Maarten Baas “Real Time Grandfather Clock” at Moss Bureau – New York City

November 29th, 2012 by

Maarten Baas, Real Time Grandfather Clock, 2009, courtesy of Moss Bureau and the designer

November 29 – December 31, 2012

Moss Bureau is pleased to present its installation Mickey-Mickey-Mickey-Mickey-Mickey-Mickey-Mickey-Mickey-Mickey-Mickey-Mickey-Mickey-Mickey & Friends, featuring Cathy McClure’s “Mickey Hardwired” and works by Maarten Baas, Chen Chen & Kai Williams, Naoto Fukasawa, Tukujin Yoshioka, Roberto Mora, Vera Iachia, and Attai Chen, Nicole Polentas, Jennifer Trask (shown in association with Gallery Loupe). On view by Maarten Baas is “Real Time Grandfather Clock”, 2009. This piece is the artist’s proof from the second series of three grandrather clocks, all of which incorporate video. The cabinet is a modern interpretation of the classic grandfather clock, but the clock face is in reality a video screen presentation of a grandfather, carefully erasing and redrawing the minute and hour hands on an analog face. The clock face is at the exact height that the \”grandfather\” would be if he were actually standing inside the clock.

Moss Bureau
256 West 36th Street, Floor 10
New York, NY 10018
Tel.: 212-204-7100

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NEWS: World records set for Maarten Baas, Studio Job, Hella Jongerius during Moss: Dialogues between Art & Design auction at Phillips de Pury & Company – New York City

October 17th, 2012 by

Lot 108, Hella Jongerius, ‘Giant Prince’ vase, 2000, estimated at $70,000-$90,000, sold for $86,500

New York, October 17, 2012

The Moss: Dialogues between Art & Design auction at Phillips de Pury & Company totaled $5,567,750. The auction set world records for Maarten Baas, Studio Job, Hella Jongerius, Robert Wilson and Patricia Urquiola. The success of the sale is a reflection of Phillips de Pury & Company’s commitment to the sale and promotion of important design and Murray Moss’s consistent leadership in the field. The sale brought an excitement to the industry that was reflected in the auction results.

Murray Moss is an internationally renowned authority on contemporary design and is frequently guest speaker at art academies, universities and cultural institutions around the country. With his long time business partner, Franklin Getchell, Moss runs Moss Bureau, a New York-based multidisciplinary design consultancy that assists private and institutional collectors of contemporary design in an advisory and curatorial capacity.

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Moss: Dialogues between Art & Design auction with many superb Dutch design pieces at Phillips de Pury – New York City

October 4th, 2012 by

Hella Jongerius Jackpot Field sofa, table, large vase with bronze medallion, courtesy Phillips de Pury and Moss Bureau

Viewing: October 6-15, 2012
Reception: October 10, 2012, 6-8pm
Auction: October 16, 2012, 11am

Pillips de Pury is pleased to present the auction and viewing days for Moss: Dialogues between Art and Design. It is entirely curated by Murray Moss and presents a singular and autobiographical approach to the pairing of art and design–a new paradigm to the traditional auction format, a highly subjective “apples to oranges” approach in the interdisciplinary pairing of disparate works.  The auction is comprised of works from Moss Gallery and from the private collection of Murray Moss and Franklin Getchell, as well as certain very special consigned pieces, each paired a work of fine art, contemporary, old masters or even antiquities. Because the sale inevitably represents the thinking and philosophy of Moss gallery across the years, it includes masterworks from the Dutch designers with whom they have long relationships. Among those are Maarten Baas, Hella Jongerius, Studio Job, Marcel Wanders, Julien Carretero and Tomas Libertiny.

