thomas a. geisler x design curation

© DESIGN CAMPUS, SKD, photo: Oliver Killig

Austrian design curator and cultural producer Thomas A. Geisler curated international exhibitions for the Vienna Biennale, the London Design Biennale, the Vitra Design Museum, and many others. He currently is the director of the Kunstgewerbemuseum, Staatliche Kunstsammlungen Dresden (Museum of Decorative Arts, Dresden State Art Collections) where he established the DESIGN CAMPUS as an interdisciplinary R&D platform at Pillnitz Palace & Park. Before that he was the director of the Werkraum Bregenzerwald – a signature building by Peter Zumthor – where he was leading exhibitions and other initiatives, overlapping innovative craftsmanship, design and architecture. He was also the curator and head of the Design Collection at the MAK Vienna. He played a pivotal role in establishing the Victor Papanek Foundation at the University for Applied Arts Vienna and is a co-founder of Vienna Design Week. In 2019 he was the artistic director of the 26th International Design Biennale “BIO26: Common Knowledge” in Ljubljana. 

LUCIJA ŠUTEJ: Your transition to the curatorial field from a design practitioner, where you started as a potter, was very interesting. How did these experiences led to co-founding the Vienna Design Week? 

THOMAS A. GEISLER: I studied Product Design at the University of Applied Arts in Vienna, starting in 1994. My decision was driven by a desire to use creativity to change the world and develop innovative solutions. Design seemed like an ideal discipline to pursue. I had previously completed a craft education as a potter. Upon leaving secondary school, I wanted to work with my hands and gain tactile skills. While I wasn't particularly passionate about ceramics, I recognized it as one of the original crafts - a medium where there's nothing between your hand and the material. I completed apprenticeships first in Bavaria, and then in the south of England. However, upon returning home, I concluded that pottery would not be my primary livelihood, but rather a preparation for my academic studies.

The University of Applied Arts had always maintained a very international and cross-artistic approach, featuring prominent professors like Ettore Sottsass, Alessandro Mendini, Vivian Westwood, and Ron Arad - a significant designer and architect during my 1990s studies. This environment helped me develop a critical perspective on mass production and consumption, particularly through the theoretical aspects of material culture studies. We benefited from inspiring design history and theory classes led by individuals like Deyan Sudjic, who later became the director of the Design Museum in London. With him, we had exceptional opportunities to debate and exchange ideas. Deyan likely introduced me to Victor Papanek's book "Design for the Real World," which profoundly influenced my thinking and shifted my focus toward research and theory.

My curatorial path was influenced by several key experiences. Instead of completing military service, I spent a year in the United States, working at the Austrian Heritage Collection with the Leo Baeck Institute in New York, where I became familiar with archival work. I found working with documents, resources, and oral history absolutely fascinating! Upon returning to Austria, I entered the field of scenography and exhibition design by opening a studio, primarily driven by my intrigue in using design to tell stories. Initially, I collaborated with an architect, and together we designed numerous exhibitions in Vienna and beyond for various museums, encompassing everything from scenography to graphic design.

Simultaneously, I began teaching Design Theory and History. At that time, it was still possible for someone like me, who wasn't specifically trained in academic Art History, to do so. In the past 10 to 20 years, however, Design History and Theory have developed significantly as an academic field. Concurrently, I pursued a post-Master's degree in curatorial studies, with my final thesis focusing on creating a design festival in Vienna, which ultimately laid the groundwork for Vienna Design Week. We launched the first edition in 2007 with a test run of the so-called Passionswege.

The festival was founded by Neigungsgruppe Design, a trio of design enthusiasts – Tulga Beyerle, Lilli Hollein, and myself. We were convinced that Vienna was an underestimated hub for contemporary design and critically lacking visibility. A growing design community existed, but no cultural institution was dedicated to it—not even the Museum of Applied Arts (MAK). This precise insight motivated our establishment of Vienna Design Week as a temporary platform, which over time evolved into an almost permanent institution. The festival continues to run today, though all three founders have gradually departed, with me being the first to leave. In 2010, balancing my studio work, teaching and researching at the university, and directing Vienna Design Week became increasingly challenging. When offered the opportunity to become the curator for contemporary design at MAK (Museum of Applied Arts Vienna), I found the role fascinating—a chance to explore how to transform cultural institutions from within.

