5 – 7 MARCH 2015
Curating Exhibition Installation
5 – 7 MARCH 2015
DEPOT BASEL – THIS IS WORK
REDEFINING CREATIVE LIFE STABILITY
27 FEBRUARY 2015 – 28 MARCH 2015
Curating Exhibition Project
DEPOT BASEL – DISPLAY
ELABORATING ON A EXHIBITION FORMAT THAT IS ACCESIBLE 24/7
21 NOVEMBER 2014 – 15 FEBRUARY 2015
Debate Lecture Workshop
THE FUTURE OF MEETING PLACES
5 – 7 DECEMBER 2014
THE FARM – NO 2 ‘DISPLAY’
21 – 23 NOVEMBER 2014
KEEP YOUR HEADPHONES ON
A WALK WITH ZOHRA OPOKU
5:00 PM, 14 OCTOBER 2014
FORUM DESIGN & KUNST – SCHULE FÜR GESTALTUNG
6:00 PM, 12 NOVEMBER 2014
THE FARM – NO 1 ‘FAILURE’
27 – 29 OCTOBER 2014
SOCIETY AND SAUSAGES
TEOK #8 – THE EDGE OF KNOWLEDGE
8:00 PM, 21 OCTOBER 2014
DEPOT BASEL – INSIGHT – WHAT IS HOME?
SPEAKERS CORNER BIENNALE INTERIEUR
11:00 AM, 18 OCTOBER 2014
THE BUMPY ROAD – START STRUGGLE SATISFACTION
THE HAGUE, NL
5:00 PM, 14 OCTOBER 2014
VICTORIA & ALBERT MUSEUM, DURING LDF
2:30 PM, 18 SEPTEMBER 2014
DEPOT BASEL – OKOLO OFFLINE TWO – COLLECTING
A WAY OF COLLECTING FAR FROM THE RATIONAL TYPE PRACTICED BY INSTITUTIONS
KUNSTGEWERBEMUSEUM, DRESDEN, DE
3 SEPTEMBER – 2 NOVEMBER 2014
DEPOT BASEL – GLOBAL DESIGN RESEARCH – FANTASTICO GRENZE EXOTIC CANVAS
1ST RESIDENCY WITH SYBILLE STOECKLI
5 SEPTEMBER – 5 OCTOBER 2014
19-21 AUGUST 2014
DEPOT BASEL – CRAFT & BLING BLING – FAKE
FAKE IS REAL!
6 JUNE – 6 JULY 2014
DUTCH DESIGN AWARDS 2014
FASHION & PRODUCT
OBJECT – INTERIEUR AWARDS 2014
Curating Exhibition Product Project
CO-FOUNDER COMMON METHODS
A COLLABORATIVE DESIGN EXPERIENCE INVESTIGATING IN METHODOLOGIES
CAPE TOWN, ZA
THE ART OF COMMISSIONING DESIGN
ZETTEL FOUNDATION & CONNECTING THE DOTS
8 APRIL 2014
DEPOT BASEL – OKOLO OFFLINE - 5 YEARS
CAN DIGITAL CONTENT BE TRANSFERRED TO AN ANALOGUE ENVIRONMENT?
28 MARCH – 27 APRIL 2014
Curating Residency Workshop
JAN VAN EYCK PARTICIPANT
MULTIFORM INSTITUTE FOR FINE ARTS AND DESIGN
MARCH 2014 – MARCH 2015
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.
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. The orgnisation is currently based in a former Bureau de Change at Voltaplatz in Basel.
Website Depot Basel
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, full of my energy, something that I was able to manipulate. I photographed objects, projects, places and exhibitions, but my main interest was the designers – the responsible behind the designs and the ‘thoughtfully’ designed objects.
For many years now, I have been asking designers and artists 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.
Drawn Interview no. 100 with Martino Gamper
5 Years of CLASH
In my bureau in Maastricht 50 A4 sheets of paper hang on the wall, 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 Popovic, Nawie Kuiper, Laurens 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 Sagel, Lonneke 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 Bolleur, Agata Karolina, Dik Scheepers, Inge Devor 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.
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 .
Since 2012 redesigned by Christoph Knoth
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
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
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
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
Vienna Design Week
Winner Wallpaper Award Best Finished Objects 2013
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.
Achille is watching is a self-initiated exhibition brought to you by Matylda Krzykowski and Marco Gabriele Lorusso.
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)
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.
Matylda Krzykowski is a designer and curator, with a strong focus on collaborative and performative projects. 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 (Daddy would be proud), to methodologies and education (The Farm), from network and politics (Display) to social projections (2042) and the spectrum in between. With a strong perspective of design as a discipline of communication, her work within these questions explores not only content but also form, for which interdisciplinary links are made, specifically with other mediums of communication, and with an emphasis on performative ones. These may differ from Choreography (JvE reserach) to Reportage (Matandme), and up to TV game shows (Design Date), to name a few. Her work has been internationally presented and she has given numerous lectures and workshops worldwide. She is co-founder and co-director of Depot Basel, place for contemporary design, Switzerland and currently a participant at Jan van Eyck Academy.