“Emotional States” at London Design Biennale

The 2018 London Design Biennale that opened on September 4 consists of 40 countries, cities and territories. The biennale, which is on view through September 23, has diverse participants who bring their visions of the Biennale theme “Emotional States” to London.

After its success of the inaugural show in 2016, the second edition of the biennale gathers together the world’s most exciting and ambitious designers, innovators and cultural bodies. The works presented highlight the different ways how the artful conception affects and influences every aspect of our lives.

Renowned international museums and design institutions such as V&A; Cooper Hewitt, Smithsonian; Triennale, Milan; and Qatar Museums have curated the grand installations and exhibits.

Top installation picks from the biennale include, Flynn Talbot’s “Full Spectrum” for Australia. The work which centers on same-sex marriage in Australia allows visitors to touch and move through the rainbow colored light strands that hang from a freestanding structure.  Another interesting work is presented by the Indian pavilion titled “State of Indigo.” This looks at the dark history of indigo farming during the country’s colonial past and at the same time observes the present democratization of Indigo.

Greece’s Studio INI’s 17-meter long kinetic wall, “ANYΠAKOH (Disobedience)” challenges the perception of design and architecture as something static, or emotionally inert.  Whereas, Arthur Analts’ “Matter to Matter” for Latvia explores the instability of emotions and the ways in which nature erases the marks we leave on it. David Elia’s “Desmatamento” for Brazil, on the other hand, shares the beauty and emotional significance of the rainforest in Brazil, through printed wallpaper that recalls the Mata Atlantica rainforest.

In contrast “The Silent Room” for Lebanon by Nathalie Harb conceptualises the urban intervention and proposes an idea of disconnecting from the city’s hectic life. Likewise, Dundee’s “Shpeel,” aims to tackle the city’s growing mental health crisis due to the virtual technology.

In Turkey’s “housEmotion,” Tabanl?og?lu Architects investigates the dubious question of where we belong in an age of uncertain living. The pavilion features a semi-transparent structure, which seems to dissolve into the wider environment with illusionary walls. Lastly, Egypt’s “Modernist Indignation” mourns the loss of the country’s modernist architecture which is highlighted through the prism of the first Arabic design magazine, Al Emara. The pavilion presents a contemporary reinterpretation of a functional 1939 exhibition put on by the editors of Al Emara, which was published between 1939 and 1959.

 

For details please visit:  http://www.blouinartinfo.com/news/story/3249002/top-installations-at-the-2018-london-design-biennale

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Founder: Louise Blouin

 

 

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