MAK Design Salon #1, MICHAEL ANASTASSIADES: Time & Again, MAK Vienna, Geymüllerschlössel, 2012.

MAK Design Salon #2, STUDIO FORMAFANTASMA: The Stranger within, MAK Vienna, Geymüllerschlössel, 2013. All images courtesy of MAK Vienna.

LŠ: How did you meet Tulga Beyerle and Lilli Hollein?

TAG: We all met at the University of Applied Arts in Vienna. Lilli and I were in the same year, but she was in another design class. And Tulga was the assistant to Deyan Sudjic. As I mentioned, the debates we had in our design history and theory courses shaped our thinking and we realized we were like-minded, and that connection continued after our studies. When I finished my thesis and had a rough concept for the Design Week, I asked Tulga and Lilli if they wanted to collaborate. Even though we had similar ideas, we had different networks, which made for a strong foundation to establish the festival. The ongoing success of Vienna Design Week is a testament to that collaboration, and we had a lot of fun working together—expressed in odd names like Neigungsgruppe or Passionswege. (laugh). It’s also interesting that all three of us now have ended up as museum directors in Dresden, Hamburg, and Vienna,  and we still collaborate. 

Neigungsgruppe Design - Lilli Hollein, Thomas Geisler, Tulga Beyerle, ©VDW, photo: Zajc/Zündel

LŠ: You mentioned the struggle of the contemporary design landscape in Vienna for visibility. Which spaces or studios were important for opening these conversations?

TAG: Vienna has an incredible design history, particularly around 1900 with the Wiener Werkstätte. The post-war Vienna design scene, while less well-known internationally, had important figures like Carl Auböck and others. Later Hans Hollein or Haus-Rucker-Co, who were significant in the practice of conceptual architecture, drew light to Austria. The boundaries between art, architecture, and design were especially blurred in the 1960s, 70s, and 80s, and Austria contributed a lot to international developments in that era. Design movements such as Memphis were influential, and many of their key figures like Sottsaas, Mendini, Hollein or Matteo Thun also taught in Vienna - influencing generations of local and international designers and architects.

Passionswege with MAX LAMB for J.&L. Lobmeyr, Vienna Design Week, 2009, © VDW, photo: kollektiv fischka/fischka.com

Passionswege with MAXIM VELČOVSKY/QUBUS DESIGN for J.&L. Lobmeyr, Vienna Design Week, 2008, © VDW, photo: kollektiv fischka/fischka.com

ROBERT STADLER: »Loosgelöst«, Wien Museum, Vienna Design Week, 2008, © VDW, photo: kollektiv fischka/fischka.com

However, Vienna wasn’t a great marketplace for design—it was too small, and the industry was lacking. Plus, being on the edge of the Iron Curtain until 1989, wasn’t conducive for growth. Despite that, a vibrant subculture emerged in the 1990s with designers like Helmut Lang or Eichinger oder Knechtl. Things began to change when Austria joined the European Union, and there was greater mobility - designers began studying abroad in places such as the Royal College of Art in London or the Design Academy in Eindhoven and coming home with new ideas. Vienna was always culturally rich and economically more affordable compared to London or Paris and suddenly we realized the timing was just right for Vienna Design Week. (laugh)

REED KRAM AND CLEMENS WEISSHAAR: »Vtol- Vertical Take– Off and Landing«, Liechtenstein Museum, Vienna Design Week, 2008, © VDW, photo: kollektiv fischka/fischka.com

JERSZY SEYMOUR WORKSHOP: »First Supper«, MAK Design Nite, Vienna Design Week, 2008, © VDW, photo: kollektiv fischka/fischka.com . All above images courtesy Vienna Design Week.

We wanted to connect local designers with the international community while simultaneously spotlighting local production. A big part of the festival was collaborating with local manufacturers, like Lobmeyr, a historic chandelier and glassmaker. Austria’s capital has a deep tradition of craftsmanship going back to the 18th and 19th centuries, and generations of families have carried on this knowledge of fabrication and manufacturing some of which were deliverers to the Imperial Court. Our initial project was called “Passionswege"—odd but humorously reflecting the city’s Catholic heritage, which also spoke to passion and knowledge in design, presenting new and young studios and productions in the city.

