MATYLDA
KRZYKOWSKI

MUTHESIUS PARALLAX

A Contemporary Understanding of Design – The concept of the Werkbundkiste (Werkbund crate) was developed in the 1950s by the Werkbund (German Association of Craftsmen). The Werkbund was founded in 1907 as an association of artists, architects and entrepreneurs, at the suggestion of Hermann Muthesius et al., the eponym of our Muthesius University, which was also founded in 1907. The various Werkbundkisten contained mass-produced household goods; functional everyday objects such as tableware or kitchen appliances. About 80 of these boxes were distributed to schools as visual aids in order to anchor the utopian idea of the democratic Gute Form among future consumers in the period of upheaval that the economic miracle during the reconstruction of Germany constituted. It is hard to imagine today that people believed at that time that they could convey a sustainable and democratic concept of design on the basis of a box full of household objects alone. For today the process draws more attention than he product in design. So what would be the current format of a Werkbundkiste?

Muthesius Parallax shows processes, methods, tools and attitudes instead of finished products. The spatial interface is a approach to mediating design education. This form of approach to process-based design aims to convey to visitors a conscious—today one would say contemporary—understanding of design.

#muthesiusparallax #spatialinterface #designhistory #werkbundkiste

DESKTOP EXHIBITION

A Desktop Exhibition is a public presentation on a desktop. It is conducted on a laptop, a private screen. The curator clicks on files on the desktop similar to walking in a physical space and giving a guided tour.

In October 2017 Matylda Krzykowski presented the first Desktop Exhibition at Is Technology Sexist?,  a conference curated by Chus Martinez at Institut Kunst, Basel. Krzykowski developed the curatorial format shortly after closing the physical space of Depot Basel.

Have you seen the presentation of the first speaker on the technology and gender conference? She curated various files onto her desktop background and called it an exhibition.

Previous Desktop Exhibitions:

Inaugural Lecture, Muthesius University of Art and Design, 05 Dec 2017
Prototyping Ideas, Local, Domus Academy, 30 Oct 2017
The Art of Presenting, Z33 & Designplatform Limburg, 18 Oct 2017
Is Technology Sexist? , Institut Kunst, 1o Oct 2017

Desktop Scenography by Tom Hancocks, Valerie van Zuijlen or Matylda Krzykowski

Images:
1  Inaugural Lecture, Muthesius University of Art and Design, Scenography Matylda Krzykowski
Prototyping Ideas, Local, Domus Academy, Scenography Valerie van Zuijlen
3 Urban Dictionary
Is Technology Sexist? , Institut Kunst, Scenography Matylda Krzykowski
Is Technology Sexist? , Institut Kunst, Scenography Matylda Krzykowski

IF YOU DON’T ASK YOU DON’T GET

‘Matylda Krzykowski is powered by Tristesse.com Visual Services. Not the best, but the fastest Designers in Central Europe.’

‘If you don’t ask you don’t get’

COLLECTION #3

By referencing the 1956 artwork by Richard Hamilton, “Just what is it that makes today’s homes so different, so appealing?”, all four exhibitions at Chamber gallery in New York explore groups of objects that are possibly as desirable now as the items featured prominently in Hamilton’s work were half a century ago, at the dawn of the modern consumer age. Hamilton pasted images onto a page, and Krzykowski places objects in a space, creating a collage of contemporary works in real life.

Many of the works on view center around colliding ideas of functional object and sculpture. Domestic sculptures, surrealist lights, abstract shapes, foldable structures, informative paintings, architectural templates, aesthetic games and beyond.

For each of the four exhibitions Matylda Krzykowski commissioned a visual artist to produce a collage: Sasa Stucin, Wang & Söderström, Koos Breen and Builders Club.

