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O’Clock time design, design time 7th March – 10th April 2013 at CAFA Art Museum, Beijing
After its great success in Milan,
the Triennale Design Museum, in collaboration with the Italian Cultural
Institute in Beijing, is presenting a new edition of the exhibition O’Clock - time design, design time
in the CAFA Art Museum in Beijing. Curated by Silvana Annicchiarico and
Jan van Rossem, the design and arrangement of the exhibition is the
work of Patricia Urquiola. The purpose of the show is to explore
the relationship between time and design and it has been organised in
partnership with the haute horlogerie watch brand Officine Panerai,
which at the opening ceremony will present an installation devoted to
the design of its watches devised by Patricia Urquiola.
Compared to the display in Milan, the exhibition in Beijing includes an expanded, updated selection of works which take account of China’s newly emerging and already established design potential. A wide-ranging display of original site-specific works, installations, design objects, works of art and videos by international artists and designers seek to answer questions such as: “How is time measured?”, “How can passing time be shown?” and “How can time be experienced?”. All the works exhibited tackle subjects such as the passage of time, time’s evolution, and decay over time, in ways that are sometimes ironic, sometimes poetic, sometimes meditative and sometimes critical.
The CAFA Art Museum in Beijing is one of the most important art museums in China. Part of the China Central Academy of Fine Arts, it was designed by the Japanese architect Arata Isozaki and completed in March 2008. Architecturally it is a three-dimensional form with a curvilinear surface, which has acquired a sculptural element through its use of natural slates on the exterior. CAFA is a research institution which organises numerous exhibitions and activities, acting as a platform for Chinese and international cultural exchange.
While figurative art, cinema and photography have developed lengthy and profound reflections on the subject of time, design on the other hand has usually restricted its treatment of the subject to the areas of accuracy, measurement and functionality. Yet the relationship between time and design is actually much more complex and it can open up surprising perspectives from the aesthetic point of view as well as from the functional one.
O’Clock
time design, design time
7th March – 10th April 2013
CAFA Art Museum, Beijing
Curated by Silvana Annicchiarico and Jan van Rossem
Exhibition design and graphics: Patricia Urquiola
Opening Times:
Tuesday - Sunday, 9:30 – 17 :30 Last admission at 17 :00
Closed on Mondays
Tel. (Information Desk) : 86-10-64771575
www.cafamuseum.org
I MONDI DI OFFICINE PANERAI
An installation by Patricia Urquiola for the exhibition “O’Clock – time design, design time”
Officine Panerai is the main partner of “O’Clock – time design, design time”, the exhibition that analyses the relationship between the concept of time and design, on display at Milan Triennale from 11th October 2011 to 8th January 2012. The works on show which have been specially setup by Patricia Urquiola - describe the way in which some 80 international designers and artists have interpreted or represented one of the fundamental themes of our culture, that of time.
Patricia Urquiola has also created for Officine Panerai the installation “I mondi di Officine Panerai” (The worlds of Officine Panerai), presented here for the first time, in which eight watch models recount, as protagonists, the design of Panerai. The installation, positioned at the end of the exhibition, is open from 11th to 23rd October and consists of eight models in as many display cases, in which the watches are presented in a setting that skilfully blends humour and poetry and create the effect of a time tunnel which appears to possess a soul, that of time.
“I am absolutely fascinated by the combination of technology and craftsmanship that characterizes Officine Panerai watches”, says Patricia Urquiola. “That is why I have tried to express their uniqueness, consisting of innovation, precision engineering and the overall quality of their design by ‘immersing’ them in an equally unique and valuable context. This special installation designed for Officine Panerai watches is presented as a series of micro-worlds where time is set in an unusual moment. It is a miniature reconstruction of natural environments, biospheres, where the protagonist is an actual scale watch. The other elements displayed are presented to a different scale”.
If the link between the concept of time and a brand of high-end timepieces is obvious and immediate, the same can be said of the connection between Panerai and the world of design. The Radiomir and Luminor, created in the 1930s and 1940s for the Italian Navy frogmen commandos, have become icons of fine watch-making since their launch in the 1990s. Over the years, Officine Panerai has maintained the original modernist design, establishing its watches as true design classics.
