Sebastian Errazuriz @ Philadelphia Art Museum - 'Double Take' Mid-career Survey Exhibition

Sebastian Errazuriz: Double Take

Philadelphia Art Museum

November 22, 2025 – August 16, 2026

SEBASTIAN ERRAZURIZ

Lightning Strike Lamp, 2025

Designed by Sebastian Errazuriz

SEBASTIAN ERRAZURIZ

Chicken Lamp III, 2014

Edition of 12 

Designed by Sebastian Errazuriz

SEBASTIAN ERRAZURIZ

The Represented Self, 2020 

Designed by Sebastian Errazuriz

SEBASTIAN ERRAZURIZ

The Represented Self, 2020 

Designed by Sebastian Errazuriz

The Philadelphia Art Museum presents Sebastian Errazuriz: Double Take, a mid-career survey by artist and designer Sebastian Errazuriz (b. 1977, Chile). The exhibition explores Errazuriz’s multi-hyphenate practice spanning art, craft, design, and technology, from antiquity-inspired furniture to multimedia work informed by artificial intelligence.  

Alongside the exhibition, Sebastian Errazuriz will be honored with the 39th Collab Design Excellence Award. Collab is the museum's affinity group for modern and contemporary design and has celebrated diverse international designers who have made important contributions that advance all disciplines of design. Collab was established in 1986 and presents the award annually. Previous awardees have included Florence Knoll Bassett, Naoto Fukasawa, Zaha Hadid, Ingo Maurer, George Nakashima, Gaetano Pesce, Patricia Urquiola, and Marcel Wanders, among others.  

SEBASTIAN ERRAZURIZ

Magistral Chest, 2014

Designed by Sebastian Errazuriz

SEBASTIAN ERRAZURIZ

Bust Shelf Green Marble, 2018

Designed by Sebastian Errazuriz

SEBASTIAN ERRAZURIZ

Bust Shelf Green Marble (Detail), 2018

Designed by Sebastian Errazuriz

Errazuriz’s creative imagination challenges upheld ideas of what design should be and, moreover, asks what it could be. Embracing humor and appropriation, his limited-edition and unique pieces often have a subtext that goes beyond form or function to include personal narratives, political messages, and cultural commentary. While many of Errazuriz’s pieces are functional, his work upends a number of conventions established within the design industry, including the notions that form should follow function, or that materials should be used where most appropriate.  

Sebastian Errazuriz: Double Take presents over 20 years of making, including early conceptual works that take nature and existing found objects as sources of inspiration. The exhibition features furniture, mirrors, and other products that the designer creates from appropriated and digitally manipulated Greco-Roman antiquities from museum collections. Also on display will be a range of the designer’s “kinetic” cabinets, defined by their moveable elements. Errazuriz is interested in disrupting the idea that cabinets must consist of a box with two front doors, regardless of their design. Instead, objects in Double Take propose a dynamic way of living with furniture that rotates, spins, and fans out in different directions.  

SEBASTIAN ERRAZURIZ

Piano Shelf, 2014

Designed by Sebastian Errazuriz

SEBASTIAN ERRAZURIZ

IMAGINE, 2025 

Designed by Sebastian Errazuriz

A final, monumental installation features a full-wall graphic made up of drawings that Sebastian Errazuriz has created through the use of artificial intelligence. Overlaid is a new work, which spells out the word “IMAGINE” in neon lights, the letters flashing in alternating patterns to alight only “AGI” at certain points. Unlike current AI models which are trained for specific tasks, the concept of AGI, or artificial general intelligence, involves systems possessing human-like cognitive abilities, allowing them to learn new skills, adapt to novel situations, and demonstrate common sense and creativity without explicit pre-programming. This focal point of the exhibition explores Errazuriz’s fascination with, and apprehension about, the potential impact of AI on artists, designers, and culture more broadly. 

SEBASTIAN ERRAZURIZ

Fan Cabinet, 2014

Designed by Sebastian Errazuriz

SEBASTIAN ERRAZURIZ

Narcissus Bowl, 2022

Designed by Sebastian Errazuriz

“The diverse body of work by Sebastian Errazuriz conveys imagination and cleverness, while also bewildering those who encounter it. The pieces are meant to be lived with, but, at the same time, are provocations. They have an air of mystery around their function and meaning,” said Tiffany Lambert, The Lisa Roberts and David Seltzer Curator of Modern and Contemporary Design. “This survey exemplifies one way to understand and challenge how design can impact our daily lives.” 

PHILADELPHIA ART MUSEUM

Alter Gallery (Gallery 276) 

2600 Benjamin Franklin Parkway, Philadelphia, PA 19130

www.visitpham.org

From Cindy Sherman’s pied-à-terre in Paris. Designed by Laplace - Vente aux enchères @ Piasa, Paris

From Cindy Sherman’s pied-à-terre in Paris. Designed by Laplace

Vente aux enchères

Piasa, Paris

2 octobre 2025

Karl Lagerfeld (1933-2019)

Portrait de Cindy Sherman, 2014

Tirage noir et blanc

Signé, daté et dédicacé : “with love” en bas à droite

© Xavier Defaix, courtesy PIASA

Estimations : 2 000 / 3 000 €

La maison de ventes aux enchères PIASA propose à la vente l’intérieur du pied-à-terre parisien de l’artiste américaine Cindy Sherman, conçu et aménagé par Laplace, cabinet d’architecture internationalement reconnu.

« Concevoir cet appartement pour Cindy Sherman a été un dialogue créatif passionnant. Nous avons cherché à traduire son univers visuel en un espace harmonieux, à la fois intemporel et audacieux » ont déclaré Luis Laplace & Christophe Comoy.

