exhibitions Archives

Barbican’s Unravel exhibition explores the subversive power of textiles

Curator Lotte Johnson discusses the transformative power of textiles in this video produced by Dezeen for the Barbican’s latest exhibition.

Titled Unravel: The Power and Politics of Textiles in Art, the exhibition examines how textiles have been employed to explore themes spanning power, oppression, gender and belonging.

It features over 100 works that make use of textile, fibre and thread from over 50 artists from across the globe, spanning from the 1960s to the present day.

The exhibition explores how artists have used textiles to express their lived experience

The exhibition is designed to challenge the perception of textiles being solely domestic or craft practices and instead features textile works that relate a story of resistance and rebellion as well as pieces that present narratives of emancipation and joy.

Johnson explained that textiles offer a meaningful medium to express personal and political issues due to their tactile nature and intimate connection to daily life.

“Textiles are one of the most under-examined mediums in art history and in fact history itself,” Johnson said. “They are an intrinsic part of our everyday lives. When we’re born, we’re shrouded in a piece of fabric. Everyday we wrap ourselves in textiles,” she continued.

“They’re really this very intimate, tactile part of our lives and therefore perhaps the most intrinsic, meaningful way to express ourselves.”

Judy Chicago Birth Project — Feminist artist Judy Chicago’s Birth Project depicts birth as a mystical and confrontational process

The exhibition is structured into six thematic sections. The first, called Subversive Stitch, presents works that challenge binary conceptions of gender and sexuality.

The section includes feminist artist Judy Chicago’s Birth Project, which vividly depicts the glory, pain and mysticism of giving birth, as well as a piece from South African artist Nicholas Hlobo, which, despite initially appearing as a painting, is made using ribbon and leather stitched into a canvas.

Another section of the exhibition is titled Bearing Witness, which brings together artists who employ textiles to confront and protest political injustices and systems of violent oppression.

Teresea Margolles tapestry — Artist Teresa Margolles creates collective tapestries that trigger conversations on police brutality

Included in this section are tapestries by Mexican artist Teresa Margolles that commemorate the lives of individuals including Eric Garner and Jadeth Rosano López.

Garner was an African-American man killed in 2014 by NYPD police officer Daniel Pantaleo, who put Garner into a chokehold during arrest. López was a seventeen-year old-girl assassinated in Panama City.

Margolles used fabric that had been placed in contact with the victims’ deceased bodies and collaborated with embroiderers from their respective local communities to create the tapestries.

The Wound and Repair sections includes work from American artist and activist Harmony Hammond’s Bandaged Grid series, in which layered fabric is used to evoke imagery reminiscent of an injured body.

Tau Lewis tapestry — Tau Lewis’ fabric assemblages offer new narratives of black histories

While violence and brutality are key themes examined in the exhibition, it also showcases how textiles can be used to create narratives of hope. The final, most expansive section of the exhibition is titled Ancestral Threads, which encompasses works created to inspire a sense of optimism and reconnect with ancestral practices.

“This section not only explores artists processing exploitative and violent colonial and imperialist histories, but also celebrates the artists who are re-summoning and relearning ancient knowledge systems to imagine a different kind of future,” Johnson explained.

Canadian multimedia artist Tau Lewis’s work titled The Coral Reef Preservation Society is a patchwork assemblage of recycled fabrics and seashells including fragments of textured denim.

The work pays homage to the enslaved women and children thrown overboard in the Middle Passage, the historical transportation route used during the Atlantic slave trade. These women and children have been reimagined as underwater sea creatures to transform the narrative into one of regeneration.

Vicuña revives the art of the quipu in her installation Quipu Austral

A large installation by Chilean artist Cecilia Vicuña titled Quipu Austral is situated towards the end of the exhibition. The installation takes the form of billowing ribbons hanging from the ceiling.

Vicuña references quipu, a form of recording used by a number cultures in Andean South America. Quipu was a ancient writing system which used knotted textile cords to communicate information.

Other sections in the exhibition include Fabric of Everyday, which explores the daily uses of textiles, as well as Borderlands, which examines how textiles have been used to challenge ideas around belonging.

These sections feature works such as Shelia Hicks’ colourful woven bundles and Margarita Cabrera’s soft sculpture cacti crafted from reclaimed US border patrol uniforms.

