Advertising between Art and DesignNational Museum of Decorative Arts, produced by the , centres on the advertising group, Grupo 13, founded in Madrid in 1961. The main purpose of Grupo 13 was to dignify advertising in Spain post– autarchy with its obligatory political neutrality. Its development is framed within an era of effervescence of ‘groups’, characterized by idealism and the social nature of their projects. Its members acted unconventionally with the intention of transgressing and violating advertising language, creating many of the images that accompanied us in the media of the day, in multiple fields of consumption in daily life. The last joint activity of Grupo 13 took place in 1978. This exhibition, curated by Javier González Solas, shows a panorama of its production and its activities. It takes us through a timeline to the present day, linking the history of advertising and design with the present– day situation of both disciplines, with the purpose of arousing critical thought on the conceptual similarities between the past and the present.
Photogrphy: “Lotería Nacional” by Tártalo
In an age when everybody can take a photo and edit it right then with filters and applications to get a professional result, there continues to be very few endowed with the skill of drawing what’s in front of them. For this reason, fashion illustration can be understood as a different sort of narration that celebrates a personal and intimate vision. The 22 contemporary masters of illustration that share this exhibition do not however share a specific technique. Some use pencil, others a digital brush and others watercolours... But in all cases the result is an attractive, elegant and unique image, that is, a ‘fine print’. Fina Estampa. Ilustración y Moda (Fine Print: Illustration and Fashion) brings together some 100 works in a single room of the creators who are shaking up the fashion industry and social media. This project has a potential to go viral and a scope that transcends our borders.
Complementarios (Accessories) is an exhibition organised by di_MAD whose purpose is to spotlight and provide visibility to accessories as the best fashion ally. In the second edition of this project, young talents and designers with more established careers will participate, creating a meeting space for different profiles.
The first exhibition presented by the National Museum of Decorative Arts is entitled Las costuras femeninas de la Moda de España (1930 – 2018) (Female Seamstresses in Spanish Fashion), a project organised via collaboration between the EFE News Agency, the Association of Spanish Fashion Creators and the museum itself. The exhibition offers the public a selection of around 50 journalistic photographs from the photo archives of the EFE News Agency, in a dialogue with garments by Spanish designers and accessories like jewellery, hats and shoes. The images of the exhibitions, captured without the editing or preparation that fashion photography requires, show women wearing fashion creations, without the endless filters that specialised magazines tend to employ. Even the models, filing down the catwalks, are not exposed objects, but instead are active individuals doing their professional jobs.
Photo: San Sebastián (Guipúzcoa), July 1958.- Spanish artists Eulalia del Pino, Luchy Prado and Lola Flores (l-r), upon their arrival at one of the galas of the VI International Film Festival of San Sebastian. EFE / Destello
Outside the Box has been curated based on three items to give visibility to the five years of hard work done by the young designers awarded by INJUVE with its grants for creation: these items are the box, the trip and the action of being outside the box. The exhibition presents 17 boxes and objects by young designers with the aim of materialising the dialogue established between the box as an intermediary between the work produced and the work displayed, travel as mediator and a tool for working contexts, places and processes, and as a way of understanding curating as a process involving a long conversation and the fact of being ‘outside the box’, an allusion to the exhibition technique.
Photography by La Proyectora de Ideas: Sheila Pazos “Cadavre Exquis” (detail)
The National Museum of Decorative Arts is hosting for the third year in its rooms the exhibition Show of Contemporary Precious Metalwork and Jewellery. This exhibition is organised by the Association of Contemporary Precious Metalwork and Jewellery Designers (AdOC), with the aim of displaying original pieces created by over 30 national and international designers selected by AdOC. The organisers and some of the artists provide technical explanations to the public on their pieces, leading to greater understanding of the characteristics and objectives involved in the creation process. The exhibition is enriched with trips to other sites in the city of Madrid, which make up a route created to contemplate modern– day jewellery and precious metalwork creations.
