PERMANENTE UDSTILLINGER

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1 HISTORY AND OBJECTIVES Designmuseum Danmark is one of Scandinavia s central exhibition forums for Danish and international industrial design, decorative and applied arts. The museum s collections, library and archives constitute a central resource centre for the study of design and its history in Denmark. The museum brings together and documents the contemporary developments within industrial design, decorative and applied arts. We must add to this the collection of exemplary works from older areas and periods, which are closely related to contemporary oeuvres. Designmuseum Danmark undertakes research into the history of art and design, taking as its point of departure the museum s own collections, and presents the results in exhibitions, publications and educational material etc. Designmuseum Danmark (originally named The Danish Museum of Decorative Arts) was founded in 1890 by the Industriforeningen i København (now Dansk Industri The Confederation of Danish Industries) and the Ny Carlsberg Museumslegat. The museum garden, The Grønnegård, is a public space and can be enjoyed by everyone during museum opening hours. In the summer it serves as the performance space for the Grønnegård Theatre s productions for children and adults. The museum café also have outdoor serving during the summer.

2 PERMANENTE UDSTILLINGER STANDING EXHIBITIONS Designmuseum Danmark disseminates central lines of development within the history of design. In the new exhibition of 20th century Danish applied arts and industrial design, the history of Danish design is seen in the light of the period s aesthetic discussions and social, technical and economic conditions. Around such central figures as Poul Henningsen, Kaare Klint and Arne Jacobsen, design and architecture are brought together in the museum s interpretation of the century s dreams and reality. The historical collections of European and Asiatic applied arts and decorative arts include major works within Chinese ceramics, French and German porcelain industries of the 18th century, and English and French furniture. In the informative displays, emphasis is put on the significance of these collections for developments in Denmark.

3 UTOPIAS AND REALITY Applied Arts and Design of the 20th Century The point of departure for the permanent exhibition comprises several of the dominant ideas and thoughts utopias which have been significant for mankind and society in the 20th century and are recognisable in design. This is the approach of the exhibition as regards such aspects as the early 20th century avantgarde design dream of a new and better world; functionalism s FDB furniture seen as a social tool, and the 1990s globalisation and visions of ecology and recycling. Represented in one large room is the story of speed and slowness and the aesthetics of what is made by hand and by machine in design throughout the entire 20th century. Other rooms are dedicated to great Danish designers such as Kaare Klint, Poul Henningsen, Arne Jacobsen and Verner Panton. The exhibition s many classics of Danish design are displayed in an international perspective by juxtaposition with design icons from other countries. The changing design tendencies are elucidated in context with developments in architecture and interior decoration.

4 CHINA AND JAPAN The Japanese collection contains primarily applied art from the 19th and 20th centuries unique pieces as well as anonymously-produced articles for everyday use. This is one of the results of a renewed European interest in Japan around the middle of the 19th century a consequence of the opening of country to the outside world in In addition there is a small but exclusive number of examples of applied art from the period before the opening of Japan: lacquer-work, porcelain, tea-dishes, two rare picture screens, and, not least, a superb collection of sword guards for the adornment of Samurai display swords. The collection of sword guards or sword adornments runs to almost 1700 examples and was assembled by Hugo Halberstadt, a doctor, from 1895 onwards. In 1940, the collection was donated to the Museum of Art and Design, and it is among the largest in the world. In the Chinese collection, are rare examples of ceramics from prehistoric times and the Tang, Sung, Ming and Qing Dynasties. The collection also includes ancient bronzes and furniture from the 16th and 17th centuries. The Chinese ceramics collection includes many works, among them stoneware, which have been of considerable significance for Danish craftsmen and designers in the second half of the 20th century. In the same way, many of the pieces of Chinese furniture have served as a source of inspiration for some of the 20th century Danish furniture designers.

5 EUROPE This part of the museum s permanent collection displays European applied arts and furniture from the Late Middle Ages up to around Further light is shed on the currents in 18th century applied arts and furniture by Queen Caroline Mathilde s impressive dressing set and a room featuring chinoiserie. In the French Rococo section, the focus is on the high quality of French furniture design and the beginning of modern interior decoration: there are also Danish examples of Rococo. Areas examined in the English room include the distinctive features of English ceramics and the down-to-earth English furniture style, which became the model for many Danish furniture architects and designers in the 20th century. Within the parameters of the Baroque, emphasis is placed on the period s Northern European applied arts and furniture making. Also presented are individual themes of contemporary significance such as the notion of the kunstkammer, the interest in tulips and the new ceramic products of stoneware and faience. The foreign collections from the 18th century are the museum s most comprehensive: one of their themes is a study of the origins of European porcelain, with examples from the museum s Meissen collection. The Late Middle Ages and Renaissance are examined with the focus on religious/church art together with a presentation of the new artistic outlook of the latter era.

6 ACROSS ALL FRONTIERS Arts and Crafts from The world exhibitions in the second half of the 19th century became the international scene for the new style Art Nouveau which found its most vigorous expression in the applied arts. Throughout Europe museums were opened whose collections were intended to serve as models for the commercial enterprises producing decorative art, and thus stem the tide of industrialisation s mass production of objects devoid of quality. Designmuseum Danmark was founded in 1890 and commenced serious collecting activity at a point when Danish applied arts achieved a major breakthrough. A group of Danish artists participated in the world exhibitions with considerable success and made Danish applied arts internationally prominent for the first time. In many cases these artists were the children of leading artists of the Danish Golden Age. On display in the exhibition of Designmuseum Danmark is some of the museum s purchase of modern foreign applied art acquired at the 1900 World Exhibition in Paris, together with contemporary Danish applied art from 1880 and into the 20th century, of which the central figure was Thorvald Bindesbøll. The inspiration from Japanese and French applied art is emphasized in the exhibition by examples from the museum s rich collections such as the ceramics of Paul Gauguin. Also on display is furniture by Lorenz Frølich, J.F. Willumsen s Family Vase, Carl Larsson s large tapestry Crayfishing, glass by Gallé and Tiffany, work by the great designers of posters and much more.

7 THE STUDY COLLECTION OF EUROPEAN FAIENCE AND PORCELAIN From its foundation in 1890 up to the present day, Designmuseum Danmark has acquired around 3000 ceramic works from the period More than 120 factories are represented in the rich collections which illustrate the development of the European ceramic culture, from the earliest endeavours to true industrial production. Many important works are included in the museum s permanent exhibitions. In the study collection, all the other holdings have been made accessible to the public as an open storage and study area. The setting-up of the study collection with its respective database has been made possible thanks to a generous donation from The Oak Foundation. THE DESIGN STUDIO With its new and adventurous exhibition concept, in which the objects may be touched and closely examined, the Design Studio is aimed particularly at children and young adults. Designstudiet. With its wealth of information and extensive display of design in ceramics and other materials the Design Studio is envisaged as an attractive corner for all visitors to the museum.

8 PRESS CONTACT For further information and high resolution press photos please contact: Head of communications, Nikolina Olsen-Rule Tel: Visit the museum s online press room at: ADDRESS & CONTACT Designmuseum Danmark Bredgade 68 / 1260 København K Phone info@designmuseum.dk