Capturing the zeitgeist of contemporary glass practice, the New Glass Now exhibition at the Corning Museum of Glass brings together work from 100 emerging and established talents across 32 nationalities. Exhibited pieces, ranging from large scale installations to delicate miniatures, were democratically selected based on an open call submissions process by a curatorial committee comprised of leading culture-makers and experts Aric Chen (Design Miami Curatorial Director), Susanne Jøker Johnsen (artist and head of exhibitions at the Royal Danish Academy of Fine Arts, Schools of Architecture, Design and Conservation, Denmark), and Beth Lipman (American artist). Susie J. Silbert (Corning Museum of Glass Curator of Modern and Contemporary Glass) headed up the jury and exhibition curation. Addressing relevant themes such as gender inequity and environmental degradation, the highly-curated exhibition reveals what glass can achieve through various expressive and conceptual interpretations, as well as new translations of age-old techniques like flameworking, glassblowing, and casting. Exhibition sections :in situ, :(infra)structures, :body politics, :embodied knowledge, :011001111 01101100 01110011, and :phenomena incorporate works that transcend disciplinary conventions. On view are sculptures, functional objects, photographs, videos, technological speculations, scientific experiments, architectural maquettes, and full-scale mockups. Through various strategic stagings, Silbert sought to establish sharp dialogues between different, seemingly unrelated, works. Fredrik Nielsen's "macho" I was here installation sits in the direct vicinity of Deborah Czeresko's emphatically feminist Meat Chandelier sculpture, a piece very similar to the final work she created during the Corning Museum of Glass-supported Netflix competition series Blown Away. Pieces such as Liquid Sunshine / I am a Pluviophile by Japanese artist Rui Sasaki reveals how glass can be implemented in expressing conceptual meaning, while Smokey Comet Installation I by Toots Zynsky challenges the perception of what the medium can physically achieve. The Bahá'í Temple of South America project by Jeff Goodman, and Crystal Houses (Chanel Flagship Store) by MVRDV showcase glass's potential in an architectural application. Reservoir by C. Matthew Szösz and Promise by Nadège Desgenétez demonstrate how far the material properties of glass can be pushed. Other notable artists, designers, and outright creatives represented in this comprehensive survey include Miya Ando, Atelier NL, Ans Bakker, the Bouroullec Brothers, Monica Bonvicini, Mathew Day Perez, Martino Gamper, Katherine Gray, Jochen Holz, Helen Le, Erwin Wurm, Dustin Yellin, Dafna Kaffeman, Bohyun Yoon, and Mark Zirpel. The main show is joined by New Glass Now | Context, an annex exhibit that explores the changing nature of glass-specific curation through the history of two past iterations of the New Glass exhibition series, in 1959 and 1979. Historic documentation, period-specific works, and related ephemera are displayed in the Corning Museum of Glass's Rakow Research Library and collectively reveal some clear differences in terms of method and focus but also socio-political and cultural influences.
Posts tagged with "Aric Chen":
Collectors, gallerists, designers, curators, and critics come to Design Miami/Basel from around the world to revel in some the most opulent and high-priced design. That being said, the fair isn't exactly known for its stance on sustainability, let alone efforts to be environmentally conscious. That is soon to change, beginning with the 14th edition of Design Miami/Basel from June 11-16. The newly appointed curatorial director, Aric Chen, has plans to not only to change the operations but also the content of the fair itself. By providing an overall curatorial vision for the show's topic driven large-scale exhibition, "Design at Large," Chen surveys topics related to environmental sustainability, resources and waste, and potential futures. AN Interior recently chatted with Chen about his new role, vision for the fair, and highlights from this year’s gallery program. AN Interior: Can you tell me more about Design Miami? What has been accomplished and what is your vision moving forward? Aric Chen: I'm really excited to be working with Design Miami/Basel. I've known and consider all the previous directors as friends: Ambra Meda, Marianne Goebl, and Rodman Primack. They've done such a great job establishing Design Miami as this really singular platform for collectible design. AN: What will you be doing? AC: What I'm doing is actually a new role that they've created. It's not the director or chief creative officer (which is what Primack was), it's the Curatorial Director. What they've asked me to do is focus on setting the tone. Read the full article on our interiors and design site, aninteriormag.com.