Photography: “Brancusi” by Isabelle Géréec
When Paco Muñoz (1925 – 2009) founded Darro in 1959, Spain had just started to emerge from the cultural isolation imposed by the Franco regime. The war and post– war years had severed the architectural postulates of the Modern Movement, which reached Spain in the twenties and whose ideation of rationality proposed inexpensive and functional living spaces. Darro was one of the leaders of this change in the 1950s and 1960s. Two decades devoted to avant– garde design and art that are revealed today as one of most solid and transcendental ventures into Spanish modernity.
After eight years working at Casa & Jardín, one of the Madrid’s most influential interior design firms, the time had come for him to risk setting out on the road toward industrial design trends that were seeking a new housing paradigm. Thus, with Fernando Alonso Martínez as a partner, he founded Darro S in 1959, whose business mission was ‘to produce and exhibit and sell mass pro- duced furniture and home décor’.
The shop was launched as a prestigious showcase of the new trends in art and design that were starting to trickle into the capital. The premises, which until 1962 also operated as an art gallery, had a large basement for furniture display and sale, both produced and designed by the Darro technical team and by oth- er important architects and artists like Javier Carvajal, Miguel Fisac and Equipo 57. A select collection of nordic designs and by the firm Italian Arflex rounded out this ambience of modernity and exclusivity.
Expansion was fast and in only a few short years, the company had points of sale in Seville, Valencia and Bilbao.
However, the fragility of the spanish industrial fabric, export difficulties and a market nearly exclusively limited to subsidised housing developments and a high– brow social class, were offset by the creativity and needs of a series of architects, artists and designers who knew how to meet producers’ demands and create a new culture and way of understanding the living space.
Until the shop closed in 1979, this stage led Darro to diversify
its business, primarily working to sell furniture and home decor and taking on interior design projects. For this exhibition, the Machado– Muñoz Gallery has recovered 60 pieces from its most prolific period.
Some Darro pieces designed by Paco Muñoz and his partners have attained iconic status with the passing of time. This is the case of the Riaza Chair, one of the few and still not extensive list of emblematic Spanish designs, such as the Coderch Lamp and those by Miguel Milá. However, all Darro’s creations are equally deserving of attention and form part of pioneers’ work who wanted to get the spanish to participate in modernity that had been publicly refuted and cast aside.
In this exhibition, Madrid Design Festival pays homage to Contemporary Spanish crafts, a true survivor of all the social, historic and technological changes that have taken place in our popular culture. The combination of design, functionality and artistic wealth of the objects that form part of our daily lives go well beyond a mere comparison to Fine Arts. Talent is an essential quality for creating beautiful and enduring artisan objects, a powerful way of ex- pressing something of ourselves and leaving an indelible imprint on our surroundings. For these reasons, these creations must be endowed with a balanced combination of six core features: culture, legacy, excellence, mastery of the trade, creativity and a strong relationship between the creator and owner of the object. Craftmanship grows increasingly closer every day to contemporary artistic creation. Historic weight positioned craft as old– fashioned and dusty, neither modern nor interesting, and as something to leave behind in the pursuit of progress. However, today, artists and creators understand it as a serene and honest medium, to which they feel attracted and comfortable. Craftsmanship links us to a secular past connected to physical context, and much freer from speculative theories. And this is like a breath of fresh air. The gaze of artists and designers from all disciplines returns with interest and curiosity to the skill, experience and dedication of master craftspeople, generating possibilities of collaboration and professional networking. These networks, ever more frequent —from private consumers to large luxury brand labels that commission these small workshops to produce some of their items—are important so this beauty and knowledge can be inte- grated into our daily lives as they truly are: an extremely important cultural manifestation.
One of the fundamental areas of this exhibition is being able to show not only the end result of the work of these craftspeople, proposing a journey through the diversity of artisan production especially selected for the occasion—precious metals, ceramics, glass, textiles, wood, basketry and metals—but also the different techniques applied within each of these disciplines, and the creative process that each craftsperson follows. And thus viewers will have the opportunity to see some of the best crafts projects to be found all in Spain today.
Curated by journalist and researcher Macarena Navarro – Reverter, author of the book España a mano (Spain by Hand), and produced by La Fábrica, this exhibition contains 117 pieces from 60 studios – including Gordiola, Steve Mono, La Cartuja de Sevilla, Sargadelos, o Martín Azúa– and is a declaration of intent for rethinking the use of the techniques and materials of the past with the creative men- tality and methods of the twenty– first century.
