To archive

10 Years of Thomas Eyck at Salone del Mobile 31.03.2016


During the Salone del Mobile 2016 in Milano from 12 to 17 April, the Zuiderzee Museum will present a preview of the great 10 Years of Thomas Eyck exhibition, at Atelier Clerici. An extended version will be exhibited at the Zuiderzee Museum as of 23 December this year. Ultimately, the exhibition will comprise ten ‘chapters’, the first of which will see the light in Milano. There, artist Wouter Paijmans will reflect on the Oak Inside series that designer Christien Meindertsma made in 2011, produced by Roosje Hindeloopen, commissioned by Thomas Eyck. Paijmans surrounds the Oak Inside objects with a new ‘sculpture’ on a living room scale. The presentation at Atelier Clerici will mark the beginning of the tenth anniversary of the t.e. label curated by Jules van den Langenberg.

The 10 years of Thomas Eyck presentation is located at Atelier Clerici, Via Clerici 5, 20121 Milano. Opening times: Mon–Sat 12–16 April, 10:00–20:00 h., Sun 17 April 10:00–18:00 h.

Just like the Zuiderzee Museum, Thomas Eyck seeks to stimulate talented designers to think up new ideas and create new objects, after which the most promising ones are produced by Eyck’s t.e. label, with great attention to material and workmanship. The Zuiderzee Museum seeks to act as a catalyst in the cross-pollination between tried-and-tested traditional craftsmanship and modern design by connecting modern design artists with traditional crafts. As a result, apart from many historical objects, the Museum’s collection comprises a number of striking examples of modern Dutch design based on age-old traditions.

10 years of Thomas Eyck

10 Years of Thomas Eyck is a collaboration project of the Zuiderzee Museum, curator and scenographer Jules van den Langenberg and Thomas Eyck himself. Van den Langenberg selected ten product series from the t.e. collection which are exemplary of Eyck’s collaboration with the designers and producers over the past ten years. Accordingly, ten young designers, artists and architects were invited to create an installation in which the selected t.e. objects are placed in a new context. In this way the exhibition reviews the past decade and forecasts a potential future for the t.e. label.

Jules van den Langenberg: “The author Oliver Wendell Holmes once said: “I like to pay taxes. With them, I buy civilization”. Thomas Eyck invests time, primarily in a designer’s body of thought. A generous approach, which has resulted in a collection of iconic items which, apart from an economic value, also have a distinct cultural value. Rather than just a retrospective, the exhibition intends to reflect on Eyck’s collection and working method. The way in which he works with designers and producers and the objects he has gradually accumulated over the past ten years have been studied by an eclectic selection of artists, designers and architects who, especially for the exhibition, have developed new projects in which the iconic t.e. products are given a new context. This approach generates debate and forms a library of thoughts on the present state of the t.e. collection and on the way Eyck’s commissionership may develop in the future”.

About t.e.

Thomas Eyck is a publisher and distributor of characteristic and exclusive contemporary design products. The company values the care and love expressed in the choice of the materials to work with, its producers and production techniques as well as the skill and creativity of its designers. Thomas Eyck chooses the designers to collaborate with on the basis of their ‘handwriting’: “I believe that the union of design, material and a careful process of product development – from the first idea until the ‘finishing touch’ – are very important.” On a yearly basis one or two designers are commissioned to design a series of products in a given material; the collection develops slowly.

The on-going search for materials to discover has so far led to collections in (amongst others) pewter, flax and borosilicate glass. Thomas Eyck: “Finding the right material and craftsmen and producers who can work with it is just as important as the designers I work with.”

About Jules van den Langenberg

Jules van den Langenberg graduated at Design Academy Eindhoven and works within the fields of design, art direction, exhibition-making and curation. His Willy Wonka-like behaviour leads to a zapp culture of projects as initiator, conceptualiser, editor, critic and entrepreneur, in which the role of design is carefully programmed. Parallel to self-initiated works and commissioned projects, Van den Langenberg works as a tutor at the Master Studies department of the University of Architecture in Amsterdam, as editor-at-large for Trendtablet by Lidewij Edelkoort and curator at Studio Makkink&Bey.

About Christien Meindertsma

Christien Meindertsma explores the life of products and raw materials. For her first book, Checked Baggage (2004), Christien purchased a container filled with a week's worth of objects confiscated at security checkpoints at Schiphol Airport after 9/11. She meticulously categorized all 3267 items and photographed them on a white seamless background. Christien’s second book, PIG 05049 (2007), is an extensive collection of photographic images that documents an astounding array of products that were all made from the different body parts of an anonymous pig ‘called’ 05049. With this book, Meindertsma reveals lines that link raw materials with producers, products and consumers that have become invisible in today’s increasingly globalized world.

With her designs, Christien Meindertsma aims to regain the understanding of processes that have become so distant in this industrialized era . Her work has been exhibited in MOMA (New York), The V&A (London) and the Cooper Hewitt Design Museum (New York). For her book PIG 05049 she won three Dutch Design Awards (2008) as well as an Index award (2009). Christien graduated from the Eindhoven Design Academy in 2003.

About Wouter Paijmans

Wouter Paijmans is a painter of a rare kind. On the basis of charcoal sketches of objects he finds in the immediate environment of his painting studio and inspired by the pioneers of modern art, he first makes a spatial installation, which he carefully builds up out of aluminium sheets. Often, right after creating them, he flattens the objects and paints them, so that they may be hung on a wall like a painting. Thus, Paijmans’ objects stand midway between spatial, three-dimensional and flat, two-dimensional art. Deliberately constructed readymade art (objets trouvés) converted into a ‘painting’.

With his work Paijmans plays with the tension between installation and painting; between artist, studio and artwork. Sometimes it is a liberating experience to come across a work of art that just is what it is, has its own intrinsic logic and leaves space for the viewer to have his own thoughts and decide for himself to see it as figurative or abstract, as a painting or a sculpture. With this multi-layered approach, Paijmans reflects on artistic creation. His work can be seen as a plastic representation of painterly practice. It is the way in which Wouter confronts and unites ‘picturesqueness’ with referential reality in his art that makes it fascinating. This ambivalence is central to his work and establishes the starting point for the artist’s positioning in visual arts.

Wouter Paijmans (1991) graduated as a visual artist from the Gerrit Rietveld Academy in Amsterdam in 2015. At present he lives and works in Amsterdam.