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"minimalism" Tag


blank spaces


Thursday, December 6, 2018

At first, I wanted to find something by using the catalogue, but It wasn’t very long until I realized that it wasn’t relevant knowing that the tags were only subjective,

How could it work without generating something too literal?

At least, this process of research wasn’t the right one with the tags that I chose.

For this book, it took me less than one hour to pick it, as each time I wasn’t able to select a piece without already having a specific idea of what I wanted in my mind.

But still, I felt frustrated

Frustrated by the impossibility, or more precisely the struggle of being opened,

Being able to see, to take the time to observe the books that were surrounding me.

There were so many information and possibilities around that I wasn’t able to decide or to think about what I wanted or at least to consider those things.

I think that, in a way, that book happened to me because of this frustration.

I see this choice as the translation of my state of mind at this precise moment.

Fortunately, this book might have been what I was searching for, I just saw this thin white line between all those imposing and colorful editions.

I needed something simple, purified, that’s precisely, in my view, what I found.

 

All those blank spaces, accentuated by those vibrant black lines

Those micro architectures, in the form of sketches.

I was struck by a drawing when I opened this book, it is a drawing of the sun.

That reminds me of le Corbusier’s sketches concerning the housing units of Marseille and the principle of the sunshade.

I like this simplicity and this clarity

I also see those lines which I like a lot, thin, imperfect, instinctive.

aerial forms


Wednesday, December 5, 2018

I firstly liked this book because of its simplicity
I was mostly attracted by the cover, a roll hanging on by a thread attached to a thin layer slightly curved. It could have been a jewel or an installation, all I could see was the beauty of the gesture.
It took me some time to find a book, I was going through the library and the bookshelves but I think I already saw this book once or twice, I was still, unable to see it.
I was despite me, looking for something specific, Something more colorful, more filled Something that could strike me instantly. I was really frustrated, I decided to leave the library and come again the next day when eventually I could be more open minded, then I found it.
The book in its shape and its composition gets me back to the finesse of the glass and its conception. Composition of thin intersected lines initiating a meditative relationship,
The grain of the image becomes part of the aerial forms.
The space remains, allow the eyes to contemplate the shapes.
The blank spaces on the pages exist as much, to me than those structures; that’s one of the main things that I like about this piece, including a space through the page.
It brings me back to the work of the Japanese architect junya ishigami and the plans he realized for Church of the valley, through his drawing you can find similar ideas;
Inscription in the landscape
Inclusion of the earth
Dialogue with nature
There is also something happening in terms of managing the materials between
Raw material, minimalism and delicacy of the glass
I see the transformation through the pages,
The light is perceptible,
The shapes merges together,
Intermingle,
To create architectural shapes
Superposition of thin layers on off white paper

 

.

working space 708


Thursday, November 29, 2018

 

The book has been rent just one time, twenty years ago, the stamp says FEB.1998.

I don’t really understand what it is about,

I don’t understand the language either, it is written in Deutsch.

all I know, is that it’s related to architecture.

In a way I like the fact that I’m not clear with the subject, it allows me to establish a universe only by looking at the images and their disposition.

I see chairs,

I see radiators,

I see tables,

I see tennis courts,

It reminds me of working space universe, because of all those trials to organize the surrounding and the contents.

I like the fact that the images are moved in the space of the page, that page is not full filled by colours but sometimes just by blank areas.

I see that as an experimentation of the object

It as something common, to my sense, to the user’s guide aesthetics, but in a way, i find something strange about this book.

As if it was telling a story

As if it was about the absence of the person

The presence of this objects evokes me the absence but it is also because of their nature, especially concerning the round tables and the chairs

Everything is deconstructed and re-constructed

The lines are merging together

The shapes evolve through the pages

You can distinguish objects

From abstraction to objectivity

The thin black lines on the radiant white paper

 

assemble,

cut,

paste,

disassemble,

rebuild,

understand,

edit

708.5 hoo 1

SM Research@TS2


Thursday, May 19, 2011

Berlage’s secret

For the people that have a big interest in hanging clocks the reading about the Berlage clock could have been exiting, for all the other people it was three times nothing. People that are against the cut downs in art should turn their head and look the other way, because if you find out that someone that studies on a clock for a year and finally comes with nothing is probably not worth any grants.

