The exhibition The Art of Fashion: Installing Allusions explores the intersection between fashion designers' boldest experiments and the world of contemporary art. 25 international artists and fashion designers participate to this exhibition. 5 of them were commissioned new pieces that investigate the convergence of art and fashion.
I'll start with my favourite fashion designer, Walter van Beirendonck. He's from Antwerp, he dresses men in insects or clowns or afro super stars. He doesn't usually design for women alas! Except last year when he made a paper dress covered with little dicks, stars, colours and a portrait of himself naked riding a bear. I bought one immediately. Meanwhile, Robin Williams was getting his hands on a burka from van Beirendonck. I'm sure the world would be a merrier place if more men would wear his designs. Look at this fabulous "Finally Chesthair" shirt. How can you resist?
Sometimes the designer has men as big and as bearded as himself walk his collection on the catwalk.
Notwithstanding my admiration for his work, i was underwhelmed by the sarcophagus he created for the exhibition.
Van Beirendonck made an über pop temple where his sarcophage will be hosted in the year 2357. It's adorned with cheerful stars, an ecstatic sun, a statue of the designer riding a bear and little penises erected all over the place. There's only the façade of the temple, alluding to the idea that what matters in fashion is the outer shell.
Jewellery designer Naomi Filmer is interested in ennobling body's least celebrated places. The sculptures of her Breathing Volumes project focus on the space formed by the mouth, the chin and the neck. She made an imprint of her own contours, capturing the facial expressions that appear as she inhaled and exhaled. The result is not exactly jewellery but a sculpture that enters into a direct relationship with the observer.
(see her video interview)
Christophe Coppens had a somewhat similar approach. The Belgian designer usually creates lovely hats and delicate gloves. His No References project however puts the spotlight on 33 parts of the body that receive very little attention in fashion. This accessory collection has no reference, nothing to look back at. The design of each accessory starts with the shape of the body part, there's no reference to art, history, design, fashion.
Most of the pieces are strapped to the body, some of them seem to be a bit wacky and maybe unpractical but they are always poetical and elegant.
For his project "Micro Geography: a Cross Section", he placed a spinning mannequin in an aquarium surrounded by the elements of water, earth and air. Cameras film the mannequin's every movement and these images can be viewed on the screens nearby. The installation is meant to suggest a gelatin-like space that eradicates any sense of distance and remote experience.
Anna-Nicole Ziesche doesn't produce any marketable clothes. She used to define herself as a fashion designer who make films. Now she prefers the term 'artist.' Her films transform fashion designs into visual objects.
In the film that the Boijman commissioned, she uses fashion as a pathway to memories and the way they can shape us. She made an exact replica of her childhood bedroom and wears a kind of knitted jumpsuit, its colours and pattern evoking the the jumpers she knitted herself as a child. The jumpsuit looks clumsily-made. It is actually made of two identical jumpers, one of them is worn as if it were trousers. Upside-down, like the world in the video.
Ziesche explains her work in this video.
A flickr set of the exhibition.
It's getting increasingly chic to explore the borders between art and other creative disciplines: design, architecture, craft, etc. One of the exhibitions currently running at the Museum Boijmans Van Beuningen in Rotterdam investigates the intimacy that arises when art meets fashion.
I used to associate the Boijmans with Paul McCarthy's giant Santa Claus brandishing a Buttplug. It had been acquired by the municipality of Rotterdam to be installed in a public space but citizens were not enchanted by the idea of having a six metres tall gnome flaunting a sex toy on one of their town squares. A debate ensued and the sculpture was put in semi-quarantine, in the courtyard of the museum. Last year, sexy Santa was finally moved to the Eendrachtsplein, right in the middle of the city.
No more Santa in the courtyard of the Boijmans then but an object that looks as exotic as McCarthy's sculpture: a phone booth!
Quite the befitting piece of design to introduce the exhibition The Art of Fashion: Installing Allusions. The Art of Fashion doesn't deal with Cattelan taking pictures as if he were a fashion photographers or with fashion designers snapping pictures as if they were artists. It goes deeper than that. Nowadays, fashion designers know how to put on a show: they use installations and performances as part of their practice, and their avant-garde designs can sometimes bear more similarities to sculpture than to garments people would actually (want to) wear.
Some art critics have argued that fashion designers might be creative but that doesn't mean they are artists. I'm not so sure that the boundaries between both disciplines should always remain hermetically sealed. Like art, fashion is a forum for personal expression, it has the power to evoke imaginary world, it refers constantly to the world we live in. Like fashion, some forms of contemporary art (only some of them, thank god!) are more about looking edgy and interesting, wowing the masses and finding a market than arousing your educational and intellectual background or challenging your beliefs.
