과거나 미래와는 담 쌓은 오늘의 기록
한국에서 금속공예를 전공하고
미국 로체스터공과대학RIT 에서
가구디자인을 전공한 류수현씨의 개인전
2월 10일- 23일
금산갤러리
사진; 구축된 공간 Constructed Space1- Chest of drawers
물푸레나무, 알루미늄
높이 142cm
류슈현
1968년 서울생
서울대학교와 대학원에서 금속공예전공
미국 로체스터 공과대학 가구디자인과 MFA
동대학에서 강의
로체스타 NTID 다이어아트센타에서 개인전
국민대 전용일교수 홈페이지에서 옮김
?
?블로그코리아 리스트를 보니 불여우 브라우저가 요새 뜨고있나봅니다. 저도 모질라는 틈틈히 사용해보고 있었는데 아마도 모질라의 분파?인것같네요. 아무튼 성능이 뛰어납니다. 인터페이스도 오페라보다는 정갈한것같구요..(상당히 주관적..) 영문판은 다양한 스킨이 있긴한데 한글과 써보니 어울리지가 않긴합니다만 기본 스킨도 깔끔합니다.
?
?
?특징적으로 아주아주 다양한 확장 익스텐션(플러그인)은 설치법도 아주 편리하고 그 다양함에 놀라고 말았습니다. 결정적으로 IE를 쉽게 띄울수 있는 확장팩도 있어서 뱅킹이나 특별히 필요할 때는 쉽게 띄워서 쓸 수도 있네요.^^ 아뭏든 과거 넷츠케잎의 추억을 가진 분들은 꼭 한번 써보시기를.. 모질라.. 상당히 쓸만해졌습니다. 항상 유용한 소식을 전해주는 블로그 고수들에 감사^^
?
역사는 과거에 대한 사실의 기록이기보다는 지금 우리가 과거를 바라보는 시각일 뿐이다.
그렇다면, ‘역사가 증명해준다’라고 뻥치는 정치인들은 뭐냐구?? 당근 구라꾼들이지 뭐겠어.
글로 쓰여진 이상, 작자가 생각하지 않는 기계가 아닌 이상, 무슨 얼어죽을 논픽션인가..
Designersblock’s edgy experimentalism is always a magnet for international design newcomers. As they weave plans for their latest Milan show, Fiona Sibley caught up with Designersblock’s two visionaries, Piers Roberts and Rory Dodd (left), at work in their semi-derelict pub down the road…
FS: What’s your philosophy?
Piers Roberts: We just create an open platform to allow people to present their ideas. We don’t have a philosophy or an aesthetic.
Rory Dodd: We like brave people. We were trying to think of a name for the Scottish show we are taking to Milan and I was impressed by how brave they are to stay in Scotland and do things for themselves there.
Piers: Attitude is important. So is money – it is a commercial show.
Fiona: How do people get to be part of a Designersblock show?
Piers: We don’t canvas people much. It works through word of mouth.
Rory: It’s a nice and organic selection process. People come to us. They generally know why they want to do Designersblock and most we end up putting in our shows. We do chase some people if we like their stuff – that how it started with Sam & Dan and Norway Says. People like our London spaces – it’s either us or 100% Design. The difference between our exhibitors is greater and not so directly competitive.
Piers: We want people in our shows to communicate with each other. There’s an enormous loyalty around Designersblock and a huge loyalty from the audience. A lot of people choose us to launch but they also come back to do more things.
Rory: Yeah – Olav Kolti has done nearly all of them.
Fiona: As you’re active at both, do you participate in the Milan versus London debate?
Piers: There are different traditions. Milan’s is long and very fantastic.
Rory: You can’t knock Milan – 43 years and going strong.
Piers: You can say that Milan is suffering from the downturn in the German economy and increased competition from elsewhere. But it’s a more obvious career path. The British tradition has not been creatively a very encouraging environment. But you get energy and drive from that frustration and lack of opportunity and having to do things for yourself.
Rory: London definitely has the capacity and the competency to justify the hype. But the industry needs more weight behind it. The London Design Festival is a brilliant start. We are totally convinced that if you put good design in front of the public they respond well to it. We used to get away with murder with the things we sold in our ?Brick Lane shop. People would buy the strangest things because they were good – and they understood it.
Piers: There are lots of cities across the world that want to stage big creative weeks now. Milan is like Cannes – it’s traditionally where the concepts are coming from.
Rory: Also the debate is far more sophisticated there. Milan’s design press is unrivalled and people think about things in a much better way. It’s the best place to make an impact. If you’re bold in Milan you are going to get noticed, particularly now as less money is being spent by the companies who used to put on lavish presentations. It’s probably still the best window to be seen through.
Piers: The important thing is that we understand the mindset of the people doing the shows themselves – we are very typical of a developing creative business, fighting against the same problems. That’s why are shows are linked to advice and training. We offer a shoulder in a real environment. We have analysed how creative businesses develop and came up with Risk It so that we are in a position to advise people.
Fiona: What excites you both at the moment?
Rory: Not London – that’s exciting. The whole area around the north-west of England – Liverpool, Manchester – is growing.
Piers: Preston in particular really gets what we are talking about with Risk It, our model for understanding how creative businesses develop. They have only just become a city and the regeneration initiatives are really well devised. We are looking forward to working more with them.
Rory: I’m really exciting about taking the Scottish show of 10 people to Milan. We want more people with an ambition to do things themselves. We’ve ordered our kilts.
Designersblock Milan 2004 is at Via Friuli, South East Milan. Nearest station: Lodi from April 13-19. The party – April 15.
www.designersblock.org.uk
February 2004
* 저자 / 출처 : ?HiddenArt http://www.hiddenart.com/news/interviews/designersblock