“The request to make a choice of one hundred items for a gallery show is like collecting one hundred potential fragments for a collage.” – Matylda Krzykowski

Show I, Just What Is It, 28 Oct to 3 Dec 2016
Show II, This Is Today, 16 Dec to 18 February 2017
Show III, Domestic Appeal, 3 March to 22 April 2017
Show IV, Room With Its Own Rules, 4 May to 22 July 2017

 

 

DESIGN DATE

What kind of partner are you looking for? Working in design means constantly looking for opportunities that come through others. A designer seeks a producer, a curator hunts for a designer, a production company searches for a designer and vice versa. We all look for collaborators to define and anchor our creative ambitions. How can a compliment or adulation manipulate us to make a final decision to work with someone? And how do our ego and expectations deal with the impact and results of such actions?

By applying a critical twist to the entertaining and humorous format, Matylda Krzykowski wants to reflect how to charm and being charmed can be an active part of our professional lives.

Read the story of Design Date 

‘Thanks to their network, Design Date – a spin off of a romantic television show put into a professional context- will be playfully moderated by Matylda Krzykowski. Each round, three participants will try to make a match with a mystery guest, a collector, museum curator or another influencer.’ Quote from the program of The Joy of Collecting

Previous editions:

– At V&A Museum in context of London Design Festival, 18 Sept 2014, with Brent Dzekciorius, Jana Scholze, Jacopo SarziLoris & LiviaStudio SwineOskar Wanless & Attua Aparicio Hilda Hellström Marjan van Aubel, Clea Irving, Reinier Bosch & Carolina Wilcke
– At TV Clerici during Salone del Mobile organised by Design Academy Eindhoven, 4 – 7 April 2017, with Ilse Crawford, Marcus Fairs, Job Smeets, Jurgen Bey and students of the DAE
– The Joy of Collecting organised by Current Obsession, 11 Nov 2017, with Gabrielle Kennedy, Marjan Unger, Jules van den Langenberg, Marjanne van Helvert, Hendrik-Jan Grievink, Martijn van Ooststroom and Alice Wong

Upcoming editions:

– At Designmarch, 15 March 2018
– At Soho House Berlin, 11 April 2018

Images:

1. Jacopo Sarzi, Loris & Livia, Azusa Murakami (Studio Swine), Jana Scholze and Matylda Krzykowski
2. Martijn van Ooststroom, Jules van den LangenbergMarjanne van Helvert and Matylda Krzykowski
3. Logo Design ‘Design Date’ by Sepus Noordmans

DEPOT BASEL

Depot Basel was founded in June 2011 on the initiative of designers and curators Laura Pregger and Matylda Krzykowski, process designer Moritz Walther and economist Elias Schäfer. In 2012 design journalist Rebekka Kiesewetter joined the organisation. Their common interest lies in a theoretical and practical approach to the subject of design and its presentation, mediation and promotion.

Depot Basel endeavours to remain independent and work prospectively, to appoint and process current themes with the ability to reach an audience of interested parties, professionals and people from different fields and encourage a mutual exchange between them. Since its foundation – and with the temporary and permanent support of partners and backers, designers and non-designers – Depot Basel has evolved into a centre and agency in the contemporary design discourse.

Website Depot Basel
Website Online Depot

SPRECHZIMMER

Sprechzimmer is an evening during which a specific matter is discussed. Each edition of Sprechzimmer is dedicated to a theme and asks each guest to bring something to contribute to the conversation. Sprechzimmer thrives on the engagement of all guests.

The participatory format is curated by Matylda Krzykowski, organised by Jeanette Apitz and hosted by Chaja Lang & Anna Bolte.


Previous editions:
Bring A Book, Gallery BolteLang, 30 Nov 2017
To Make Somebody A Present, Gallery BolteLang, 25 Jan 2018

2010 MAGAZINE

The idea was to represent international coverage of multiple disciplines, specific artistic collaborations and the program for the 2010 Fashionclash Maastricht event. 2010 magazine is a platform that represents the contemporary quality of work submitted by its contributors. The content is an ode to rare themes which awaken curiosity and permeate the pages. The magazine is printed 2010 times, 132 pages, full colour.