Mobilier moderniste, oeuvres d’art contemporain, pièces de design rares, mode et luxe témoignent d’une sensibilité partagée pour l’élégance, la culture visuelle et l’expérimentation des formes. 

La vente « From Cindy Sherman’s pied-à-terre in Paris. Designed by Laplace » consacrée à la dispersion de l’intérieur de l’appartement parisien de l’artiste américaine Cindy Sherman révèle une collaboration créative unique entre la plasticienne conceptuelle et le duo Luis Laplace et Christophe Comoy.

Sarah Charlesworth (1947-2013)

A simple Text (White Flowers), 2005

Tirage Cibachrome et cadre laqué

Tampon de l’artiste en bas à droite

Numéroté au dos sur une étiquette : “3/8”

Édition de 8 exemplaires, 105 × 80 cm

Provenance : Baldwin Gallery, Aspen

© Xavier Defaix, courtesy PIASA

Estimations : 5 000 / 7 000 €

Bjarne Melgaard (né en 1967)

Sans titre (panthère rose), 2013

Acrylique, cristaux, quartz, roche de sel, sucre,

tenture, colle et écorce sur panneau de bois

86 × 110 × 4 cm

Provenance : Gavin Brown’s entreprise, New York

© Xavier Defaix, courtesy PIASA

Estimations : 10 000 / 15 000 €

« La première fois que je me suis réveillée dans cet appartement parisien, tout ce que j’avais, c’était un lit et des draps », confiait l’artiste au magazine AD France en 2013. « Je pensais en savoir assez sur moi-même pour créer mon propre espace de vie, mais j’ai vite réalisé le temps incommensurable que cela prend. » Son amie, l’architecte Annabelle Selldorf, lui recommande Laplace au début des années 2000.

Le design n’est pas étranger à l’artiste : ses « anti-portraits » sont souvent mis en scène dans des décors où le mobilier et les objets jouent un rôle déterminant dans la construction de ses personnages — le salon de son appartement new-yorkais, reconstitué pour Untitled Film Still #50 (1979), éclaire de manière significative cette dimension de son travail. « Elle est très au fait de ce qui se passe en architecture et en décoration, confirme le duo. Sa culture du design est impressionnante. »

Chris Garofalo (née en XXe)

‘Enchinodermata Dichroic’, 2007

Porcelaine émaillée

Pièce unique, H 22 × Ø 16 cm

© Xavier Defaix, courtesy PIASA

Estimations : 1 500 / 2 000 €

Arne Norell (1917-1971)

Paire de fauteuils – Modèle ‘Pilot’

Hêtre et cuir

Édition Norell möbel AB

Modèle créé vers 1960

H 95 × L 78 × P 79 cm

© Xavier Defaix, courtesy PIASA

Estimations : 2 500 / 3 500 €

Cindy Sherman est rapidement séduite par la ligne adoptée par le cabinet d’architecture, qui se caractérise par un style moderniste et international, adouci par un glamour chic très parisien. Dans le salon, face à la cheminée, un large canapé courbe italien dialogue avec deux fauteuils des années 1960 garnis de tissu jaune. Sur la table basse, deux céramiques de la sculptrice américaine Chris Garofalo. Dans la salle à manger, six chaises signées par le designer italo-brésilien Guglielmo Ulrich, font écho à une paire de fauteuils Pilot du Suédois Arne Norell et à deux consoles dans le goût de Marc du Plantier sur lesquelles reposent deux vases en verre de Murano de Massimo Micheluzzi.

Travail français (XXe)

Paire de consoles

Fer et marbre

Modèles créés vers 1940

H 75,5 × L 125 × P 60 cm (chaque)

© Xavier Defaix, courtesy PIASA

Estimations : 4 000 / 6 000 €

Joaquim Tenreiro (1906-1992)

Bureau

Imbuia et marbre

Édition Tenreiro Movéis e Decoraçoes

Étiquette de l’éditeur sous le plateau

Modèle créé vers 1960

H 75 × L 140 × P 75 cm

© Xavier Defaix, courtesy PIASA

Estimations : 8 000 / 12 000 €

Lors de leur rencontre avec l’artiste, Luis Laplace et Christophe Comoy rentrent d’un voyage en Afrique de l’Ouest avec des échantillons de tissus traditionnels. Cindy Sherman se passionne pour les couleurs de ces grandes bandes de coton waxé, qui deviennent les rideaux de ses fenêtres.

La suite de la vacation est consacrée aux objets personnels de la photographe, dont la fameuse Malle Studio, réalisée pour les 160 ans de la toile Monogram de Louis Vuitton, soutien indéfectible de l’artiste depuis ses débuts (50 000 / 70 000 €).

Louis Vuitton et Cindy Sherman

Exceptionnelle Malle studio, 2014

Serrures, renforts et clous en laiton poli vif

Poignées de type ‘Oreilles d’éléphant’ en vache naturel

Dimensions fermées : 102 × 61 × 53 cm

© Xavier Defaix, courtesy PIASA

Estimations : 50 000 / 70 000 €

En 2014, pour fêter les 160 ans de la toile monogram, la société Louis Vuitton demande à 10 artistes emblématiques de leur époque de créer un objet Vuitton. L’artiste américaine Cindy Sherman conçoit alors cette exceptionnelle malle studio. L’extérieur en toile enduite monogrammée agrémenté de fac-similé de photo montage de Cindy Sherman représentant l’artiste. Il a été produit de ce modèle 25 pièces entre 2014 et 2017 toutes numérotées sur un cartouche en cuir à l’intérieur du capot. Le modèle présenté à la vente porte le numéro 2/25.

