konstantin grcic explores the good, the bad, the ugly processes of design

konstantin grcic: the good, the bad, the ugly
pinakothek der moderne: paternoster room and temporary exhibition gallery 2, münich
pasternoster room from november 11th, 2015 – september 18th, 2016; and temporary exhibition gallery 2 from november 12th-2015 – february 28th, 2016
organized by the die neue sammlung – the design museum, münich

the die neue sammlung in münich presents a new exhibition format — inviting a leading international designer each year to conceive a site-specific installation within the two-storey architecture of pinakothek der moderne’s paternoster hall. for ten months of each year, this space — viewed from a gallery — will showcase how the selected creative tackle’s the museum’s displays, with the movement of the paternoster lifts programmatically reflecting the proactive approach of the institution.

exhibition view of ‘konstantin grcic: the good, the bad, the ugly’
(above and main) photo: gerhardt kellermann @ konstantin grcic

the inaugural designer kicking off the program is homegrown konstantin grcic. in his exhibition ‘the good, the bad, the ugly’ — borrowing its title from the classic spaghetti western starring clint eastwood — grcic points ironically to the highly emotional potential of design and its reception, devoting himself to three main themes: process, furniture and architecture.

exhibition view of ‘konstantin grcic: the good, the bad, the ugly’
photo: gerhardt kellermann @ konstantin grcic

upon entering the paternoster hall, one is met by an extensive overview of the german designer’s ‘chair_ONE’ project. the presentation offers a survey of the multi-year development process (1999/2000-2004) that took place  —  from its initial model made in wire, carton, sheet steel, to more realistic 3D printed protoytpes — to realize the final product manufactured by italian company magis. the die neue sammlung already features most phases of grcic’s ‘chair_ONE’, and these prototypes and pieces illustrate the complete evolution of the seating object. collectively, they paint a picture of how grcic approaches his creative practice, and illustrate his serious and detailed inquiry into sourcing the best materials, defining the shape of a surface, consideration of weight and overall volume.

exhibition view of ‘konstantin grcic: the good, the bad, the ugly’
photo: gerhardt kellermann @ konstantin grcic

visitors are then introduced to more than 30 products of grcic’s key current projects. an industrial designer by training, grcic primarily creates furniture, with an oeuvre that is typified as much by stringency, as it is by its diversity. from tables to seats, shelves to luminaires, rendered in a broad range of materials, including: carbon, marble, plastic, steel and wood wood; his portfolio of work stands out for its exceptional technological innovations, precision, efficient use of materials, and perfect forms.

exhibition view of ‘konstantin grcic: the good, the bad, the ugly’
photo: gerhardt kellermann @ konstantin grcic

the concluding section of the exhibition found in the museum’s temporary exhibition gallery 2, is a scenographic installation of konstantin grcic’s TT-pavilion — an architectural object which he envisioned as a trade fair stand for AUDI. a construction of hatchback radiator elements and tank tops from the AUDI TT are used as modules for the windows and folding doors, contrasting the wood walls. octagonal in shape, the mobile structure references the wooden houses of jean prouvé and charlotte perriand. here, the TT-pavilion, seems to have landed like a UFO in front of a surreal landscape that has been carried out by poster-maker rené birkner and painter alina birkner.

konstantin grcic, prototype #4 (stress model) for stool_ONE (bar stool), 2004-2006
photo: gerhardt kellermann @ konstantin grcic

the good, the bad, the ugly showcases the in depth technical and creative thinking of one of the most highly regarded designers of our time; an expression of how industrial design should be approached and executed.

konstantin grcic, model #1 for chair_ONE, 1999/2000-2004
photo: gerhardt kellermann @ konstantin grcic

konstantin grcic, model #2 for chair_ONE, 1999/2000-2004
photo: gerhardt kellermann @ konstantin grcic

exhibition view of konstantin grcic: the good, the bad, the ugly
photo: gerhardt kellermann @ konstantin grcic

konstantin grcic, chair_ONE, magis, 2004
photo: gerhardt kellermann @ konstantin grcic

konstantin grcic, chair_ONE, magis, 2004
photo: gerhardt kellermann @ konstantin grcic

konstantin grcic, chair_ONE, magis, 2004
photo: gerhardt kellermann @ konstantin grcic

konstantin grcic, chair_ONE, magis, 2004
photo: gerhardt kellermann @ konstantin grcic

konstantin grcic, form model #1 for stool_ONE (bar stool), 2004-2006
photo: gerhardt kellermann @ konstantin grcic

konstantin grcic, form model #1 for stool_ONE (bar stool), 2004-2006
photo: gerhardt kellermann @ konstantin grcic

konstantin grcic, form model #1 for stool_ONE (bar stool), 2004-2006
photo: gerhardt kellermann @ konstantin grcic

konstantin grcic, prototype #1 for chair_ONE, 1999/2000-2004
photo: gerhardt kellermann @ konstantin grcic

exhibition view of ‘konstantin grcic: the good, the bad, the ugly’
photo: gerhardt kellermann @ konstantin grcic

exhibition view of ‘konstantin grcic: the good, the bad, the ugly’
photo: gerhardt kellermann @ konstantin grcic

exhibition view of ‘konstantin grcic: the good, the bad, the ugly’
photo: gerhardt kellermann @ konstantin grcic

konstantin grcic
photo: julian baumann

the exhibition will be accompanied by a publication featuring photos by gerhardt kellermann, designed by lambl/homburger, with an essay by hubert filser based on a conversation he moderated between konstantin grcic and tim bechthold, head of conservation, as well as an introduction to grcic’s oeuvre by angelika nollert. the exhibition catalogue is published by verlag der buchhandlung walter könig, cologne.

with friendly support of arflex japan, AUDI, authentics, bd barcelona design, böwer, classicon, driade, emeco, flos, flötotto, magis, marsotto edizioni, mattiazzi, plank, teracrea, vitra.
supported by pin. freunde der pinakothek der moderne E.V.

see more about this project on designboom here

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