Currently showing


  • Matt Mullican, Education Tool, 2008-2009, éd. Ardeis Genève

    Credit: Atelier numérique de la Ville de Lausanne
     

  • Maxime Bondu, L’Ampoule de Livermore, 2011-2012, éd. CIRVA Marseille

    Credit: Atelier de numérisation de la Ville de Lausanne
     

  • Tomas Libertiny, The Seed of Narcissus, 2011

    Credit: Atelier de numérisation de la Ville de Lausanne
     

  • Fred Fischer, Egomorphisme 7, 2007-2008

    Credit: Marie Humair
     

  • Jaime Hayon, Science Vase 2, 2009

    Credit: Atelier de numérisation de la Ville de Lausanne
     

  • Matali Crasset, Bouteille à la croix, 2008

    Credit: Marie Humair
     

From December 11, 2013
to February 1, 2015

Living Glass
Recent acquisitions by the glass art collection

Mudac's latest contemporary glass art exhibition, Living Glass, presents a broad selection of works and installations by today's glass creators of many nationalities-Swiss, European, American and Asian. Bearing witness to the very idea of glass art, pieces ranging from sculpture to edition design all translate the museum conservation team's open and ongoing approach, as assisted and supported by the Collection's patron.

Published jointly by La Bibliothèque des Arts and the mudac, a richly illustrated and trilingual (fr/en/de) publication, Le verre vivant [Living Glass] accompanies this exhibition.


  • Marian Bantjes, Sorrow, installation (flowers) at Chicago Design Museum, 2013

    Credit: Marian Bantjes
     

  • Marian Bantjes, Before my Memory Goes, 2011

    Credit: Marian Bantjes
     

  • Marian Bantjes, Empathy Penny, 2009

    Credit: Marian Bantjes
     

  • Marian Bantjes, Honour

    Credit: Marian Bantjes
     

  • Marian Bantjes, Sons and Lovers, 2010

    Credit: Marian Bantjes
     

  • Marian Bantjes, The National (Wiltern), 2010

    Credit: Marian Bantjes
     

From July 2, 2014
to October 5, 2014

Wunderkammer
Carte blanche to graphic designer Marian Bantjes

Marian Bantjes is a graphic designer, typographer, illustrator and blogger. Working from a small island near Vancouver, Canada, she has developed a very personal graphical style combining natural materials such as flowers, pasta and sugar with the most advanced computer techniques. Her work, a mixture of tradition, style and technology, is highly unusual and personal, distancing itself from international utilitarian graphic design through its treatment of unfamiliar, generally non-commercial subjects, strongly influenced by contemporary experimental graphic design.

 

Her creations have featured in the specialist press around the world, and she has worked with some of the top designers of our time. For her carte blanche at the mudac, she has chosen to transform two of the museum's spaces into a graphical cabinet of curiosities. She will present some of the objects that inspire her as well as a selection of her recent work, all referenced in Pretty Pictures, published by Thames & Hudson (2013). She will also be showing a new piece specially designed for the exhibition.


  • Otto Künzli, Oh say!, brooch, 1991

    Credit: Otto Künzli
     

  • Otto Künzli, Ring für Zwei, ring, 1980

    Credit: Otto Künzli
     

  • Otto Künzli, Shanzaï, rings, 2012

    Credit: Otto Künzli
     

  • Otto Künzli, The Big American Neckpiece, necklace, 1986

    Credit: Otto Künzli
     

  • Otto Künzli, Black Mickey Mouse Broche, 1991

    Credit: Otto Künzli
     

  • Otto Künzli, Die Schönheitsgalerie / Susy, photograph, 1984

    Credit: Otto Künzli
     

  • Otto Künzli, Broken Mickey Mouse, necklace

    Credit: Otto Künzli
     

  • Otto Künzli, Who Nose?, postcards, 2012

    Credit: Otto Künzli
     

  • Otto Künzli, Crédit Suisse, necklace

    Credit: Otto Künzli
     

From July 2, 2014
to October 5, 2014

Otto Künzli. The exhibition.
Jewellery 1967-2012

Considered a master of conceptual jewellery, Swiss artist Otto Künzli has intelligent hands and a mischievous spirit. He makes liberal use of irony to question the assumptions of our society and criticise its shortcomings. He is an iconoclast. He plays with symbols and makes free with cultural references. He uses jewellery as a means of expression, but does not neglect its ornamental function.

 

 

Through the vast range of objects in the exhibition, visitors can immerse themselves in his sumptuous, generous, critical and witty universe. The mudac, whose collections include several pieces by Otto Künzli, is the only Swiss destination on the itinerary of the exhibition, the first of such scope to be devoted to the artist. Initiated by Die Neue Sammlung - The International Design Museum Munich, where it was presented in spring 2013, it will be transferring to the Tokyo Metropolitan Teien Art Museum.