One would be hard-pressed to find a single area of our everyday lives and material culture that has not been swept up in the
participatory revolution of the past several years. With the do-it-yourself movement now an omnipresent phenomenon,
the design fields current development is increasingly characterized by the fusion of production and consumption. The
problematic issues raised by this prosumer culture range from a perceived need to decentralize and democratize
goods production to both the criticism of mass consumption and the theme of sustainability in light of ongoing resource depletion. But the do-it-yourself phenomenon also refers both to the rediscovery of handwork and to involvement in the design process
in ways that address the senses: the motto have more, own less would seem to imply a paradigm shift here, particularly
in view of a lifestyle that is liberated from dictates of consumption, dogmas of taste, and norms of design. The exhibition
NOMADIC FURNITURE 3.0 will for the first time bundle and examine the omnipresent do-it-yourself movements contemporary
development with specific regard to the design of furniture and residential spaces. Here, the prolonged constant increase
in demand for plans showing how to build furniture and furnishing elements represents an opportunity to investigate present-day
processes by way of a historical retrospective: Where do the origins of such processes lie? Through which channels and media
are experience and instructions for use passed on? Who engages in exchange with whom, and on what terms? When evaluating contemporary DIY strategies, their historical development can be a particularly helpful context within which
to do so. For in todays era of digital modernity, this design phenomenon continues to encompass a field situated between
the two poles of mainstream and alternative culture. Even if the cheaply printed handbooks of yore have been largely replaced
by Web 2.0s forums and blogs as the creative interface, it is virtually impossible to distinguish between self-affirmative
fads and subversive criticism of consumption: these are two mutually contingent aspects of design and consumer culture.
Guest Curator Martina Fineder Curators Sebastian Hackenschmidt, Curator, MAK Furniture and Woodwork Collection, and Thomas Geisler, Curator, MAK Design Collection
The exhibition NOMADIC FURNITURE 3.0. New Liberated Living? is accompanied by MAK/ZINE #1/2013, with contributions from David Byrne, Alison J. Clarke, Sean Cubitt, Peter Daniel, Martina Fineder, Thomas Geisler, Sebastian
Hackenschmidt, Katherine Satorius, James Hennessey, German/English, app. 120 pages, MAK/Volltext Vienna 2013. Available
at the MAK Design Shop
A cooperation of MAK & departure The Creative Agency of the City of Vienna
Nomadic Furniture III
Research team: Martina Fineder, Thomas Geisler, and Sebastian Hackenschmidt
A Cooperation of MAK & Vienna Business Agency, creativ center departure
In the newly developed formats departure/ MAK d>link, d>lab, and d>nite, renowned international design experts will enter
into an exchange with representatives of Viennas creative industry to interrogate, challenge, and shape relations between
design, industry, and society. Different events will provide an opportunity of looking out together for new possibilities, interfaces, cooperations, and, eventually, fields of activity.
The Asia Collection of the MAK is one of the important collections in Europe of art and applied arts from the Asian region.
It has been compiled from public and private collections during a history lasting 150 years and offers a wide-ranging view
of the art history of Asia.