ELLE DECOR Italia Interview
“From concept store to gallery that moves on the border between art and design, to “become more flexible and sustainable””
How does the adventure of a design gallery begin? And when and why did yours begin?
SIRIN Copenhagen Gallery opened in March 2019 after a couple of years as a design concept store. The aim of the gallery is to focus on multicultural creative dialogue between local and international artists and designers whose work questions the borders between aesthetics and functionality. We decided to move away from the traditional retail form to become more flexible and sustainable. We would like to give space to more experimental and conceptual work and to present a more international program. We are trying to give a platform to young designers in order to show their work to a larger audience without them being associated to a big brand or follow the rules of the market.
Collecting author’s pieces, buying contemporary design objects, experimenting new concepts and commissioning new works, thus discovering new talents. How far do you recognise yourself in these attitudes (if you do)?
We decided to take the approach which allows us to take more risk, to commission work to young artists event if they are still working on refining their practice. In our program we mix conceptual art, craft, fashion, video and sound installations. In a sense we decided to allow ourselves to experiment just like our young talented artists.
How does contemporary design relate nowadays to the art market, historically more consolidated and organised worldwide? Does it go through the same tendencies? Does it significantly grow? If so, in what countries?
In Denmark the tradition of design and craft is so strong and rich, that designers become much bigger stars than artists or writers or even musicians (with some exceptions of course). We often hear in our conversations with foreign artists living in Denmark, how surprised they were how much importance is attributed to design and designers in the national culture. On the global scale it seems like the trend is to blur the boundaries, however “cliché” it may sound, and we see it in almost all aspects of modern life. We think it goes for the art vs design market as well.
What is your typical collector like? Is he faithful? Does he buy for passion or as a form of investment? Does he have clear ideas or does he ask for advice? Is he the person concerned or a mediator? Does he buy works by great masters or new authors? Does he know you through fairs or through the territory where you operate?
We can describe our typical collector as surprising –it is hard to predict what would “click” for that particular person. Some people collect works from their favourite artist, but if you think that this new piece will definitely be the next purchase, they want something different. Or you expect one piece to appeal more to an established collector, but it would go to a very young person just because they “must have it”. As a former store we are located on one of the busiest shopping streets, so we also have people coming by just because they saw something in the window, which has caught their eye. It can be either a neighbour from around the corner, or a young father with a pram, a country house owner visiting the city for a day, or a national museum curator on her way home. Besides, it seems like all Danish people are natural born designers – when we were selling furniture they would always come up with suggestions how to improve the final product. So we can say that local collectors have a wide knowledge of their subject which enables them to make the right purchase.
How do you keep up to date on the contemporary design world? Do you have any contact with schools, academies, graduate shows or residencies? Do you use social medias? How and why do you start to represent a new artist or designer? Do you work in a specific range of prices?
We are trying to follow very closely new names both local and international, visiting graduate shows, using social media and also encouraging our artists to invite “guest artists” to their shows, therefore creating a more dynamic and multilayered exchange. Copenhagen is a real creative hub for new talents, with many art and design schools, artist run projects and independent pop up exhibitions.
To what extent do you personally carry out the activities of editing, curating, setting up, talent scouting and promoting, and how far do you rely on one or more external curators?
Since the project of running a gallery has always been my dream, now that I have it I am trying to be involved as much as I can into all aspects of work. I am loving the process, even if sometimes I feel overwhelmed by variety of tasks. I like to introduce artists who don’t know each other but whose work I feel has a dialogue and complements one another. This is how we can curate new and exciting exhibitions and creative new opportunities.
What are the fairs you normally take part in? And what are the most important appointments of the international debate around contemporary design?
Most recently we have participated at CHART Art fair in Copenhagen, which is the most important and unique Scandinavian fair with a separate section devoted to collectable design. Another important design related event in Copenhagen is 3 Days of Design, which happens in May. Usually there is a lot of interesting exhibitions, presentation and talks, mostly arranged by big design brands or institutions. It is definitely worth a visit.
In your opinion, what are the most urgent topics that design deals with today? And what are the ones that design will tell us tomorrow?
From my experience as a design retailer the biggest issue of contemporary design is sustainability. It is overproduction, the pressure to always present a “new collection”, waste of materials and packaging, even the impact of shipping. I think the contemporary design should be more focused on “solutions”, on something which corresponds to the needs of today. For example how to design a waste bin for different type of garbage, or how to make furniture which can be deconstructed, recycled, or easily repaired, limiting environmental damage etc. One of the designers we represent is Jonas Edvard, who is working on creating a new type of material, which can be used for furniture. By experimenting with different plants, seaweed and mushrooms, he creates a material of the future which is both solid, functional and also natural and bio degradable.
If somebody asked you why to invest on contemporary design today, what would you say/answer?
We believe that design is a discipline which will eventually transform the future and find the answers to the questions that we can’t answer today. By investing in contemporary design today, (and we don’t mean mass production, but unique and original work), we support the development and the creativity which we believe is necessary for creating a better future. If we don’t kill the desire to learn, to research and experiment, there is a chance that this hope for a better future will actually turn into reality.