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"Designing the Surface 2" Project


Faux Face


Sunday, May 21, 2017

Warning: Do not scratch the surface.

FAKING IT

lips

 

Faux design surfaces transferred onto the body.  Changing our body’s surface to change the image we wish to project. Changing identity by changing to the sheen of our lips, the sparkle of our nails.

 

This display seems to not be in line with the design intentions of other faux surfaces. These which aim to imitate the original using different materials. Perhaps the original intention of lipstick was to make lips more real than real lips. Brighter, shinier, more appealing. Pushing the limits of the possibilities of changing the way we look. More than meets the eye. Imitation that becomes more real than the real. I cannot help but think that these extraterrestrial lips and nails would feel more at home in the LUSTRE part of the exhibition.

 

tumblr_on9d8801wK1rze8z7o5_1280 Designing the Surface Nail Salon Screens

 

How much can we fake it before it becomes part of our selves. Rather than blending as most faux surfaces attempt to do, the faux lips and nails aim to stand out. To attract attention to its fake-ness, to its extreme… likeness to nothing bodily. First to accentuate then to accelerate then to obliterate.

 

Three screens and a nail salon occupy a central space, attracting people to participate like magpies drawn to the shininess.

The works created by Jonathan Auch for Koehorst in ‘t Veld, curators and directors of the Designing the Surface exhibition, differs from the artists’ usual street photography style. Black and white photographs of real people in real settings. Rough, gritty, textured faces of everyday faces. Seems odd then, this choice of work for this exhibition.

 

Jonathan Auch for Koehorst in 't Veld, Nailsalon screens Mother/Father/Child 2017. exh.cat.no.24A/24B/24C

Niban-Kan building, Tokyo


Thursday, May 18, 2017

Walking around Shinjunku, Tokyo’s district, one may have noticed the unusual buildings standing out on its east side.
The Ichiban-Kan (“building number one”) and the Niban-Kan (“building number two”) were designed by the architect Minory Takeyama in 1966. They were commissioned by a Korean Toyota salesman, asking him to design both buildings at the same time, and finally completed in 1969. Respectively, one was home of 49 tiny bars distributed through its eight floors, and the other hosted bars, clubs and sauna.

In 1977, the cover of Charles Jenks’ The Language of Post-Modern Architecture features an enigmatic Japanese building. It raises the Niban-kan as an icon of Supergraphics, along with its adjacent brother building the Ichiban-kan.
Niban-Kan’s colored surface has been painted over by now, blending now with Tokyo building’s flat designs.
But what made this building so special, beside its colorful surface ?

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In the 60’s, East-Shinjuku was the land of protest and porn, where one could meet the radical, intellectual, and other underground Japanese subcultures. This area’s hyper activity led to an important street competition, where signs and speakers had to be bigger and louder.
Minory Takeyama was challenged to implant a new architecture in the given context. It had to stand out of this saturation of lights and neons, while blending in with the energy of the district.

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Japanese architecture is typically vertical, where each floor has a common area with entrances to shops and bars. As architecture was being more and more influenced by western design in term of multi-storey models, Takeyama exploited the local past of architecture and brought the verticality back to the front, creating a vertical street through the facade. The late-Modern “High Architecture” aim to reveal the movement directly from the outside, such as what’s going on, and how to get there.
The front shows the circulation, to arouse curiosity. This is completed by signs that bring an informative layer to the surface. At night, neons reflect on the glazed area, which emphasize the gap between the surface and the platform, and reveal part of the building’s activity.

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The Niban-kan and the Ichiban-kan are representative of Tokyo’s relation between private and public space. You can go from the street to the seventh floor without encountering a door. By directly opening to the street, those buildings breaks the boundary and transmit a feeling of public space from the street.

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In the exhibition “Designing the surface”, The Niban-Kan was presented as an item from the, ‘agency’ category, through Charles Jenck’s 1977 bookcover.
Agency is an action or intervention producing a particular effect. Minory Takeyama’s colorful and ambitious buildings were possible to realize at that time, far from the actual strict rules of urban planning. This freedom made it possible to bring local tradition in the actual architecture and –promoted by Charles Jenk– become a figure of Post-Modernist Architecture.