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Maarten Baas, Joost van Bleiswijk and Kiki van Eijk at Moss – New York City

May 14th, 2011 by

Joost van Bleiswijk, One More Time: Little Clock (blue anodized aluminum), 2011, courtesy Moss and the designer

May 14 – June 30, 2011

Murray Moss and Franklin Getchell are pleased to present “Fraternal Twins,” highlighting variations in degree of identicalness found in various Studio Multiples during repetition in fabrication accompanied by emerging Geek applications of advanced digital fabrication, laser-based technologies, and simple force

Featuring: ONE MORE TIME by Kiki van Eijk and Joost van Bleiswijk, Christian Haas, Oscar Magnus Narud, Massimiliano Adami, Julien Carretero, Maarten Baas, Peter Marigold, Gaetano Pesce, Borek Sípek, Chen Chen, Phillip Low, Haresh Lalvani for Milgo/Bufkin, Ron Gilad for FLOS, Cristian Zuzunaga for Moroso and Nanimarquina, Tokujin Yoshioka for Moroso, Venini, .MGX by Materialise, Barbara Seidenath in association with Gallery Loupe, Vintage works in polyester resin and acrylic (1949-1963) by pioneer sculptor Leo Amino.

Kiki van Eijk, One More Time: Floating Frame Mantel Clock (sandblasted, nickel plated copper), 2011, courtesy Moss and the designer

Curator’s statement:

Born a fraternal twin (I have a lovely sister), I’ve naturally always been fascinated by the phenomena and definition of ‘duplication’; a person born in my circumstances is, in fact, medically referred to as a ‘multiple’.

‘Zygosity’ is the term used to indicate the degree of identicalness in the genome of twins. In fraternal twins (versus, say, cloned embryos), statistics indicate an extremely small chance of the children having the same chromosome profile. In other words, even given the double pregnancy (the production of multiples), variance is the norm.

Maarten Baas, Plain Clay Furniture (floor light black), 2011, courtesy Moss and the designer

In our exhibition, Fraternal Twins, we present clocks, tables, chairs, benches, lamps, and vases produced by various designers and artists in their Studios as ‘multiples’ or twins born ‘fraternal’. Although genetic similarities are apparent, and indeed quite obvious in the serial production of these objects, due to the processes involved and the materials and finishes used there are wide swings in zygosity.

Exact replication, or cloning long considered the ‘Gold Standard’ for the serial production of fine objects of ‘quality’ is here put aside.

In this exhibition, we celebrate the possibilities of fraternity: brotherhood, but with individuality.

Murray Moss

150 Greene street

New York, NY 10012

Tel.: 212-204-7100

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Outdoor screenings of Maarten Baas "Real Time" at Yerba Buena Center for the Arts – San Francisco, CA

November 7th, 2010 by

November 7 – 21, 6:00pm – 12:00am

New video technology has made it possible to create movies of great length, even as long as twelve hours. Maarten Baas employed this technology in a series of films called Real Time that combine theater, art, film and design. These 12-hour-long movies function as clocks, illustrating the passing of time by filming in uncut intervals of 12 hours each. In Sweepers, which will be presented by YBCA, the passage of time is marked by the human action of sweeping debris.

Real Time debuted in Milan at the Salone del Mobile in April of 2009. Works from the Real Time series are now in the permanent collections of the Rijksmuseum, Amsterdam; La Maison Rouge, Paris; the Museum of Contemporary Art, Tokyo; and the Zuiderzee (who commissioned a work for their permanent collection) in the Netherlands.

Born in 1978 in Arnsberg, Germany, Maarten Baas was raised in the Netherlands. In 2002, he graduated from the renowned Dutch arts academy, Design Academy Eindhoven. Named Designer of the Year at Design Miami 2009, Maarten Baas has emerged as a major new talent. His work is included in the permanent collections of several museums, including the Victoria and Albert Museum, London, the Groninger Museum and the Stedlijk Museum in the Netherlands, the Montreal Museum of Fine Arts, the Indianapolis Museum of Art, and the San Francisco Museum of Modern Art.

This program is organized by independent curator and advisor Dane Jensen as part of Seeing Orange: Dutch Design Week SF.

Yerba Buena Center for the Arts
Outdoor Projection
701 Mission Street (exterior of the Forum wall)
San Francisco, CA

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Moss Gallery presents Poetic License exhibition with work by Maarten Baas and Studio Job – New York City

May 15th, 2010 by

May 15 – June 26, 2010

Moss Gallery presents “Poetic License: deliberate deviations from normally applicable rules and practices.”