Among the Panerai watches on display, two extremely rare historical models - a Radiomir from 1938, the year in which the watch was produced for the first time, and a Luminor from the 1940s - show how these icons were born with all the features they still possess today and how, in fact, the second model represents an evolution of the first – an evolution created to offer even better performance in terms of water resistance (due to loops welded to the case and especially to the device that protects the crown) and legibility.
Each of the models on display shows one or more of the main features of the Panerai design: the essential lines of the Radiomir and Luminor cases, the large dimensions to ensure maximum readability in all environmental conditions, the clarity of the dials with their diverse aesthetic designs, the details that respond to specific needs such as the bezel of the Luminor Submersible with a graduated scale to calculate diving times, the linear power reserve indicator, and the small seconds dial at nine o’clock. Each of these features, all instantly recognisable by watch connoisseurs, has helped make Panerai watches an icon of time design. All the models on show are driven by movements made entirely at the Officine Panerai manufacture in Neuchâtel.
One of the eight Panerai watches being displayed will have its worldwide premiere: the Luminor Marina 1950 3 Days – 47mm, features the new in-house movement P.3001 (hours,minutes, small seconds at nine o’clock, and 3-day power reserve indicator on the back) and is characterised by a special Luminor 1950 case with a cusp-shaped carrure, which takes its inspiration from a rare model of the 1940s that represents an intermediate stage in the transformation from the Radiomir to the Luminor case.
The Panerai watches on show are:
- Radiomir 1938 (Panerai Historical Archive)
- Luminor Anni ’40 (Panerai Historical Archive)
- Luminor 1950 8 Days GMT – 44 mm (PAM00233)
- Radiomir 3 Days Oro Bianco – 47 mm (PAM00376)
- Radiomir 3 Days Platino – 47 mm (PAM00373)
- Luminor Composite 1950 3 Days – 47 mm (PAM00375)
- Luminor Submersible 1950 3 Days Automatic Titanio – 47 mm (PAM00305)
- Luminor Marina 1950 3 Days – 47 mm (PAM00422)
OFFICINE PANERAI AND DAMIEN HIRST
On the occasion of the exhibition “O’Clock - time design, design time” the British artist Damien Hirst is premiering two works, made using the spin painting technique and using dials from Panerai watches and household gloss on canvas: Beautiful Sunflower Panerai Painting and Beautiful Fractional Sunflower Panerai Painting.
“I love Panerai”, declared the British artist. “The watches are timeless and I made this spin painting using black Panerai watch faces without hands in the pattern of the seeds in the head of a sunflower - I hope the painting makes you think, we are here for a good time, not a long time.”
Beautiful Sunflower Panerai Painting and Beautiful Fractional Sunflower Panerai Painting were born from the collaboration between Officine Panerai and Damien Hirst who, on several occasions in the past, has included Panerai watches in his works: a Panerai watch is painted on a table next to medicines and a skull in “Skull with Watch” from 2005 and is physically present in the installations “The Tranquility of Solitude (for George Dyer)” (2006), and “Killing Time” (2008).
LUMINOR MARINA 1950 3 DAYS – 47 MM
Presented for the first time at the exhibition “O’Clock - time design, design time” (Milan Triennale, 11th October 2011 – 8th January 2012), the Luminor Marina 1950 3 Days - 47mm (PAM00422) is an excellent example of the mix of design and technique embodied by Panerai watches.
The special design of the case is inspired by a rare historic model and is characterized by the pronounced cusp rounding of the carrure. This feature, rich in meaning from the historical viewpoint, testifies to the transformation, which occurred in the early 1940s, of the Radiomir’s cushion case into that of the Luminor, and in the Luminor Marina 1950 3 Days - 47mm it enhances a 47mm steel Luminor 1950 case (AISI 316L), with the classic lever device protecting the winding crown made of brushed steel.
The black dial of the Luminor Marina 1950 3 Days - 47mm is typical of the Panerai style, with small seconds at nine o’clock and the classic succession of large numbers and indexes. The dial has a “sandwich” structure with the ecru Super-LumiNova® layer enclosed between two plates, which emerges from the holes made in correspondence with indexes and numbers, to give maximum clarity and depth to the dial. The engravings “Luminor Marina” and “Panerai”, made using characters from the period, complete the design of the dial.