Phillipe Malouin (UK), Bart Hess (NL), Bless (D), Monika BrzywczyKrzystof Kozanowski (PL), The Footsoldiers (UK), Costas Voyatzis (GR), Hardy Seiler (D), Parasol Island (D)

ACHILLE IS WATCHING US

Achille is watching is a self-initiated exhibition brought to you by Matylda Krzykowski and Marco Gabriele Lorusso. Graphic design is made by Boy Vereecken and Marthe Prins.

‘With Achille is Watching Us, we would like to shift the attention to another side of design that is sometimes forgotten: feelings. Objects have a value if we attach feelings to them; everyone is living in this world of colorful and playful objects, but only a few are able to surpass the limits of time and become memories. In a way, we could say that someone is looking over the shoulders of these ‘blessed’ ones to make sure they become great guardians of our time – people that inspire the minds of the creators and the designers of the precious objects that we introduce into our little world. Someone like Achille Castiglioni, for example.

He is one of the true geniuses of the design world, having designed beautiful artifacts that are still nowadays of a great value. As not so many may know, Castiglioni had a passion for collecting objects, particularly glasses. If you happen to have the opportunity to go and visit his studio, you can still find two big closets full of these ‘memorabilia’, little souvenirs that he collected during his travels and loved to show to friends to make them laugh. Castiglioni was the sort of man who would be sat in a meeting and, all of a sudden, would turn his face around to reveal that he was wearing a pair of springy eyeball glasses, astonishing his clients not only with his capacity for designing great products, but also with his playful nature.

This is the kind of attitude we like, and the kind of attitude we would like to underline: the particular penchant for little objects and the emotions that they can convey’.

Alissia Melka-Teichroew (US); Bcxsy (NL); Bless (FR/DE); Charlotte Dumoncel d’Argence (FR); Chris Kabel (NL); Danny Venlet (BE); Formafantasma (IT); Henny van Nistelrooy (UK); Jens Praet (BE); Jo Meesters (NL); Julien Carretero (FR); Kaspar Hamacher (BE); Laurence Humier (BE); Lee Broom (UK); Maarten de Ceulaer (BE); Mark Braun (DE); Nacho Carbonell (E); Niek Pulles (NL); Oscar Diaz (E); Oskar Zieta (PL); Osko + Deichmann (DE); Paul Loebach (US); Polka (AT); Peter Marigold (UK); Philippe Malouin (UK); Simon Heijdens (UK); Sylvain Willenz (BE); Tina Roeder (DE); Valentin Loellmann (DE); Xavier Lust (BE)

You want to more know? Have a look here or here.

BORSTE & HORN

Norbert Meier Bürsten- und Pinselerzeugung & Petz Hornmanufaktur

Two manufacturers at once are involved in this Passionswege project and both work in crafts that scarcely exist anymore. The brush manufacturer Norbert Meier is one of the last to possess a master craftsman’s diploma in this trade. The young Thomas Petz on the other hand is the last Viennese producer of horn ware. He is just 26 years old and took over the factory from his grandfather; combs, jewellery, egg spoons and many other objects made of horn form part of the production programme.

The artist with the pleasure of applying her talents to both operations is the Polish-born curator and scenographer Matylda Krzykowski, who now lives in Maastricht. She is an expert not only for products but for telling stories as well; she has designed not only a small collection of objects bringing together the materials of horn and bristles, but contextualises them historically: namely, the two manufacturers had already worked together generations ago to produce the designs of Carl Auböck, then as now a highly esteemed designer from the early second half of the twentieth century. A small exhibition on (disappearing) materiality, on Before and Now, shown in a charming brushmakers’ workshop.

