A couple of years ago N.W.A. frontman Ice Cube shot a short celluloid tribute to Charles and Ray Eames. Without even having to use his AK …

We didn’t think anything more culturally acontextual could happen to the pair.

And now ?

On Thursday March 7th the exhibition “Eames by Vitra” opens at the Wasserschloß Klaffenbach in Chemnitz.

A Charles and Ray Eames exhibition. In Chemnitz.

Eames by Vitra. Here as seen at earlier presentation.

The story of Charles and Ray Eames as furniture designers starts with their collaborations with Hermann Miller. The story of Vitra starts when Willi Fehlbaum gets a fleeting glimpse from a taxi of an Eames by Herman Miller chair in a New York shop window. The rest, as they say…..

In contrast to the succession of events relayed in most Ice Cube tracks what began as a drive-by episode didn’t end with anyone runnin’, fallin’, yellin’ or indeed cussin’, but quickly developed into a mutually respectful, long-term relationship. A relationship that was much more than simple business; rather developed into a genuine friendship from which both parties profited and developed. Indeed Rolf Fehlbaum, son of Willi and current Vitra Chairman, still approaches important decisions with the philosophy “What would Charles and Ray say?”

Shortly after her father’s death Charles Eames’ daughter Lucia wrote: The trust which the Eames placed in Vitra was more than rewarded with the loyalty and commitment of the Fehlbaums. Rolf Fehlbaum kept the promise he made to Ray: to be the best global ambassador of Charles and Ray Eames’ ideas…

Part of that promise is the exhibition “Eames by Vitra”

Featuring the complete Charles and Ray Eames seating collection, complimented by examples of their tables and sideboards  “Eames by Vitra” is a comprehensive if compact introduction to the outpouring of creative energy that was unquestionably the most important design studio in the context of mid-20th century design.

In addition to the Eames furniture the exhibition also features photos, background texts, examples of Ray Eames’ graphic design and videos of and by Charles and Ray Eames, all of which helps place the pair and their canon in context of their age. A particular highlight is an example of the moulded plywood leg-splints Charles Eames created for the US Army – leg-splints which in effect started the whole story as they proved that Charles Eames’ moulding process not only worked but was suitable for serial production. It also brought the young Charles and Ray Eames some much needed cash.

In our interview with Antonio Citterio he describes Charles Eames as “…an incredible designer and visionary and without question one of the best from the 20th century.”

Viewing “Eames by Vitra” it is hard to disagree.

We’re fairly certain even a hardened Gangsta like Ice Cube would think twice before leaving the mean streets of 1980s South Central LA for South Central Sachsen. Even to view a Charles and Ray Eames exhibition. We however are going.

And when we do …… we’ll be postin’ Straight Outta Chemnitz.

“Eames by Vitra” can be viewed at the Wasserschloß Klaffenbach, Wasserschloßweg 6, 09123 Chemnitz from Friday March 8th until Sunday April 7th 2013.

Full details can be found at www.wasserschloss-klaffenbach.de

In the interest of transparency we must add that “Eames by Vitra at Wasserschloß Klaffenbach Chemnitz” is a co-production with (smow) Chemnitz.

Eames by Vitra. Again at an earlier presentation.

Although the Marianne Brandt Contest is on the surface about Marianne Brandt, the awards ceremony in Chemnitz on Friday stood very much under a different star.

“Chemnitz – Stadt der Moderne”/ “Chemnitz – The Modernist City”

Every single official speech rammed home the message; “Chemnitz – Stadt der Moderne” being repeated ad nauseum ad infinitum in the hope that if one said it often enough it may just come true.

“I want a pony !” “I want a pony !” “I want a pony !” “I want a pony !” “I want a pony !”

Now we’ve nothing against city marketing – just the evidence to back up Chemnitz’s claim to be a centre of European Modernism is slim.
And that’s using the evidence provided by Chemnitz itself, evidence which largely confuses “modernism” with “modern”

If Chemnitz is so up-to-date and modern....... ?

The irony of the whole situation is that as one could easily hear from Chemnitz Mayor Barbara Ludwig’s speech – Marianne Brandt is a strong enough character in her own right.

One doesn’t need to hijack such an event to force “Chemnitz – The Modernist City” down the throats of an audience intelligent enough to know that the claim being made is nothing more than a tawdry piece of city marketing.

Marianne Brandt’s legacy shines a thousand times brighter.

Fortunately all the prize winners very much in the spirit of Marianne Brandt.

Marianne Brandt Contest 2010: Photography winner Alexandra Grein in conversation with host Thomas Bille

The main photography prize, for example, was awarded to Düsseldorf based photographer Alexandra Grein for her wonderful collage series “Terra”. Conceived as an homage to the German romantic painter Caspar David Friedrich the individual works in “Terra” are constructed from satellite images of those locations which Caspar David Friedrich visited and which inspired him.

