Z33

Steve Robyns (1981) is a Limburg-based maker, designer and artist. Z33 presents Into The Unknown, his first solo exhibition, in collaboration with Kunstenwerkplaats VONK. The show features Robyns’ full collection of functional sculptures, born from a long-standing fascination with the extraterrestrial. His sources of inspiration are documentaries and science fiction films.

The Seasonal Neighbours exhibition Our Invisible Hands at Z33 examines the role of seasonal workers in the rich global agricultural economy and offers new insights into the interconnectedness of seasonal and economic rhythms and the relationship between humans and plants in the rural landscape. In this article, writer and curator Alice Bonnot expands on the themes of planetary interdependence, organic farming systems and regenerative land practices. The text brings to the exhibition the long-term temporality of ancestral time and questions the unsustainability of the Western relationship to agriculture.

In this essay, André Rottmann examines how Sam Lewitt’s exhibition CURE (the Work) at Z33 problematizes the site of artistic production.

Each DESIS Philosophy Talk aims to explore how philosophical reflections can not only help understand but also empower new forms of experimentations within cutting-edge design research. The conversation always take place within a specific context which in this case is the exhibition Time School, one of the subthemes developed within the 4^th Istanbul Design Biennial. This talk is a further expansion of the topics that were addressed at the Desis Philosophy Talk #5.4 held previously this year, at the Time School’s first presentation during the Milan Design Week.[1]

In the case of sound art, the medium itself forces the viewer to change his normal mode of perception. Finding the right form for the presentation is a crucial element, especially in the world of visual arts that is mostly focused on the visual.

With exhibition ‘The Wilde Things,’ Z33 explores new presentation models for contemporary jewellery in context of a wearer and within a narrative framework. Furthermore it takes a critical look at current developments within this discipline, which has evolved since the 1960s to become an autonomous, artistic, and reflective design practice.