I'll have to admit that some pieces in the exhibition made me cringe (oh! that bottle of perfume hidden in a dark room for extra drama!) and that the design of the exhibition was depressing and inadequate but there were enough talent and vision in the show to make me more than happy to be there.
The Art of Fashion presents works by twenty-five international artists and fashion designers. Besides, the H+F Fashion on the Edge Foundation invited designers Viktor&Rolf, Naomi Filmer, Hussein Chalayan, Anna-Nicole Ziesche and Walter Van Beirendonck to create brand new pieces for the exhibition. I can see i'm getting long today so i'm going to paste below a few amusing images from projects i saw at the exhibition and keep the commissions for tomorrow.
Charlie Le Mindu is a hairdresser but he sure knows how to transform hair into fashion and fabric.
A few days ago i was in Athens and found less time than i had hoped to visit galleries. I nevertheless managed to see a fantastic exhibition at theDESTE Foundation for Contemporary Art.
Established as a nonprofit foundation by art collector Dakis Joannou, DESTE is located in a former socks factory building, in the lovely Nea Ionia suburb, north of Athens.
See? Lovely area, even under the rain:
The old factory has been completely re-vamped. The main entrance to the gallery, designed by the architects of divercity, is particularly spectacular. You enter the building through a wooden crate that evokes the ones used for the transportation of art pieces.
Each year, a show at DESTE focuses on the collection of Dakis Joannou, the industrialist who established the foundation in 1983. New acquisitions are standing side by side with older pieces, making emerge new meanings and relationships between the artworks.
This years' exhibition A Guest + A Host = A Ghost borrows its title from one of Marcel Duchamp's mixed-media works. The play on words was inscribed on candy wrappers that were handed out during an opening in Paris in 1953.
The show is conceived as a series of solo exhibitions by some of today's most popular artists: Pawel Althamer, Maurizio Cattelan, Paul Chan, Nathalie Djurberg, Urs Fischer, Robert Gober, Jeff Koons, Paul McCarthy, Seth Price, Kiki Smith, Kara Walker, Andro Wekua, etc. You might know all the names and you might even like some of them but that won't prevent you from being surprised by the exhibition. It's an exciting show. Both provocative and satisfying.
"Over the past few years, the exhibitions displayed at DESTE have been the result of many people getting together. They are not thematic in the traditional sense. But one could say that the latest exhibition looks like a compilation of solo displays by the specific artists who are represented in the collection by many works. Creations by other artists have been placed within these 'sub-groups,' hence creating parasitic relations between the exhibits," explained curator Massimiliano Gioni.
I'm just going to highlight a couple of works:
One of the most eye-catching pieces on the ground floor is a sinister structure that cuts through the ceiling. Once you walk upstairs, you discover that the cast aluminum structure is actually a grave being dug up. Urs Fischer's overwhelming Untitled (Hole) takes the whole room, leaving only little space to walk around and admire Kara Walker's gouache on paper works.
Now i almost got knocked down the stairs on my way to the first floor. As i raised my head i was unsettled by Maurizio Cattelan's Ave Maria. Translated as Hail Mary, the title refers to the catholic tradition of revering the Virgin Mary. The right-armed salute is nowadays synonymous with right-wing or extremist political movements. The image brought to my mind the little plastic statues of Benito Mussolini one can sometimes find in Italian highway shops and the content face of Gaetano Saya. And then there's the 'legendary' grip that the Catholic church is said to have on the whole country. So, yes, i smiled broadly when i saw Ave Maria then i remembered that Europe is not always that open-minded, democratic, cultivated place that i love so much. Anyway, I'm probably seeing way more politics here in there than i should.
In the adjacent room, Paweł Althamer (people in Milan might remember the inflatable giant that floated above the Parco Sempione) had some stunning dolls, spineless leather-clad mannequins and a self-portrait as an old man.
Cattelan followed in the next room, this time with a self-portrait sticking his head through a hole in the floor (yes, another one). The figure is staring at Paul Chan's charcoal portraits of the members of the U.S. Supreme Court, My Laws Are My Whores that hints at the relationship between sex and law.
The best part for me was on the top floor. A fantastic series of sculptures by Urs Fischer, including a Ghost Chair:
I took pictures for you!
A Guest + A Host = A Ghost - Works from the Dakis Joannou Collection is on view at DESTE Foundation until December 31st 2009. New Museum curator Massimiliano Gioni acted as curatorial advisor with the collaboration of Maurizio Cattelan, Urs Fischer and Cecilia Alemani.