Leica

Leica X2 - Gagosian Gallery

Édition limitée à 100 exemplaires réalisée en 2013

Appareil photo de type X2

APS-C-format CMOS 16.5 megapixel

sensor Métal, cuir blanc et éclaboussures de peinture noire

Étui de protection en autruche noire

(vendu avec ses chargeurs et accessoires divers)

© Xavier Defaix, courtesy PIASA

Estimations : 1 000 / 1 500 €

Rimowa

Valise en alluminium

Signée au feutre par Cindy Sherman

60 × 40 × 25 cm

© Xavier Defaix, courtesy PIASA

Estimations : 1 000 / 1 500 €

A PROPOS DE CINDY SHERMAN

Née en 1954 à Glen Ridge, dans le New Jersey, Cindy Sherman est une figure majeure de l’art contemporain, reconnue pour son oeuvre photographique explorant les questions d’identité, de genre, de représentation et de stéréotypes. Elle se fait connaître à la fin des années 1970 avec sa série fondatrice Untitled Film Stills, dans laquelle elle se met en scène sous les traits de personnages féminins inspirés des archétypes du cinéma, des médias ou de l’histoire de l’art. Depuis plus de quarante ans, elle construit une oeuvre radicale en se transformant sans cesse, brouillant les frontières entre sujet et objet, fiction et réalité. Par le biais du maquillage, du costume, de la photographie et du décor, elle interroge la fabrication de l’image et les codes sociaux qui façonnent notre perception de soi et des autres. Présente dans les collections des plus grands musées du monde, Cindy Sherman a marqué profondément l’histoire de la photographie et continue d’influencer de nombreuses générations d’artistes.

A PROPOS DE LAPLACE

Luis Laplace, architecte franco-argentin, dirige le cabinet Laplace à Paris aux côtés de son cofondateur et CEO Christophe Comoy. Reconnus internationalement pour la création d’espaces culturels et la réhabilitation de sites historiques d’exception, ils ont bâti ensemble une réputation fondée sur la modernité, la simplicité et une profonde sensibilité au patrimoine. Parmi leurs réalisations majeures : la galerie Hauser & Wirth à Paris, un centre d’art primé dans une ferme du XVIIIe siècle dans le Somerset, et un autre à Minorque, aménagé dans un ancien hôpital militaire, récompensé par Europa Nostra. Le duo a également supervisé la restauration du Chillida Leku à Saint-Sébastien, et conçu l’exposition « Chillida à Minorque » en 2024, mettant en valeur la pierre locale marès. En 2025, après sept ans de collaboration avec la Fondation Guston, ils restaurent une fresque historique au Mexique. Collaborant régulièrement avec des artistes comme Rashid Johnson, Laplace et Comoy défendent une approche holistique, sensible au contexte local, alliant modernité, simplicité et émotion. Leur architecture vise à créer des espaces durables, porteurs de sens et de mémoire.

PIASA

118 rue du Faubourg Saint Honoré 75008 Paris

www.piasa.fr

Harri Koskinen @ Galerie Forsblom, Helsinki - "Magnitude" Exhibition

Harri Koskinen: Magnitude

Galerie Forsblom, Helsinki 

August 22 – September 21, 2025

 

Harri Koskinen one of Finland’s most renowned designers, presents a new exhibition shaped by compelling, multi-layered themes that navigate borderlands between the mythical and the contemporary. Elements subtly reminiscent of survival gear suggest preparation for an uncertain future, serving as a quiet reminder of today’s volatile global climate. At the same time, the exhibition drifts into the realm of myth and adventure. Rather than creating ominous imagery, Harri Koskinen explores the delicate tension between the material form and conceptual depth of his work.

The exhibition presents a selection of unique glass sculptures, both free-blown and mold-cast. Glass, with its reactive sensitivity, naturally lends itself to the creation of multi-layered forms. As a material born from the transformation of sand through intense heat, then cooled into solid form, glass inherently embodies shifting states of matter. Koskinen’s minimalist visual vocabulary resonates beautifully with the fragility of his medium. Most of the featured sculptures were handcrafted at the historic glassworks in Iittala and Riihimäki, with select pieces produced in Switzerland. This marks Koskinen’s fifth solo exhibition at Galerie Forsblom.

HARRI KOSKINEN (b. 1970), is a highly versatile designer known for his conceptual approach. His practice spans both serial production and one-offs. Over the course of his distinguished career, he has served as design director at Iittala and collaborated with prestigious international brands including Artek, Genelec, Hermès, Issey Miyake, Muu, and Svenskt Tenn. Among his many accolades are the Torsten and Wanja Söderberg Prize, the Compasso d’Oro Award, and the Pro Finlandia Medal. Harri Koskinen lives and works in Espoo and Helsinki.

GALERIE FORSBLOM

Yrjönkatu 22, 00120 Helsinki

www.galerieforsblom.com

Infant: Banned Skills @ Whitney Online Gallery space for Internet and new media art - artport

INFANT: BANNED SKILLS

Whitney Museum of American Art, New York

2025 - artport - Online Gallery

INFANT

Still from BANNED SKILLS, 2025

© INFANT

The Whitney Museum of American Art launched BANNED SKILLS, a digital art project by artist duo INFANT, sidony o’neal and Bogosi Sekhukhuni, on artport, the Whitney’s online gallery space for Internet and new media art. Commissioned for artport, the work serves as the portal to engage with INFANT’s evolving conceptual framework, XENOFORMALISM. The artists designed BANNED SKILLS as an interactive entry point to explore new speculative understandings of formal systems like math, science, and design. The project reveals how seemingly contrasting ideas can align to generate new aesthetic or ideological orders.