The movement of the Luminor Marina 1950 3 Days - 47mm is the hand-wound Panerai calibre P.3001, entirely executed at the Neuchâtel manufacture. With a 16½ lignes diameter, the P.3001 has a structure characterised by large bridges, two barrels providing a 3-day power reserve, and a variable-inertia 13.2mm-diameter balance, which permits adjustment of the movement rate of the watch thanks to the screws on the outer ring. The movement is visible through the crystal of the back case, which also allows the wearer to read the power reserve indicator placed on the main bridge.
Identified by the reference PAM00422, the Luminor Marina 1950 3 Days - 47mm is made in a series of 2,000 pieces. It comes with a strap in a pure and natural leather, without any additional lacquer finishing, closed with the classic Panerai brushed-steel buckle.
Specifications - LUMINOR MARINA 1950 3 DAYS - 47 MM
Movement: Hand-wound mechanical, Panerai P.3001 calibre, executed entirely by Panerai, 16½ lignes, 6.3 mm thick, 21 jewels, Glucydur® balance, 21,600 alternations/ hour. Incabloc® anti-shock device. Power reserve 3 days, two barrels. 207 components.
Functions: Hours, minutes, small seconds, power reserve indicator on the back, seconds reset.
Case: Diameter 47 mm, polished steel.
Bezel: Polished steel.
Back: See-through sapphire crystal.
Device protecting the crown: (protected as a Trademark) Brushed steel.
Dial: Black with luminous Arabic numerals and hour markers.
Crystal: Plexiglas®, 3 mm thick.
Water-resistance: 10 bar (~100 metres).
Strap: PANERAI personalised leather strap and large-size brushed steel buckle. Supplied with a second interchangeable strap and a steel screwdriver.
Reference: PAM00422
Compared to the display in Milan, the exhibition in Beijing includes an expanded, updated selection of works which take account of China’s newly emerging and already established design potential. A wide-ranging display of original site-specific works, installations, design objects, works of art and videos by international artists and designers seek to answer questions such as: “How is time measured?”, “How can passing time be shown?” and “How can time be experienced?”. All the works exhibited tackle subjects such as the passage of time, time’s evolution, and decay over time, in ways that are sometimes ironic, sometimes poetic, sometimes meditative and sometimes critical.
The CAFA Art Museum in Beijing is one of the most important art museums in China. Part of the China Central Academy of Fine Arts, it was designed by the Japanese architect Arata Isozaki and completed in March 2008. Architecturally it is a three-dimensional form with a curvilinear surface, which has acquired a sculptural element through its use of natural slates on the exterior. CAFA is a research institution which organises numerous exhibitions and activities, acting as a platform for Chinese and international cultural exchange.
While figurative art, cinema and photography have developed lengthy and profound reflections on the subject of time, design on the other hand has usually restricted its treatment of the subject to the areas of accuracy, measurement and functionality. Yet the relationship between time and design is actually much more complex and it can open up surprising perspectives from the aesthetic point of view as well as from the functional one.
O’Clock
time design, design time
7th March – 10th April 2013
CAFA Art Museum, Beijing
Curated by Silvana Annicchiarico and Jan van Rossem
Exhibition design and graphics: Patricia Urquiola
Opening Times:
Tuesday - Sunday, 9:30 – 17 :30 Last admission at 17 :00
Closed on Mondays
Tel. (Information Desk) : 86-10-64771575
www.cafamuseum.org
-----------------------
I MONDI DI OFFICINE PANERAI
An installation by Patricia Urquiola for the exhibition “O’Clock – time design, design time”
Officine Panerai is the main partner of “O’Clock – time design, design time”, the exhibition that analyses the relationship between the concept of time and design, on display at Milan Triennale from 11th October 2011 to 8th January 2012. The works on show which have been specially setup by Patricia Urquiola - describe the way in which some 80 international designers and artists have interpreted or represented one of the fundamental themes of our culture, that of time.
Patricia Urquiola has also created for Officine Panerai the installation “I mondi di Officine Panerai” (The worlds of Officine Panerai), presented here for the first time, in which eight watch models recount, as protagonists, the design of Panerai. The installation, positioned at the end of the exhibition, is open from 11th to 23rd October and consists of eight models in as many display cases, in which the watches are presented in a setting that skilfully blends humour and poetry and create the effect of a time tunnel which appears to possess a soul, that of time.
