Stühle zum (Be)Sitzen, a smow Pop-up at the Grassi Museum für Angewandte Kunst, Leipzig
...A 1950s that having opened with the Eames moves on to Poul Kjærholm's PK 4 though Fritz Hansen, a work that is amongst the earliest of Kjærholm's chair designs and thus represents some of Kjærholm's earliest positions on and to chairs, furniture, interiors and design; and a work in steel tube and halyard developed from Kjærholm's graduation project at Copenhagen's School of Arts and Crafts, the so-called Element chair, the contemporary Fritz Hansen PK 25, a work in spring steel and halyard that helps underscore that for all the prominence of wood in furniture design from Denmark in the 1950s, other materials were being employed... A work Jacobsen developed from the three-legged 1952 Ant chair, essentially, because Fritz Hansen wanted a four-legged side chair and Arne Jacobsen didn't want a four-legged Ant, and in many regards is that work which best typifies the move observable in context of the exhibition Arne Jacobsen – Designing Denmark at Trapholt, Kolding, in Jacobsen's oeuvre away from project specific designs which could become consumer products but weren't intended as consumer products, such as the Ant, to works designed for an anonymous mass public, such as Series 7; an indication of Jacobsen's increasing understanding after the 1939-1945 War of design as a component of wider society, of design as a service for society...