Mexican-American artist Margarita Cabrera uses reclaimed border patrol uniforms in her work

“We hope that people might come out of this exhibition feeling invigorated and moved by the stories of resilience and rebellion embedded in the work but also hope and emancipation,” Johnson said.

“I hope that the show might inspire people to pick up a needle and thread themselves and use it to express their own lived experience.”

The show is a partnership between the Barbican and the Stedelijk Museum in Amsterdam and was co-curated by Barbican curators Johnson, Wells Fray-Smith and Diego Chocano, in collaboration with Amanda Pinatih from the Stedelijk.

Unravel: The Power and Politics of Textiles in Art is at the Barbican Centre until 26 May 2024. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.

Partnership content

This video was produced by Dezeen for the Barbican Centre as part of a partnership. Find out more about Dezeen’s partnership content here.

Reference

Interior Design

Jean Prouvé’s Maison Les Jours Meilleurs shown at Galerie Patrick Seguin

By Zarkon Group,02/04/2024

An exhibition at Galerie Patrick Seguin in Paris allows visitors to experience the Jean Prouvé-designed Maison Les Jours Meilleurs in both real life and virtual reality.

The gallery is exhibiting the most significant element of the demountable prefabricated house, its load-bearing service core, in a full-scale installation that doubles as a virtual reality (VR) experience.

Interior of Maison Les Jours Meilleurs house by Jean Prouvé — The load-bearing service core is key to the design of the original Maison Les Jours Meilleurs (above and top image)

Prouvé, the French architect best known for applying mass-production principles to both buildings and furniture, developed the design for the 57-square-metre house in 1956.

Known as Maison Les Jours Meilleurs, or “better days house”, the house was designed to tackle a homelessness crisis in the French capital.

Exhibition on Maison Les Jours Meilleurs by Jean Prouvé at Galerie Patrick Seguin — This core is the centrepiece of the exhibition at Galerie Patrick Seguin

In the winter of 1954, temperatures dropped so low that a woman and child died from the cold.

After being denied a request for funding to provide emergency housing, Abbé Pierre – a Catholic priest who was the founder of the Emmaüs movement against poverty – put out a plea on the radio for aid.

Prouvé responded immediately and, in a few weeks, had developed a design he felt could offer the solution.

The design centres around the service core, a steel cylinder painted olive green. This provides all the kitchen and bathroom services and carries the weight of the building’s roof.

Prouvé first exhibited a prototype of the Maison Les Jours Meilleurs on Quai Alexandre-III in February 1956.

This was described by fellow architect Le Corbusier as “the handsomest house I know of, the most perfect object for living in, the most sparkling thing ever constructed”.

However, the model never made it to production and only a handful were ever built.

Maison Les Jours Meilleurs by Jean Prouvé in virtual reality — A VR headset transforms the scene into a 3D visualisation of the house

Galerie Patrick Seguin owns the world’s largest collection of Prouvé houses, which it has installed in exhibitions around the world. In 2015, it commissioned architect Richard Rogers to put a new spin on one.

This exhibition marks the first time the gallery has allowed a Prouvé house to be experienced in virtual reality.

The installation places the service core inside a full-scale sketch floor plan that reveals the house’s layout.

A VR headset transforms the scene into a visualisation of the house, placing it back on the spot where it was installed in 1956, on the banks of the Seine.

The photography is courtesy of Galerie Patrick Seguin.

Jean Prouvé, Maison Les Jours Meilleurs is on show at Galerie Patrick Seguin from 14 March to 20 April 2024. See Dezeen Events Guide for more architecture and design events around the world.

Reference

Interior Design

Tropical Modernism exhibition explores “the politics behind the concrete”

By Zarkon Group,14/03/2024

London’s Victoria and Albert Museum has launched its Tropical Modernism exhibition, which highlights the architectural movement’s evolution from colonial import to a “tool of nation building”.

According to the Victoria & Albert Museum (V&A), the exhibition aims to examine the complex context, power dynamics and post-colonial legacy of tropical modernism – an architectural style that developed in South Asia and West Africa in the late 1940s – while also centralising and celebrating its hidden figures.

Archival Image in Tropical Modernism exhibition at the V&A London — London’s V&A museum has opened a major exhibition exploring tropical modernism

“Tropical modernism is experiencing something of a modish revival as an exotic and escapist style popular in verdant luxury hotels, bars and concrete jungle houses,” the exhibition’s lead curator Christopher Turner told Dezeen.