“I am absolutely fascinated by the combination of technology and craftsmanship that characterizes Officine Panerai watches”, says Patricia Urquiola. “That is why I have tried to express their uniqueness, consisting of innovation, precision engineering and the overall quality of their design by ‘immersing’ them in an equally unique and valuable context. This special installation designed for Officine Panerai watches is presented as a series of micro-worlds where time is set in an unusual moment. It is a miniature reconstruction of natural environments, biospheres, where the protagonist is an actual scale watch. The other elements displayed are presented to a different scale”.
If the link between the concept of time and a brand of high-end timepieces is obvious and immediate, the same can be said of the connection between Panerai and the world of design. The Radiomir and Luminor, created in the 1930s and 1940s for the Italian Navy frogmen commandos, have become icons of fine watch-making since their launch in the 1990s. Over the years, Officine Panerai has maintained the original modernist design, establishing its watches as true design classics.
Among the Panerai watches on display, two extremely rare historical models - a Radiomir from 1938, the year in which the watch was produced for the first time, and a Luminor from the 1940s - show how these icons were born with all the features they still possess today and how, in fact, the second model represents an evolution of the first – an evolution created to offer even better performance in terms of water resistance (due to loops welded to the case and especially to the device that protects the crown) and legibility.
Each of the models on display shows one or more of the main features of the Panerai design: the essential lines of the Radiomir and Luminor cases, the large dimensions to ensure maximum readability in all environmental conditions, the clarity of the dials with their diverse aesthetic designs, the details that respond to specific needs such as the bezel of the Luminor Submersible with a graduated scale to calculate diving times, the linear power reserve indicator, and the small seconds dial at nine o’clock. Each of these features, all instantly recognisable by watch connoisseurs, has helped make Panerai watches an icon of time design. All the models on show are driven by movements made entirely at the Officine Panerai manufacture in Neuchâtel.
One of the eight Panerai watches being displayed will have its worldwide premiere: the Luminor Marina 1950 3 Days – 47mm, features the new in-house movement P.3001 (hours,minutes, small seconds at nine o’clock, and 3-day power reserve indicator on the back) and is characterised by a special Luminor 1950 case with a cusp-shaped carrure, which takes its inspiration from a rare model of the 1940s that represents an intermediate stage in the transformation from the Radiomir to the Luminor case.
The Panerai watches on show are:
- Radiomir 1938 (Panerai Historical Archive)
- Luminor Anni ’40 (Panerai Historical Archive)
- Luminor 1950 8 Days GMT – 44 mm (PAM00233)
- Radiomir 3 Days Oro Bianco – 47 mm (PAM00376)
- Radiomir 3 Days Platino – 47 mm (PAM00373)
- Luminor Composite 1950 3 Days – 47 mm (PAM00375)
- Luminor Submersible 1950 3 Days Automatic Titanio – 47 mm (PAM00305)
- Luminor Marina 1950 3 Days – 47 mm (PAM00422)
OFFICINE PANERAI AND DAMIEN HIRST
On the occasion of the exhibition “O’Clock - time design, design time” the British artist Damien Hirst is premiering two works, made using the spin painting technique and using dials from Panerai watches and household gloss on canvas: Beautiful Sunflower Panerai Painting and Beautiful Fractional Sunflower Panerai Painting.
“I love Panerai”, declared the British artist. “The watches are timeless and I made this spin painting using black Panerai watch faces without hands in the pattern of the seeds in the head of a sunflower - I hope the painting makes you think, we are here for a good time, not a long time.”
Beautiful Sunflower Panerai Painting and Beautiful Fractional Sunflower Panerai Painting were born from the collaboration between Officine Panerai and Damien Hirst who, on several occasions in the past, has included Panerai watches in his works: a Panerai watch is painted on a table next to medicines and a skull in “Skull with Watch” from 2005 and is physically present in the installations “The Tranquility of Solitude (for George Dyer)” (2006), and “Killing Time” (2008).
LUMINOR MARINA 1950 3 DAYS – 47 MM
Presented for the first time at the exhibition “O’Clock - time design, design time” (Milan Triennale, 11th October 2011 – 8th January 2012), the Luminor Marina 1950 3 Days - 47mm (PAM00422) is an excellent example of the mix of design and technique embodied by Panerai watches.