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Architecture became almost a banal experience, we are surrounded by buildings that we don’t question much, because the more we see them, we forget them. We take design for granted. But sometimes one stands out and makes you travel.
It’s fascinating how design, by small changes of the interface, can revolutionize the way we experience our environment.

 

Charles A.Jencks, The language of Post-Modernist Architecture 1977-1987, London. New Institute. exh.cat.no.61-agency

unintentional surface


Thursday, May 18, 2017

Silen-Witness_950
These works are created unintentionally over years, silently coming into form. The first work, a tin used to collect small parts of paint where after some years dust has assembled on the surface to grow on the paint and bloom into a totally new object. In the second work it is about the paint dripping down and forming stalactites. Both works that at first had no apparent form/function or where the object is somewhat misused, they had time to grow and form a skin that now attracts full attention. These objects have a certain relation to imitation (faux) where I assume that you would expect a different material at first, something that has a long thinking process behind it, and where technique seems to be funest to create such an ornamental artwork. These works hide perfectly behind being part of a long growing process where they just slowly and unnoticed can find their purpose. Also it is interesting to think about certain materials and their aging form where the possibilities and speculations seem to be endless. I think these objects have an interesting point of view where you have to think about an aging process. You wouldn’t be actually able to make something like this in a short amount of time and where you almost never really will be able to control the way it will grow. This way of designing that is more unintentional, often by accident, requires an eye on detail, tryouts and attention. For me personally these works that sometimes almost appear accidentally by just trying out things and looking closely to the options, combinations and faults, are the things that bring some depth or in some way a soul into the work where I want to approach it as a living form that deserves a place to get recognition.
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Silent Witness 1 and 2, private collection C.Pompe. exh.cat.no.19A/19B-lustre

The Flasher


Thursday, May 18, 2017

Reflecting on a reflection with a play within a play 

Schermafbeelding 2017-05-18 om 15.15.40 

Deer:               Hi, I can’t see you properly.

 

Albedo:               That’s weird, because we can see you very clearly.

 

Deer:               Why?

 

Albedo:               Because we made you like this.

 

Deer looks confused and wishes to walk away.

 

Albedo:               Wait! We’ll explain.

 

Deer:                   I don’t trust you, I am an individual and not made by humans like you. Humans are dangerous and all they do is kill us.

 

Albedo:               Exactly!

 

Deer:               I don’t get it…

 

Albedo:               Hold on a sec.

 

Deer:               I don’t have all day, I’ve got some cars to catch in accidents tonight.

 

Albedo:               This is precisely the point. So we made this retro-reflective coating. It is paint mixed with glass beads embedded in

a mirroring material.

 

Deer:               This sounds really horrible.

 

Albedo:               It’s not, haven’t you noticed that less of your family friends got killed since we came up with this?

 

Deer:               Maybe


IMG_20170510_120814

 

Albedo:               What we did is, we applied the paint to you antlers such that direct light is captured and internally reflected to brilliant effect.

 

Deer:               When did you do this exactly?

 

Albedo:               Not relevant.

 

Deer:               Okay, it sounds great, but to me it sounds even more dangerous than before I had this spray. Looks really unhappy.

 

Albedo:               How come?

 

Deer:               Well, for instance, wolves. They will see me since I am now glowing in the dark.

 

Albedo:               They can’t see you. The antlers glow only in car headlights so it’s not like wolves are scanning the forest with searchlights for flashy reindeer. Laughs.

 

Deer:               Hmm, still not convinced.

 

Albedo:               Hey man not to be rude, but between the moon, their natural night vision, and the snow, pretty sure wolves don’t need head lights to see a reindeer with reflectors on its antlers…

 

Deer:               True. Butt still.

 

Albedo:               What’s wrong now?

 

Deer:               I feel a bit like I am being used. Do I look like the patronus of Harry Potter?