Positioning Vienna Design Week alongside other international design weeks was important to us. We wanted to make sure “design” was at the forefront, and give the festival a clear profile, rooted in Vienna’s long history and its opportunities. It has worked well in the past and today the festival ties even more into broader city development and social aspects of design, which have been important since the days of Red Vienna in the 1920s. The festival has always been interested in looking back to learn for the future - and that’s been a strong concept for its success.

LŠ: You mentioned other design weeks - which were on your radar due to their impact on learning, presentation, and approach to the local context.

TAG: To be honest, at that time, many design weeks were very commercially driven. For example, Milan Design Week was centered around the fair with Salone taking the lead. There was a shift in design that made it more critical and conceptual, which pushed some of these established design weeks to rethink their profiles. We had strong ties with neighboring Designblok in Prague, which had a more curatorial approach, similar to what we wanted for Vienna. Vienna Design Week was driven by a pure curatorial concept rather than a commercial one. We didn’t focus on showrooms for existing design labels unless they were involved in a new project. Our radar involved Dutch Design Week and London Design Festival, the latter also being more commercially oriented.

LŠ: You mentioned “Passionwege." Could you elaborate on its role in shaping Vienna Design Week?

TAG: Yes, “Passionwege" was one of our core projects, created to foster collaborations between emerging international designers, Austrian designers, and local manufacturers. We wanted to bring Austrian designers and manufacturers into the international context while also sourcing local production in Vienna. With the city’s rich tradition in craftsmanship, we looked at combining local knowledge with young design talents, showcasing both the historical and modern aspects of Viennese design. 

LŠ: You stepped back from Vienna Design Week but remain in an advisory role. With the rise of digital formats and tech advancements, how do you see the future of Vienna Design Week?

TAG: That’s like gazing into a crystal ball! When we started, there was a clear need for a festival like Vienna Design Week. Vienna wasn’t yet on the map in terms of design, and we wanted to connect it to other cities. That mission is accomplished now, so the festival needs new missions. I believe the festival has successfully integrated into the local context, focusing on how design can shape the city and society. But keeping an international audience engaged remains key! People were initially curious about Vienna, but now you need fresh reasons for return. Whether formats are analog or digital, it’s about the right content and asking the right questions in an ever-evolving world.

LŠ: I enjoyed the exhibition “Hello Robot" you curated at MAK in 2017. What questions from that exhibit still resonate with you as a curator, given all the recent technological developments?

TAG: “Hello Robot" almost feels like history now. Although I initiated and worked on it at MAK, the main credit goes to Vitra Design Museum curator Amelie Klein. She shaped the concept throughout its development and tour in collaboration with the local curators and institutions. The exhibition was hugely successful because it tackled the right topics at the right time—AI and robotics, the curiosity and fear surrounding them. We’re further along now, and an update to that exhibition would be necessary, given how integrated AI and robotics have become in daily life. The critical approach, however, is still needed, whether we’re dealing with technology or other scientific advances. How we choose to incorporate them into our lives is an ongoing question.

Exhibition view »HELLO, ROBOT: Design between Human and Machine«, 2017 © Peter Kainz/ MAK.

Exhibition view »HELLO, ROBOT: Design between Human and Machine«, 2017 © Peter Kainz/ MAK. Images courtesy of MAK, Vienna.

LŠ: Having curated both design biennials and festivals - what do you see as the key difference in how they support a drive for change?

TAG: When I curated BIO 26, we focused on how new media transforms knowledge, and how they shape not just the creation of knowledge but also its manipulation. This is something we’re seeing more clearly with deepfakes today, especially with elections and misinformation. Design is part of this! There's a fascination with every new technological advance, but there’s also a responsibility to ask how these innovations serve the greater good. Design today involves both soft- and hardware, and the challenge is how to handle this in a way that benefits society. Festivals and biennials should highlight this responsibility - they need to be spaces where we reflect on the challenges ahead and how design can help improve them. Ultimately, festivals and biennials are great as laboratories for experimentation in the future  – this is where all the funding should go! 

Thomas A. Geisler and assistant curator Aline Lara Rezende, press tour of BIO26: Common Knowledge, MAO, 2019, © MAO, photo: Janez Klenovšek.

Deyan Sudjic at BIO26, © MAO, photo: Janez Klenovšek.

