Polish designer Maria Jeglińska has been invited to take part in the ‘In Circulation’ exhibition series, which was launched by the Contemporary Design Department of the Museum of Applied Arts in Budapest.
The In Circulation series was initiated by the Contemporary Design Department of the Museum of Applied Arts in Budapest. Each exhibition is built around one object only – carefully selected from more than 100,000 exhibits. Each time, the choice is made by a different contemporary designer, whose task is to design a new piece, inspired by and remaining in relation to the chosen object. A dialogue is born between the old and the new.
Polish designer Maria Jeglińska was invited to participate in the second edition of the In Circulation series and she will present a chair designed by Hungarian designer Sandor Miko from 1969. This angular, somewhat clunky piece of furniture may have escaped our attention in a museum hall, surrounded by other more memorable furniture of its time. This focus on Miko’s chair allows one to truly appreciate its design, to imagine what it would be like to sit down in it and sip a coffee. One can imagine the buzz of cafés and the mood at the turn of the 1960s and 1970s under the communist regime in Hungary.
Fifty years later, Maria Jeglińska’s works are more conceptual, yet still functional. In contrast to Miko’s chair, which was created specifically for a café setting, what are they and what purpose do they serve? Jeglińska does not answer these questions for us, we have to answer them for ourselves. Her pieces have as many uses as we have ideas for using them. How will people interpret her pieces of furniture in fifty years time? Will they be able to imagine themselves in 2019?
The In Circulation series teaches us that it is important to notice individual objects. It’s an opportunity for less well-known pieces to shine – during the exhibition, they become the star. It also gives the museum the chance to work with contemporary designers and build a unique collection.
Körforgásban - In Circulation: Maria Jeglińska (long version)
About the designer
Maria Jeglińska was born in Fontainebleau (France) in 1983. In 2010 she established her Office for Design & Research in London. She graduated from ECAL’s (Lausanne, CH) industrial design course in 2007, and was awarded a scholarship from the IKEA Foundation, that led her to work for Galerie kreo in Paris, Konstantin Grcic in Munich, and Alexander Taylor in London.
She works on a wide range of commissions: industrial design projects, exhibition design, as well as research-based projects. She is convinced that in today’s world, research can trigger and generate new forms of possibilities and solutions. Her clients include: Ligne Roset, Kvadrat, Actus, Vitra, 1882ltd, the Museum of Modern Art in Warsaw, and the St Etienne Design Biennial.
Her work is regularly exhibited internationally, and was shown at: the Villa Noailles, Aram Gallery, Barbican Art Gallery, Centre Pompidou Metz, and the Milan Triennial.
In October 2012, she curated and designed: ‘Ways of Seeing/Sitting’ at the Łódź Design Festival in Poland. She was also the co-curator and designer of the Polish Pavilion at the London Design Biennial in September 2016. In 2018, she was appointed creative director of the Arena Design Fair in Poland.
György Ráth Villa
Curators: Judit Horváth, PhD, Head of Department, Contemporary Design Department, Museum of Applied Arts, Budapest; Agnieszka Jacobson-Cielecka, PhD, design curator, Program Director at School of Form, SWPS University, Poland
Co-curators: Melinda Farkasdy & Rita Komporday, Contemporary Design Department, Museum of Applied Arts, Budapest
Find out more: www.imm.hu
The project is co-organised by the Museum of Applied Arts, Budapest and Adam Mickiewicz Institute as part of POLSKA 100, the international cultural programme accompanying the centenary of Poland regaining independence.
Financed by the Ministry of Culture and National Heritage of the Republic of Poland as part of the multi-annual programme NIEPODLEGŁA 2017–2022.