BANNED SKILLS is a nonlinear aesthetic narrative that prompts viewers to consider various aspects of humanity and established understandings of objects or histories. Unfolding along two distinct paths, the work’s primary navigation tool utilizes the psychological phenomenon of the bouba-kiki effect. The phenomenon, first presented in the 1920s, reflects deliberate associations between speech sounds and visual shapes with the word bouba often associated with smooth, rounded shapes and kiki with sharp, angular ones. Within BANNED SKILLS, users begin their experience in a “NEST” where the kiki and bouba forms exist, selecting one of the two shapes to take them along different paths. Along these journeys, users interact with a range of artifacts from art, architecture, design, and sound to explore cultural representations through unexpected groupings, placing the objects in conversation with one another. Encounters with juxtapositions of cultural artifacts—from the Gameboy Advanced SP Tribal Edition to the necklace made from precisely designed whale bones—invite users to gain new perspectives and draw connections. In the top-left corner of the screen, an interactive virtual music device lets users toggle between the kiki- and bouba-coded soundscapes, further emphasizing the visual juxtapositions. After users explore both spaces, a final third environment will appear.

“BANNED SKILLS hopes to use participation as a way around the problem of ‘talking at’ the viewer, working with, not against, postures of engagement from the early 2000's gaming boom that feel familiar and nostalgic simultaneously,” said David Lisbon, Curatorial Assistant at the Whitney. “This is the first artport project that dives into this cross-section of the post digital and is a form of practice that garners attention because of its utility across levels of understanding. Considering the intersections of art and design have become a prominent narrative for emerging forms of contemporary engagement.”

The artists designed the virtual experience of BANNED SKILLS as a starting point for exploring their concept of XENOFORMALISM (XF). The prefix “XENO,” meaning strange or foreign in Greek, suggests an unfamiliar type of formalism. XF can be imagined as a category of filters to guide users in unpacking and connecting histories of visual aesthetics, sonic landscapes, and science. The work offers an aesthetic approach to new understandings of cultural representations, using histories of science fiction and digital culture—including gaming and computer graphics—as speculative introductions. The branching sequences INFANT has formed in BANNED SKILLS encourages viewers to reexamine how meaning is formed and reinforced within art, art history, design, science, and science fiction, and how these fields shape and contribute to collective cultural memory.

INFANT’s BANNED SKILLS was organized by David Lisbon, Curatorial Assistant at the Whitney Museum, and commissioned for artport, the Museum’s online gallery space for Internet and new media art commissions. artport is organized by Christiane Paul, Curator of Digital Art at the Whitney. 

ARTIST DUO INFANT

Sidony O’Neal (b. 1988) is a conceptual artist whose work and interdisciplinary research is informed by mathematics, architectural systems, and the histories of objects, from 15th Century locking mechanisms to plastic industrial pallets. Their works explore human relationships to objects, labor, and technology.

Their work has been featured in exhibitions at Et al., San Francisco, CA; Lewis Center for the Arts at Princeton University, Princeton, NJ; Dracula’s Revenge, New York, NY; Portland Institute for Contemporary Art, Portland, OR; Veronica, Seattle, WA; Third Born, Mexico City, Mexico; ICA at Maine College of Art and Design, Portland, ME; and Sculpture Center, Long Island City, NY. O’Neal has had residencies at MASS MoCA, North Adams, MA; and Banff Centre, Banff, AB, among others. Their performances have been featured at Kunstverein Düsseldorf, Volksbühne Berlin, and Performance Space New York. O'Neal is the recipient of awards and fellowships including the Oregon Arts Commission's Joan Shipley Award and a Hodder Fellowship from the Lewis Center for the Arts at Princeton University. In 2023, they were awarded a Hallie Ford Fellowship. O'Neal is co-founder of design firm INFANT.

Bogosi Sekhukhuni (b. 1991) is an artist and designer who reflects on cultures and histories of technology. Working across a range of media such as sculpture, video, set design, furniture design and performance, Sekhukhuni suggests ways to think about the mechanics of futurity.

Since 2012, Sekhukhuni’s work has been featured in both solo and group exhibitions, including Role Play, Fondazione Prada, Milan; Age of You, Jameel Arts Centre, Dubai; Art in the Age of Anxiety, Sharjah Art Foundation, Sharjah; The Art Happens Here: Net Art’s Archival Poetics, New Museum, New York; Bogosi Sekhukhuni, Foxy Production, New York; Rencontres de Bamako, African Biennale of Photography, Mali; and Simunye Summit 2010, Stevenson Gallery, Johannesburg. They have been awarded the Prix Net Art Award, Rhizome, New York (2017). Sekhukhuni is a founding member of the artist group NTU and has worked closely with CUSS Group. Sekhukhuni is co-founder of the design firm INFANT.

ABOUT ARTPORT

artport is the Whitney Museum’s portal to Internet art and an online gallery space for net art and new media art commissions. Launched in 2001, artport provides access to original commissioned artworks, documentation of net art and new media art exhibitions at the Whitney, and new media art in the Museum’s collection. Recent commissions include Ashley Zelinkskie’s Twin Quasar (2024); Maya Man’s A Realistic Day In My Life In New York City (2024); Holly Herndon and Mat Dryhurst’s xhairymutantx (2024); Nancy Baker Cahill’s CENTO (2024); Peter Burr’s Sunshine Monument (2023); Rick Silva’s Liquid Crystal (2023); Auriea Harvey’s SITE1 (2023); Amelia Winger-Bearskin’s Sky/World Death/World (2022); Mimi Ọnụọha’s 40% of Food in the US is Wasted (How the Hell is That Progress, Man?) (2022); and Rachel Rossin’s THE MAW OF (2022). Access these and more projects at whitney.org/artport.

