I Expected to Love My First 3Days of Design in Copenhagen. But I Could Never Have Anticipated What Would Make It So Great.

If you can believe it, this was my first year attending 3DaysofDesign in Copenhagen, and I went to the fair, now in its 10th year, armed with absurdly high expectations. I knew that just existing in Copenhagen in early June — using Lime bikes to cycle around, drinking natural wine, eating smørrebrød — would set a good baseline for fun. But after my experience at Salone, which I wrote about here, I felt increasingly desperate for Copenhagen to mean something. I told people I was going because, as a chronicler of design fair culture, I felt compelled to see one that had become such a word-of-mouth success. But on a personal level, it’s like I needed Copenhagen to prove to me that design fairs were still worth attending. As hesitant as I am to say this — lest everyone frantically start planning their show next year in Denmark, which is simply not the right move for everyone — Copenhagen actually exceeded my expectations.
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Bronze, Silk, Pine, Cherry: A Year Without a Kiln Forced Simone Bodmer-Turner to Reconsider Her Materials Palette

What does an artist do when they don’t have access to the tools their work requires? The ceramicist Simone Bodmer-Turner — celebrated for her abstract stoneware vessels and sculptures in shades of soft white or matte black — beautifully answers that question this month at Manhattan’s Emma Scully Gallery with her show of furniture and functional objects, A Year Without a Kiln.
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