Collage as a photographic discipline is of course something Marianne Brandt made regular use of – Alexandra Grein, in effect if not intentionally, “Bauhausing” the discipline by updating it through the combination of modern computer technology and satellite imaging.

Also the main prize in the category product design could easily have come from Brandt or one of her contemporaries.

The Hummingbird Mechthild by Christoph Schmidt is, if we’re all honest, nothing more than a bit of origami with a paper clip in its beak.

The Eames DSR is also just a chair.

“Mechthild” arose because Christoph Schmidt was looking for a solution to filling some holes in his wall. Rather than just putting in bits of plaster or covering them up with a photo – he designed “Mechthild”.

Marianne Brandt Contest 2010: Product design winner Mechthild by Christoph Schmidt

“Mechthild” doesn’t just fill the hole; “Mechthild” uses the hole to create something. And in doing so not only turns a problem into an opportunity but also wonderfully demonstrates what can be achieved if one understands the materials you are working with and are able to think outwith the boundaries set by conventional design theory.

Which of course is something Bauhaus taught us all.

What we particularly like about “Mechthild” is that as with Algue by Ronan and Erwan Bouroullec, “Mechthild” casts shadows on the wall – shadows that change as the light in a room changes – and as such plays an active role in the interior design.

The highpoint of the awards for us were obviously the presentation of the (smow)-USM Haller special award to Berlin based designer Tonia Welter for her collection of USB jewellery and the (smow)-Vitra special award to Caspar Huckfeld for his delightful bike saddle.

But more on Tonia Welter, Caspar Huckfeld and Christoph Schmidt later.

As we sat through the opening speeches we genuinely feared that Chemnitz was at risk of soiling the image of one its true stars in the name of city marketing.

As we left the Oper we were much happier.

Not only because it was clear that the prize winners understood Marianne Brandt’s legacy, but also the wonderful musical interlude which saw a Marianne Brandt poem set to music, beautifully demonstrated that the organisers of the Marianne Brandt Contest also understand why they do what they do.

We just hope that in the future they continue to do that – and that Chemnitz finds itself a new, and appropriate, slogan.

Marianne Brandt Contest 2010: Marlen Pelny performs a Marianne Brandt poem under the artist

Industrial Museum Chemnitz NOT Industrial Museum, Chemnitz

When we heard that the 2010 International Marianne Brandt Contest exhibition was going to be held in the Industrial Museum, Chemnitz, our first thought was: that’s a bit harsh.

We know the city’s fortunes haven’t been the best since the end of the DDR  – but to label the whole city as nothing more than a tourist attraction dedicated to artificially maintaining happier memories of times long since past….

Hardly fair.

It turns out that the Industrial Museum Chemnitz is actually a Museum in Chemnitz devoted to Industrial history.

Our mistake.

Held under the motto “The poetry of the functional” the 2010 Marianne Brandt Contest sought entries in the two “regular” categories – product design and photography – plus this years “guest” category  “Light in public spaces”

And the organisers weren’t disappointed – some 410 entries from 12 countries were submitted, a clear increase in comparison to 2007.

The exhibition in the Industrial Museum Chemnitz presents the prize winning entries plus a selection of further commended works – and thus allows both a nice overview of the submitted works plus the chance to assess the juries verdict in context of the other entries.

In addition to all the objects that one expects to see at such a show the International Marianne Brandt Contest 2010 exhibition has also some real gems of creativity.
And a couple of old (smow)blog favourites can also be admired and adored.

We don’t want to rain on any ones parade and so we’ll keep our powder dry until next week when we’ll present not only our review of the exhibition but also our report and photos from the awards ceremony.

We know that involves going to Chemnitz twice in two days, but…. what can you do.

International Marianne Brandt Contest 2010 Exhibition -we'll lift the veil on Monday

Chemnitz is without doubt the ugliest city in Sachsen. If not Europe.

And so it is all the more surprising that the town produced one of the most gifted aestheticians of the Bauhaus generation: Marianne Brandt.

A student of, amongst others, László Moholy-Nagy, Josef Albers and  Wassily Kandinsky, Brandt is best known for her home accessories including ashtrays, coffee/tee services and lamps. Many of her works are part of the permanent collection at leading museums including the Museum of Modern Art, MoMa, in New York.

To honour the city’s most most talented daughter, Chemnitz organises an triennial Marianne Brandt Contest and 2010 sees the fourth edition.

Under the motto “Poetry of the Functional” the 2010 Marianne Brandt Contest has three categories: photography, product design and light in public spaces.

The contest is open to all students and other creative youths under 40 years old as of 10.06.2010 and who have their main residence in Europe.

Full details of how to enter and what can be won can be found in the official 2010 Marianne Brandt Contest announcement.