Whitney Museum of American Art, New York City

Rose Iron Works and Art Deco @ CMA - Cleveland Museum of Art - A Journey from Art Nouveau to Art Deco

Rose Iron Works and Art Deco 

Cleveland Museum of Art

July 6 - October 19, 2025

Muse with Violin Screen, 1930 

Rose Iron Works (America, Ohio, Cleveland, est. 1904) 

Designed by Paul Fehér (American, b. Hungary, 1898–1990)

Steel, brass, silver and gold plating, cotton velveteen, 

156.2 x 156.2 cm. 

The Cleveland Museum of Art, 

Leonard C. Hanna Jr. Fund, 2020.216. 

© Rose Iron Works Collections  

Martin Rose (American, 1870–1955)

Rose, c. 1904

Wrought iron; 35.6 x 14 x 40.6 cm.  

© Rose Iron Works Collections 

Rose Iron Works, the family-owned, Cleveland source for premiere quality decorative metalwork, is the subject of the Cleveland Museum of Art’s (CMA) newest exhibition, Rose Iron Works and Art Deco. An important part of Cleveland’s artistic heritage, Rose Iron Works has been operating continuously since its founding in 1904, creating a legacy of industry, craftwork, and artistic production. Rose Iron Works and Art Deco traces the company’s journey from Art Nouveau to Art Deco during its first 30 years.

In the early 1900s, Cleveland was one of the wealthiest cities in the United States and a center for metalworking, which made it an appealing place for Hungarian ornamental blacksmith Martin Rose, founder of Rose Iron Works, to start a business. It soon became one of the leading manufacturers of decorative metalwork in the United States, with decorative metalwork adorning some of the city’s most notable buildings.  

Trained in Budapest and Vienna in a tradition that drew inspiration from recreating historical styles, Rose was interested in artistic and technological innovations. Around 1900, he adopted the Art Nouveau aesthetic, which used sinuous lines and organic forms inspired by nature, and in the late 1920s, a “modern” style. 

In 1925, a groundbreaking international exhibition in Paris presented modern decorative arts—a style that later became known as Art Deco. Rose’s compatriot and a designer active in Paris, Paul Fehér, joined Rose Iron Works in Cleveland a few years later. Their artistic collaboration resulted in some of the best Art Deco ironwork in the country, including the celebrated Muse with Violin Screen (1930), now in the CMA’s collection.  

“Rose Iron Works is important locally, nationally and internationally,” said Ada de Wit, Ellen S. and Bruce V. Mavec Curator of Decorative Arts at the CMA. “This exhibition places Rose Iron Works in context with an elite network of blacksmiths and designers in Europe between the cities of Budapest, Hungary; Vienna, Austria; and Paris, France. It is apparent that Martin Rose had his finger on the pulse of European trends in the decorative arts and was able to translate them for a Cleveland audience.” 

In the Art Deco period, decorative metalwork connoted luxury through high-quality craftsmanship; modern, sophisticated design; and the use of expensive materials such as brass, chrome, and in some cases, silver and gold plating, as well as novel alloys like monel. Ornaments played an important role in architecture and were used on everything from public buildings and places of worship to banks and private homes, many of which can still be seen, for example, in Cleveland Heights and Shaker Heights mansions.  

The exhibition showcases some of Rose Iron Works’ most notable Art Deco creations, including the now iconic Muse with Violin screen (1930), and loans from Rose Iron Works, such as an ambitious 90-foot frieze of the history of metalworking and a door grille salvaged from Halle Brothers Co. (1927), a high-end department store chain in Cleveland. Another significant loan is an overdoor (c. 1885) from the Museum of Applied Arts in Budapest, made by Gyula Jungfer (Hungarian, 1841–1908), Rose’s teacher in Budapest and the most successful artist-blacksmith in Hungary. It represents the European tradition and training that shaped Rose’s career.  

CLEVELAND MUSEUM OF ART

11150 East Boulevard, Cleveland, Ohio 44106

www.clevelandart.org

Salon Complément Design 2025, Montréal, placé sous le thème Générative — Génération : Design en processus

Complément Design 2025, Montréal

Générative — Génération : 

Design en processus

Grand Quai du Port, Montréal

1 — 3 avril 2025

Complètement Design 2025

générative-génération, design en processus

Imaginé par Index-Design, Complètement Design est un événement annuel qui rassemble la communauté de pratiques professionnelles et éducatives de l’architecture et du design pour célébrer la création. Complément Design 2025 est la troisième édition de ce salon d'un genre particulier. Offrant une programmation dynamique mêlant exposition, conférences, rencontres et formations, l’événement invite à explorer le design sous toutes ses facettes. Complément Design 2025 est placé sous le thème Générative — Génération : Design en processus, est présentée par Tafisa Canada et se tiendra du 1er au 3 avril à Montréal, avec son point culminant, le salon-conférence du 3 avril au Grand Quai du Port de Montréal. Ce sont plus de 2000 professionnels qui sont attendus au Grand Quai du Port de Montréal pour un événement unique, présenté par Tafisa Canada avec une scénographie signée Ivy Studio. Au programme : 22 conférenciers de renom, 70 exposants, mêlant fabricants locaux et grandes marques internationales, ainsi que 36 créateurs québécois indépendants. En amont, les 1er et 2 avril, des séances de formation en petit groupe permettront d’approfondir la compréhension des enjeux actuels du design.