Architecture curator and former AN columnist Aric Chen has stepped down from his role as the lead curator for design and Architecture at M+ in Hong Kong’s West Kowloon Cultural District and has taken on the title of curator-at-large at the museum. In addition to M+, Chen will be focusing on other curatorial projects as well as teaching, including guest curating the 2018 Beazley Designs of the Year exhibition at London’s Design Museum, from his new base in Shanghai. M+, first proposed in 2007 but currently without a permanent home, is focused mainly on the visual culture of Asia, in a global context, throughout the 20th and 21st centuries. The museum’s collection includes a wide variety of pieces including paintings, architectural models, furniture, digital art, performance art, and more. Following an international design competition in 2013, Herzog & de Meuron were chosen to design M+’s permanent home in West Kowloon. The 700,000-square-foot waterfront museum will resemble a ceramic-and-glass-clad, upside down “T” once complete and will hold over 180,000 square feet of exhibition space, performance spaces, cafes, offices, three theaters, and a rooftop terrace. Construction has been fraught with delays, and there have been fears of cost overruns as the West Kowloon Cultural District Authority fired its main contractor earlier this month. While construction has been put on pause for six weeks as the authority searches for a replacement, the managing body has maintained that the museum will still open in 2020 as previously promised. Chen, who had served as M+’s lead curator since 2012, oversaw the formation of the museum’s design and architecture department and its acquisitions. He also led the establishment of the department’s programming and curatorial team. Chen also served as the first creative director for Beijing Design Week from 2010 to 2012. His online exhibition NEONSIGNS.HK, an interactive catalog of Hong Kong’s vibrant neon sign ecosystem, won Chen praise when it was released in 2013, and it won a Webby. Chen’s most recent book, Brazil Modern: The Rediscovery of Twentieth-Century Brazilian Furniture, is available now.
The Architect's Newspaper was saddened to hear of the untimely passing of designer Tobias Wong at age 35. Wong's friend and occasional collaborator Aric Chen captures Wong's influences, ideas, and legacy in this statement:
Through his work, Wong helped bring forth much of what is now taken for granted in contemporary culture. Influenced by Dada and, especially, Fluxus, he questioned authorship through appropriation; held a mirror to our desires and absurdities; upended the hierarchy between design and art, and the precious and the banal; and helped redefine collaboration and curation as creative practices. Working within what he termed a “paraconceptual” framework, Wong prompted a reevaluation of everything we thought we knew about design: its production, its psychological resonance, its aesthetic criteria, its means of distribution, its attachment to provenance, its contextualization and its manner of presentation. Wong was a keen observer, an original mind, a brilliant prankster, and an unerring friend. Wong’s work was widely exhibited, including at the Museum of Modern Art and Cooper-Hewitt National Design Museum. His many projects included those for Colette, Comme des Garcons, Prada/OMA, Cappellini and Swarovski Crystal Palace. In addition to the objects he created, re-created, repurposed, rarefied and otherwise manipulated, Wong’s work included events and happenings that included, among many others, a pop-up tattoo parlor at Art Basel Miami Beach/Design Miami and the Wrong Store, a "store" in New York that was in fact never open. (As with much of Wong’s work, both were collaborations.) Wong was named Young Designer of the Year by Wallpaper* magazine (2004) as well as the Brooklyn Museum of Art (2006). In 2008 and 2009, he served as founding co-creative director of 100% Design Shanghai, affiliated with the 100% Design fairs in London and Tokyo. Born and raised in Vancouver, Wong studied in Toronto before moving to New York in 1997 to attend the Cooper Union, from which he graduated with a major in sculpture. He is survived by his mother, stepfather, brother, partner and BFF.
Aric Chen (Man About Town), Christopher Hawthorne (LA TImes), Felix Burrichter (Pin Up Magazine)