The special design of the case is inspired by a rare historic model and is characterized by the pronounced cusp rounding of the carrure. This feature, rich in meaning from the historical viewpoint, testifies to the transformation, which occurred in the early 1940s, of the Radiomir’s cushion case into that of the Luminor, and in the Luminor Marina 1950 3 Days - 47mm it enhances a 47mm steel Luminor 1950 case (AISI 316L), with the classic lever device protecting the winding crown made of brushed steel.
The black dial of the Luminor Marina 1950 3 Days - 47mm is typical of the Panerai style, with small seconds at nine o’clock and the classic succession of large numbers and indexes. The dial has a “sandwich” structure with the ecru Super-LumiNova® layer enclosed between two plates, which emerges from the holes made in correspondence with indexes and numbers, to give maximum clarity and depth to the dial. The engravings “Luminor Marina” and “Panerai”, made using characters from the period, complete the design of the dial.
The movement of the Luminor Marina 1950 3 Days - 47mm is the hand-wound Panerai calibre P.3001, entirely executed at the Neuchâtel manufacture. With a 16½ lignes diameter, the P.3001 has a structure characterised by large bridges, two barrels providing a 3-day power reserve, and a variable-inertia 13.2mm-diameter balance, which permits adjustment of the movement rate of the watch thanks to the screws on the outer ring. The movement is visible through the crystal of the back case, which also allows the wearer to read the power reserve indicator placed on the main bridge.
Identified by the reference PAM00422, the Luminor Marina 1950 3 Days - 47mm is made in a series of 2,000 pieces. It comes with a strap in a pure and natural leather, without any additional lacquer finishing, closed with the classic Panerai brushed-steel buckle.
Specifications - LUMINOR MARINA 1950 3 DAYS - 47 MM
Movement: Hand-wound mechanical, Panerai P.3001 calibre, executed entirely by Panerai, 16½ lignes, 6.3 mm thick, 21 jewels, Glucydur® balance, 21,600 alternations/ hour. Incabloc® anti-shock device. Power reserve 3 days, two barrels. 207 components.
Functions: Hours, minutes, small seconds, power reserve indicator on the back, seconds reset.
Case: Diameter 47 mm, polished steel.
Bezel: Polished steel.
Back: See-through sapphire crystal.
Device protecting the crown: (protected as a Trademark) Brushed steel.
Dial: Black with luminous Arabic numerals and hour markers.
Crystal: Plexiglas®, 3 mm thick.
Water-resistance: 10 bar (~100 metres).
Strap: PANERAI personalised leather strap and large-size brushed steel buckle. Supplied with a second interchangeable strap and a steel screwdriver.
Reference: PAM00422
Press Release
The
exhibition will also feature works from artists and designers like
Damien Hirst, Marcel Wanders, Nendo, Marteen Baas, Yang Xinguang, Zhang
Enli, Wu Xiaohao, Wang Yuhong, Yu Bongong, Jia Shanguo to name a few.
Damien Hirst: Beautiful Fractional Sunflower Panerai Painting
"We are here for a good time, not a long time” Damien Hirst.
Two spin paintings made by assembling dozens of circular faces from Officine Panerai watches, all strictly without hands, within the rotating surface. Time is reduced to its circular quintessence, to its perpetual and unmeasurable motion. The absence of hands like the death of Kronos and the triumph of Kairos.
Damien Hirst: Beautiful Sunflower Panerai Painting
"We are here for a good time, not a long time” Damien Hirst.
Two spin paintings made by assembling dozens of circular faces from Officine Panerai watches, all strictly without hands, within the rotating surface. Time is reduced to its circular quintessence, to its perpetual and unmeasurable motion. The absence of hands like the death of Kronos and the triumph of Kairos.
Marti Guixe: Time to Eat
For sure in a near future we will be all nourished with some kind of pills. This will happen, not because we are pleased about, but because all our natural resources will be contaminated. It is in theory possible to live with such a functional diet, but the body is still contrary to these radical changes, it needs generations to evolve to a new form and format. This will happen also, but in a very far away future. In Time to Eat wall clock eating times are evidenced by cooking smell. This smell still acting as activator from our senses and our chemical substances related to memory and feelings. Time to Eat is a kind of transition to adapt our body to a radical change. Next generations will not need Time to Eat anymore.