Complètement Design 2025 : Des visionnaires du design mondial à Montréal pour inspirer les pratiques 

matali crasset

Photo @Julien Jouanjus

matali crasset, L’échappée quotidienne

Photo @Atmosphera

matali crasset, La maison des petits, Cent quatre Paris

Photo © Jérôme Spriet

matali crasset, Ferme hibride, Villelaure

Photo @Anthony Lanneretonne

Complètement Design 2025 invite plusieurs figures majeures du design international, dont Matali Crasset (France), icône mondiale qui explore le design comme un projet humain, social et écologique. À travers des exemples concrets, elle illustrera comment la pensée écologiste inspire une nouvelle approche de la création. 

Harry Nuriev

Photo @Andrew Jacobs System

Crosby Studios, Harry Nuriev, Alexander Wang Store

Photo © Pauline Shapiro

Crosby Studios, Harry Nuriev

Photo © Benoit Florencon

Crosby Studios, Harry Nuriev, Balenciaga Sofa

Photo © Inna Kablukova

De son côté, Harry Nuriev (France), prodige du design et fondateur de Crosby Studios, interrogera notre rapport à l’espace et aux objets à travers son esthétique audacieuse et « transformiste ». Ses réalisations virales, immédiatement reconnaissables, façonnent certains des intérieurs les plus marquants de notre époque, faisant de lui l’une des voix les plus influentes du design contemporain. 

Christopher Dessus

Photo © Paul Rousteau

Christopher Dessus, Paf-Atelier, Collectible

Photo © Ligia-Poplawska

Sonia Gagné

Photo @Frédérique Ménard Aubin

Provencher_Roy, Tour du Port de Montréal

Photo © James Brittain

Michel Dallaire

Photo © François Brunelle

Michel Dallaire, Le caquelon à fondue Abénakis

Photo © François Brunelle

Talia Dorsey

Photo © Guillaume Simoneau

D’autres sommités du secteur enrichiront le programme, parmi lesquels : Thomas Balaban (TBA), Manuel R. Cisneros (Sid Lee Architecture), Christopher Dessus (Paf Atelier, France), Justin Dubé-Fahmy et Marie-Anne Miljours (Rümker), Talia Dorsey (Phi), Maude Fafard (Ateliers Buissonnières), Sonia Gagné (Provencher_Roy), Lauren Goodman, Renée Mailhot, Sébastien Parent et Yannick Laurin (La Shed Architecture), Louis-Philippe Pratte (À Hauteur d’homme), Karine Touzel (Atelier Touzel, Canada).

Sid Lee Architecture, Bassin Wellington

Photo © Sid Lee Architecture + Bolide Studio

Fresh Catch chair, Lauren Goodman

Photo © PJCouture

Complément Design 2025 : Générative — Génération : Design en processus

Complètement Design 2025 explore le thème « Générative — Génération : Design en processus ». Elle met en évidence la richesse des itinéraires créatifs et les pratiques transdisciplinaires du design. Au-delà de la réalisation finale, c’est le parcours qui y mène qui sera mis à l’honneur, illustrant comment le design s’enrichit de l’expérimentation, de la collaboration et des avancées humaines et technologiques.

Les exposants, conférenciers et partenaires du salon seront invités à explorer ce fil conducteur à travers installations, produits, conférences et performances en direct. L’approche scénographique souligne l’évolution du design comme discipline en constante transformation, où innovation, engagement durable et transmission sont au cœur des réflexions.

« Complètement Design est un catalyseur pour l’industrie, un espace où se multiplient les rencontres et où circulent les idées prometteuses ; un temps fort annuel qui nourrit les échanges entre designers, fabricants et prescripteurs. » — Sandra Heintz, directrice d’Index-Design.

Complément Design 2025 : Le Prix Index-Design 2025 et L’Encan des créateurs locaux 

Une distinction honorant la création locale sera remise par Matali Crasset le 3 avril à un créateur exposant, sélectionné par un jury d’experts : Pierre-Luc Bérubé (Tafisa), Benoit Chapellier (Montoni), Rachel Gotlieb (Musée des beaux-arts de Montréal), Thibault Lerailler (Punctuate), Tania Morrison (Lovaco), Kristina Panzera (CIOT), Guillaume Sasseville (École de design UQAM), Vanessa Sicotte, et Ève St-Jean (NÓS Architectes). 

Autre nouveauté cette année : un encan des créateurs offrira aux visiteurs la chance d’acquérir des objets uniques ou en série limitée : luminaires, mobilier et objets signés.

Complément Design : Un salon montréalais qui va à contre-courant des salons conventionnels

À l’heure où les grands salons internationaux du design s’articulent souvent autour d’une logique commerciale et standardisée, Index-Design propose une posture différente pour cet événement contribuant à positionner Montréal comme capitale de design : montrer et raconter le design autrement. 

Chaque année, la scénographie est confiée à une firme québécoise différente. Après NÓS Architectes et Jean Verville Architectes, c’est au tour de IVY Studio de signer l’édition 2025. Complètement Design mise sur une scénographie épurée qui met en valeur les objets exposés : 

« En réduisant la saturation visuelle, l’aménagement offre une meilleure lisibilité des produits présentés, tout en favorisant des échanges plus qualitatifs entre exposants et prescripteurs », affirme Philip Staszewski, architecte, associé fondateur de IVY Studio, à l’origine de la scénographie 2025. 

