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Design

  • A Decade of Country Hits
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    A Decade of Country Hits

    +++Art on the Rural Frontier+++

    +++Edited by Margo Handwerker | Foreword by Richard Saxton+++

    ISBN

    978-94-90322-40-3

    Graphic designer

    Peter de Kan

    Number of pages

    544

    Book size

    17 x 23 cm

    Binding

    Bound with open spine

    1304 grms 

    English

    Release date: Spring 2014 

    For more information also see: www.richardsaxton.org www.M12studio.org

    +++

    Art has its Billboard charts. They focus mostly on artists and exhibitions in urban centers. A Decade of Country Hits is devoted to uncharted hits thriving instead on rural aesthetics and rural knowledge. 

    This richly illustrated volume documents ten years of collective works initiated by artist Richard Saxton in rural communities around the world, from the American Midwest and Southwest to parts of Europe, Australia, and South America. Impossible to attribute to any one artistic genre, the works archived here explore a growing community of artists and researchers drawn to the rural experience in all its complexity. It resembles a sketchbook: with drawings, photographs, and from the hip accounts in the field, as well as contributions from likeminded artists, musicians, poets, and writers. 

    With contributions by:

    A Decade of Country Hits includes an international roster of contributors. 

    It contains interviews with Todd Bockley, co-director of the Center for Social Sculpture; Twink Metzler, founder of Living Room Studios; architectural historian Robert Nauman; and Wapke Feenstra, artist and co-founder of Myvillages. Featured throughout are new collaborations with Zach Boddicker, singer and songwriter for 4H Royalty; Kurt Wagner, singer and songwriter for Lambchop; and Matthew Fluharty, director of Art of the Rural. Providing context for the work are essays by artist Stuart Hyatt, founder of TEAM Records; as well as essays by critics and writers Josh Garrett-Davis, author of Ghost Dances: Proving Up on the Great Plains; Mimi Zeiger, author of New Museums: Contemporary Museum Architecture Around the World, Tiny Houses, and Micro Green; and Enrique Ramirez, whose writing has appeared in Perspecta, Thresholds, AA Files, and elsewhere.

    In addition are essays by award-winning artists Marjetica Potrc, Chris Sauter, and Fernando García-Dory, founder of A Shepherds School; as well as essays by curators, Ian Hunter, director of the LITTORAL Arts Trust; Marco Marcon, co-founder of International Art Space, and Kirsten Stoltz, programming director of the M12 Collective. The M12 Collective's recent exhibitions and commissioned works have appeared at the Kalmar Konstmuseum; the 13th International Venice Architecture Biennale; the Chicago Cultural Center, Franklin Street Works; the Wormfarm Institute; the 2011 Australian Biennial spaced: art out of place; and the 2010 Biennial of the Americas. 

    Edited by:

    A Decade of Country Hits is edited by Margo Handwerker and Richard Saxton. 

    Margo Handwerker is a Critical Studies Lecturer in the Department of Architecture & Urban Design at the University of California, Los Angeles. She has co-curated exhibitions at the Museum of Fine Arts, Houston and the NAiM/Bureau Europa. Her writing has appeared in the Journal of Architectural Education, Art Lies: A Contemporary Art Quarterly, Abitare, Volume, and Pidgin Magazine; as well as in exhibition catalogues for Everything Loose Will Landspaced: art out of place, and Nobody's Property: Art, Land, Space, 2000–2010

    Richard Saxton is a visual artist and educator currently living in Colorado, where he is an Associate Professor in the Department of Art & Art History at the University of Colorado Boulder. He is the founder and creative director of the M12 Collective, an interdisciplinary group that creates and supports experiential projects exploring the value of rural communities and their surrounding landscapes.  

