PressKit_TheArtOfLess,gestalten2026

Usage: - These images may only be used in connection with the media coverage/review of the corresponding gestalten publication. - All media coverage must mention the title and show the cover of the gestalten publication. - The images may not be modified, manipulated, or used for other purposes. - The images may not be stored in electronic systems for any other purpose than the media coverage/review and may not be passed on to third parties Credits: - All images must be credited as specified below (contains name of image owner/photographer, title of publication, gestalten, year). - Image credits must be put adjacent to the photo. - Online coverage must include a link to the respective publication on gestalten.com. - For social media coverage please link to @gestalten for Instagram/Facebook. Cover Credit: "Photo Biel Moreno, Tatsuro Miki & Axel Vervoordt, The Art of Less, gestalten 2026" (Meridiano Gallery, Mexico) Image Credits: p. 040: "Photo Jonas Bjerre-Poulsen, Danielle Siggerud, The Art of Less, gestalten 2026" p. 092 "Photo Jonas Bjerre-Poulsen, Henrytimi, The Art of Less, gestalten 2026" p. 114: "Photo Sooin Jang, Rahee Yoon, The Art of Less, gestalten 2026" p. 124 top: "Photo Jonas Bjerre-Poulsen, Christian+Jade, The Art of Less, gestalten 2026" p. 148: "Photo Jonas Bjerre-Poulsen, Christian+Jade, The Art of Less, gestalten 2026" p. 164 & 167: "Photo Jonas Bjerre-Poulsen, Antonia Ferrer, The Art of Less, gestalten 2026" p. 218: "Photo Silvia Foz, Maria Yelletisch, The Art of Less, gestalten 2026" p. 231: "Photo Jonas Bjerre-Poulsen, Serralves Museum by Álvaro Siza, The Art of Less, gestalten 2026" p. 260: "Photo Karl Tranberg, Ylva Carlgren, The Art of Less, gestalten 2026" Image Captions: p. 040: Staircase private home. Danielle Siggerud: "For me, balance starts with listening—to the client, to the place, and to what the project wants to become." p. 090: Nomos Hotel in Rome. Artist Henrytimi: “It is not only part of the creative process,” he says, “but the final stillness that the soul seeks to experience.” p. 114: In Rahee Yoon’s studio, Seoul, Korea. As light moves through Rahee Yoon’s works, it reveals an elusive inner atmosphere captured in a precise and balanced form. p. 124 top: The making of a Christian+Jade lamp. The delicate, fibrous materiality of traditional Japanese paper engages the senses through its subtle texture and inherent fragility. By softly diffusing light rather than reflecting it, the porous surface invites a quieter, more tactile awareness of the environment. p. 148: "Vessels of Light" Christian+Jade: “Minimalism is not about reduction but about creating a dialogue between the material and the immaterial.” p. 164 & 167: Antonia Ferrer at Ruby Gallery in Copenhagen. Her monochromatic pieces, which hover between painting and sculpture, are less compositions than accumulations of gesture, time, and material. p. 218: Maria Yelletisch approaches painting through rhythm. Her canvases are built from carefully placed brushstrokes that accumulate gradually, forming fields of repeated marks that settle into quiet compositions. p. 231: Light, space, and volume fold into and around one another, forming a quiet, continuous dialogue of movement and form. p. 260: Ylva Carlgren applies thin washes of pigment in repeated layers, each drying before the next is added. Color builds gradually—dense, even, yet subtly varied—until the surface appears internally illuminated, holding light rather than reflecting it.