Susanna Hertrich: Chrono-Shredder
How to spend time: the days pass slowly, almost imperceptibly, relentlessly. Each and every day, one after the other. What happens when they have passed? What meaning does what has passed have? What’s the value of the past? The Chrono-Shredder turns dealing with passing time into an art form. The days of the year are represented on the parts of a single roll of paper; each day that goes by is placed in a paper shredder to be cut up into tiny pieces, destroyed, eliminated. The past, as such, is the past and is no longer has any value.
Yang Xinguang: Counting Sands
For this work, it took a lot of time to count the mound of sand twice. Since it is easy to lose focus and be distracted during the counting process, the artist got two different numbers in the end. An attempt to discover what is “real” through a process that is highly reliant on self-discipline.
Sovrappensiero Design Studio: Scented Time
Time-measuring instruments are generally conceived of for sight and sound. The passing of time through the hands of a clock is perceived by the eyes; sometimes we know time is passing because of the ticking of a chronometer or the sound of a bell. Scented Time instead involves the sense of smell and measures time through a succession of scents and fragrances. Specially conceived for people who can’t see, Scented Time is made up of seven perfumed candles and by a lava stone candle-holder. Each candle emits a different scent, which lasts 20 minutes, but before going out it passes its flame on to the next candle. Depending on the scent in the room the user can figure out how much time has passed from the moment when the first candle was lit. Measuring time becomes much like a ritual which anyone can decide when to begin, by using the oldest of our sense organs.
Damien Hirst: Beautiful Fractional Sunflower Panerai Painting
"We are here for a good time, not a long time” Damien Hirst.
Two spin paintings made by assembling dozens of circular faces from Officine Panerai watches, all strictly without hands, within the rotating surface. Time is reduced to its circular quintessence, to its perpetual and unmeasurable motion. The absence of hands like the death of Kronos and the triumph of Kairos.
Damien Hirst: Beautiful Sunflower Panerai Painting
"We are here for a good time, not a long time” Damien Hirst.
Two spin paintings made by assembling dozens of circular faces from Officine Panerai watches, all strictly without hands, within the rotating surface. Time is reduced to its circular quintessence, to its perpetual and unmeasurable motion. The absence of hands like the death of Kronos and the triumph of Kairos.
Marti Guixe: Time to Eat
For sure in a near future we will be all nourished with some kind of pills. This will happen, not because we are pleased about, but because all our natural resources will be contaminated. It is in theory possible to live with such a functional diet, but the body is still contrary to these radical changes, it needs generations to evolve to a new form and format. This will happen also, but in a very far away future. In Time to Eat wall clock eating times are evidenced by cooking smell. This smell still acting as activator from our senses and our chemical substances related to memory and feelings. Time to Eat is a kind of transition to adapt our body to a radical change. Next generations will not need Time to Eat anymore.
Susanna Hertrich: Chrono-Shredder
How to spend time: the days pass slowly, almost imperceptibly, relentlessly. Each and every day, one after the other. What happens when they have passed? What meaning does what has passed have? What’s the value of the past? The Chrono-Shredder turns dealing with passing time into an art form. The days of the year are represented on the parts of a single roll of paper; each day that goes by is placed in a paper shredder to be cut up into tiny pieces, destroyed, eliminated. The past, as such, is the past and is no longer has any value.
Yang Xinguang: Counting Sands
For this work, it took a lot of time to count the mound of sand twice. Since it is easy to lose focus and be distracted during the counting process, the artist got two different numbers in the end. An attempt to discover what is “real” through a process that is highly reliant on self-discipline.
Sovrappensiero Design Studio: Scented Time
Time-measuring instruments are generally conceived of for sight and sound. The passing of time through the hands of a clock is perceived by the eyes; sometimes we know time is passing because of the ticking of a chronometer or the sound of a bell. Scented Time instead involves the sense of smell and measures time through a succession of scents and fragrances. Specially conceived for people who can’t see, Scented Time is made up of seven perfumed candles and by a lava stone candle-holder. Each candle emits a different scent, which lasts 20 minutes, but before going out it passes its flame on to the next candle. Depending on the scent in the room the user can figure out how much time has passed from the moment when the first candle was lit. Measuring time becomes much like a ritual which anyone can decide when to begin, by using the oldest of our sense organs.