 

harry patronus stag

 

Albedo:               No. You are not the only one we will use this paint for.

Anti-paparazzi handbags and clothing would also do great.

 

Deer:               That goes far beyond me. I am just a deer you know.

 

Albedo:               It’s slim. You are now somewhere where the future is superficial.

Don’t you think this is super cool?!

 

Deer:               Why would I think that? Looks alarmed.

 

Albedo:               Because it’s like magic, like Harry Potter. We changed your life, we saved  it. Now there is less car accidents, which is a win- win for deers and for humans (and their cars).

 

Deer:               Okay man, I get it. I like it. But I do want to say, without humans nature would have done fine by itself.

 

Albedo:               I think humans are also part of nature.

 

Deer:               This is an endless discussion. We are done.

 

Deer walks away nodding and mumbling quietly.

 

Albedo:               Good luck. Waves.
 

THE END

xR2VSju

 

 Reflective Spray Albedo 100. exh.cat.no.72/74B-slim

Sleep Mode.


Thursday, May 18, 2017

screensaver

Hello there, do you remember the moment when, after a long period of watching, your screen and you, turn away in order to rest your eyes for a bit. Perhaps you went to the kitchen for a snack or a quick visit to the bathroom. Only to find your screen being “saved” in your return. It grabs your attention, you might ask yourself how does it work and
why does my screen need a saver…? 

So opening a program on your computer works within the operating system (.exe) to give an example; POWERPNT.EXE or OFFICE.EXE is a word processing application so when you create a untitled.doc (an executable file) it can only be viewed within the office.exe application or an external reading program this also count for the .png .jpeg and etc. A screen saver is different (.scr) it will appear on top of its computer operating system and does not need another .exe  program to execute its script.
Back to the most common question: “what needs your screen to be saved from”? The first generation of monitors had a fosfor layer on its screen which was sensitive enough to get permanently damaged when the monitor was not getting triggered. So back in the day when it took more then seven minutes to start up a computer, it was more common to leave the monitor on for the rest of the day. If it was not for the screensavers your screen would eventually show black spots at some points. The animation in the screensavers made sure that there was enough movement for the screen not the get burned.

In the exhibition “Sleep mode – The art of the screensaver” you will experience our historic screensavers in the 2017 version of documentation. It feels like a gallery in system preferences but brought into the physical world. The room is divided by the screens which are taller then life size and square. The exhibition was brought together by Rafaël Rozendaal who got fascinated by the designs of the screensaver generation.

You can visit the “Sleep mode – The art of the screensaver” until the 20th of August 2017 at “Het nieuwe instituut” in Rotterdam. Your Welcome, peace out.

Windows-screensaver

 

Sleep mode – The art of the screensaver, The New Institute, Rotterdam

Centre of attention: elephant or cockerel?


Thursday, May 18, 2017

Ten seconds of watching Arttube’s video about the Designing the Surface-exhibition (posted on the website of het Nieuwe Instituut), brings you Chris Kabel, “concept and curator”, saying the following:

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Although just having visited the exhibition, I did not remember seeing a thickset, usually extremely large, nearly hairless, herbivorous mammal (family Elephantidae, the elephant family) that has a snout elongated into a muscular trunk and two incisors in the upper jaw developed especially in the male into long ivory tusks, [x] at all.

I started doubting if I had seen the same exhibition he was talking about but looking at the video we pretty surely had. But also on the screen (see above) there is no elephant to be seen. Maybe the zoo (or, so called fun fair)

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is too big for the elephant to be found? Impossible. Kabel even mentions giving the elephant centre stage,

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so it must not be too hard to find this “elephant.” What is really meant with the elephant in the room,

an obvious major problem or issue that people avoid discussing or acknowledging [x]

is the surface in design: apperently ‘avoided’ (as quoted above) or ‘ignored’ (Chris Kabel), en therefore in Designing the Surface, put in the centre of the room. Also should be to be found in one of the two other animals in the room: the golden cockerel.