Text by Tina Thiel

Passionswege 2012
Vienna Design Week

Winner Wallpaper Award Best Finished Objects 2013

DADDY WOULD BE PROUD

Extraordinary wood carvings can be found when you visit native Polish markets. Some of the most interesting are carved in the Beskids, a series of mountain ranges in South Poland. The wood carvers from there take their wares to the market, where they present their objects. My Father is from this region. My Mother has always said that he is a true ‘Goral’, a boy from the mountains. Influenced by these crafts from the country of my origin, I interpreted my own woodworking skill into a series of small objects using pear tree wood.

Daddy would be proud, 2011
Wooden objects

SAGEL AND KRZYKOWSKI

Sagel & Krzykowski is a professional collaboration between Bureau Matylda Krzykowski and still-life photographer Christoph Sagel. Since 2012 they work on self-initiated and commissioned projects that they stage and photograph together.

Website Sagel & Krzykowski Core 77 Food Award 2013
CI of Sagel & Krzykowski by Matylda Krzykowski

They Both Endure Time, look-alikes, self-initiated

Personal Content, Clemence Seilles for Craft & Scenography, Depot Basel

Personal Content, Emilie Pallard & Rachel Griffin for Craft & Scenography, Depot Basel

MATANDME

The internet gets blamed for a lot of things. One is the uncontrolled copy and paste of original content. That then turns into an explosion of suddenly free content whose reception is then shaped by the attitudes and the social network of the duplicator. Paradoxically, it is my believe that in such age the value of originality increases.

MATANDME is an independent host of experiences and encounters, conducted by Matylda Krzykowski. It aims to build a monumentum on current issues around design, visual arts and their creators that often fall through the cracks of the pressroom floor.

All images and text is composed by Matylda Krzykowski and are courtesty of MATANDME.

matandme.com
facebook.com/matandme

Since 2012 redesigned by Christoph Knoth

CLASH PROJECT FASHIONCLASH 2014

FASHIONCLASH 2014

5 Years of Clash
2009–2015

50 A4 sheets of paper hang on the wall in my bureau, all nicely lined up and separated in five lines of ten. On each of them you find a name of one of the Clash participants and the title they choose for t their outfit, such as: “questioning the established’, “Foamboy” or “Don’t hide your pride”. The wall is a helpful reminder of 5 years of Clash Projects for Fashionclash. Some might think you enter a room that belongs to someone who has a liking for international names and abstract titles. But it is a representation to what the fashion world is announcing as “Monstres de Mode” or “Fetishism in Fashion.”

It has been almost 6 years since the conversations between Branko PopovicNawie KuiperLaurens Hamacher and myself. They had the courage to pull an event off that became their full-time job and their life. One that obviously has the potential to shape the career of others.

Looking back there are always issues, frustrations and unfortunately budget problems. But at the end everyone we ask to be involved had a choice. In fact there are many who wanted to get hold of an opportunity like that. In 2009 I wanted that too. I was a product design student who longed for an opportunity to initiate a project. Again, Fashionclash had the courage to give that possibility to me. The consequence was that the Clash Project was born. It is a direct reference to the Fashionclash attitude, blurring all lines between art, design, knowledge and experiment. All aspects brought together to a project that asks non-fashion designers to make a wearable piece of work, preferably made from the material they use in their profession.

In 5 years we worked with Severafrahm, Christoph SagelLonneke van de Palen and Muller3000 who have photographed the outfits. The people we asked for a contribution are international non-fashion designers like Hermine van Dijck and Britt Helbig from Belgium, llot llov and Christoph Knoth from Germany, Natalia Kacpar Mleczak and Tymek Jezierski from Poland, Fabia Zindel from Switzerland, Loris & Livia from London and many Dutch professionals like La BolleurAgata KarolinaDik ScheepersInge DevorNiek Pulles and Tanja Ritterbex.

The results are unexpected, experimental bodysuits that are different in colour, shape and material. None of the 50 outfits look alike. They are a reference of each participants work, each telling a story and showing a very personal intake in their way of working in an unacquainted fashion context.