    €35.00

  • Atlas Haarlem Oost
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    Atlas Haarlem Oost

    +++Artistiek onderzoek als aanjager voor stedelijke vernieuwing+++

    +++Marjolijn Boterenbrood, Renée Borgonjen [eds]+++

    ISBN

    978-90-5973-119-6 [episode]

    Graphic designer

    Joseph Plateau Grafisch Ontwerpers

    Number of pages

    160

    Book size

    30 x 24

    Binding

    Paperback & DVD

    Only available in Dutch

    For more information about this book and project, see: www.kijkennaarhaarlemoost.nl

    +++

    Local politicians asked Dutch artist Marjolijn Boterenbrood to go to Haarlem Oost,  for a long time a neglected industrial area of the City of Haarlem, on the east of the river 't Spaarne. The message was to to reveal and cartograph the unknown and under valued realities of daily life and work on the spot. Boterenbrood asked other artists and architects as well to participate in this very original city project (website-exhibition-atlas) which in the end provided new knowledge en information about this area which could inspire future planning activities.

    Please note: this publication is only available in Dutch.

    €25.00

  • Celebrating Patterns. Christie van der Haak
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    Celebrating Patterns. Christie van der Haak

    ++++++

    +++Christie van der Haak, Eleonoor Jap Sam, Studio Renate Boere [eds]+++

    ISBN

    978-94-92852-52-6

    Graphic designer

    Studio Renate Boere

    Number of pages

    288

    Book size

    31,2 x 24,3 cm

    Binding

    Softcover

    Translation

    Marie Louise Schoondergang

    Texts

    Arthur Crucq, Jeannine Hövelings, Yvonne Oordijk & Philip Peters

    Copy editing

    Ronja Driessen, Eleonoor Jap Sam, Marie Louise Schoondergang

    Final editor

    Eleonoor Jap Sam

    Print

    Graphius Group Ghent, (BE)


    Release date: January 2022

    English Dutch

    This publication is published by Jap Sam Books and made possible by Jaap Harten fonds, Prins Bernhard Cultuurfonds/Elisabeth Vermaat Müller, Stimuleringsfonds Creative Industrie & Stedelijk Museum Kampen.

    For more information about the artist/designer: www.christievanderhaak.nl

    Currently her exhibition Christie van der Haak Nouveau Deco. Every Pattern Has a Meaning is on show until January 30th 2022 at Stedelijk Museum Kampen: www.stedelijkmuseumkampen.nl

    +++

    "I want the work to simultaneously dazzle and be insightful. In the final instance I think if ut as a multidimensional celebration of human existence and the infinite possibilities it offers, prompted by the motto 'Everything has a soul.'"

    - Christie van der Haak

    Celebrating patterns. Christie van der Haak is a sequel to the award-winning publication Sproken | Fairy Tales. Christie van der Haak published by Jap Sam Books and Stroom Den Haag and contains over 200 original patterns.

    Celebrating Patterns. Christie van der Haak contains a collection of patterns by Dutch designer and visual artist Christie van der Haak. Van der Haak started her career as a painter and later began designing fabrics that can function as autonomous artworks, but can also be used as upholstery, wall coverings and tablecloths. This publication includes an overview of her recent commissions, installations, and exhibitions, such as Stedelijk Museum Kampen (NL), Kunstmuseum Den Haag (NL), Museum De Lakenhal (NL), Kasteel Helmond (NL), The Wolfsonian Museum (US), and many more.

    "My patterns are nothing more than a representation, a reflection of the entire world in the broadest sense of the word. Each pattern is a particle of a particle of the infinite whole that cannot be depicted, but van be further contemplated."

    - Christie van der Haak

    €30.00

  • Christie van der Haak. Sproken | Fairy Tales
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    Christie van der Haak. Sproken | Fairy Tales

    +++ +++

    +++Edited by Jane Huldman, Philip Peters | Concept and image editing by Studio Renate Boere | With text contributions by Christie van der Haak, Eline van der Haak, Philip Peters, Anke Roder, Arno van Roosmalen, Nicole Roepers, Wilma Sütö+++

    ISBN

    ISBN 978-94-90322-60-1

    Graphic designer

    Studio Renate Boere

    Number of pages

    416

    Book size

    31,5 x 24,5 cm

    Binding

    Hardcover

    Dutch | English

    Translators: Marie Louise Schoondergang, Ulrica Yland, Willem Kramer

    This publication is published by Jap Sam Books and Stroom Den Haag

    This publication was made possible by the Mondriaan Fund, the City of The Hague, and Drukkerij Roelofs.