The golden cockerel might be a bit rare - it’s one out of the three animals (an elephant, a zebra and a cockerel) n the zoo –  it is one of the first objects to be seen and written about:

ACT I PATINA: How does the fate of a golden cockerel and his companions intertwine with that of the tormented tale of two fountains, the first crafted from copper and the second one built from brass?

All to be found in a zoo perhaps? Or in the near surroundings of a church?

Gold-plated weathercock, lent by Museum de Roode Tooren, is a weathercock like any other apart from the fact that it’s gold-plated, and therefore it doesn’t lose its shine.

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Normally sitting on the church’s tower in Doesburg, shining bright and golden, the weathercock is certainly put in central view. And now put on the ground, looking at it from closer by, we are obviously not looking at the rotting wooden cockerel inside, but at the shiny golden elephant.

 

Gold-plated weathercock. Museum de Rode toren. exh.cat.no2-patina

The Blackest Black


Thursday, May 18, 2017

Vantablack

Vantablack is a substance made of vertically aligned carbon nano tube arrays, that’s also where it got it’s name from: Vertically Aligned NanoTube Arrays. It absorbs up to 99.965% of radiation in the visible spectrum. It is composed of a forest of vertical tubes which are “grown” on a substrate using a modified chemical process. When light strikes Vantablack, instead of bouncing off, it becomes trapped and is continually deflected among the tubes, eventually becoming absorbed and dissipating into heat.

The material was originally designed for space equipment, its ability to limit stray light makes it ideal for the inside of telescopes. Also a lot of luxury brands try to get their hands on Vantablack to use it in their latest products. Anish Kapoor has exclusively licensed the material for artistic use, which is an extremely cunty move. He says: “it’s effectively like a paint… Imagine a space that’s so dark that as you walk in you lose all sense of where you are, what you are, and especially all sense of time.” Vantablack isn’t a pigment but a material and due to its temperature and physical requirements is not practical for most uses yet.

Vantablack was featured in the last of all acts, act VI Slim which was about experiments and investigations into futuristic ‘smart’ materials.

What makes me personally intrigued about Vantablack is it’s ability to absorb almost all light which makes you lose your sense of depth completely, you stare into an endless pit of nothing it is like looking into a black hole, unfortunately the material was put in a plexiglass box, so instead of looking into the depths of the universe, you are looking at the reflection of your own face. On the positive side by putting it in a box that you could pick up, you could experience how you lose your sense of depth.
The material was presented inside a cabin with a surface that changes it colour depending on the light that fall on it, created by Aliki van der Kruijs inspired by how Vantablack consists out of tubes.

 

Vantablack Display sample 2016. Surrey NaniSystems. exh.cat.no.75-slim

Semenova’s Moloko


Thursday, May 18, 2017

 

The Russian artist Ekaterina Semenova work, Care for Milk, deals with the massive industrialization of milk and attempts to reclaim, or analyse the prior use and value of the popular dairy product. Semonva appears to be fascinated with milk, actually the dairies in general, she graduated from Eindhoven Design Academy in 2016 and it is possible that the Dutch admiration for dairy has reached to an extent by which it has begun to influence her work. The piece consists of various ceramic cups, plates and bowls that have been dipped in dairy products, resulting in a sort of faint dairy glaze that created various shades of silky brown. According to Semenova’s website, the effects of the dairy dipping also makes the clay more durable and waterproof, and depending on the amount of fat in the used milk, resulted in varying coloured remains on the ceramics. The dairy products used for the glazing come from dairy waste as the work also focuses on the over production of milk.

