{"id":5914,"date":"2015-04-09T11:17:35","date_gmt":"2015-04-09T10:17:35","guid":{"rendered":"http:\/\/www.kissthedesign.ch\/wp\/?p=5914"},"modified":"2015-04-09T11:19:29","modified_gmt":"2015-04-09T10:19:29","slug":"limitededition","status":"publish","type":"post","link":"https:\/\/www.kissthedesign.ch\/en\/limitededition\/","title":{"rendered":"\u00c9dition limit\u00e9e | Dedelley, Le Moigne, Loellmann, Sch\u00e4fer"},"content":{"rendered":"

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\u00c9DITION LIMIT\u00c9E I<\/strong><\/span> FR\u00c9D\u00c9RIC DEDELLEY, NICOLAS LE MOIGNE, VALENTIN LOELLMANN, TOBIAS SCH\u00c4FER<\/strong><\/span>
\n E<\/span><\/strong>xhibition from april 26 to june 22, 2013.<\/span><\/strong><\/p>\n

The Bauhaus did challenge the traditional distinction between the creative fields, thus fine art, architecture and design was to understand as a whole without distortion of value. From that conceptual point it was possible to consider art in a serial and industrial way. This important step converged art and design in the possible share of a similar reflexion as well as similar production methods, so this is not a surprise that the design market ends up to meet the art market and, in turn, develops analog sale strategies.<\/p>\n

The exhibition\u00a0\u00e9dition limit\u00e9e I<\/em>\u00a0at Kissthedesign gallery gathers 4 contemporary designers, Fr\u00e9d\u00e9ric Dedelley, Nicolas Le Moigne, Valentin Loellmann and Tobias\u00a0Sebastian\u00a0Sch\u00e4fer, that sometimes beside an industrial production, create in limited edition or even unique pieces.<\/p>\n

The production in limited edition develops marginal to industrial production, also if it can share the same technics it allows designers to experiment outside the limits imposed by the function and mass production.
\nEven if design already entered the gallery space in the 50\u2019s with Steph Simon in Paris, and that the Memphis group forced to a serious reconsideration of functionalism and so called beauty, the phenomenon Design in limited edition is quite new. The need of the collectors for limited design is big and the crisis maybe also strengthened this appetite for high end and rare items, that are produced by highly specialized craftsmans or even by the designer himself. This demand expands to content and concepts and further blurs the boundaries between art and design.<\/p>\n

The designers\u00a0Fr\u00e9d\u00e9ric Dedelley\u00a0<\/strong>and\u00a0Nicolas Le Moigne\u00a0<\/strong>produce as much for big manufacturers (Atelier Pfister, Eternit, Wogg, Inch furniture, etc.) as for galleries (Helmrinderknecht, Libby Sellers, etc). The projects that they design for galleries are often produced in high value with expert know how and explore the conceptual accordance between form and material.<\/p>\n

The vase\u00a0L\u00e9vitation<\/em>\u00a0(8+1AP, 2012, for Helmrinderknecht) by\u00a0Nicolas Le Moigne<\/strong>\u00a0for instance is a technical masterwork. The vase made of ceramic seems to float over the surface but stay in balance on a rounded base. Nicolas Le Moigne develops form and material to poetry.<\/p>\n

For the\u00a0Slip<\/em>\u00a0lamp designed for Libby Sellers gallery, London (12 + 1AP), Nicolas Le Moigne works with Eternit waste as he did for the\u00a0trash cube<\/em>\u00a0(for swiss manufacturer Eternit in serial production), thus the trash of the one gets the artwork of the other. For the\u00a0Slip<\/em>\u00a0collection (one stool and one lamp) Nicolas Le Moigne keeps the traces of manufacture. The remains of Eternit left by the moulding process are not cleaned and become integrated to the final product and even determine the uniqueness of each piece.<\/p>\n

Fr\u00e9d\u00e9ric Dedelley<\/strong>\u2019s works for galleries seems to question their own status of rare and luxury object as much as to expose it.
\nThe lamp\u00a0Objet Lumi\u00e8re N\u00b01\u00a0<\/em>that Fr\u00e9d\u00e9ric Dedelley designed in 2011 for Matteo Gonet\u2019s collection Glassworks Editions (limited edition of 8 pieces) combines state of the art Led light technology with the beauty of traditional glass techniques.\u00a0The lamp is a true piece of jewellery and expresses pure luxury.<\/p>\n

His\u00a0Objets M\u00e9lancoliques N\u00b02-9<\/em>\u00a0(6+2AP, 2011, Helmrinderknecht) are directly set in a temporal and historical axis. Produced with an archaic craftsman method (lost wax process) in a bronze and brass alloy, this serie of objects, vases, vessels, has everything of an archeological relic, even the patina. But the geometric, minimal and contemporary forms bring the aesthetics of the 21st century into the context of civillisations.<\/p>\n

Valentin Loellmann<\/strong>\u00a0and\u00a0Tobias Sch\u00e4fer<\/strong>, for their part, dont work for manufacturers, the produce each of their unique pieces in their ateliers in an handcrafted way. If they share similar researchs about material with Le Moigne and Dedelley, functionality is sometimes absent of their reflexion.<\/p>\n

Valentin Loellmann<\/strong>\u00a0is a good example of what the galleries design market can offer. His work, exhibited in international galleries (Gabrielle Ammann, Cologne, Galerie Gosserez, Paris, etc.), is manufactured in his studio with a straightforward creative approach. He treats material like living organisms, for they represent the opportunity to merge with other elements in various ways and in their fusion stamp the final piece with its unique character.<\/p>\n

Valentin Loellmann is quite far from the questions related to industrial product design, of course his objects, tables, cabinets, stools, can be used but often the artistic world developed by the designer is stronger than the function. Thus he\u00a0builds up his cabinets\u00a0m. & mme.\u00a0<\/em><\/span>around the idea of the family. Ten new pieces are added each year, giving expression to the family narrative that runs as a red thread through this collection. Since the pieces do not only get their meaning from their individual characteristics but also from their relation to one another, to the story that connects them and to the man that made them, it becomes unclear whether you experience one object or many, whether their aim is functional or relational, whether you produce or create or whether you obtain or adopt.
\nThe time context is also visible in the serie\u00a0Kruk<\/em>, where he puzzles together aged and weathered ship planks before to enclose them in a polyester skin.<\/p>\n

Tobias Sch\u00e4fer<\/strong>\u00a0is the only of the 4 designers that has a fine art education without any relation to product design. He came to design through sculpture, installation and scenography and his relationship to contemporary art is omnipresent in his work.<\/p>\n

Tobias Sch\u00e4fer uses a catalogue of recurrent forms, colourful geometric polygonal forms, that he spreads in series, where every unique piece can complement or comment another one of the same family.\u00a0Like a kind of pastiche of serial production. Tobias Sch\u00e4fer is not interessted in producing identical pieces but to connect them in a narrative and conceptual coherent context.<\/span>
\nThe\u00a0Sticks<\/em>\u00a0serie shows very well Tobias Sch\u00e4fer\u2019s current reflexion\u00a0: they are multifunctional objects, seat-tables or sculptures with repetitive forms that he extends with the artistic process of chance. The base is made of several wooden bars that he puts in movement before the glue freezes them in their final position.
\nClose to\u00a0Ready-made<\/em>, Tobias Sch\u00e4fer recycles everything, his own forms as well as parts of vintage or antique pieces of furniture. Old pieces of furniture represent for Tobias sch\u00e4fer an amazing experimentation space, where he can finally release the item of its serie as well as of its function.<\/p>\n

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