Written by Matylda Krzykowski for the 5 year publication of Fashionclash
June 2013

Image by Peter Stigter

DRAWN INTERVIEW

The concept of asking a designer 3 questions with their answers submitted as brief sketches first emerged back in 2007, when I was a student. I have been collecting them ever since. Establishing the blog MATANDME could maybe be viewed as a naive approach: a playground I am able to manipulate. I photograph objects, projects, places and exhibitions, but my main interest are people. 

For many years now, I have been asking designers, artists, architects and cultural contributors from all walks of life to (3) draw their favourite objects, (1) to draw and (2) describe themselves. As I evolved from my early student days to someone who took charge of her own professional identity, my ‘Drawn Interviews’ also shape what I do. In the future I would like for the ‘Drawn Interviews’ to be collated into a book and an exhibition.’

Image by Jeremy Liebman exhibition view Wonder Cabinets of Europe ICFF, New York, 2013
Drawn Interview no. 100 with Martino Gamper

DON’T HASSLE THE TASSLE

I threw a party, all in black. The living room strung with balloons, garlands crisscrossed the from corner to corner. Each element is balanced, hanging constructions in different shades of black from various materials, rubber, coal, string, plastic. It’s pure decoration, a little bit of visual pleasure, enhancing the location. People arrive dressed in dark apparel, as requested. It all sets the mood, playful, a delight, giving external visual stimulation. This reluctant colour offers elegance, suggesting an aesthetic opportunity.

Decoration is a primitive necessity inspiring pleasure and elation, but also kitsch and over done. “Don’t hassle the tassle’ is an tribute to decoration in a form of abstract mobiles invented as art, where parts capable of motion are hung freely in space, but which never come into contact with each other.

A series of mobiles titled ‘Don’t hassle the tassle’ for the group show ‘This is the house that Jack build’ of Gallery Helmrinderknecht, Zurich, Switzerland. Exhibition duration: 27 September – 3 November 2013.
And for Gallery Freitag 18.30. Exhibition duration: 1 November – 2 December 2013

PUFF PUFF

Puff Puff – Where review to ranking takes place

“We want our app to be a safe place to manage expectations, while enabling anyone to dismantle the idea of a singular reviewer”, would the founders of Puff Puff say if it would be real. Puff Puff refers to the term ‘Puff Piece’, a journalistic form of puffery that aims to flatter and is usually written from a subjective point of view and is driven by a reward.

Puff Puff reviews work. Four types of reviewers accept the payment of bitcoins in order to apply review factors, to evaluate benefits and to estimate global ranking. In ‘write a review, leave a rating’, times the question if the judgement of everything around us (via Apps like Peeple, Uber, Lulu, Yelp) is only a requested systematisation that is not able to produce an unbiased review. When it mainly aims to increase customer engagement and to build a community around a product promising rewards how genuine can it be?

The work of XYZ and ABC, two Workshop of Potential Designexhibitions, are presented in Puff Puff. It is the first edition of a series of critical desktop entertainment by Matylda Krzykowski in cooperation with Sander Molenaar. Puff Puff is three minutes long and can be reviewed continuously.

…ABC
with
Pete Collard
Matylda Krzykowski
Samuel Nyholm
Vicky Richardson
Oli Stratford
Soft Baroque

Following the same line of enquiry as XYZ……ABC invites 6 practitioners to review the original exhibition using various media and methods.  Each review will translate the original exhibition into 6 new versions, suggesting alternative ways of talking about the same set of objects and ideas.

17th – 25th September 2016
Fri–Sat,Mon–Wed 10am – 6pm,
Thurs 10am – 8pm,
Sun 11am – 5pm

1a Cromwell Place
(Entrance on Thurloe Place)
London, SW7 2JE
United Kingdom

With kind support from Brompton Design District

THE FARM

The Farm is an equal and temporary society that is focused on production. The Farm is devoted to the practice of making, discussing and organising art and design through experiment. The Farm can be a holding of any size, and take place at any location. The Farm can be operated by designers, artists, theorists or writers. In fact by anyone. All knowledge harvested is to be used by everyone who joins The Farm.