https://www.ekaterinasemenova.com/careformilk

Semenova’s work can be connected to the Faux subject from the little white booklet that accompanied the exhibition in which the dairy dipped cups were shown. Faux, meaning made in imitation, taken from the French word for false, suits Semenova’s dipping. Although the dipping of the ceramics is not a false act or trying to imitate anything other than what it actually is, as an object on its own disconnected from its context simply looks like beautiful colouring of ceramics. Thereby the faux subject is rather sweet suiting, as although it is not fake it might look fake. A reaction to the dairy dipped pottery could easily be that the cups are not dipped in dairies and instead in watercolour or some sort of ceramic glazing. Hence my choice of Semenov’s work, as it’s rather amusingly pretty and charming to know that the carefully flawless cups are simply dipped in varying fatty milks that constitute to the attractive brown shades. The idea was rather simple, to dip things into a substance as ordinary as milk, however the result was rather delightful. Although I found the display of the works along with the space itself uninviting. Semenova’s work sort of disappeared in the corner of the room behind the sweat-smudged glass. As discovered on her website, the work should be accompanied with milk and the pouring of milk, and viewing it behind glass made it seem as if it was an exhibit of ancient pottery at an anthropological museum.

 

Care for Milk 2016 Earthenware dipped in various dairy products, Ekaterina Semenova exh.cat.no3-faux

Anastasia Taylor-Lind- Marah Zoo Zebra, Gaza A leopard never change its spots but a donkey can change and get stripes


Thursday, May 18, 2017

cages, a theatre, a library and research centre – Gaza Zoo, the first one ever in the strip.

Gaza zoo opened in January 2006, the same month Hamas, the radical Islamist The Swedish/British Anastasia Taylor-Lind (Great Britain, 1981) is a photojournalist connected with the VII Photo Agency, with a special interest in the Middle East.

I have chosen to analysis what it is to be Authentic. Authenticity is the undisputed origin and not a copy; genuine. In my opinion the artist chose to use the donkey as an analogy for the Palestinian people that their “authentic life” is  to survive in extremely difficult living conditions. The donkey throughout history has been know to be used for labour by humans and are often overworked. In comparison, animals such as zebras and horses are always seen to be more superior than donkeys. Zebras and horses tend to have more rights and often protected from abuse as though they are on a pedestal. Similarly, the Palestinian people are represented by the donkey who have also been stripped from their true identity as they  are not recognised by the Israeli government. Palestinian people have no citizenship rights in the west bank and in Gaza. It is as though Israeli  people have superiority and the Palestinian are inferior and are left powerless.

(http://www.bbc.co.uk/newsround/20436092)

faux is made in imitation, it is artificial, it is not genuine. Faux is the opposite to authenticity as it masks itself to look like the real deal, however underneath lies the truth. The chair, similar to the donkey is sat on by man and are  used, changed and adapted. Sincere imitation is achieved through genuine feelings. Portraying these feelings of how you see the world and its changes are the key to make it.

In the picture below, the man seen  is Mahmod Berghote standing  with one of Marah Zoo’s world famous painted donkeys. The zoo’s two white donkeys caused an international media frenzy after Mahmod and his brother spent three days painting stripes onto them using black hair dye. Unable to find an animal trader to bring a real zebra through the tunnels from Egypt, the Berghote family decided to make a fake pair using white donkeys. The story was reported all over the world as a feel good news piece and often used as an example of the Palestinian people’s resourcefulness during the siege of Gaza.

 The idea that imprisoned people can make a business out of smuggling, locking up, and exhibiting animals is deeply ironic. There are about a dozen zoos in Gaza and their story is intertwined with world politics in a way that would be unimaginable anywhere else.

In 2005, Dr. Saud Shawa, a veterinarian, decided to establish Palestine’s National Zoo. For Shawa, this was about education and showing people how to care for animals. Supported by international donors, he built a spacious compound with big movement, won elections in Gaza. The border was closed and the initiative was halted before it could get started.

As of today, not a single zoo has been profitable. In fact, there is only one person in the Gaza strip who benefits from the business: Abu Nadal Khalid, an animal trader. He has animals drugged and smuggled through the infamous system of tunnels leading from Egypt into the strip.

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Untitled photo. Anastasia Taylor-Lind. Marag Zoo Zebra, Gaza 2009. Exh.cat.no32-

 

CAN THIS BE FAUX?


Thursday, May 18, 2017

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Mussel dish with marbled decoration, Delft 1846 : Openluchtmuseum. exh.cat.no.30-faux


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