Austrian Pavilion, MISCHER’TRAXLER STUDIO: »LeveL«, London Design Biennale, 2016, photo: Ed Reeve.

Austrian Pavilion, ANAB JAIN/DESIGN INVESTIGATION: »After Abundance«, London Design Biennale, 2018, photo: Ed Reeve

German Pavilion, KAI LINKE/PETER ECKART: »Spoon Archeology«, London Design Biennale, 2021,photo: Ed Reeve.

Austrian Pavilion, CHMARAROSINKE: Brot. »Baking the Future«, London Design Biennale, 2023, photo: Ed Reeve.

LŠ: Looking forward, what do you think designers should prioritize?

TAG: We will always need products in our daily lives - but we need to think critically about how those products are designed. Circularity is key—we can’t just keep using up resources and polluting the planet. This requires a different mindset than what we had 25 years ago. When I started, design was more about fun and novelty. Today, it’s about transforming for a sustainable future. That’s a huge responsibility, requiring a more critical approach to design.

LŠ: Since 2019, you have been the director of the Kunstgewerbemuseum of the Staatliche Kunstsammlungen Dresden, where you also formed the Design Campus. I would love to hear more about your vision for the think tank and its relevance for the institutional context and bridging the gap between emerging designers and established figures.

TAG: Here in Dresden, with the establishment of the Design Campus, many of the things I’ve tested and tried in the past—whether in my own design experience, Vienna Design Week, or other curatorial projects—come together in this concept. It picks up on the original idea of the Kunstgewerbemuseum from the 19th century, which was an educational space. The museum has always been linked to an educational institution, the Kunstgewerbeschule, which was meant to train future designers and manufacturers, to enhance the quality of products, and to drive industrialization and capitalism.

Still today, the core idea of our type of museum is to interact with and provide impulses for industries and society - to train designers. That’s why I see a museum as an educational and practical place for designers—a space for experimentation, a laboratory, free from the constraints of the industry. Many industries have cut back on their design studios, and there’s hardly any room for experimentation. Cultural institutions like ours can step in and collaborate with industries or other stakeholders from the start.

The opportunities for designers have expanded greatly over the past decades. Designers can now work not only in industries but also in cultural fields, education, science, and research. Design as a profession, with its unique skills, can be part of creative teams in any context, even politics. For us as a museum, this is a great opportunity to transform and reinvent ourselves. If you look at the topics we address at the Design Campus, especially through its summer school, we started with “Design and Democracy," which is a very urgent and not-so-obvious topic for the design context. It explores the role design can play in shaping democracy. 

Still, we also focus on traditional fields like resources and materials, which are core to the future of design. I believe that designers today need a much better understanding of materials, resources, and manufacturing. This knowledge was something designers and craftspeople had for centuries, but with digitalization, design became much more abstract—digitally conceived, with the assumption that someone else would figure out the materials and manufacturing later. I think the process needs to start with the knowledge of materials and manufacturing and then see where design can take the product. That’s an important shift.

I’m optimistic that the Design Campus will change how our museum is perceived. The broader public often sees museums as institutions that look to the past, but I see our institution as being involved in creating the future! (laughs).

DESIGN CAMPUS Summer School 2021: Design & Democracy, heads of school Amelie Klein and Vera Sacchetti. Workshop »Visible and Invisible Barriers: Understanding Power Structures« with David Mulder van der Vegt, © DESIGN CAMPUS, SKD, photo: Oliver Killig

DESIGN CAMPUS Summer School 2021: Design & Democracy, heads of school Amelie Klein and Vera Sacchetti. Workshop: »We Will Not Be Silent: on Activism and Protest« with Jerszy Seymour, © DESIGN CAMPUS, SKD, photo: Oliver Killig

DESIGN CAMPUS Summer School 2022: The School of the Untold, heads of school Studio Formafantasma. Workshop »The Untold River Composing Forces Among us« with Future Farmers photos by Tilmann Finner.

DESIGN CAMPUS Summer School 2023: The School of Phyto-centred Design, heads of school- studio dots. Workshop »The Harvest« with Emma Bruschi. © DESIGN CAMPUS, SKD, photo: Felix Meutzner.

Exhibition view »PLANT FEVER: Towards a phyto-centred Design« curated by studio dots, Pillnitz Palace & Park, 2023/24. All images courtesy of DESIGN CAMPUS.