The projects exhibited at alter. are selected through a screening process by its committee members. The committee members comprise a diverse range of professionals, including curators from world-renowned design and art institutions such as MoMA and the Centre Pompidou, as well as directors of cutting-edge design media and designers actively engaged in various fields. On this website, we will publish interviews with the committee members as part of disclosing alter.’s process.
The fourth committee member to be introduced is Olivier Zeitoun, Associate Curator in the Design Department at the Centre Pompidou. Working also as an independent curator and critic, Olivier has been involved in numerous exhibition projects and educational programs. What does he expect from Japanese design?
Building the Centre Pompidou Collection
— Could you tell us about your current work and activities?
I serve as an Associate Curator in the Design Department at the Centre Pompidou. My role involves exhibition planning as well as working with and for the Centre Pompidou’s design collection, which spans from the early 20th century to the present, from the perspectives of research, conservation, and ongoing development.
— What exhibitions have you been involved with?
At the Centre Pompidou, I’ve co-curated several exhibitions, including “La Fabrique du Vivant” (2019), “Réseaux-Mondes” (2022), and “Mimésis, un design vivant” (2022) with Marie-Ange Brayer, chief curator of the department, while also contributing to catalog production. Additionally, I have prepared several presentations that are used to explore and further develop research on specific thematic or historical subjects, such as, for instance, lately, the Italian and Milanese scenes of the 1970s and 1980s, the distinctive invention by French inventor Roland Moreno…In September, the Centre Pompidou will close its doors for a major five-year renovation of its building. As President Laurent Lebon has explained, this will be an opportunity for a substantial transformation, a metamorphosis. During this period, the museum and our Design department will have the important chance to develop exhibition projects beyond its walls in collaboration with national and international partners, as well as with the Centre Pompidou branches, while also continuing to work with its rich collection.
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Design as Comprehensive and Integrated Practice
— What impression did you have when invited to join alter. as a committee member?
First and foremost, I’m delighted to have been approached to participate as a committee member. I felt that alter. presents an intriguing and innovative approach to existing design events. It’s a truly unique event. It’s meaningful, and I’m excited to explore such concepts within the Japanese context.
— What challenges do you think the design industry and creators currently face?
When approaching design projects, ecological and environmental considerations are inescapable. Addressing these challenges requires comprehensive and integrated approaches that account for not only a product’s ecological footprint but also broader natural and socio-cultural contexts.
Design projects exist within creative ecosystems that span from individual endeavors to multi-stakeholder initiatives and large-scale projects encompassing diverse disciplines. Design history demonstrates how different fields have continually cross-pollinated, and I believe this interconnectedness is essential for understanding contemporary social challenges and developing effective solutions.
— What’s your impression of Japanese design and creativity?
This past March, I spent about six weeks in Japan through a research program organized by NCAR (National Center for Art Research, Japan) in collaboration with the Centre Pompidou and the French Institute and Embassy in Japan. Japanese design and creativity encompass such vast territories that I can’t easily distill that experience into a few words. However, certain aspects particularly struck me during my residency: the profound connection to traditional craftsmanship, Japan’s distinctive environmental philosophy known as “fudo,” and how Japanese design maintains its unique identity while remaining remarkably open to external influences—I found this balance truly compelling.
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Design for Transnational Cultural Coexistence
— Are there movements, philosophies, or technologies that currently interest you?
AI will undoubtedly sit at the epicenter of transformation, reshaping every facet of contemporary creative practice. I’m deeply curious about the long-term implications of this technology.
Since 2019, our department has been actively exploring various approaches under the “biodesign” umbrella. Products created using bio-based materials developed through collaboration with living organisms—mycelium, algae, and other biological systems—represent a particularly fascinating movement.
There’s also what Édouard Glissant termed “mondialité”—cultural coexistence that will become increasingly vital. We’re witnessing the emergence of scenarios where regional specificities merge with global currents. Design operates simultaneously as a vehicle for place-based narratives and locally anchored projects, while expanding across transnational networks.
When contemplating these dynamics, I’m reminded of the “objet passeur” (mediating objects) concept introduced by Patrick Chamoiseau, the French Author from Martinique. It might prove illuminating to consider this alongside Andrea Branzi’s early 2000s writings on “weak strategies”—the Italian architect’s exploration of gentle, adaptive approaches to design intervention.
— What do you expect from alter. participants?
I’m genuinely excited to engage with the submitted proposals with complete openness and witness the outcomes firsthand. I anticipate seeing diverse design methodologies emerge, and I’m particularly eager to understand each participant’s creative process and experience their realized works.