    For more information about Christie van der Haak: http://www.christievanderhaak.nl/

    Date of Release: November 2015

    AWARDED: SILVER EUROPEAN DESIGN AWARD 2016 for Studio Renate Boere

    +++

    This book documents 35 years of works by artist Christie van der Haak, who was awarded with the 2015 Ouborg Award. Originally a painter, Van der Haak moved on to designing fabrics deployed both as autonomous artworks and upholstery, wall coverings, table-cloths and the like. While operating in the field of tension between art and design these categories carry little meaning to her.

    'Everything has structure', she says, as well as 'Everything has a soul'. Recently she has been transforming spaces such as museum rooms into places with a different meaning, always employing her characteristic vocabulary of exuberant, dazzling colours and complex ever changing patterns in a multitude of both two and three dimensional objects.

    Her work is like a fairy tale, charming, seductive, beautiful even, but never without more profound hidden layers of meaning , drawing on (art) history, mythology, contemporary social issues and generally everything she encounters in life.

    €30.00

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  • CUBIC JOURNAL issue #1 DESIGN SOCIAL
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    CUBIC JOURNAL issue #1 DESIGN SOCIAL

    +++Technology - Activism - Anti-Social+++

    +++Gerhard Bruyns & Peter Hasdell [eds.]+++

    ISBN

    978-94-92852-05-2

    Graphic designer

    Gabrielle Lai and Markus Wernli

    Number of pages

    216

    Book size

    20 x 26.5 cm / 7.87 x 10.43 inch

    Binding

    Paperback

    English

    Copy editor: Shannon Ross - Make No Bones Studio, Hong Kong

    Release date: Spring/Summer 2018

    ISSN 2589-7090 (print) ISSN 2589-7101 (online)

    Published in cooperation with The Hong Kong Polytechnic University, Environmental & Interior Design, School of Design. Published with the support of The School of Design, The Hong Kong Polytechnic University and The Cubic Research Network.

    Cubic Journal is published in conjunction with Cubic Society and the Cubic Research Network as an academic platform aimed at the dissemination of design related research. Operating from within The  Hong Kong Polytechnic University's School of Design, the platforms aims to draw together global scholars in order to generate, exchange and discuss contemporary questions within the pursuit of advancing knowledge through and within a number of design disciplines.

    www.cubicjournal.org

    +++

    The inaugural issue of Cubic Journal questions the conditions of design-social in a wide range of different disciplines, groups,and stakeholders,in dynamic communities of practice that can lead design beyond its mere capabilities of synthesis into new forms of a social design praxis,whereby design is co-dependent on synthesis as well as analytic practices.

    The emergence of social media and the networked society, as exemplified by (but not limited to) the Internet of things, generates enormous potentialsthat reposition design as a means to synthesise emerging social complexities into new constellations. These have the capacity to foster new social forms and social design as a knowledge field in its own right.

    One of the ways design in this context becomes reconfigured is as the dynamic interconnections betweenpeople, practices and artefacts, in which the interactions lead to relational rather than objectified forms of design. Such approaches tend to be process driven rather than outcome based and activate design’s potential within both knowledge generation and knowledge transfer processes - that can be understood as ‘information’ or as design before design and design after design. Often misconstrued as purely a design approach, participatory design is,in fact,a rigorous research methodology involving a complex system of knowledge generation and co-design processes where the interactions of people, design artefacts, technologies, practices (activism) and knowledge, steers a course between participants’ tacit knowledge and the designer-researchers’analytical or technical knowledge. Design in this context is a complex mesh of tangible and intangible factors, (anti) socialforms and networks, information, contexts,and people, able to frame design processes and praxis that are adaptable for inter-disciplinary collaboration (horizontal); and for user and designer collaboration (vertical).