InLab initiated at the Jan van Eyck Academie by Matylda KrzykowskiAnna Bak and Christophe Clarijs.

I. Failure
27—30 October 2014
Jan van Eyck, The Netherlands

The Farm was joined by Anna Bak, Anne Callahan, Christophe Clarijs, Martin La Roche Contreras, Egemen Demirci, Timo Demollin, Francois Dey, Ilke Gers, Matylda Krzykowski, Mariana Lanari, Cedar Lewisohn, Jack McGrath, An Onghena, Raya Stefanova, Nina Thibo, Sanne Vaassen, Charlotte Van de Velde, Huib Haye van de Werf and Katharina Zimmerhackl.

II. Display
21—23 November 2014
Depot Basel, Switzerland

The Farm was joined by Anna Bak, Livio Baumgartner, Isabelle Born, Stefanie Bräuer, Brigitte Clements, Ted Davis, Bernadette Deddens, Julian Denzler, Nathalie Geiser, Veronika Gombert, David Gregori, Rodrigo Hernandez, Patricia Huijnen, Rebekka Kiesewetter, Matylda Krzykowski, Giulia Mela, Tetsuo Mukai, Carina Ow, Stefan Pabst, Juan Palencia, Laura Pregger, Ronja Römmelt, Vera Sacchetti, Alessandro Schiattarella, Richard Trory and Andres Wanner.

DISPLAY

BOOK (14×20 CM, 143 PAGES), 2015

Initiated by Jan van Eyck Academie-participant Matylda Krzykowski, Display is a book that examines the notion of showing. It does so through contributed texts and images, presenting a wide variety of takes on the subject. The cover depicts the display-windows of Depot Basel in which the book launch would take place. In doing so, the cover displays the physical context in which the book is displayed creating a paradoxical ping-pong of references. While the initial and concluding pages of the book show full-bleed images of Depot Basel and its display systems, the main content is treated in a straight-forward way, dividing text- and image-contributions into separate sections.

Display was RISO printed in an edition of 100 in the Charles Nypels Lab at the Jan van Eyck Academie. Furthermore, the book gave debut to Kasper Pyndt ‘s typeface Dalat. Text and images by Kasper Pyndt. Display is designed by in collaboration with Kaja KusztraTimo Demollin and Christophe Clarijs

The Display handbook holds contributions by: Anna Bak, Bill Balaskas, Alexandra Bertels, Josh Bitelli, Isabelle Born, Gregor Brändli, Christophe Clarijs, Marta Colon, Klara Czerniewska, Timo Demollin, Workshop for Potential Design, EMYL, Tal Erez, The Farm, Studio Glithero, Veronika Gombert, Carl Haase, Rodrigo Hernandez, Maria Jeglinska, Kaja Kusztra, Moritz Lehner, Cedar Lewisohn, Bárbara Maçães, Agata Nowotny, Study O Portable, Stefan Pabst, Juan Palencia, Pedro Portellano, Kasper Pyndt, Ronja Römmelt, Vera Sacchetti, Alessandro Schiattarella, Michael Schoner, Theda Schoppe, Speedism, Jasio Stefanski, TEOK, Andrew Thrope, Basil Thüring, Bik van der Pol, Andres Wanner, Anna-Lena Werner. It is collaboratively designed by Christophe Clarijs, Timo Demolin, Kaja Kusztra and Kasper Pyndt and printed at the Charles Nyples Lab with support by Jo Frenken.

talk about Display took place at PrintRoom Rotterdam on 27 March 2015:

‘Matylda Krzykowski‘s work plays a role in integrating curating and exhibition-making within a larger discourse. With Display she explores how we design messages to the public in a collaborative mode. An extract of the project is compiled as a handbook, now serving as template for the designers and artists that will be invited to make a display in the former shop windows of Depot Basel, space for contemporary design in Switzerland. It thus became a long-term exhibition format, a collaborative curatorial strategy, open to the public 7 days a week. For this occasion, Matylda Krzykowski & PrintRoom will make an installation at PrintRoom’s shop window. This event will mark the opening of PrintRoom’s renovated window space, and the start of a window exhibition format at PrintRoom