“But it has a problematic history and, through an examination of the context of British imperialism and the de-colonial struggle, the exhibition seeks to look at the history of tropical modernism before and after Independence, and show something of the politics behind the concrete,” he continued.

Installation shot of Tropical Modernism exhibition at the V&A London — The exhibition traces the evolution of tropical modernism within a South Asian and West African context

The exhibition follows the V&A’s Tropical Modernism exhibition at the 2023 Venice Biennale, which revealed the team’s precursory research on tropical modernism in a West African setting.

For the in-house iteration of the exhibition, additional architectural models, drawings and archival imagery have been introduced to interrogate tropical modernism in India alongside the African perspective.

Exhibition materials line a series of rooms within the V&A’s Porter Gallery, divided by brightly coloured partitions and louvred walls referencing tropical modernist motifs.

The exhibition begins by tracing tropical modernism back to its early development by British architects Jane Drew and Maxwell Fry. Stationed together in Ghana from 1944, Drew and Fry adapted international modernism to the African climate, proposing functional over ornamental design.

Drew and Fry would also become part of the Department of Tropical Studies at the Architectural Association (AA), which exported British architects to the colonies from 1954 in a bid to neutralise calls for independence.

The exhibition continues by spotlighting local Ghanaian figures who worked with Fry and Drew, noting the power shifts that were taking place behind the scenes to reappropriate the architectural style for an emerging era of colonial freedom.

Influential political leaders Jawaharlal Nehru in India and Kwame Nkrumah in Ghana are the exhibition’s key personas, framing the evolution of tropical modernism from conception to regionalisation.

“The heroes of our exhibition are Nehru and Nkrumah, the first prime ministers of India and Ghana,” Turner explained. “Tropical modernism, a colonial invention, survived the transition to Independence and was appropriated and adapted by Nehru and Nkrumah as a tool of nation building.”

“Nkrumah, who sometimes sketched designs for the buildings he wanted on napkins, created the first architecture school in sub-Saharan Africa to train a new generation of African architects, and this institution has partnered with us on a five-year research project into tropical modernism.”

Archival image of University College Ibadan used in Tropical Modernism exhibition at the V&A London — According to the V&A’s research, tropical modernism shifted from its western Bauhaus roots towards a localised vernacular styles

Through a host of physical models and artefacts, the city of Chandigarh becomes the exhibition’s narrative focal point for tropical modernism in India.

Under prime minister Jawaharlal Nehru, Chandigarh was the first large-scale modernist project, recruiting Drew and Fry along with French architect Le Corbusier to plan the ideal utopian urban centre.

As with Nkrumah – who saw how the Africanisation of architecture could become a symbol of progress and change – the exhibition also aims to highlight Nehru’s ambitions for a localised modernism drawing from the Indian vernacular, rather than the Western Bauhaus style.

The display culminates in a video featuring 16 key tropical modernist structures, interspersed with interviews and footage explaining the social and political context behind each building’s realisation.

“We made a three-screen 28-minute film, shot in Ghana and featuring panoramic portraits of over a dozen buildings, cut with archive footage from the time and interviews with architects like John Owusu Addo and Henry Wellington, and Nkrumah’s daughter, the politician Samia Nkrumah,” said Turner.

Archival image of Maxwell Fry and John Noah used in Tropical Modernism exhibition at the V&A London — The exhibition aims to address gaps in the museum’s African and South Asian studies

According to Turner, the exhibition begins to address gaps in the V&A’s collections and archives pertaining to architecture and design in the global south.

“Archives are themselves instruments of power, and West African and Indian architects are not as prominent in established archives, which many institutions have now realised and are working to address,” Turner explained.

“Tropical modernism was very much a co-creation with local architects who we have sought to name – all of whom should be much better known, but are excluded from established canons.”

Bringing tropical modernism back into contemporary discourse was also important to the V&A as a timely investigation of low-tech and passive design strategies.

“Tropical modernism was a climate responsive architecture – it sought to work with rather than against climate,” Turner said.

“As we face an era of climate change, it is important that tropical modernism’s scientifically informed principles of passive cooling are reexamined and reinvented for our age,” he added.