    Contributors to this issue include: Arie Graafland, Khaya Mchunu & Kim Berman, Gerhard Bruyns, Kacey Wong, Luke Tipene, Patrick Healy, Simone AbudMaliq Simone, Marko Stanojevic, Peter Hasdell, Jamie, Hanna Wirmanand Lukáš Likavčan.

     

    €25.00

  • CUBIC JOURNAL issue #2  Gender in Design
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    CUBIC JOURNAL issue #2 Gender in Design

    +++The GREAT small: Gender Design / Other - Different - Wilfull+++

    +++ Hanna Wirman & Uta Brandes [eds.]+++

    ISBN

    978-94-92852-09-0

    Graphic designer

    Gabrielle Lai and Markus Wernli

    Number of pages

    120

    Book size

    20 x 26.5 cm / 7.87 x 10.43 inch

    Binding

    Paperback

    English

    Copy editor: Shannon Ross - Make No Bones Studio, Hong Kong

    Release date: Spring/Summer 2019

    ISSN 2589-7090 (print) ISSN 2589-7101 (online)

    Published in cooperation with The Hong Kong Polytechnic University, Environmental & Interior Design, School of Design. Published with the support of The School of Design, The Hong Kong Polytechnic University and The Cubic Research Network.

    Cubic Journal is published in conjunction with Cubic Society and the Cubic Research Network as an academic platform aimed at the dissemination of design related research. Operating from within The  Hong Kong Polytechnic University's School of Design, the platforms aims to draw together global scholars in order to generate, exchange and discuss contemporary questions within the pursuit of advancing knowledge through and within a number of design disciplines.

    www.cubicjournal.org

    +++ 

    Contributors to Cubic Journal issue #2 include: Katja Becker, Uta Brandes, Gerhard Bruyns, Leon Buker, Luisa Maria Calabrese, Tanja Godlewsky, Sugandha Gupta, Claudia Herling, Akkelies Van Nes, Sandy Ng, Hanna Wirman.

    Following Beauvoir, Butler, Barad, and numerous thinkers before and after, we concur that gender is constantly constructed through the regulated repetition of acts. Here we accept the role that both design and design practice have in creating gender(s). Designed products are both the results and the material processes of constructing gender as individuals and as socio-cultural notions. As such, they are not separate entities that would merely incarnate some pre-existing conceptions. Furthermore, intersectionality allows us to consider how ethnicity, class, and regional identities, such as those best addressed through a postcolonial framework, earmarks ‘gender in design’ as a positively messy and dynamic topic. Finally, as an acknowledgement of the ‘other’ genders involved, it is hoped that an expanded discussion will further address queer identities and design concerns specific to LGBTQI creators and audiences.

    The debate here commences from the valuable yet at times difficult discussions held at The GREAT small: Gender Design Conferenceco-organised by the issue editors at the Hong Kong Polytechnic University in 2014. Gender in Design within ‘the mind’ or as a ‘discussion’, as already implied by design, is often the work of wilful subjectswhere obedience, dismissal, moral law, and negative emotions meet in face of injustices.

    Issue 2 critically and analytically problematisesgender, its questions, and its appropriateness in relation to design. The interest here is centred on the question of ‘how’ genders are present and constructed through conflicts, gender fluidity, and manners of interpreting design approaches and problems. We further ask, ‘how’ the multitude of genders contributes to shaping the disciplinary course or reframes their understandings? Has the question of gender become a burden or catalyst for designers? What is the future that design should be looking at when considering gender?

     

    €25.00

  • CUBIC JOURNAL issue #3 DESIGN MAKING
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    CUBIC JOURNAL issue #3 DESIGN MAKING

    +++The Values Had, The Object Made, The Value Had | Practice . Making . Praxis+++

    +++Daniel Keith Elkin, James Stevens[eds.]+++

    ISBN

    978-94-92852-10-6

    Graphic designer

    Gabrielle Lai and Daniel Echeverri

    Number of pages

    216

    Book size

    20 x 26.5 cm / 7.87 x 10.43 inch

    Binding

    Paperback

    English

    Copy editor: Khokela K. A. Daula

    Release date: Spring/Summer 2020

    ISSN 2589-7090 (print) ISSN 2589-7101 (online)

    Published in cooperation with The Hong Kong Polytechnic University, Environmental & Interior Design, School of Design.Published with the support of The School of Design, The Hong Kong Polytechnic University and The Cubic Research Network.

