From November 14th, 2019 to February 9th, 2020 in Ljubljana, the 26th Biennial of Design, BIO 26 – Common Knowledge, will present the outcomes of the exploratory work of the winning challenges at various locations in Ljubljana, complementing the main exhibition at MAO and accompanied by a special catalogue.
BIO 26 will take on one of the greatest challenges of our time: information. Concerned with the widespread crisis in information, BIO 26 seeks to harvest the best ideas that explore ways to creatively take charge and react to it, as well as to propose experiments and present alternatives to the ways we currently deal with information and knowledge.
The open call invites designers, architects, scientists, artists, communicators, educational professionals, sociologists, and the general public on a sprint journey to revisit the fundamental structures of knowledge production and transmission in society, going back to the Enlightenment.
BIO – The Biennial of Design in Ljubljana is organised by the Museum of Architecture and Design (MAO), and is an international platform for new approaches in design. BIO was founded in 1963, making it the first design biennial in Europe. Witnessing the many shifts and changes of the last 56 years, BIO has seen design transition from its birth at the crossroads of industrialization and modernism to a discipline that permeates all layers of life and human endeavour. Today, BIO is structured as a long-term collaborative process, where teams of designers and multidisciplinary agents develop alternatives to established systems. BIO works as a testing ground, where design is employed as a tool to question and improve our daily life, among different and multidisciplinary design approaches that touch systems, production, services, scientific research, humanistic issues, unexpected conditions for the production of our habitat. The diverse array of topics resonates with both local and global demands, with comprehensive projects aimed at creating resilient structures that develop over time, beyond the duration of the Biennial.
Madrid Design Festival is an encounter that vindicates the value of design as a transformer of society.
An annual festival that during the month of February turns the capital of Spain into the great showcase of international design.
The Salone is held in Milan in April every year, along with the biennial Euroluce exhibition in odd years and EuroCucina and the International Bathroom Exhibition in even years, and in tandem with the annual International Furnishing Accessories Exhibition and Workplace3.0. These events are flanked by FTK (Technology For the Kitchen), EuroCucina’s collateral event and S.Project, the exhibition devoted to design products and decorative and technical furnishing solutions. Since 1998, the trade fair has been rounded off by SaloneSatellite, the launchpad for young designers and a point of reference for companies on the lookout for new talent.
Under the umbrella of the Salone del Mobile.Milano, these events cover a net area of almost 210,000 square metres overall at the Rho Fiera Milano fairgrounds, showcasing more than 2,300 of the most dynamic and creative companies on the global market each year.
Over 370,000 professional visitors attend the fair each year, just under 70% of them from 188 other countries, along with more than 5,000 national and international journalists and around 27,500 members of the public at the weekend, making the Salone del Mobile.Milano the unmissable sector-wide appointment. Not to mention the collateral events that take place alongside it, invariably curated by leading international artists and designers, because the Salone is not just synonymous with business but also with culture. This is the Salone, now in its 58th edition: an international platform with the “privilege of actuality” that shines a light on the state of the art of design. Every year, for years.
TOWARDS A PHYTO-CENTRED DESIGN
An exhibition about the hidden potential of plants.
For centuries, our inherent alienation from nature has prevented us from truly understanding the potential of plants as more than simple materials or decorative objects.
In recent years, however, new scientific discoveries and philosophical approaches have reframed our relationship with them, questioning the dualism human/nature so much rooted in Western thinking. Echoing the belief of American ecologist Ian Baldwin that “we should try to think like plants”, designers, scientists and engineers, started to look into plants’ structures and behaviours adopting them as allies to develop solutions for current and upcoming environmental and social issues.
Plant Fever proposes to look at the future of design from this new vegetal perspective, moving from a human-centred to a phyto-centred design. Spanning from products and fashion items to material research, open-source devices and emerging technologies, a selection of approx. 50 exhibits – representing the work of creatives from more than 20 countries – will investigate notions such as plant blindness, eco-feminism, forestry, biomimicry and upcycling, but also post-colonialism and cultural landscapes.
Conceived as a militant exposition, Plant Fever will not fear to take a stand, ask critical questions and call for new radical perspectives, involving the public in a positive, inspiring and constructive conversation.
Parallel to the physical space of the museum, the discourse of the exhibition will be further developed through an accompanying web platform, as well as a dedicated conference & workshop programme.