Can design be art?

Since the merger of Art Basel, the renowned contemporary art fair, and Design Miami/, a commercial “hub” for contemporary design, the question of whether design can be considered art has grown increasingly complex. It has become an intricate web of entanglements, and dilemmas that are at times impossible to unravel and often leave us torn between two opposing viewpoints.

The pursuit of design within art, that is, art in design, entails an unceasing quest for research. It involves embracing expressive (and technical) innovation, continuously redefining the functionality of aesthetic objects, and exploring the non-industrial reproducibility of items for an extraordinary everyday life. This fusion of design and art can elevate art to the realm of craftsmanship, transforming designers into artists equipped with method and talent.

While the boundary may appear delicate, a distinct separation remains. In order to avoid generating more confusion than fusion, it is imperative to establish clear and accessible pathways that allow for constant exploration in both directions.

In its 17th edition, Design Miami/ Basel has taken on a significantly scaled-down appearance, creating an atmosphere that the organizers describe as “intimate”. This shift may evoke a sense of disorientation, coupled with the recent announcement of its upcoming presence in Paris in October (which was also planned last year but later canceled). These developments prompt us to contemplate whether an era has come to a close or if a radical renewal is necessary for this “system”.

Design Miami/, a traditionally American event focused on Collectible Design, is undeniably undergoing a transformation influenced by the global upheavals that have unfolded recently and continue to unfold at a rapid pace. This evolution has led to geopolitical and artistic decision-making, seeking new horizons and potentially safer havens. Notably, there seems to be a renewed emphasis on aligning design with decorative art, a path that distinguishes it from applied art, marking a novel approach or perhaps a return to earlier practices.

It is also worth observing that, afterall, a significant number of galleries participating in Design Miami/ are based in Paris. Hence, this may be a natural choice, and one that will probably also send a signal to the “mother” event, Art Basel, which already took a new path last year with Paris +.

Within the array of galleries represented at Design Miami/, which encompasses both new participants and esteemed institutions like Italian Galleria Rossella Colombari from Milan and Galleria Antonella Villanova from Florence, a diverse range of art objects can be found. This includes modern antique furniture crafted by revered maestros, as well as experimental collectible design pieces. Notably, three special projects caught our attention, occupying discreet corners of the pavilion. They stand out as exemplars of the intricate nature of the design landscape.

One looks once again to the past. The Irthi Contemporary Crafts Council is a project that delves into the past. It focuses on showcasing, collecting, and socially promoting the activities of women artisans who employ ancient handicraft techniques prevalent in regions of North Africa and the Middle East.

One continues to explore the present. Caroline Van Hoek, former gallery owner and now author and jewelry designer, presents a collection titled “At the skate park”, in which she explores the urban language of skateboarding and street art to create fine body jewelry.

One looks towards the future. Cyril Lancelin’s project Flap³, in collaboration with Google ATAP, offers an interactive and minimalist immersive three-dimensional experience. This work explores the intricate relationships between art, architecture, technology, and the dynamics of bodies in motion within a defined yet constantly evolving space.
 

Alongside Design Miami/ Basel, the capital of contemporary art and architecture presents many additional highlights for the design world during this bustling period.

One of the notable official events during this period is the Swiss Design Award, which attracts a vibrant participation from young designers working in Switzerland. This prestigious award holds significant cultural recognition and offers crucial economic support. 

Among the exhibited finalists in Basel, several remarkable achievements have garnered attention. Léon Félix’s “Terra” presents an innovative unified solar protection and passive cooling system. By utilizing the thermal inertia of materials and water, it effectively regulates the atmospheric conditions within a room. Leonie Roth and Luisa Tschumi’s project, “Urin*all,” offers a unique solution to address the discrimination associated with public spaces dedicated to physiological needs. Their concept aims to provide inclusive facilities that accommodate both sexes. Tobias Brunner’s “Pimp My Chair” project, developed for VitraHaus, offers accessories designed to personalize standard furniture by incorporating small, functional elements for everyday use.
 

In the Product Design category, Serge Borgmann and Carlo Clopath (Borgmann Clopath) emerged as the winners with their project “Working With Living Materials”. In their furniture elements the use of natural materials is not limited to the surface, but also to the technique, which learns from the material and teaches the form. The joints and structure of their designs allow for adaptability and movement, responding to contextual conditions and patterns of use.

Moreover, two distinguished individuals were honored with special lifetime achievement awards this year. Eleonore Peduzzi Riva, originally from Basel but then adopted by Milan, embarked on a remarkable career in Italian design culture during the late 1950s. Her expertise spanned interiors, installations, and industrial design, leading her to collaborate with renowned authors and prestigious companies such as Artemide, Cassina, De Padova, and Zanotta. Chantal Prod’Hom, instead, is the former director and founder of the MUDAC in Lausanne, the Museum of Contemporary Design and Applied Arts. In the early 2000s she laid the foundations for a new approach to studying design, closely interconnecting it with contemporary society.

A notable addition to the Vitra Campus, renowned for its dedication to design, is the inauguration of Tsuyoshi Tane’s Garden House. This permanent project consists of a tiny house that can accommodate up to 8 people, built exclusively from natural, sustainable and locally sourced materials. The Garden House serves as a complementary element to Piet Oudolf’s garden and is in keeping with the theme of the ongoing Future Gardens exhibition.

Among the works on display at the fair and satellite events that speak, illustrate and interpret typical design themes – architecture, interior design and furniture to design – there are some that stand out. These projects delve deep into contemporary issues and embrace design as the primary medium of expression, providing a platform for designers to engage in critical reflection and encourage the exploration of fresh ideas.

Among the array of works of art that integrate disciplines, there is one particularly surprising and representative piece that caught our attention at the Liste Art Fair.

The Clima Gallery in Milan presents the work “Nuova Carboneria” by Valerio Nicolai, in which a seemingly ordinary sofa becomes the medium for a desecrating and ironic critique of a specific cultural and intellectual “living room” paradigm. A “virtual” and almost surreal oral dialog takes place on the comfortable seat, which has been redesigned in every detail and reduced to a much smaller size. This dialogue is visually manifested through the folds of the cushions, which resemble animated lips engaged in a lively discussion. The conversation revolves around a single topic: the proper way to prepare carbonara. The conversations take place in Roman dialect and focus on the exact ingredients of the famous carbonara recipe. As the debate unfolds, a third voice, that of an English kid, interjects to provide historical context and attempt to attribute the recipe’s origin.

Last but not least, an exhibition project that quietly made its debut outside the city last year has caught the attention of connoisseurs and seekers of true innovation. This year it has aroused even more interest in terms of content and, perhaps above all, of the container.

The Basel Social Club is a collaborative project initiated by a collective of artists, gallerists, and curators with the aim of creating a vibrant social hub for contemporary art. Located in close proximity to the fair’s pavilions, this unconventional venue occupies disused industrial spaces that once housed the renowned Thomy mayonnaise production. In this labyrinth of warehouses, silos, basements, and courtyards, informal but integral painting, sculpture, installation, music, performance, events, gastronomy, and, of course, the public, which is often forgotten but remains fundamental to the cultural realization of all the arts, converge harmoniously.

Opening image: Galerie Gastou. Photo credit James Harris