    Cubic Journal is published in conjunction with Cubic Society and the Cubic Research Network as an academic platform aimed at the dissemination of design related research. Operating from within The  Hong Kong Polytechnic University's School of Design, the platforms aims to draw together global scholars in order to generate, exchange and discuss contemporary questions within the pursuit of advancing knowledge through and within a number of design disciplines.

    www.cubicjournal.org


    +++

    'This issue of Cubic Journal concerns making, and the value-structures connected to the premise, before and after execution. Fifteen authors and constituent research teams present their work in manifested design research here. In this work, physical, semi-physical, and transitionally physical embodiments of objects, spaces, and prototypical design conjectures are part and parcel of the researchers’ progress. Embodiment neither preempts, nor follows their work, but is essentially the substance of research itself within these manuscripts. The editors collected this work as status-taking for a broad range of creative and scholarly enterprises in several regions of the world. European, Southeast Asian, and American authors in architectural and product design fields provide perspectives on making-centric design research, across manual, digital, post-digital, and post-consumer spectra
    of fabrication. But as an assemblage, these works are more than a catalogue. They prompt retrospective thought on the values held, and the value given, by these authors’ conjectural experiments in material form.' - from the introduction by the editors

    As the twenty-first century moves forward, technological changes re-propose the act ofmaking, the actualization of design agency, in different contexts. New notions of craft redefine movement from desire to reality as continuous and decentralized in the assignation of value. The liquidity of the archive of things-about-to-be and things which will only ephemerally be define a new schema of what it means to makeat all and limits of this boundary ask profound questions about the value of bodily experience. Within and without technological advancements, design makingimposes demands upon design praxis in both disciplinary and professional contexts. The adjoining of the two words implies distinction from centrist practice where the immediacy of making is absent. What are the starting biases privileging this immediacy? In most cases, the value structures are indelible or internal. In practice and pedagogy, clients and young designers each wonder why design-makers insist upon expensive and time-consuming processes moving objects from desire to actualisation. In the process, designers become something between and otherfromnormative practitioners and fabricators, articulating a definition of what design-makers uniquely contribute. But theirs is a difficult path to justify. How do design-makers continue, and what do they, and the society around them, gain through their work?

    Contributors to this issue include: Daniel Keith Elkin, James Stevens (editors), David Schafer, Sara Codarin, Lee Y.H. Brian, Guan Lee, Daniel Widrig, Philippe Casens, Nathalie Bruyère, Kuo Jze Yi, Eddie Chan, Fernando Bales, Elise Dechard, Daniel Echeverri.

     

    €25.00

  • CUBIC JOURNAL issue #4 Design Education
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    CUBIC JOURNAL issue #4 Design Education

    +++Pedagogy - Critique - Transformation+++

    +++Jae-Eun Oh & Francesco Zurlo [eds.]+++

    ISBN

    978-94-92852-28-1

    Graphic designer

    Daniel Echeverri

    Number of pages

    128

    Book size

    20 x 26.5 cm

    Binding

    Softcover

    English

    Release date: Fall 2021

    Copy editor: Nora Yong

    Published in cooperation with The Hong Kong Polytechnic University, Environmental & Interior Design, School of Design. Published with the support of The School of Design, The Hong Kong Polytechnic University and The Cubic Research Network.

    Cubic Journal is a peer-reviewed journal, published in conjunction with Cubic Society and the Cubic Research Network as an academic platform aimed at the dissemination of design-related research.

    Operating from within The Hong Kong Polytechnic University School of Design, the platforms aims to draw together global scholars in order to generate, exchange and discuss contemporary questions within the pursuit of advancing knowledge through and within a number of design disciplines.