The first panel of Positions in Flux, a symposium organized by the Netherlands Institute of Media Art in Amsterdam last Saturday, was Art goes politics. The presentations and following discussion explored the artistic practices that turn their back on the assumption that art is something purely aesthetic, distant and contemplative. Instead, art can bite and get people involved in political, social or ethical issues: Does art have the potential to contribute to global and local problems such as religious conflicts, environmental or social crisis? Or is art constrained to raising awareness only? Should art become an agency for political and social affairs at all? How to successfully implement and conduct art projects in zones of crisis? How far do these projects benefit from the dubious attention of the mass media?
Some artists choose to stay outside conflict zones and reflect on the issues at stake, others step right inside the fight and either try to come up with possible solutions or subvert dominant systems.
The three speakers of the panel were Wafaa Bilal, Hans Bernhard from UBERMORGEN.COM and Christian Huebler from Knowbotic Research. It was fascinating to see that there's no such thing as 'just activism'. Each of them had a different view on the role and meaning of artists' involvement in burning issues.
I took notes from Hans Bernhard's talk but because i found his statement truly thought-provoking, i begged him to get his text. He was kind enough to upload it online. One of the points that i find most striking in his talk is when Bernhard explains that UBERMORGEN.COM are not, as most of us would lazily assume, activists but rather actionists in the Viennese Actionism tradition. Just go and read the manifesto, it speaks of their view on all sorts of media outlets, the real life (e.g. legal) impact and side-products of their online actions, and the group's lack of political agenda. But most of all, even if it is not written by self-declared activists, the text has nevertheless a deep relevance on the Art Goes Politics front.
If you're interested in going beyond the manifesto, i would recommend two recent books dedicated to the Austrian duo. The first one is UM.BOOK, UBERMORGEN.COM - MEDIA HACKING VS. CONCEPTUAL ART by HANS BERNHARD and LIZVLX (no worries, the text is all in english), a book compiling texts by critics, curators and artists and celebrating the 10th anniversary of UBERMORGEN.COM. The other book is UBERMORGEN.COM which provides an overview of work and features contributions by the art critics Inke Arns and Domenico Quaranta and the net.art duo Jodi.org.
Image on the homepage: Superenhanced Familiarization: S2E2, Fabio Paris Gallery.
The Netherlands Media Art Institute has re-located part of its brain power to Trouw Amsterdam for the symposium Positions in flux: On the changing role of the artist and institution in the networked society. The symposium is part of the Here we are - There we go programme which celebrates the 30th anniversary of the Netherlands Media Art Institute (NIMK). The institute opened its doors during the weekend and visitors could experience some of the artworks the NIMK has been supporting over the past three decades.
One of them, Adad Hannah & Niklas Roy's International Dance Party, made me laugh out loud for its way to bring interactivity to its more extreme and absurd. This 'party in a box' looks like an ordinary and closed 'flightcase' until you get nearer and start moving. The more you jump around and dance, the more the system will deliver: powerful dance music, laser and light effects and even (but i didn't dance wild enough to experience it) fog.
The symposium focused on three of the most relevant topics of current media art practice: the relevance and involvement of new media art on the political and social sphere; new geographies in media art; the possibilities and challenges that the open source movement is proposing to the production of artworks or exhibitions.
Given my total and shameful laziness i probably won't have/take the time to blog everything but the Netherlands Media Art Institute will upload the videos of the talks online in the future and i'll be sure to update this blog post when this happens.
Susanne Jaschko, who curated and organized the conference, made a couple of very timely and interesting remarks in her introduction to the symposium. And that's where i'll start:
There are some traces of an acceptance of new media art from the institutional art world. Last year, two exhibitions have highlighted this tendency: Deep Screen - Art in Digital Culture at the Stedelijk Museum in Amsterdam, a show organized with a double objective: getting a sample of contemporary media artists living in The Netherlands and buying some artworks to be added in the permanent collection. The second exhibition, Holy Fire at iMAL in Brussels, had the so far very unusual purpose to explore how new media art, bypassing all the stereotypes connected with its presumed immateriality and difficulties of maintenance, was able to enter the art market.
Media art has come a long way since the NIMK opened. Which does not mean that the self-conception of the whole field is not as cloudy as ever: some say that new media art has never become mature, others believe that it has reached its peak in the '90s, others would add that new media art will never integrate concepts of contemporary art, etc. Not only is the Netherlands Media Art Institute celebrating its 30th anniversary, but Transmediale has just turned 20 and Ars Electronica is going to be 30 this year, it's time to take a critical look at where we are now and which directions we want to take.