“I hope that people will be interested to learn more about these moments of post-colonial excitement and opportunity, and the struggle by which these hard-earned freedoms were won.”

Image of video used in the Tropical Modernism exhibition at the V&A London — A 28-minute video captures footage of remaining tropical modernist structures at the end of the exhibition

The V&A museum in South Kensington houses permanent national collections alongside a series of temporary activations and exhibitions.

As part of London Design Festival 2023, the museum hosted a furniture display crafted from an Alfa Romeo car by Andu Masebo and earlier in the year, architect Shahed Saleem created a pavilion in the shape of a mosque at the V&A as part of 2023’s Ramadan Festival.

The photography is courtesy of the Victoria & Albert Museum.

Tropical Modernism: Architecture and Independence will run from 2 March to 22 September 2024 at the V&A Museum in London. For more events, exhibitions and talks in architecture and design visit the Dezeen Events Guide.

Reference

Interior Design

Ten highlights from Design Doha exhibition Arab Design Now

By Zarkon Group,28/02/2024

A disaster-proof chandelier from Lebanon and a towering sand dune-style stone installation feature in Arab Design Now, the main exhibition at the inaugural Design Doha biennial.

Arab Design Now was curated by Rana Beiruti to capture the spirit of contemporary design across the Middle East and North Africa (MENA), the curator told Dezeen ahead of the opening of the first Design Doha.

Set within the Qatari capital’s M7 building, the design biennial draws together a range of collectible design and installations.

Selected works from 74 participants paid homage to the MENA region’s “extremely harsh and unique geography” and investigated the “use of materials as a guiding principle,” explained Beiruti.

Here are 10 of Dezeen’s highlights from Arab Design Now, which is on display in Doha until early August.

Sites – New Sites by Studio Anne Holtrop

Bahrain- and Amsterdam-based architect Anne Holtrop has designed a cluster of large-scale mobiles made from vast slabs of lumpy resin.

Holtrop took casts of a series of manmade and natural sites that he found across Qatar to create the textured pieces, which hang from bearing mechanisms and can be manually rotated by visitors to produce continuously moving formations.

Constellations 2.0: Object. Light. Consciousness by Abeer Seikaly

Over 5,000 pieces of Murano glass were woven together by Jordanian-Palestinian designer Abeer Seikaly to create this chandelier, which combines Bedouin weaving practices from Jordan with traditional Venetian glassmaking techniques.

Brass and stainless steel were also integrated into the lighting, made flexible by the glass mesh.

Once illuminated, the sculptural piece creates dramatic light patterns that nod to a starry night sky seen from the Badia desert, according to Seikaly.

House Between a Jujube Tree and a Palm Tree by Civil Architecture

Kuwait and Bahrain-based office Civil Architecture has designed a looming fibreglass roof proposal for a majlis – the traditional term for an Arabic gathering space.

“It’s a 1:1 model of a roof of an actual house that we designed in Bahrain,” studio co-founder Hamed Bukhamseen told Deezen.

Supported by steel and suspended from tension cables, the majlis features openings designed to accommodate tall trees and was created to explore the “symbiotic but blurred” relationship between indoor and outdoor settings.

Nubia, Hathor and Gros Guillaume Stool by Omar Chakil

French-Egyptian-Lebanese designer Omar Chakil was informed by his father’s homeland of Egypt when he chose alabaster onyx to create this monolithic shelving, a bulbous coffee table and a stool that glides across the floor on wheels.

Taking cues from ancient practices, Chakil carved the rounded furniture from raw blocks of the material, which was sanded down over time using water rather than covered in varnish – something that the designer said had became common in Egypt, especially when making “cheap” souvenirs.

“The whole idea of the collection was to use Egyptian alabaster, which was a healing stone,” Chakil told Dezeen.

“The pharaohs used [the material], then it transformed it over time. It lost its soul. So I tried to put it in the contemporary context by using the shapes that healing emotions would take – so they are round and soft, even though they are very heavy,” he added.

“I see that people are afraid to, but I want them to touch the furniture.”

Tiamat by AAU Anastas

Palestinian architecture office AAU Anastas is presenting Tiamat, a dune-shaped installation that forms part of the studio’s ongoing project, Stone Matters, which explores the potential of combining historical stone building techniques with modern technologies to encourage the use of structural stone.

