Going Beyond. An excerpt from the book "Design: History, Concept, Conflicts"

Contents:

• According to the designer
• Together with designers
• For designers

By Designer's Intent

Art history often overlooks an important aspect: behind every exhibition, every artist and curator there is a designer. Designers play a key role in shaping the visual perception of art, creating spaces that highlight the ideas and concepts of their creators. Their work encompasses not only exhibition design but also branding, promotional materials, and even audience interaction. Thus, designers become indispensable partners in the art world, influencing the perception and understanding of the work on display.

The design for one of the most significant events in contemporary art—Documenta—was developed by artist and curator Arnold Bode in 1955. While similar events existed before, such as the Venice Biennale, founded in the late 1890s, it was Bode who pioneered the concept of integrating artworks into urban and semi-urban environments. This innovation transformed the exhibition not only into a platform for displaying art but also into a significant cultural event, fostering dialogue between artists and viewers. Documenta continues to be a landmark in the art world, drawing attention to current themes and new forms of expression.

Arnold Bode, a graduate of the Kassel University of Arts, approached the project as a designer when creating Documenta. As a result, the urban space, still bearing the marks of bombing, was transformed through bold and thoughtful zoning. This not only emphasized historical memory but also created a unique atmosphere for the interaction between art and the urban environment.

Bode painted the Fridericianum building white and accented it with dark, almost black "curtains" made of industrial plastic. This museum, which welcomes up to 130,000 visitors, hosted the 1937 exhibition of "degenerate art." The architect created a graphic connection between Kassel and such important art cities as London, Paris, and Vienna, indicating the distances separating them from Kassel. Since designing his exhibition, Bode has realized his potential by transforming his city into an international art capital and cultural and tourist destination. As a designer, he meticulously conceived visitor routes, spatial organization, exhibition installation, communications strategy, and Documenta's management principles, all of which contributed to the successful engagement of audiences and the promotion of contemporary art.

Together with Designers

Design as a key element of exhibition projects and spaces began to be actively discussed as early as 1929 with the opening of the Museum of Modern Art (MoMA) in New York. This event became fateful for the development of modern museums. MoMA founder Alfred H. Barr, in his inaugural address, outlined the importance of design in the context of art, emphasizing its role in shaping viewers' perceptions and interactions with exhibits. Exhibition and spatial design has become an integral part of the museum experience, helping to create a unique atmosphere and highlighting artworks. Thus, since MoMA's founding, design has come to be perceived as an important tool for engaging audiences and creating memorable art experiences.

The museum must expand its boundaries, going beyond traditional art forms such as painting and sculpture. It is important to create departments devoted to drawing, printmaking, photography, typography, and industrial and applied arts. Architecture, theater set design, furniture, and decorative arts also deserve attention within the museum's collection. A film library could become an integral part of the collection, enriching the cultural space and attracting a wider audience. This approach will allow the museum to become a multifunctional center for culture and art, fostering interest in various forms of artistic expression.

Barr always maintained close collaboration with practitioners, emphasizing the importance of designers in shaping strategies for the presentation of various media. In 1932, architect Philip Johnson became head of the architecture department, and in 1939, industrial designer Eliot Noyes became curator of design-related events and collections. In 1951, another architect and designer, Arthur Drexler, joined MoMA and headed the department of architecture and design. All of these professionals were proponents of functionalism, which plays a significant role in their approach to work. They continued their practical work both before and after working at the museum. The museum, traditionally an arbiter and shaper of taste, established professionals as moderators driven by their own passions and as exhibition curators, which contributed to the creation of unique exhibitions.

Curators of design exhibitions play an important role in shaping cultural policy, acting as catalysts for change and advisors in this process. Their influence on the development of design and culture cannot be overstated, as they not only represent current trends but also shape public opinion, guiding it in the right direction. Curators analyze cultural demands and help create exhibitions that reflect contemporary challenges and societal needs, thereby contributing to the development of the cultural environment.

Perhaps this is why the Museum of Modern Art (MoMA) determines the prices of objects based on the catalogs of certain design exhibitions. This observation applies to exhibitions such as "Machine Art" and the "Good Design" series, which took place annually before Christmas—the busiest shopping period. This phenomenon reflects not only the American tendency toward commercialization of everything but also the belief among professionals that design objects in a museum context can serve as a reflection of the economy. The difference in market value of these objects is undoubtedly related to their production processes, highlighting the significant gap between them. The original goal was to present anonymous artifacts as works of art, with the goal of elevating the status of industrial production. As a result, the museum, acting as a tastemaker, begins to perceive the exhibition space as something akin to a store, where design becomes an important element not only of the cultural but also of the economic sphere.

