For their New York solo debut, the Belgian designers have put together a typically exuberant snapshot of their 16-year career, says Caia Hagel
Studio Job creates a teasing parody of a gentlemen’s club in the entrance hall of Alessandro Mendini’s Groninger Museum.
In tackling home furnishings for the Hayward’s summer blockbuster, artists are catching up with design.
There used to be an unspoken code of honour among designers that prevented them from referencing certain subjects in their work. War, death, sex, terrorism, cruelty, disease...
Neanderthal and animal skeletons make up Studio Job’s pattern for 150 limited edition scarves, created to commemorate a new building for public sector companies Rijkswaterstaat and Riza in the sleepy Netherlands town of Lelystad.
“When I was a student, porcelain was associated with kitschy souvenirs or stupid mugs,” recalls Czech designer Maxim Velcovsky. “But recently a new wave of ideas has revived the material and placed it in a different context.”
“Yes, I’m paying, because rich magazines and museums won’t do it – and I’m the struggling artist!” It’s 11pm on a cold late October night in Utrecht. The last Eurostar back to London left hours ago, I have no credit card or cash and Job Smeets of Studio Job is angry that no one else has offered to pay for dinner.