Showroom Limburg 2018

With 41 designs, Showroom Limburg 2018 presents a peek into the contemporary creative sector in the province. The term “Limburg” has been interpreted broadly for this exhibition. Work by designers who were born and/or raised or currently live or work in the province are on display. Edition 2018: 3 march until 3 june 2018.

The exhibition in Cube design museum consists of four components:

Showroom Limburg 2018 is part of a series of exhibitions and activities in which Cube gives a view on the design practice in the regional manufacturing industry and the trends visible therein.

Tickets

Various

In Various a broad spectrum of consumer products is on display: industrial design, mobility, interior design, furniture, jewellery, and fashion. As example: The hanging lamps from the New Found Treasures collection are made of silver coated glass bottles recovered from used thermos flasks. They heated the bottles in an oven, which gave the thin glass a pearly colour.

New Found TreasuresKlaas Kuiken and Dieter Volkers’ collaboration is based on their mutual interest in everyday, seemingly worthless objects. They experiment and research, always focusing on finding a new function and value for their new-found treasures.

Klaas Kuiken (Sneek, 1984) graduated from ArtEZ in Arnhem in 2010. His work was exhibited during events such as the Beijing Design Week, the London Fashion Week, ICFF New York, and the Salone del Mobile Milan. His biggest source of inspiration is the TV show How It’s Made on the Discovery Channel.

Dieter Volkers (Maastricht, 1983) also graduated from ArtEZ in Arnhem in 2010 and exhibited his designs during the Beijing Design Week, Dutch Design Week, Salone del Mobile Milan and Design Days in Paris. His work focuses on everyday products and actions.

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International

International presents three striking examples of designers and companies from Limburg who have gained international fame with their products. As example: The LS Desk has the same voluptuous shapes as the Cinderella, the table made of 57 layers of birch plywood, with which Jeroen Verhoeven graduated from the Design Academy in Eindhoven in 2005 and which was bought by the Museum of Modern Art in New York two years later.

LS Desk. Foto: DemakersvanInstead of plywood, the Lectori Salutem table of 2011, in short the LS Desk, is made up of hundreds of sheets of stainless steel. The plates each have a different curved shape and were manufactured in Europe with industrial moulds. The table was assembled in India, where Demakersvan has had its own factory for ten years.

Because of the contrast between the inflexible material and the flowing shapes, polished steel creates the perfect appearance of the LS Desk. It is not self-evident for this material to take on these flowing forms. This is emphasized by the layered structure of the table: the appearance tells the story behind its development. According to Jeroen Verhoeven, the shiny perfection of the end result symbolizes the perfect balance within the design trio during the creative process.

The twins Jeroen Verhoeven and Joep Verhoeven (Tegelen, 1976) and Judith de Graauw (Oss, 1976) have been among the most successful designers in the Netherlands since their graduation, not least because of their unorthodox way of working. De Graauw: “Having ideas is the easy part. Implementing those ideas costs energy. We would never be happy if we only had to design things that are easy to produce.”

System

Designs in which the designer raises questions about contemporary design practice can be seen in System. How unique is a ballpoint pen that was produced by the thousands? Who is the spiritual owner of an open source software-based 3D printed lamp? What requirements must an easy to recycle design meet? As example: Recolored van Jessica den Hartog.

RecoloredShould designers consider the best recycling methods when designing a new product? Jessica den Hartog feels that the use of materials and colours during the manufacturing process needs to change. Recolored is her personal interpretation of the recycling possibilities for plastic, a material with its own quality and identity.

Fuelled by a fascination with plastic and the lack of aesthetics in plastic recycling, Den Hartog researched those possibilities. Her research is presented here as a colour and material library. It is a never-ending process which displays all the possibilities of recycled plastic, and which supplies herself and others with aesthetic materials made of trash.

Den Hartog sorted, washed, and recycled a bale of HDPE by hand. That allowed her to push the limits of what is useable, and to experiment with the development of new materials. It provided her with techniques and knowledge to follow new paths.

Jessica den Hartog (Schoorewoerd, 1992) graduated from the Art Academy in Maastricht in 2017. She deliberately chose a different working method, beginning with experimenting with existing materials and colours and striving to give them a better second life

Material

Based on three end-products and various test products from during the research phase, Material gives you an idea of the sometimes extremely labour-intensive production process. As example: Raku by Sandra Jansen. With this tea set, Sandra Jansen puts a twist on a traditional ceramic stoking method used in Japan as early as the 16th century.

Raku 3.0By removing stoked ceramics from the oven while it is 1,000 degrees Celsius, the temperature shock to the glaze causes it to rapidly shrink. This causes fine surface cracking. When used, the tea stains the cracks a dark colour.

The process was renewed in American in the 19th century so that the lines already became visible during the heating process. The hot items are removed from the oven and put in sawdust, which causes them to burn. The smoke then stains the cracks, however also creates soot particles, making the cups unsuitable to drink from.

Sandra Jansen combined these two procedures to a create new Raku technique, whereby she places the still glowing items in tea, honey, caster sugar, and cocoa powder. Some of the test cups and the end product–a tea set–can be seen here. Because this technique does not produce soot particles, the ceramics are perfectly safe to drink from.

Sandra Janssen (Weert, 1991) studied at the Art Academy in Maastricht.

Colofon

  • Concept exposition: Gène Bertrand, Wouter van Dillen, Hans Gubbels
  • Advice and curation: Gene Bertrand
  • Design exhibition: Robin Gubbels design
  • Text editing: Bodosz
  • Translations: Cunningham text & translation, KAM3
  • Realisation: Cube design museum, Christiane Gronenberg (Bodosz)
  • Loans: Christiane Gronenberg (Bodosz), Vilja Bemelen
  • Photography objects: Nele Siebel
  • Photography exhibition: Ruud Balk & Noud de Greef
  • Graphic design catalog: Nadine vroomen

Thanks to: Adam Bialek, Anke Huyben, Annebeth Nies, Bas van Leeuwen & Mireille Meijs, Bastjan Otten & Camille de Vrede, Bregje Cox & Mark King, Diederik Schneemann, Dieter Volkers & Klaas Kuiken, Djillie Roes, Elleke de Vries, Ellen Truijen, Elwy Schutten, Erik Hoedemakers, Fabian Seibert, Fabian von Spreckelsen, Françoise Oostwegel, Frans Willigers, Jeroen Wand, Jessica den Hartog, Joep & Jeroen Verhoeven & Judith de Graauw, Jos Kranen & Johannes Gille, José Maase & Mireille Meijs, Karlyn Cornelia Bos, Leolux, Loet Gescher, Marco Iannicelli, Marjan Eggels, Martijn Koomen, Marlijn Quirijnen, Mathieu Bruls, Maurice Mentjens, Max Jungblut, Moniek Vierling, Mosa, Olivia Bertus, Patrick Belli, Peter Traag, Reonald Westerdijk, Rob Driessen, Juulke Brosky & Jacqueline Hoffman & Reonald Westerdijk & René Holten & Rob van Acker, Sandra Jansen, Sanne Gelissen, Theo Ploeg, Thomas Eurlings.