The Shop at Bluebird presents ‘If Chairs Could Talk‘ a solo installation by artist Yinka Ilori 19th September to 27th November 2015 The Shop at Bluebird proudly presents ‘If Chairs Could Talk‘ a solo installation by artist Yinka Ilori. Launching to coincide with London Design Week the installation will run for a six week period. In this body of work he will present a series of five chairs, using each of them as a narrator to create a captivating collective of modern art that mimics characters from his childhood. More specifically the exhibition focuses on the well-known African parable “Despite How Long the neck of a giraffe is, it can’t see the future” creating a thought provoking installation that gives the audience an insight into the artists journey to adulthood. A private launch event will take place on evening of Tuesday 22nd September 2015. The Installation is open to the public from 10am each day from 19th September to 27th November 2015. The unique chairs featured will be available exclusively to purchase from The Shop at Bluebird. Dates: Sunday 19 September – Friday 27 November Opening times: 9.30am – 8pm Monday – Saturday 12pm – 8pm Sunday #ifchairscouldtalk
The world as we know it is in transformation – politically, economically, socially, culturally and technologically. Anyone wanting to know how design can facilitate or even accelerate this change would be well advised to look to the south, especially at Africa, where the changes are very evident. In 2012, for example, more mobile phones were registered throughout Africa than in the United States or Europe, namely some 650 million. Spearheading this shift is a new generation of thinkers and makers whose multidisciplinary output proposes innovative solutions for the continent and the rest of the world – while simultaneously turning our traditional understanding of design on its head. Making Africa – A Continent of Contemporary Design showcases works from a diverse range of creative fields: object and furniture design, graphic arts, illustration, fashion, architecture, urban planning, art, craft, film, photography, digital and analogue approaches. These works deliberately occupy the grey area between the disciplines, and yet they provide concrete answers to the question of what twenty-first century design can and should achieve. For example, they recognize new possibilities in the use of material; they are oriented to the process rather than the result and make bold statements about the future. These contemporary creations forge a link to the middle of the twentieth century, when a young generation celebrated its liberation from colonialism and self-assuredly asserted its place in the world and its right to a promising future. ThroughoutMaking Africa, examples of art and design from that era are juxtaposed with recent works. What the exhibition does not strive to present, however, is a complete picture of design in Africa. Comprising 54 nations, more than 2000 languages and cultures and a billion inhabitants, the continent is simply too large, too complex and too diverse. What the exhibition offers instead is a new story, one perhaps not yet known. It is one possibility among many for looking at Africa and an invitation in this regard to embrace a wholly new perspective.