To ensure that a design endures over time, having a great idea is only the beginning. Creating a product is no easy task and nor is designing its packaging. Its appearance must be recognisable to consumers, but in this, like in so many things, aesthetics is not everything. Packaging is design serving design, given that it takes part in the distribution and communication of products, even modifying their material characteristics. From a disciplinary point of view, it is a complex practice that is part of product design and graphic design.
Super– Packaging gives us a journey into the past, present and future of packaging and.or container design. Conceptualised as a fun experience for viewers to see, the show transforms an exhibition room into a supermarket in which we can analyse our routines as consumers through packaging design.
The first section takes us back to the origins of some design milestones, without which we could not understand the commercial landscape of the supermarket, from cans and aerosols to true universal and local icons, such as the Coca– Cola bottle or Cola Cao can.
Then it moves into the present day of packaging, represented by some of our country’s best design studios, exhibiting the different solu- tions provided today to companies that request their services. We can see works in diverse categories by Botánico Estudio (Salamanca), Sidecar (La Rioja), LaCía and Delamata Design (Madrid), Lavernia&Cienfuegos (Valencia), Estudio Maba and Eduardo del Fraile (Murcia) and Cabello x Mure (Jaén).
Each year some of these studios are honoured at the Pentawards, the most important international awards for packaging design. They value the end result of the design process, including the production, transport, warehousing, logistics, sale and use by clients.
What is the future of packaging design? This future is linked to its disappearance. There are so many problems from the use and abuse of plastics and its by– products, with environmental resources that are nearly exhausted, that the search for alternative designs is vitally important for the industry. Society needs more lightweight and easier to transport packaging that contribute to reducing the carbon footprint and that, furthermore, are recyclable.
Some of the projects presented by Super – Packaging would
be unthinkable with technological advances. Research into new materials is fundamental to increase the functionality of packaging, providing universal solutions adapted to all types of consumers, from the elderly to the youngest. Many designers today are already proposing new ways of thinking and doing. Replacing plastic bottles with strong, edible and biodegradable bubbles, packaging projects manufactured with bioplastics from organic waste, or customised packaging to consumers’ tastes are just a few of the examples we are now starting to see on supermarket shelves of the future.
Produced by La Fábrica and curated by Ana Domínguez Siemens and José María Faerna, this exhibition aspires, on the one hand, to act as recognition to the creatives who devote their lives to packaging design. However, it is an attempt to guide the public’s eye, provoking thought on some daily objects whose appearance reveals much more than it may seem at first glance.
Rado, a Swiss watch brand that has been linked to the world of design since its inception, will present the second edition of the Rado Star Prize Spain during the Madrid Design Festival, for which it is the main sponsor. Rado has extensive experience in participating at festivals associated with fashion, design and art and supporting emerging creators, as it is a regular attendee at Paris Design Week, NYCxDesign, Vienna Design Week and Design Shanghai, among many others.
Rado Star Prize is an international competition that has been held in numerous countries, including Switzerland, the United States, France, the United Kingdom and Austria. In its quest for new talents in the design world for this new call, Rado has invited young designers to respond to the topic Timelessness of Materials, with the objective of giving priority to raw materials and developing works that will remain unaltered over the course of time.
It seeks avantguard and innovative projects that consider time from the perspective of the materials employed. The projects can belong to the fields of interior, industrial or technological design. The finalists, whose projects will be on view at this exhibition, will be selected by a jury of influencers representing the world of design: Hakim El Kadiri, Inma Bermúdez, Ana Domínguez Siemens, Andreu Carulla and Lidewij Edelkoort.
The winner will receive € 5000 in cash and a Rado watch. Further, along with the other finalists, the winner will have the chance to exhibit his or her creation in the Espacio Rado from 4 to 22 February as part of the Madrid Design Festival. A ‘people’s choice award’ will also be called, selected from among public votes at the boxes that will be installed in the Espacio Rado at COAM and via online voting on the website http:.radostarprize.rado.com. spain, from the first day of the exhibition and until the winners are announced. The winner of the people’s choice award will receive a Rado watch.