    How can technological development today help studio-based learning take place in virtual space? Can technologies transform and reform design education? Can online learning replace face-to-face tutorials across different disciplines within design education? And how should design educators adapt to the new direction this era is facing?

    How has technology empowered us, and what has it taken away from us? What has it done to enhance our learning and teaching methodologies? How are teachers using technology to guide students in their teaching and learning experience? How can we help students engage in meaningful learning? How has technology transformed our education scenes, and how might it affect our education scene in the future? How can design deal with the dematerialization of education? How does design education change in contextual settings? How can educators help students become more aware of these changes, specifically in design education? How do we educate our students with the mindset of transformation and reformation? To get answers to these questions the editors of this issue compiled contributions from a wide range of design educational sectors.

    www.cubicjournal.org 

    +++

    €25.00

  • Demystified
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    Demystified

    €33.00

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    Demystified

    +++The European Ceramic Workcentre as Centre of Excellence+++

    +++Nick Renshaw+++

    ISBN

    978-94-90322-71-7

    Graphic designer

    Montse Hernández i Sala

    Number of pages

    300

    Book size

    17 x 24 cm

    Binding

    Softcover

    English

    Date of release: March 2017

    This publication is supported by the Creative Industries Fund NL, Stichting van Achterbergh Domhof, and EKWC.

    +++

    The European Ceramic Workcentre (EKWC) is regarded widely as a world-leading organisation. A world-leader through its work as artist in residence centre where practice using the ceramic material is hosted, and a world-leader through its work as institution where the innovative use of this material in all areas of design and the visual arts is promoted. Though carrying an intrinsically global reach it is an institution rooted deeply in the very unique cultural history of the Netherlands, a fundamental factor in any discussion of its behaviour and one that is emphasised appropriately in this study.

    The high regard with which the EKWC is appreciated is recognised throughout the wider visual arts, across borders as well as much further afield. By the thousands of individuals who have either already passed through its doors as temporary, invited or guest residents or by the many who remain eager to do so in future. By a wide range of related organisations, either other residence centres, art academies, individual ceramic studios, conference administrations, biennials or symposia that see the EKWC as the role model on which to base their own practice. And by theoreticians, critics, journalists and politicians who have each come to recognise the leading position of the EKWC and its lasting theoretical impact in countless articles, journals, reports, catalogues and all manner of other published material.

    That the centre may be regarded so highly within just one of these groups would make it worthy of further attention. That it is acknowledged equally significantly across multiple fields makes it clearly a special case indeed. In keeping with an organisation so highly regarded an extensive degree of documentation exists which recognises the work undertaken by this centre. What though is apparent throughout this recognition is that it has remained by and large precisely that. A recognition of the Centre's standing rather than the offering of a clear understanding into the reasoning behind its success.

    Demystified: The European Ceramic Workcentre as Centre of Excellence deciphers for the first time the specific and fundamental reasoning for the successes behind this world leader. It describes the complex system of operation that exists throughout the entire organisation, a system that has matured and been refined over the course of the previous four decades. It explains how such an ideal working environment has developed, why this is unique to the EKWC, and why such excellence in practice is difficult to find in other related organisations around the world.

    Rather than focus attention on the already documented, innumerable results and artefacts of countless collaborations and working partnerships over previous decades, this survey describes with text and a comprehensive image base how it is that such results have been achieved. It explains how the nature of this work is influenced by prevailing circumstances and decision-making, be they of a logistical, directorial or theoretical nature. It is a demystification of previously unidentified interrelationships which explains how the interactive nature of an organisation such as the EKWC impacts on those working within it, and subsequently how it influences a much wider community outside.

    This study can be seen as important and of interest to a potentially wide and eclectic audience both within and outside the visual arts, ceramic and design fields. To artists, ceramists, designers as well as other individuals in the art world who are able to understand the practical relevance for application to their own activity. To those either already involved in or who wish to take part in the artist in residence field. To other organisations across the wider visual arts, design and ceramic fields who could use the identified system in place at the EKWC as basis for their own future development. To universities and art and design academies who could apply aspects of the Centre's successful operation to their own institutions. And to potentially countless organisations outside the visual arts whose practice may at first seem unrelated but who could use the excellence of practice supported by the EKWC as a model from which to develop similar innovative behavior within their own organisations.    