Positioned for visitors to walk through, the installation is a towering structure made of stone sourced from Bethlehem and informed by the Gothic-style architecture found across Palestine, Syria and Lebanon.

According to AAU Anastas, the light, sound reverberations and climate control within Tiamat’s internal space is unique to stone construction.

Clay in Context by Sama El Saket

Jordan-born architect and ceramicist Sama El Saket took cues from her native landscape when creating this “taxonomy of Jordanian clays”.

The result is a set of spindle bottle-style vessels, each made of a different natural clay found across Jordan. This gives the pieces their distinctive colours, textures and character.

“These are all natural clays with no pigments added,” El Saket told Dezeen. “The colours are attributed to the different minerals that are found within the region. Some are sandier, some are rockier.”

The designer noted that while Jordan features an abundance of clay deposits and a rich history of ceramic production, today most Jordanian clay is imported.

Light Impact by Fabraca Studios

Lebanese industrial design brand Fabraca Studios has created Light Impact, a solid aluminium lighting fixture that was designed as an alternative chandelier, resembling durable ropes.

The piece was made to replace a glass chandelier that shattered in the aftermath of the 2020 Beiruit explosion, which destroyed a large part of Lebanon’s capital city.

Light Impact is defined by “flexible characteristics designed to withstand another disaster,” studio founder Samer Saadeh told Dezeen. He added that the piece, which includes internal brass components, was designed as an ode to Beirut’s adaptability and resilience.

Eleven by Sahel Alhiyari

Eleven is a cluster of tall fluted terracotta columns by Jordanian architect Sahel Alhiyari that were made through moulding and forming rather than traditional cutting and carving.

The architect handcrafted the segments, which are vertically stacked, using a similar technique to pottery-making,

“As you twist and turn the material, it creates all of this stuff,” Alhiyari told Dezeen. The designer explained that the columns were deliberately created to celebrate imperfections, despite referencing classical architecture.

Sediments by Talin Hazbar

UAE-based Syrian designer Talin Hazbar is featuring her Sediments project, which previously gained recognition at Dubai Design Week.

The work consists of blocky seating made from fishing ropes and fishing cage ropes extracted from the Persian Gulf with the assistance of the Dubai Voluntary Diving Team.

Also made up of recycled rubber grains, the heavily textured seating was created to serve as a reminder of how we might attempt to clean up damaged coastlines, according to Hazbar.

Whispers from the Deep by T Sakhi

Lebanese-Polish sisters Tessa and Tara El Sakhi of the studio T Sakhi combined discarded metal salvaged from factories in Veneto, Italy, with Murano glass to create amorphous glassware that takes cues from underwater sea creatures.

These pieces were arranged atop dramatic shelving inside the elevator connecting the first and second floors of the Arab Design Now exhibition.

The result is a playful installation that draws together the Venetian lagoon and Lebanese glassblowing traditions.

The photography is by Edmund Sumner unless stated otherwise.

Arab Design Now takes place at Design Doha from 24 February to 5 August 2024 at M7 in Doha, Qatar. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.

Reference

Interior Design

IKEA unveils “powerful” first photos by artist-in-residence Annie Leibovitz

By Zarkon Group,14/02/2024

Swedish furniture brand IKEA has released two images from a series of photographs taken by Annie Leibovitz, its first-ever artist-in-residence, showing people in their homes across the world.

The American photographer, who is best known for her portraits, travelled to twenty-five homes around the globe to take photos of people in their residences. She visited houses and apartments in Sweden, India, Italy, Japan, Germany, England and the US.

“The home has always been important in my work,” Leibovitz said when appointed artist-in-residence in 2023.

“I’ve been photographing people in their homes since I began,” she added. “It’s a way to understand who a person is. The advice I give to young photographers is to photograph their families. It’s one of the best ways to start.”

People in home photographed for IKEA — Annie Leibovitz photographed 25 homes for IKEA, including this one in Germany

Leibovitz’s photos for IKEA show a variety of different interiors in seven different countries.

“The result is a powerful photographic document that illuminates the nuances of life at home – across borders, ethnicities and professions,” the furniture brand said of the project.

The series, which comprises 25 photos in total, was commissioned by IKEA after its IKEA Life at Home Report showed that 48 per cent of people globally don’t feel the media represents their home.

