Time, Tact, Tone

Here we go again, it’s like Easter, Christmas and New Year’s – no year is complete without them.
Sometimes, the idea of a thing is better than the thing itself.
That’s how I felt about it this year’s Cabinetmakers’ Autumn Exhibition.

The exhibition is held at Sophienholm, an art centre with a stunning location on Bagsværd lake.

The setting is perfect, except, perhaps, that the building layout, with its many small rooms, has forced this year’s exhibition architect, Sara Vinter Martinsen (mentioned here), to arrange the exhibits in groups. A difficult task, since there is no unifying design line. In many cases, she has had to use colour as her main theme.
As for the exhibition architecture, it is both simple and beautiful, and in the spirit of the time, everything can be dismantled and reused.

Now for the exhibits:
All the exhibitors have based their works on this year’s common theme: ‘Time, Tact, Tone’.

Several pieces also give a nod to the former owner of the Sophienholm, Ms. Frederikke Brun (1765–1835).
Frederikke Brun was a poet and kept company with some of the leading cultural figures of the time. Thanks to her, Sophienholm is considered one of the finest representatives of salon life in 19th-century Denmark, along with Bakkegården (which you can read about in danish here).

No cabinetmakers’ exhibition without chairs; many chairs. Mogens Toft literally sticks his tongue out at the theme with a chair shaped as a huge open mouth with a red tongue. The materials are stained oak, fibreglass and polyurethane foam.
Most of the other exhibitors read our common need for increased resource awareness into the theme.
The display includes several flat-pack chairs and many stories about the materials used. Some of the stories are better than others; some of the chairs are more beautiful than others.
One chair, which is not a flat-pack design, stands out due to its beautiful form and craftsmanship as well as its interesting concept: ‘Sit Up Straight’ by Jonas Lyndby Jensen looks like a classic dining chair with armrests, but Jonas has removed the safety net (the backrest) and thus requires the user to consider their posture.

Some of the furniture includes textile elements. Mia Lagerman and Karin Carlander (in collaboration with cabinetmaker Billy Skotte Parker) present their joint ‘Woven Cabinet’: a small cabinet on heavy, round feet. Very unusual, yet recognizable, with echoes of a rustic Nordic style – if you can even use the word ‘rustic’ about exclusive unique pieces; perhaps not? A beautiful piece, and both designers say they found the process rewarding.

There are other beautiful pieces, for example Akiko Ken Made’s shelving unit ‘Kvartet’ (Quartet) and Frederik Gustav’s ‘Stack’ (produced by Skagerak), which is a beautiful and practical storage solution, a modern chest of drawers. Louise Campbell’s stackable trays ‘Bulbous Studies’ (produced by Søren Risvang) have a poetic expression with a refreshing choice of colours, while Troels Flensted’s thought-provoking ‘Sedimentation’ is a pouf filled with sawdust, which is normally a waste product.

There are also pieces on show that the world could do perfectly well without. Tact and Tone in 2021 – perhaps a future ambition should be only to exhibit when one has something to say?



The park is beautiful, Sophienholm is well worth a visit.
www.sophienholm.dk
Nybrovej 401
DK 2800 Lyngby


www.se-design.dk
6 October 2021 – 2 January 2022
Tuesday–Friday 11.00–20.00
Saturday–Sunday 11.00–17.00


Tid, Takt, Tone

Så er vi her igen, det er lige som med påske, pinse og jul, intet år er det samme uden.
Nogle gange er ideen om begivenheden bedre end begivenheden selv.
Sådan har jeg det lidt med årets Snedkernes Efterårsudstilling.

Udstillingen finder sted på Sophienholm, som ligger guddommeligt smukt ved Bagsværd sø.
Man kan ikke sige rammerne noget på, det skulle da lige være, at de mange små rum har tvunget udstillingsarkitekt Sara Vinter Martinsen (omtalt her) til at gruppere udstillerne. Noget som er vanskeligt, fordi bidragene æstetisk stritter i alle retninger. Farveholdningen er flere steder blevet hendes nødvendige sorteringsredskab.
For at blive ved udstillingsarkitekturen, så er opgaven løst smukt og enkelt, og helt i tidens ånd på en måde så alt kan skilles ad og genanvendes.

Årets bidrag:
Alle har forholdt sig til temaet ” Tid, Takt, Tone”.

Flere har tillige forholdt sig til stedets tidligere ejerinde Frederikke Brun (1765-1835).
Frederikke Brun var digter og omgikkes en række af tidens toneangivende og dannede kulturpersonligheder. Det er hendes fortjeneste, at Sophienholm, sammen med Bakkegården (som du kan læse om her) betragtes som de fornemste repræsentanter for dansk salonliv i det 19. århundrede.

Ingen snedkerudstilling uden stole, mange stole.
Mogens Toft vælger i bogstavelig forstand at række tunge af temaet. Han har formet sin stol som et kæmpe gab med en rød tunge. Materialerne er bejdset eg, glasfiber, polyuretanskum.
De fleste andre tolker vores fælles afhængighed af øget resursebevidsthed ind i temaet.
Der bydes på flere stole som kan pakkes fladt og mange historier om de medgåede materialer. Nogle historier bedre end andre, nogle stole smukkere end andre.
En enkelt, som ikke kan pakkes fladt, skiller sig ud ved at levere både et stykke meget smukt snedkerarbejde og en sjov tanke: ”Ret Ryggen” af Jonas Lyndby Jensen, er tilsyneladende en klassisk spisebordsstol med armlæn, men Jonas har fjernet sikkerhedsnettet (ryglænet) og forlanger derfor, at brugeren forholder sig til sin positur.

Der er flere møbler med tekstile indslag. Mia Lagerman og Karin Carlander har sammen (sammen med snedker Billy Skotte Parker) skabt et ”Vævet Kabinet” et lille skab på tunge runde fødder. Helt anderledes og dog genkendeligt i nordisk almuestil– kan man overhovedet koble ordet almue til eksklusiv unika, måske ikke? Fint er det, og arbejdsprocessen har været interessant fortæller de begge.

Af andre smukke arbejder kan nævnes, AkikoKenMades hyldemøbel ”Kvartet”, og Frederik Gustavs ”Stabel” (producent Skagerak) som er et både smukt og funktionelt opbevaringsmøbel, en moderne kommode. Poetiske og farveforfriskende er Louise Campbells stabelbare bakker ”løglige Studier” (producent Søren Risvang), og tankevækkende er Troels Flensteds ”Aflejring” som er en puf fyldt med savsmuld, altså affald.

Der er også meget, som verden havde klaret sig glimrende foruden. Takt og Tone 2021, måske er god stil fremover, kun at udkomme når man har noget på hjerte?