    About the author

    Visual artist and researcher Nick Renshaw (PhD) maintains studios in Amsterdam, the Netherlands and in Xiamen, southern China. His doctoral research into the field of international ceramic art residencies, entitled 'The European Ceramic Workcentre as Successful Model: Evaluating the Standing, Nature and Potential for Practice in Ceramic Art Residencies', was an Arts and Humanities Research Council (AHRC) supported collaboration with the University of Sunderland (UoS) in the United Kingdom. This research was borne from Renshaw's extensive work with institutions working in the field of ceramic and art residence activity over the previous two decades, particularly so with regard to the European Ceramic Workcentre in the Netherlands. 

    His previous studies include an MA through the Sandberg Instituut in Amsterdam, the Netherlands, during which time he also studied at Pratt Institute in Brooklyn, the United States. His undergraduate studies included a BA with Cum Laude from the Gerrit Rietveld Academie in Amsterdam, the Netherlands, as well as a BA from Manchester Polytechnic in Manchester, the United Kingdom. While at Manchester he also studied at the world-renowned New York State College of Ceramics and Glass at Alfred University in the United States.

    Renshaw's sculptures and works as visual artist have been exhibited, collected and commissioned worldwide through independent galleries, museums and a range of public spaces. Recent presentations and commissions include: Clay! One Hundred Years Ceramics at the Gerrit Rietveld Academie at the Gemeentemuseum Den Haag; Fifteen Year Anniversary exhibition at the Chinese European Art Center (CEAC), Xiamen, P.R China; Six McKnight Artists at the Northern Clay Center, Minneapolis, USA; Other Origins at Galerie De Witte Voet in Amsterdam; Rolling Snowball III at the Redtory Art + Design Factory in Guangzhou, P.R China; and Sitting/Standing for the new city hall of Ouderkerk aan de Amstel in the Netherlands.

    Renshaw's visual arts practice draws on myriad references, both historical and contemporary. His sculptures are reminiscent of the archaeological finds, pre-historic images, and ancient iconography of his upbringing in the historic city of York in England, as well as being depictions and representations of imagery referencing issues of current cultural concern. 

    He is currently teaching at Xiamen University in the south of China, and part of a new body of works entitled Tong An can currently be seen at the British Centre in the IFC Tower in Guangzhou and was recently presented in the exhibition Boundless Material at Kui Yuan Gallery, also in Guangzhou.

    €33.00

  • Doorgeschoten | Bolted
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    Doorgeschoten | Bolted

    +++ +++

    +++Maarten Kolk+++

    ISBN

    978-90-5973-069-4 [episode]

    Graphic designer

    Janet Witte & Maarten Kolk

    Number of pages

    184

    Book size

    18 x 23

    Binding

    Paperback

    English | Dutch

    +++

    Designer Maarten Kolk took the initiative for this publication during the completion of his graduation project at Design Academy Eindhoven. The concept for this publication arose from his fascination with vegetable gardens and the conviction that common everyday things are all too often taken for granted. People eat vegetables every day, but many of them are ignorant of the origin and growth of vegetable plants.

    For his publication Bolted, Kolk simply let himself be guided by the daily goings-on in his vegetable garden. He observed what happened, and wrote down his findings, registering bolting vegetables with a designer's eye. Proceeding from this conceptual line of approach, he highlighted the unexpected hidden splendour of vegetables and the extraordinary colours and shapes of bolted vegetables. The result is an exceptional photo document containing intriguing images. 