The first two images released by IKEA, show the homes of Yusuke Onimaru in Japan and Maria Arrechea in Germany – specifically Onimaru’s ceramic workshop and Arrechea’s living space filled with friends.

Leibovitz’s photos will be shown as part of the IKEA+ exhibition in Paris, which will take place during Paris Fashion Week.

It will also feature a collaboration with online radio station Rinse and showcase the Tesammans collection made by IKEA together with Eindhoven-basd design duo Raw Color.

Six emerging designers from the Casa93 fashion education program are also taking part in the IKEA+ showcase. They worked with “home furnishing mentors” from IKEA to create designs that focus on upcycling and sustainable design.

The photography is by Annie Leibovitz for IKEA.

IKEA+ will take place on 28 Rue de Lappe, Paris, from 29 February to 3 March. For more worldwide events, exhibitions and talks in architecture and design, visit Dezeen Events Guide.

Reference

Interior Design

Folkform installs The Museum of Masonite at Stockholm Furniture Fair

By Zarkon Group,09/02/2024

Swedish design duo Folkform has presented a series of furniture pieces made using Masonite hardboard sourced from a factory that closed down over a decade ago.

On show at Stockholm Furniture Fair, The Museum of Masonite centres around a patented type of engineered wood board that is made by steam-cooking and pressure-moulding wood fibres.

Folkform founders Anna Holmquist and Chandra Ahlsell first started experimenting with this material 15 years ago, in collaboration with Sweden’s last remaining Masonite producer in Rundvik.

The Museum of Masonite by Folkform at Stockholm Furniture Fair — The Museum of Masonite features furniture made from a patented type of wood board

When the factory closed in 2011, the pair took all the remaining stock.

“I felt a responsibility to tell the story of what happened to this material,” explained Holmquist, who has since completed a PHD exploring the cultural significance of Masonite.

“It created the Swedish welfare state in the 1930s, 40s and 50s,” she told Dezeen.

“It was made from leftover wood from the Swedish sawmills so it became bigger here than anywhere else. Everyone was using it, for everything from boats and caravans to houses.”

The Museum of Masonite follows the release of the Production Novellas, a book published by Folkform detailing the results of Holmquist’s PHD research.

Folkform is showcasing this book alongside some of their favourite Masonite designs created over the years.

Works on display include the Masonite Chair, a 2021 collaboration with Åke Axelsson based on an experimental design the Swedish interior architect produced in 1978.

Older pieces include a chest of drawers and a bedside cabinet, both created in 2012, which feature different material samples arranged in geometric collages.

“We combined materials with different ages, with this idea that the furniture becomes an archive,” said Holmquist.

The most recent designs in the show explore a more minimalist approach, suggesting how the material can create the suggestion of solid blocks.

“I feel like the compositions will be never-ending because we still have more of this board,” added Holmquist.

The works are presented alongside photographs, illustrations and artefacts that tell the story of the factory.

Later in the year, the exhibition will move to the Laurel Museum of Art in Mississippi, the city where Masonite was patented in 1924 by William H Mason.

Masonite is distinct from other engineered wood fibre boards, such as MDF, because it is made without glue. Holmquist believes the material could have a future in manufacturing.

“It’s a beautiful material and it’s very sustainable,” she concluded.

“We are already seeing a shift in food, where people increasingly care where the things they eat come from, so maybe it will also happen for furniture and objects.”

At Stockholm Furniture Fair this year, visitors could also enjoy the Wekino With exhibition by South Korean furniture designers and British designer Faye Toogood’s collaboration with Finnish company Vaarnii.

The photography is by Erik Lefvander unless otherwise stated.

The Museum of Masonite is on show at Stockholm Furniture Fair, which is open to the public from 7 to 11 February 2024. See Dezeen Events Guide for more Stockholm Dezeen Week exhibitions in our dedicated event guide.

Reference

exhibitions

Barbican’s Unravel exhibition explores the subversive power of textiles

Jean Prouvé’s Maison Les Jours Meilleurs shown at Galerie Patrick Seguin

Tropical Modernism exhibition explores “the politics behind the concrete”

Ten highlights from Design Doha exhibition Arab Design Now

IKEA unveils “powerful” first photos by artist-in-residence Annie Leibovitz

Folkform installs The Museum of Masonite at Stockholm Furniture Fair

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