With work by Michele de Lucchi, Maarten Baas, Fernando and Humberto Campana, Mathias Bengtsson, Michael Anastassiades, R&Sie(n)/Francois Roche, Studio Job, Oskar Zieta, Patrick Jouin, Finn Magee, Philippe Starck for Flos and works by Mark Alexander, Josh Smith, Robert Mapplethorpe (courtesy of the Sean Kelly Gallery, New York) and Philippe Parreno shown in collaboration with independent curators Thea Westreich and Ethan Wagner, New York

Each of the designers featured in Poetic License personifies the attribute by which Moss defines the exhibition. Each pushes the boundary of what’s been done before in a variety of media, and each invents. The range of work represented by the six studios is extraordinary by any standard. Moss is proud to present their next level of achievement in rule breaking.

Celebrating its 15th anniversary, Moss Gallery has continuously presented, through highly curated exhibitions in its now-iconic SoHo gallery, as well as its installations at Design Miami/Basel, the ever-evolving rich dialogue between Industrial Design and Studio Art, illuminating the intersections of various disciplines as they merge and morph, fluidly crossing boundaries and breaking taboos surrounding function, decoration, art and design. Championing the work of narrative as well as process-based conceptual artist/designers such as Maarten Baas, Fernando and Humberto Campana, Studio Job, Tord Boontje, Gaetano Pesce, Hella Jongerius, Tom Dixon, Arik Levy, and Andrea Salvetti, Moss articulates the vital thinking that is inherent in their works.
Moss New York
150 Greene Street

New York, NY 10012

Tel.: 212-204-7100

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Studio Job and Maarten Baas at Moss, Independent Fair – New York City

March 4th, 2010 by

Maarten Baas, Burned, courtesy Moss

March 4 – 7, 2010

Moss and Westreich-Wagner collaborate on this that & then some installation at new art fair Fitting comfortably within the self-defined "hybrid forum", as new art fair INDEPENDENT calls itself, is an installation by Murray Moss and Franklin Getchell of New York design gallery Moss and independent art curators, Thea Westreich and Ethan Wagner.

Their installation, this that & then some, pairs art objects and design objects as possibilities. Works on display are placed in dialogue to elicit dialogue. It offers an alternative mode of presentation, eschewing the pure, unmitigated museum/gallery space where works are considered essentially on their own, for something more akin to the actuality of residential living, where works are seen proximate to each other.

Says Thea Westreich: "The installation posits that relationships the placement of art with design, and design with art can serve to illuminate visual and conceptual meaning, just as such pairings can re-orient or even obliterate notions of beauty, function and hierarchy." this that & then some is meant to embrace and accentuate the matter of placement as a modality for the collector’s subjective expression. Thus, says Murray Moss, "the combinations in this exhibition are not intended as ultimate answers, but rather as momentary placeholders, indicators of infinite possibilities."

Studio Job, Graphic Paper Chandelier (Limited edition, 2007), courtesy Moss

Work from the following artists and designers will be shown: Diane Arbus, Maarten Baas, Pablo Bronstein, Fernando and Humberto Campana, Larry Clark, Ilse Crawford, Ann Demeulemeester, Valie Export, Michal Fronek & Jan Nemecek, Robert Gober, Johanna Grawunder, Sol LeWitt, Tomas Gabzdil Libertiny, Julia Lohann, Wilhelm Neuhauser, Gaetano Pesce, Sterling Ruby, Josh Smith, Thomas Struth, Studio Job, Christopher Wool

548 West 22nd Street

New York, NY

Tel.: 212-204-7100

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Rietveld and Maarten Baas in 75 Years Anniversary exhibition at SFMOMA – San Francisco, CA

December 19th, 2009 by

December 19, 2009 – January 16, 2011

“Full Circle: 75 Years of Wood Chairs” is part of SFMOMA’s “The Anniversary Show,” with work by Rietveld and Maarten Baas.

