd, with Dennis Groves and Caroline Thorman, in 1981. One Off functioned as a showroom and design workshop, and Arad soon began designing and distributing his own unique pieces or limited editions – surprising objects using unusual, salvaged or recycled materials.

Technology has always taken centre stage in Ron Arad’s work; his unique, experimental pieces exploit the essential characteristics of their raw materials, draw on the very latest applied research, and are made using high-precision machine tools. They include sculptural seats in carbon fibre or silicon (such as the Oh Voïd chairs of 2002), vases modelled using stereolithography (the Perfect Vase of 2001 or ceiling lamps such as Lolita (2004) which can receive (and project) text messages from a mobile ‘phone.

Ron Arad has collaborated with Galerie Mourmans since 1998, creating collections of furniture including the BOOP (Blown Out Of Proportion) series. The gallery continues to support his experimental work, and produces limited editions of his most recent creations: the Blo-Glo series, presented at Dolce & Gabbana in Milan in 2006, the Bodyguards collection at the Milan Furniture Fair in 2007.

Arad teaches in the department of Design Products at the Royal College of Art [LR: pas Arts] in London. He organises workshops in Germany, France and Italy, and lectures at design schools all over the world. His work features regularly at leading design fairs, helping to establish his reputation on the international scene. A major retrospective of his work was held in Barcelona in 2003, and he was the subject of a solo exhibition at Barry Friedman Ltd in New York, in 2005.

Ron Arad’s work features in numerous public museum collections: the Centre Pompidou, the Musée des Arts Décoratifs, the Fonds National d’Art Contemporain (Paris); the Vitra Design Museum (Weil-am-Rhein); the Design Museum, Nuremberg; the Victoria & Albert Museum, London; the Stedelijk Museum of Modern Art, Amsterdam; the Museum of Modern Art and the Metropolitan Museum of Art, New York; the Powerhouse, Sydney; the Design Museum, Osaka. 

Visit Pompidou Centre 

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November 21, 2008 Posted by | Architecture, Art Exhibitions, Artists, Design, News, raw art gallery, Tel Aviv - Israel, Uncategorized | , , , | 1 Comment

November Auction Summary: the reality of an indisputable buyers market

francis-bacon-study-for-self-portrait-1964The New York Times called it: “easily the worst two weeks of high-end Impressionist, modern and contemporary art auctions in more than a decade” and though gravity of this statement belies some successful sales in the November auctions, in the end there seems to be little question that the art auction landscape has shifted to become a buyer’s market.

The November auctions from Sotheby’s, Christie’s and Phillips lasted roughly two weeks with approximately a 2/3 sell rate and 143 of the 399 offerings failing to sell. The sales would total under $1 billion, well below their combined minimum estimate for the sales of $1.7 billion. Sotheby’s and Christie’s brought in roughly $728.9 million for the Impressionist, modern and contemporary art primary sales which is down $1.6 billion from November, 2007 and $1.3 billion from November, 2006.

The summary points seem to be, in part, that there were some indisputable failures of the unsold works such as Roy Lichtenstein’s Half Face With Collar, seen below, from Sotheby’s Tuesday evening auction (estimated at $15 million to $20 million) and the Bacon self-portrait, seen above, at Christie’s on Wednesday (estimated at $40 million). The Bacon failing to sell was for many a symbol of the current market situation in that it stood in sharp contrast to the Sotheby’s May sale of the Francis Bacon triptych for $86.2 million to Russian Billionaire Roman Abramovich (when it thus became the most expensive contemporary artwork sold at auction).

However, there were still some records and strong showings with works such as the Malevich, seen below, at $60 million (at estimate), which was a record for a Russian painting, and Munch’s Love and Pain aka “Vampire,” seen below, for $38.1 million above its $30 million estimate (both on Monday the 3rd at Sotheby’s) and a Juan Gris, seen below, at an artist record of $20.8 million, also above its estimate of $12 million to $18 million, at Christie’s auction on Thursday the 6th. Nonetheless, most works sold in the low range, or below estimate, or not at all with works by artists that show up infrequently performing generally better and works that show up more often at auctions, such as the Warhols and Hirsts, faring poorly.

Also of note in summarizing the November auctions was the Monday the 3rd Sotheby’s success of the big name financiers Henry Kravis of KKR who sold Edgar Degas’s “Dancer in Repose” for $33 million and former Lehman Brothers CEO Dick Fuld selling 16 Modern and Impressionist drawings for $13.5 million against estimates of $15 million to $20 million, but clearing a reported $20 million guarantee nonetheless from the house.

All this leads to the final recurring news point of the auctions: the painful result of over-market guarantees by the major houses. The applicable guarantees were set in pre-bust summer headier times, but when in place during the November sales they would cost the auction companies losses in the many tens of millions. In two weeks of sales the auction houses guaranteed 80 artworks worth $405.8 million but sold only 60, for a combined total of $342.3 million and an estimated loss of $63.6 million (according to the Wall Street Journal’s calculations). Sotheby’s publicly reported that guarantees were responsible for a $28.2 million loss at its contemporary art auctions last week which adds up to total losses from Sotheby’s from guarantees of roughly $52 million this fall. Bill Ruprecht of Sotheby’s said of the guarantee drubbing: “We’re preparing for a different market. We are out of the guarantee business at least for a while.”

November 21, 2008 Posted by | Uncategorized | | Leave a comment

Nike SB “Made for Skate” Exhibition & Pop-Up Shop

nike-sb-made-for-skate1Kicking off their “Made for Skate” campaign, the Nike SB Camp sets sail in Amsterdam. Showcasing the rich history of skateboarding footwear, “Made for Skate” captures Nike SB’s reign over the skate world within the past few years. The show will lead up to the release of a pop-up store launching the “Made for Skate” book as well as a super limited run of 24 “Made for Skate” Nike SB Blazers. The show will open November 30th until January 4th, 2009.

Made for Skate Exhibition
Spuistraat 125a, Amsterdam
The Netherlands

November 21, 2008 Posted by | Art Exhibitions, Artists, Books and Magazines, Fashion, News, photography, raw art gallery, Skateboarding, sports | | Leave a comment

MOCA Considers Selling Itself To LACMA

moca_grand_aveChristopher Knight of the L.A. Times hears that the board of the citys Museum of Contemporary Art, facing a catastrophic fiscal crisis, is prepared to propose a formal merger with the Los Angeles County Museum of Art.

Via: L.A Times

November 21, 2008 Posted by | Architecture, Art Exhibitions, Artists, News, photography, raw art gallery, Uncategorized | | Leave a comment