Digital exhibition of social innovation projects carried out by multidisciplinary teams of students from the Masters of Design and Innovation in collaboration with the Fundación Vicente Ferrer (Anantapur), the Fundación Omacha (Puerto Nariño) and professionals from the Sustainability Institute (Cape Town).
Producto Fresco (Fresh Product) is a di_MAD project that commenced in 2012 and aims to publicize the best product design done over the last year by designers born in and residing in Madrid. Since 2018, the project’s geographic scope has been expanded, now inviting one autonomous community per edition. At Producto Fresco 2019 the guest community is Andalusia. Over the course of the years, Producto Fresco has become established as a platform, showcase and thermometer of breaking news in product design, displaying the most innovative new products and, in parallel, reflecting the needs and problems designers face in their daily work. These range from small businesses that must completely take on production, marketing, promotion and sales functions for their products, to the large companies that integrate design as one of their identifying traits.
The exhibition at the Central de Diseño de Matadero Madrid is a subject of interest by di_MAD in promoting design in a plural, open and intergenerational way, where professional audiences can be inspired by the products on show and the general public has the chance to enjoy and appreciate product design as a fundamental part of culture and their daily lives. Entry to the exhibition is free, but the activities programme (talks, workshops...), organized around the show as well, will require registering in advance.
Museo del Traje joins the Madrid Design Festival programme for the first time this year with an exhibition of 20 pieces that pay tribute to one of the most iconic personas of spanish design: Ágatha Ruiz de la Prada. National Fashion Design Award winner in 2017, Ágatha Ruiz de la Prada (Madrid, 1960) started off in the world of fashion in the 80’s and, since then, the designer has shaped and defined her own unique aesthetic, building an unmistakable brand that enjoys extensive international recognition. Along with her lines of clothing, Ágatha Ruiz de la Prada has also taken her designs to fashion accessories, ceramic coverings, home decor, books, pet wear, cosmetic and stationery articles, as well as many other products. Further, through her collaborations with official entities and companies, she has designed uniforms, costumes and stages for theatre, opera and dance performance, Christmas lights, children’s playgrounds and urban furniture, among other items.
This exhibition integrates pieces by designer Guillermo Santomà into the rooms of the Cerralbo Museum, establishing a peculiar dialogue between the 19th and 21st centuries, the designer’s 12 pieces and the museum’s permanent collection. Santomà views collecting as a sculptural act. Each object in this collection, now homeless and with no possibility of being increased or reorganised, remains trapped in its aesthetic dimension, thus losing the meaning that once was the origin of its genesis. Pieces of all shapes, sizes and utilities coexist in this ex- ceptional space that, due to their sheer numbers, and almost rival the lovely architecture of the building. Santomà’s work is situated somewhere between architecture, industrial design and interior design. One of his most remarkable projects in 2013 was the complete transformation of the Casa Horta, in which the artist did a complete overhaul of a traditional home at the turn of the 20th century.
Image: “Alfombra, sofa, mesa" photo by Jose Hevia Blach
Wood in Progress, formulated by Finsa by Envisions, aims to provide viewers with an immersive experience via six proposals approached with a clearly experimental mindset, rep- resenting the next step forward in Finsa’s collaboration with the dutch company Envisions. Wood in Progress is the outcome of one year of arduous research into the field of experimental design applied to materials. The six designers from Envisions worked inside the wood company Fin- sa’s factories, alongside its technical teams and specialists. Finsa gave the green light to six of the prototypes presented, proving that the challenge entailed for both companies in this collabora- tion has been overcome by achieving a common goal: providing innovation to the processes and products, with a clearly experi- mental vision.
Students from the Master of Professional Photography and the Postgraduate Course in Advertising and Editorial Photography showcase a selection of their best photographs in a one-day exhibition where you can meet the authors and enjoy the music of a surprise DJ.
* From February 11 to March 3 exhibition will be tranferred to the IED Master at Calle Larra, 14. Free entry until complete seats.
In addition, Cosentino is contributing to the Madrid Design Festival programme with its exhibition La cuadratura del Círculo (The Squaring of the Circle) by Cruz Novillo, one of the pioneers of graphic design in Spain, a project started in 2014, where the possible combinations of 16 cubes generate over 121 trillion different and unique works, and we are invited to play with them.