There was a time when cultural funding bodies set the course but things started to take another turn when, in 2003, the Walker Art Center decided to reduce its media art programme to a minimum and last year the whole media art community was shocked by the news that the Institute of Contemporary Art in London was closing its performance and new media program. Artistic Director Ekow Eshun justified the decision as follows:
As an institution dedicated to the contemporary moment it is important that we continually review the timeliness and relevance of our activities and at times make decisions on that basis.
New media based arts practice continues to have its place within the arts sector. However it's my consideration that, in the main, the art form lacks the depth and cultural urgency to justify the ICA's continued and significant investment in a Live & Media Arts department. Following discussion with the ICA Council and the Arts Council - and agreement from both bodies - I have decided to close the department.
At the other end of the spectrum, LABoral Art and Industrial Creation Centre, which opened in 2007, has proved over and again that it is possible to fill its gigantic white space with new media art exhibitions of great quality. And, once again, the exhibition Deep Screen at the Stedelijk has shown that some contemporary art institutions see the relevance of new media art.
So what does it mean today to be an artist in a networked society? Artists, curators and institutions today work on grounds that are increasingly loose, they struggle to define themselves. Technology -though it has lost much of its fascination- has the potential to enrich art, culture and society. It is one of the driving forces of today's society and culture, it has brought important discussions about public domain, commitment, open source, etc.
More about the symposium soon...
One year after the Brussels' exhibition Holy Fire. Art of the Digital Age, Yves Bernard from iMAL and Domenico Quaranta curate a show that, once again, puts a magnifying lens on new media art pieces that have found a place on the contemporary art market.
Just like Holy Fire paid an homage to Bruce Sterling's 1996 sci-fi novel, KIOSK alludes to Kiosk, a more recent novel about a Serbian wounded veteran who runs a kiosk where he sells the products of 'the fabricator', a rapid prototyping machine that creates cult objects for a niche of consumers. The title of the show plays therefore with the "collectible" nature of the artworks exhibited. Most of the pieces deserve a write-up but i selected only a few of them. Starting with works that playfully drive viewers back and forth through the digital and the analog worlds.
Jim Campbell is one of those rare artists whose works are at ease with both the media art crowd and those who've never heard of its existence. Case in point with Home Movie. This curtain of 300 LEDs transforms film footage into an abstract and blurry pixilated imagery that is turned away from the viewer, toward the wall. Yet, because of its ability to interpret abstract data and "fill in" the gaps in the information needed to complete an idea, the brain of visitors reconstructs a moving image.
Erwin Driessens and Maria Verstappen's sculptures provide another engaging take on the theme of the transition from digital to analog. A computer program uses artificial evolution to grow very detailed bronze sculptures that represent virtual mathematical models. The purpose of each growth is to generate by cell division from a single cell a detailed form that can be materialised. On the basis of selection and mutation a code is gradually developed that best fulfills this "fitness" criterion and thus yields a workable form. The virtual designs become tangible artefacts through 3D printing techniques.
Sakurako Shimizu must be the only jewelry maker who makes accessories that would delight both the girls and their geekiest boyfriends. Her creations laser-cuts digital icons into jewels. The 1981 ATARI Ring is a man's ring featuring a precise cast of the original Atari computer chip out of 18 karat gold; the Waveform Series is the laser-cut shapes of the waveform of the sound in sound editing software environment. The sounds are human sound such as yawn, atchoum, giggle, wow, and the sound of church bell.
Siebren Versteeg's software art taps into online data streams and news feeds and visualizes them in the style of corporate brands that pervade information. Dynamic Ribbon Device transforms the real time world news feed from press agency AP news into Coke's white typography that slowly passes through a red plasma screen covered by the same droplets you'd find on a can of soda fresh from the fridge.
Grid Distortion, by Marius Watz, is a series of laser cut plywoods showing orderly grids that have been gradually distorted until the lines cracked and bent. Under pressure, the two dimensions become three, the lattice looking like bubbles as they emerge towards the viewer.
Mark Napier has created algorithms that read The Old Testament as if it were a stream of zeroes and ones. The artwork, called Sacred Code, literally translates the stream of bits into motion: two calligraphic marks, one black and one white, chase one another in a seemingly endless dance on screen, leaving behind faint trails. In the process, a binary world is represented as a cloud of shifting shades of gray. The work is presented on a wood podium as if it were only waiting for a priest to come and read out loud the digital Bible to the congregation.
Somewhat different from the other pieces, Björn Schülke Supersonic #2 looks like a mysterious navel from outer-space and indeed emits the kind of low frequency sounds often associated with '50s science-fiction movies. The dark glossy object houses a theremin which responds to the proximity of a viewer, emitting a range of bass frequency notes.