“The Anniversary Show” mines the depth and breadth of SFMOMA’s collection the soul and long-term memory of the museum and constitutes the first complete reinstallation of the second floor galleries since the museum opened its doors on Third Street in 1995. Paintings, sculptures, works on paper, photographs, video works, architectural models, and design objects will be supplemented by archival material orienting visitors to the timeframe and context in which these works were first shown and acquired. From mounting Jackson Pollock’s first solo museum exhibition in 1945 to championing the emerging Mission School scene in the mid-1990s to exhibiting snapshot photography in 1998, SFMOMA has consistently broken new ground, challenging conventional wisdom of what an art museum should present and collect.

About “Full Circle: 75 Years of Wood Chairs”

A retrospective view of wood chairs from the collection reveals shifting, if not always progressive, formal and functional concerns. This circular display presents a selection of chairs produced over the past seventy-five years; many of them came to SFMOMA in the late 1990s as part of a sizable donation of important modern furniture from Michael and Gabrielle Boyd.

The starting point of this presentation, Gerrit Rietveld‘s iconic Zig-zag chair, comprises four wooden planes of equal width; it neatly captures the De Stijl movement in early modern Dutch design with its emphasis on linear abstraction and the dynamism of the diagonal plane. A number of the other chairs demonstrate material and technical advances that led, for example, to the development of bent wood surfaces, as seen in Alvar Aalto’s Model 31 armchair and Charles and Ray Eames’s LCW chair.

The recent chairs displayed here tend to emphasize more conceptual concerns (a clear reflection of the Department of Architecture and Design’s current collecting practice, with its focus on conceptual and experimental work). The Favela chair by Fernando and Humberto Campana foregrounds the sociopolitical connotations of its material; it is handmade with the type of scrap wood used to build ad hoc housing in Brazil’s favelas or slums. With Maarten Baas‘s appropriation of Rietveld’s Zig-zag chair, this selection comes full circle. Casting a glance backward to the origins of Dutch Modernism, Baas took a recent reproduction and blowtorched it with utmost reverence, maintaining the icon’s formal clarity while staking his own claim to design history.

San Francisco Museum of Modern Art
151 Third Street
San Francisco, CA 94103
Tel.: 415-357-4000

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Maarten Baas named Designer of the Year at Design Miami/09 – Miami, FL

December 2nd, 2009 by

December 2 – 5, 2009

Each December, the Design Miami/ Designer of the Year Award recognizes a prominent designer whose advanced body of work demonstrates quality, innovation and influence, pushing the boundaries of art, architecture and design. This year, we are pleased to honor Maarten Baas.

Despite of his young age, Maarten Baas has made a remarkable impact in the world of design. At just 31 years old, he has already undeniably changed the course of contemporary design in a strikingly short period of time. Maarten has demonstrated again and again his extraordinary capacity to generate radically new ideas, constantly rethinking and reinventing design processes to mesmerizing effect.

In keeping with Design Miami/ tradition, Maartenhas created a special installation at this year’s fair. Instead of offering a straightforward overview of his work, Baas has decided to design a theatrical environment in which his past work will mingle with various items from his mental travels, from things found in the street to product samples and other designers’ work, offering a unique view onto his inner world. This installation also includes a new addition to his Real Time project, created for the Zuiderzee Museum, and examples from an entirely new series of work created expressly for the Design Miami/Designer of the Year Award.

About Maarten Baas
Maarten Baas was born in 1978 and grew up in the Netherlands, where he studied at the Design Academy Eindhoven. Already while studying, one of his projects, a candle holder called Knuckle, was taken into production. He made design headlines with one of his 2002 graduation projects, a series of charred furniture called Smoke, which was subsequently further developed in collaboration with New York gallerist Murray Moss. In 2005 he began collaborating with Bas den Herder who is now responsible for the production of all his works. All of Baas’ items are uniquely handmade by Baas and his team of ten assistants, and his work can be found in museum and private collections around the world.

Design Miami / Offices in Miami
3841 NE 2nd Avenue, Suite 400
Miami, FL 33137
Tel.: 305-572-0866

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