Dans cette même logique, le salon-expo s’inscrit dans une démarche responsable depuis sa toute première édition : le mobilier de présentation conçu en 2024 est réintégré dans l’espace, et chaque nouvel élément est pensé dans une optique de réemploi et de cycle de vie prolongé.

Complément Design 2025 : Trois types d’accès pour une expérience immersive

1. ACCÈS MASTER (places limitées), 1-3 avril, divers lieux, Montréal (masterclasse, formations, conférences, salon-expo, soirée DJ set)

– Matamorphose : rencontrez Matali Crasset (masterclasse, 1er avril)

– Relevez les défis de la circularité en design intérieur (formation, 2 avril)

– Explorez les outils en IA générative pour la création visuelle (formation, 2 avril)

2. ACCÈS CONFÉRENCE (places limitées), 3 avril, Grand Quai du Port, Montréal (conférences, salon-expo, soirée DJ set)

3. ACCÈS SALON, 3 avril, Grand Quai du Port, Montréal. (salon-expo : présentations et performances, Prix Index-Design 2025, Encan des créateurs et soirée DJ set)

Complément Design 2025  - Conférenciers

Complément Design 2025 : Conférenciers

Matali Crasset (France), Harry Nuriev (Crosby Studios, France-USA), Michel Dallaire (Canada), Christopher Dessus (Paf Atelier, France), Talia Dorsey (PHI, Canada), Sonia Gagné (Provencher_Roy, Canada), Zébulon Perron (Atelier Zébulon Perron, Canada), Karine Touzel (Atelier Touzel, Canada), Lauren Goodman (Canada), Justin Dubé-Fahmy (Rümker, Canada), Marie-Anne Miljours (Rümker, Canada), Thomas Balaban (TBA, Canada), Manuel R. Cisneros (Sid Lee Architecture, Canada), Renée Mailhot, Sébastien Parent et Yannick Laurin (La Shed Architecture, Canada), Louis-Philippe Pratte (À Hauteur d’homme, Canada), Maude Fafard (Ateliers Buissonnières, Canada)

Complément Design 2025 : Exposants 

ALKEGEN, American Biltrite, Arancia Lighting, Atelier Arch, Atelier du Chef, Atelier Fomenta, Atelier MZO, BAINULTRA, Blaise Émilie, Blum, Brochette, Caesarstone, Centura, Céragrès, Ceratec Surfaces, Cime, Ciot, COSENTINO, CPL, Disamare, éclairage HITECH, Édition 8888, edp, Espace Cab Déco, Gabriel Page Mobiler, Garrett Leather, Ghauz Sofa, Gim Bert, HydroTuiles, Ināt, Jérémy Paguet, JETA, Johnstone Béton Architectural, KOHLER, L’Autre Atelier, La Fabrique Allwood, Laboratoire Textile, Lajoie, Le Tenon et la Mortaise, Lightbeans, Lixil, LumiGroup, MARdiROS, Marie Dooley, Mark Krebs, Matière Buissière, Mobico, Mohawk Group, National Energy, Planchers MIRAGE, Print International, Ramacieri Soligo, Reggy St-Surin, SANGARE, Shaw Contract, Anderson Tuftex, Studio Botté, SUPERGRAND, Tafisa Canada, Tarkett, Prosol, Taymor, Teknion, ToHook, Turf, Henderson, Typologie, Uniboard, Vicostone, Woodzco, XL Flooring

Complément Design 2025 : Partenaires de l’événement

Ville de Montréal, Montoni, Principal, Kollectif, Musée des Beaux-Arts de Montréal, Architecture sans frontières Québec, Association des Designers d’Intérieur du Québec, Association des Designers Industriels du Québec, Association des architectes en pratique privées du Québec, Ébénisterie CST, La Presse, Elle Décoration, v2com, Magazine Ligne, PLI, JTM, Hôtel W Montréal, Ogive Art, Édika. 

COMPLEMENT DESIGN 2025

Réservation : www.completementdesign.ca

Downtown Design Riyadh 2025 @ JAX District, Riyadh - Save the Date

Downtown Design Riyadh 2025

JAX District, Riyadh

20 - 23 May 2025

DOWNTOWN DESIGN RIYADH: 20-23 MAY, 2025

The leading fair for contemporary and quality design in the Middle East, Downtown Design, will open its inaugural fair in Saudi Arabia. Located in the JAX District, Riyadh, with the stunning backdrop of the historic UNESCO World Heritage Site of Al Turaif, Downtown Design Riyadh will take place from 20-23 May 2025.

Held in partnership with Saudi Arabia’s Architecture and Design Commission of the Ministry of Culture, the fair will offer design professionals and industry leaders as well as design enthusiasts and the culturally curious with direct access to contemporary and limited-edition design from around the world, with a spotlight on local talent. 

داون تاون ديزاين الرياض :20 إلى 23 مايو، 2025 

سيشهد "داون تاون ديزاين"، المعرض البارز في مجال التصميم المعاصر والجودة في الشرق الأوسط، انطلاق نسخته الأولى في المملكة العربية السعودية. وسيُقام "داون تاون ديزاين الرياض" في حي جاكس بالرياض، الذي يتميز بإطلالته الخلابة على حي الطريف التاريخي المُدرج ضمن قائمة التراث العالمي لليونسكو، وذلك من 20 إلى 23 مايو 2025.

سيوفر المعرض، الذي يُنظم بالتعاون مع هيئة فنون العمارة والتصميم التابعة لوزارة الثقافة السعودية، فرصة فريدة للمحترفين وقادة القطاع وعشاق التصميم والمهتمين بالثقافة للوصول المباشر إلى التصاميم المعاصرة والإصدارات المحدودة من مختلف أنحاء العالم، مع تسليط الضوء على المواهب المحلية.

