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Wouldnt it be nice en WISHFUL THINKING IN ART AND DESIGN CINTRODUCTION TO THE EXHIBITION Contemporary culture is witnessing one of the most signi ?cant shifts of recent times The old dividing lines between artists and designers appear to be dissolving int

WISHFUL THINKING IN ART AND DESIGN CINTRODUCTION TO THE EXHIBITION Contemporary culture is witnessing one of the most signi ?cant shifts of recent times The old dividing lines between artists and designers appear to be dissolving into one another Indeed the breadth and range of investigation and inspiration they share is possibly the widest to date The exhibition ? Wouldn ? t it be nice ? ? hopes to present a series of projects emerging from these lines of dissolution which re ect the current spirit of cultural production internationally The commonalities between artists and designers are partly due to the reconsideration by designers of the modern tradition and its utopian hopes for universal simple and mechanistic solutions Since then there has been the realization that form can never be neutral Pioneering design historians such as Reyner Banham and later Dick Hebdige have pointed out that even those most pared down and simple of modernist forms are su ?used with cultural meaning In turn there has been a concomitant recognition that the consumer user is a complex cultural social political and economic being and that his or her needs are not purely mechanistic This represented a loss of faith with the notion of pure function Indeed as early as the s Jan Tschichold recognized that the rules he established in his earlier book ? The New Typography ? intended to render typography perfectly functional smacked of fascist authoritarianism Rather than leading designers to despair this questioning of the modernist design orthodoxies has rendered them more ambitious Recognising that form carries meaning many designers working on graphics fashion and products have chosen to investigate the messages they create This shift of parameters has enabled designers to think in terms of a concept Partly this is related to self- expression but more importantly it concerns taking responsibility for the broader rami ?cations of design The works of the best of today ? s designers displays self-awareness and at times political intent Above all designers have developed a keen sense of critique and work within what is best described as a culture of ideas If historically artists from Marcel Duchamp and Andy Warhol to Je ? Koons and Heim Steinbach questioned the threshold between art and the everyday between the work of art and the quotidian object today ? s artists are going one step further The work of this new generation re ects on the one hand a pop sentiment of the kind expressed by Warhol when he said ? the world fascinates me It ? s so nice whatever it is ? I accept things I ? m just watching observing the world ? In line with this artists today demonstrate a greater interest in other disciplines such as design per se and how it has penetrated our popular- and our visual culture Added to this there is also a keen desire to explore the ? situational ? and ? relational ? aspects of the object installation and environment making Such