For Designers

The key moment in the integration of design into the realm of "big art" was the exhibition "Italy. The New Domestic Landscape," held in New York in 1972. This event not only recognized and legitimized the diversity of design practices but also provided an opportunity for their in-depth analysis and comparison. Thanks to the commission system, radical designers gained access to the means of production, the necessary production time, and the budgets for creating large-scale installations. The young curator and architect Emilio Ambas managed to attract funding from leading Italian brands such as Artemide, Boffi, Kartell, and Pirelli, as well as from the French concern Citroën, to implement projects by radical design groups. This exhibition marked an important step toward the recognition of design as an independent and significant movement in art.

Placing these companies' products in display cases in front of the museum gave designers the opportunity to freely organize their work within the museum space. The method developed by Ambas and his assistant, who spent a year in Italy, became symbolic of the first step in moving away from traditional industrial design. This signified a new approach to design: designers began to be perceived as cultural figures, and the exhibition became a platform for the introduction of new practices of production and influence.

Industrial products such as springs, propellers, and ball bearings, as well as household objects, fabrics, and furniture, became part of culture in the understanding of the poet and playwright T. S. Eliot, encompassing everyday life. The museum lost its status as an exclusive repository of art. In 1977, the Centre Pompidou was founded, continuing this tradition. It included exhibition spaces, an archive, the Institute for Research and Coordination of Acoustics and Music (IRCAM), and the Center for Creative Industries (CCI). It emphasized the links between design, architecture, and the humanities. The influence of composer Pierre Boulez, who inspired IRCAM, contributed to the institution's longevity and independence. However, the CCI eventually merged with the Pompidou, becoming the "Service de l'Architecture et de l'Art." From June to November 1937, an exhibition of "degenerate art" attracted approximately two million visitors. Organized in Nazi Germany, this exhibition became a symbol of the struggle against modern art and its perceived threat to traditional values. It provoked widespread public outcry and left a significant mark on art history, demonstrating how political ideologies can influence cultural events.

Arnold Bode was a prominent designer and founder of the internationally renowned documentary art exhibition known as Documenta. His career in design and visual arts has left a significant mark on contemporary art. Bode sought to unite art and society, which is reflected in his work and initiatives. He focused on creating platforms for the presentation of contemporary art, which contributed to the development of new directions in design and exhibition practice. For a more detailed study of Arnold Bode's career and his influence on design and exhibition practice, we recommend Geel C. Design & Display.

Barr A. H. is the author of significant materials held in the Archives of the Museum of Modern Art. These documents are of interest to researchers and art lovers, as they contain unique information about the history and development of contemporary art. For more information and access to archival materials, visit the Museum of Modern Art website at https://www.moma.org/research-and-learning/archives/finding-aids/Barrf.

See: Machine Art. New York: Museum of Modern Art, 1969; and the Good Design exhibition catalogs covering the 1940s and 1950s.

Ambasz E., Italy: The New Domestic Landscape. Achievements and Problems of Italian Design // Italy: The New Domestic Landscape. New York: Museum of Modern Art, 1972. P. 5.

This work examines the key achievements and challenges facing Italian design. The author analyzes the influence of the cultural context on the formation of new trends in interior and furniture design, emphasizing the uniqueness of the Italian approach to aesthetics and functionality. The publication is an important source for understanding the evolution of design in Italy and its role in global trends.

Le Center de création industrielle a joué un rôle crucial dans le développement de l’art et du design entre 1968 et 1992. Cette institution a été un foyer d’innovation, accueillant des expositions Qui ont remis en question les normes etablies. Les décentrages successifs qu’elle a connus témoignent de son adaptabilité et de son engagement envers l’expérimentation. Ces changements ont permis de mettre en lumière de nouveaux talents et de promouvoir des idées novatrices. Pour en savoir plus sur cette période fascinante et ses contributions significatives à la culture contemporaine, consultez l’article complet à l’adresse suivante : http://problemata.org/en/articles/1024.