    €23.50

  • Éric Van Hove - Fenduq
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    Éric Van Hove - Fenduq

    +++ +++

    +++Eelco van der Lingen [ed.]+++

    ISBN

    978-94-92852-11-3

    Graphic design

    Studio Janneke Hendriks

    Number of pages

    172

    Book size

    16 x 24 cm 

    Binding

    paperback 

    Release date: Spring 2019

    English / Dutch

    Final editor: Sanneke Huisman

    Translators: Michael Meert, Julienne Peeters-Huybrechts

    Published in cooperation with the Fries Museum, Leeuwarden

    +++

    With text contributions by Robin van den Akker, Kris Callens, Tarek El-Ariss, Telco van der Lingen, Ugochukwu-Smooth C. Nzewi, Timotheus Vermeulen.

     Éric Van Hove (Algeria, 1975) researches the relevance of local crafts in a highly globalised world economy. He does this by reproducing industrial products together with craftsmen.

    In Van Hove’s work, the local and the global come together and handicrafts are placed in a contemporary context. His oeuvre stimulates a re-evaluation of handiwork and craftsmanship and links tradition to innovation.

    This publication is published by Jap Sam Books in cooperation the Fries Museum to accompany the exhibition 'Éric Van Hove - Fenduq', February 2019 - January 2020. 

    ‘Éric Van Hove has developed a cosmopolitan consciousness that is markedly evidenced in his artistic practice. He works in multiple genres and with a range of media including installation, performance, writing, photography, video and sculpture. He has visited more than 150 countries and has created challenging works in situ in over 100 of them. His creative practice, intellectual pursuits, and deep engagement with some of the compelling issues of today - such as climate change, social inequality, capitalism, political dogma, and intolerance - reflects a socially conscious artist who has his fingers on the pulse of our contemporary times.’ - Ugochukwu-Smooth C. Nzewi

    ‘The Fries Museum will house artist Éric Van Hove’s exhibition ‘Fenduq’ for one year. The impact of this magnificent project will continue to be felt for a  long time in the province of Friesland. Van Hove offers us a look at the world that seem far away, worlds full of traditional crafts. At the same time, his work also engages with the here and now. It speaks of how we relate to the world and how our identity is shaped and influenced. This book is the lasting memory of this key moment.’ - Kris Callens, director Fries Museum

    ‘Van Hove’s work invites us to consider a model of development that refuses to be interpolated by the binaries of backward/advanced, tradition/modernity, heart/engine, pre-industrial/industrial, and the bricoleur/engineer. His Fenduq is a startup building of modern production and craftsmanship at the same time, erasing the ideological boundaries constitutive of the narrative of progress imagined by colonial and neoliberal discourse.’ - Tarek El-Ariss

    €22.50

  • Francine Broos. Interior Architect
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    v

    Francine Broos. Interior Architect

    +++ +++

    +++Eleonoor Jap Sam [text], Peter Kooijman [photography]+++

    ISBN

    978-90-5973-074-8 [episode]

    Graphic designer

    2D Studio

    Number of pages

    176

    Book size

    29,5 x 29,5

    Binding

    Hardcover

    English / Dutch

    +++

    “I see the interior design of a dwelling as tailor-made work. Each space, each environment, and each client is unique. I am not satisfied until I have laid the foundation for an environment that suits its occupants; a space that people can imbue with their own soul and identity.” – Interior architect Francine Broos

    The time is right for this magnificently produced, large-format book on internationally revered Dutch interior architect Francine Broos. In an era when modernist interiors are often criticized for being cold or stark, Broos has found a personal style that astutely mixes natural wood, earthy stone and other warming elements with classic white surfaces and iconic mid-century furniture. Her environments invite the outside in, using windows and perfectly framed views to calm the hard surfaces and create a feeling of tranquility. Never monotonous or cathedral-like, these spaces – beautiful as they may be – are clearly for living. Photographer Peter Kooijman captures the warmth and elegance of Broos' designs in sections featuring living, working, live/work and bathing interiors. Whether Kooijman is shooting an entire room or a telling detail, he finds the poetry in Broos' work. The reader can see the inspiration of designers like Frank Lloyd Wright, Le Corbusier, Tadao Ando, Eileen Gray and Philippe Starck in these timeless spaces. This 176 page volume focuses on select projects by Broos since 1983, both in her native Netherlands and internationally.

    €59.50