About

Matylda Krzykowski is a designer, curator, advisor and professor focusing on collaborative and performative projects in physical and digital space. Krzykowski’s work is introspective, as it explores and experiments with the inner mechanisms of design. As such, her projects dissect the design process to its different stages – from material and personal origins, to methodologies and education; from network and politics to social projections, and the spectrum in between.

With a strong perspective on design as a discipline of communication, her work within these questions explores not only content but also form, for which interdisciplinary and artistic links are made. Among others, her tools of exploration have included Choreography, Reportage, TV game shows, Theater and innovative and experimental formats that range between exhibitions, workshops, interventions and talks.

Krzykowski is frequently invited to chair juries in the cultural field. Her work has been internationally presented and she has given numerous lectures and workshops worldwide.

She is founding member and artistic director of Depot Basel place for contemporary design, Switzerland, and is a former participant of the Jan van Eyck Academy. Since October 2017 Matylda Krzykowski is international guest professor in the Industrialdesign Department of the Muthesius University of Fine Arts and Design. Her seminars rank from Methods & Formats to Multiversum and Muthesius Parallax.

In Fall 2018 Matylda Krzykowski will join the faculty of The School of Arts Institute Chicago in the Department of Architecture, Interior Architecture and Designed Objects. Appointed the Mitchell Visiting Professor she will contribute with her experimental practice to an interdisciplinary community of artists and designers.

 

Tal Erez, 2018

 

“We’re joined by this belief that design shapes the way we live, that it’s the reason we walk through doors and corridors with purpose.”
Source: Interview for Interview Magazine by Grace Banks

 

“Who do you look up to?” “Mary Poppins. She appears when she is needed; she surprises and moves on once she’s done.”
Source: Interview for We are the Future

 

 

Stretching the Museum Panel by Design Academy Eindhoven at Palazzo Clerici, Milan, April 2017
Introduction to Matylda Krzykowski, written and presented by Carla Zimmerman

‘I am interested in the curatorial practice outside of the typical white cube and the possibilities it gives to let the public encounter design in a more participatory manner. That is why I am especially happy to introduce our first guest: designer and curator Matylda Krzykowski.

I experienced Matylda’s extraordinary drive two weeks ago. She visited the Design Academy for a table discussion with the students from the Curating and Writing MA. She oozes energy and ideas and can rapidly jump between topics quite impressively – which reflects her work as a curator. Originally trained as a product designer at the Academy of Fine Arts and Design in Maastricht, the ‘design provocateur’, as Matylda was once called by a journalist, did a yearlong research project about ‘display’ in 2014 at the Jan van Eyck Academy. In 2015 Matylda created the exhibition ‘Forum for an Attitude’ at the Vitra Design Museum Gallery to explore the relation between the ‘attitude’ of the designer and their work. Additionally, she develops alternative and imaginative formats like the ‘Design Date’, where several designers blindly interview and then pick their future working partner for fictitious jobs in their studios. The format was first presented and developed for the Victoria and Albert Museum in London.

Matylda’s curatorial home is the Depot Basel that she co-founded in 2011 and has directed ever since. Her role as director of Depot Basel, an institution intended to provide an alternative model to the design museum, brought Matylda to us tonight to talk about the design museum from the perspective of a non-institutional space – making her unique in this discussion today. The Depot Basel is intended to broaden and shape the current design discourse. The centre creates exhibitions often in collaboration with others, it offers educational services such as the forum with lectures and talks and develops concepts for others. Curating in a non-institutional environment is a key element in Matylda’s work. Most inspiring to me is her urge to challenge the current design debate – and that is why I would like to invite her now, to join the discussion panel.