DOWNTOWN DESIGN RIYADH

www.downtowndesign.com

Digital Witness: Revolutions in Design, Photography, and Film @ LACMA - Los Angeles County Museum of Art

Digital Witness  

Revolutions in Design, Photography, and Film

LACMA - Los Angeles County Museum of Art

November 24, 2024 - July 13, 2025

Melanie Willhide 

With the Exception of Blue, 2013, 

Los Angeles County Museum of Art, 

purchased with funds provided by LENS: Photography Council 

© Melanie Willhide, digital image courtesy of the artist 

and Von Lintel Gallery, Los Angeles 

April Greiman 

Pacific Wave, 1987 

Los Angeles County Museum of Art, 

Decorative Arts and Design Council Acquisition Fund 

and Ralph M. Parsons Fund 

© April Greiman, digital image © Museum Associates/LACMA 

Steven Spielberg (director), 

Dennis Muren (visual effects superviser), 

Industrial Light & Magic (production studio), 

Universal Pictures (studio), 

Still from Jurassic Park, 1993 

© 1993 Universal City Studios, Inc. 

and Amblin Entertainment, Inc., 

courtesy of Universal Studios Licensing LLC

The Los Angeles County Museum of Art (LACMA) presents Digital Witness: Revolutions in Design, Photography, and Film, which examines the impact of digital image manipulation tools from the 1980s to the present through the works of nearly 200 artists, designers, and makers. Assessing, for the first time, simultaneous developments and debates in the fields of photography, graphic design, and visual effects, the exhibition illuminates today's visual culture where digital editing tools are more accessible than ever before.

Over the last four decades, image-editing software has radically transformed our visual world. This relatively compressed period has taken us from the rise of early paint programs, to the development of both commercially packaged softwares and open-source alternatives, and now the ascension of Al image generators. The increasing ease with which images and text can be digitally generated and altered has enabled new forms of creative experimentation, while also introducing aesthetic and ethical issues across mass media, politics, and advertising. Digital Witness traces these developments with more than 150 photographs, posters, publications, videos, moving image files, film clips, and interactive software experiences. The exhibition charts the emergence of distinctive digital aesthetic strategies, examining how they have altered the patterns, flow, and stakes of visual communication.

Digital Witness: Exhibition Highlights

Organized in three thematic sections, Digital Witness raises questions such as: Where have artists advanced, exploited, or disrupted available means of digital creation and transmission? In what ways can software lead artists, and in what ways can artists shape software? As we are now several decades into the software revolution, can the historical context of "the digital" help us understand its future manifestations?

The exhibition's first section, Blur and Sharpen: Digital Realism, traces artists' efforts to emulate the three-dimensional world and hide evidence of digital interventions. Groundbreaking films from Jurassic Park (1993) to The Lord of the Rings: The Two Towers (2002) and beyond integrated computer graphics with live action and motion capture, embedding fantastical scenarios within otherwise familiar settings or building internally coherent worlds in 3D digital space. Meanwhile, amid initial resistance from traditional darkroom practitioners, photographers including Andreas Gursky and Loretta Lux explored the realm between fact and fiction, seamlessly refining or distorting reality in ways that tested viewers' perceptions and comfort.

Morph and Warp: Computer Aesthetics looks at creators who embraced the rough textures of technology, from April Greiman and John Maeda to Petra Cortwright and Todd Gray. Their work aestheticized glitches such as jagged edges and jerky movements, positing the digital world as its own entity rathert han an imitation of analog life. In some cases, this took a surrealistic form, with distorted shapes and colors that foregrounded technological possibilities and explored the extremes allowed by the new medium. In particular, motion graphics such as title sequences, kinetic typography, music videos, and advertisements were sites of experimentation.

The final section, Cut and Paste: Digital Collage, highlights artists like Keith Piper, Lucas Blalock, and Casey Kauffmann, who found creative potential in editing advances, taking analog art forms—collage in particular, with its potential for surreal juxtapositions—to digitally enabled extremes. In contrast, examples throughout the exhibition demonstrate how artists have resisted dominant commercial softwares, developing open-source alternatives such as Urs and Jürg Lehni's Scriptographer plug-in.

Publication: The exhibition is accompanied by a substantial, image-packed catalogue, co-published by LACMA and DelMonico Books/D.A.P., featuring Q&As with noted visual artists, filmmakers, and designers David Fincher, Copper Frances Giloth, April Greiman, MANUAL, LaJune McMillian, Rosa Menkman, Sert Monroy, Casey Reas, Thomas Ruff, Kyuha Shim, Raqi Syed, and Cesar Velazquez. The publication is edited with an introduction by Britt Salvesen and Staci Steinberger, and includes scholarly essays by Kim Beil, Hye Jean Chung, Carolyn L. Kane, Briar Levit, Staci Steinberger, and Anuradha Vikram. It was created as part of the PST ART: Art & Science Collide series.

This exhibition was organized by the Los Angeles County Museum of Art.

Digital Witness is presented as part of PST ART: Art & Science Collide, a landmark regional event exploring the intersections of art and science, both past and present. The exhibition is co-curated by Britt Salvesen, Department Head and Curator of the Wallis Annenberg Photography Department and Prints and Drawings, and Staci Steinberger, Curator of Decorative Arts and Design, at LACMA.

LACMA - Los Angeles County Museum of Art

5905 Wilshire Boulevard, Los Angeles, CA, 90036

BCAM, Levels 1 & 2

lacma.org