In the framework of Madrid Design Festival di– Lightful is creat- ed, an experimental reflection on our relationship to light and its possibilities as a raw material in creative expression. This edition will pose questions on the present and future of the use of light in different design related disciplines.
There’s nothing worse than sitting down for two or three hours at a table for a tasting menu by an awful chef on an uncomfortable chair. These are the words of Albert Raurich, who was head chef at elBulli. That’s why the chairs at the restaurant he owns are created by Andreu World. As well as the seats in many other restaurants run or designed by professionals who know the importance of ‘eating seated well’.
The idea of reflecting on this is the basis of this publication, and its accompanying exhibition. A visual journey through recommended venues round the world that pair good design and gastronomy, along with a reflection on the importance of design in restaurant spaces.
There are some fifty exquisite examples all over the world, as well as opinions from a good number of recognised chefs, from Jose Andrés to Gastón Acurio. Published by Planeta Gastra, the book was written by Álvaro Castro, a lifestyle journalist who loves good design, and the exhibition overseen by Ramón Úbeda, a design specialist who loves eating well.
The show will include works by designers like: Patricia Urquiola, Jasper Morrison, Lievore Altherr Molina, Piergiorgio Cazzaniga and William Sawaya.
This exhibition is a collection bringing together contemporary design objects from a single place: the Creative Quarter, the first of its kind in Bucharest.
This project was ideated by The Institute with the collaboration of the Romanian Cultural Institute, the organiser of Romanian Design Week and other important projects devoted to reviving the creative industries in this country.
Oscar Mariné conference
Designer, illustrator, font expert and artist, Oscar Mariné is a communicator without limits. Faced with any dissemination challenge, Mariné provides creative solutions supported by his in– depth know– how of fonts, rejuvenating images and illustrations that are genuinely his own.
Whether it’s a logo, an art magazine, advertising for a museum or a newspaper supplement, his works also respond to the needs of the project in question, joining solvency and creativity. Mariné has created dozens of works with both national and international scopes in fields as diverse as publishing, corporate image, cinema and music.
Ocar Mariné; A poster
During the Festival will also present the exhibition of the poster proposals for the Oscar Mariné conference made by the students of the degrees of design and fine arts of the university Francisco de Vitoria.
The Fashion School of the IED Madrid presents one of its most significant projects: Balenciaga: past, present and future. It is an exhibition exhibition developed by the students of the 2nd year of the Advanced Degree in Fashion Design, based on the work and figure of Cristóbal Balenciaga. Starting from the development of a prototype, and through the study of the designer's technique, the evolution of the Balenciaga House is analyzed.
In this year's edition, the projects are exhibited in the Royal Tapestry Factory, a fundamental institution in the conservation of Spanish textile heritage, intervening in the restoration of historical fabrics such as several of the Balenciaga costumes that are now in the museum of Guetaria.
Dates: From February 20 to 25
Visiting hours: From 10am to 2pm and from 4pm to 5.30pm. * February 24 from 10am to 2pm
Place: Real Fábrica de Tapices, C/ Funterrabía, 2
di_MAD hosts the exhibition Mujer, florero (Woman, – Object), a collection of group work by emerging women in the fields of design, architecture and fine arts throughout Spain. The aim is to establish a platform for thought and construction around matters with sociocultural relevance or interest, always related to the definition and limitation of the two original con- cepts: that of woman and of object.
Before moving the Gancedo store (Velázquez, 21) to its new location at number 38 on the same street, we will enjoy various ephemeral installations that reinterpret the color and values of the brand throughout its evolution.
The Museo Nacional de Artes Decorativas (National Museum of Decorative Arts - MNAD) shows for the very first time one of its least known collections: a selection of watercolour sketches for posters painted between 1900 and 1936, that its predecessor, the Museo Nacional de Artes Industriales (National Museum of Industrial Arts) kept for the first third of the 20th century.
Dates: September 27, 2019 - April 12, 2020
Visiting hours: Tuesday to Saturday from 9:30am to 3pm. Sundays and public holidays from 10am to 3pm. Thursdays afternoon from 5pm to 8pm
Place: Museo Nacional de Artes Decorativas