It is wonderful that a museum gives a look inside their research department. The presentations on the Amsterdam School and the Gijs Bakker dress were interesting to listen to and even though both of the researches weren’t finished on the moment of presentation, both of the researchers could justify very well what they did. The presentation on the Berlage clock was about a failure, about a broken clock with no information to be found, about a lot of compromises with an not original and not working clock as the result. As a researcher there is a chance that you’re not much of a speaker but if you can’t prepare a presentation after a year maybe you should make the decision and keep it with only the presentation of the work itself.

[by Taro Lennaerts]

Influence of the collar!

The radical design duo Gijs Bakker and Emmy van Leersum, famous for there futuristic creations, had there most sensational show in 1967 at the stedelijkmuseum. Not much remained of there fitting mini dresses with large metal collars, only one set of collar and dress survived and is now in the Stedelijk Museum collection.

At the time Gijs and Emmy’s works were not always appreciated and even considered instruments of torture by critics. Now 40 years later this new mentality in jewellery design founded by Emmy and Gijs is part of dutch design history and till today of great influence in designers works all over.[x]

rubber and metal collar by Katja Hannula and Giulia Shah, February 2011

[by Giulia Shah]

bijoux et le minimalisme

Emmy van Leersum's and Gijs Bakker's designs can be summarized as futuristic (similar > Pierre Cardin, Andre Courrèges) and conceptually groundbreaking (the ''unisex clothing'' > similar > Jean Paul Gaultier, Claude Cahun.)
The comparance of Courrèges's and Cardin's ''Space Age'' collection (towards Bakker and van Leersum) is intriguing and i was fascinated by the experimental jewelry (extreme sizes, unwearable, minimalistic and the Avant Gardistic approach.)

conceptually it's very interesting for me [according to the idea > jewelry without it's historical ballast and just a pure essence] and the awareness of exhibiting their works in a stable conceptual way, the free spirit thinking and the idea that aesthetics are not ''the main essence'' but that a concept is nr. 1 comforted me and made me feel challenged in several ways.

Equal [according >conceptual influence]:

Jean Paul Gaultier has a very similar way of thinking [reappyling gender codes, equality between female and male etc] and the idea of creating a unisex-line is fascinating. The idea's [according to groups, minority's, majority's etc] do remind me of Deleuze and Guattari. There is a equality [according to my aesthetical approach] according to Stanley Kubrick's 2001: A Space Odyssey [Djinn Chair by Olivier Morgue], Wiliiam Klein's ''The Model Couple'' and the ballets of Hans van Manen.

All by all; this similar approach has nothing to do with ''being similar or comparable'', it just has to do with the moment and the things that seemed equal [could be through a feeling, a aesthetical view point, etc.]

[by Petros Orfanos]

Share Our Stories

”After three hours of listening to lectures about design and designobjects everybody was a bit bored. This was not because of the content, but about the way it was presented and the retorical skills of the speakers. But see it from a other point of view than only the level of entertainment. What is the importance of art/design research and making it available to the general public? In my opinion it’s a opportunity, that it is made accessible, for everyone that is interested or wants to participate in preserving/documenting history. Cause this is what we saw. Not a great story, but people asking for help to make a great story. If you think about this, there is still a lot we need to find out to complete it. After a certain amount of time information gets lost and also the possibilities of creating a clear picture about history. Today some of the stories might be boring or uninteresting. It even can stay that way, but when times goes by it can become relevant and important. It is not up to us to make that judgement, but for later generations still to come. For now we need to search, share and organize information. So everybody has the same opportunity, like us, to access our history in the best way possible.”

[by Herman Paskamp]

obsurbed by research

Quite interesting to see these curators completely absorbed by researching one subject. Information was given about the 1960’s fashion of Emmy van Leersum and Gijs Bakker, the Amsterdamse School and then there was some dribble about the restoration of an old clock. In the following text I will focus on the first of these subjects.

It was compelling to learn from Marjan Boot that styles of dressing that are now totally accepted (a woman wearing pants) or trite (a jumpsuit) were completely groundbreaking back when van Leersum and Bakker gave their (apparently legendary) fashion show. Little proof that the show ever even happened remains today, so the curator explained her challenge was to represent the fashion show’s relevance and atmosphere in an exhibition with what little information and material was left of it.

My problem with this is, it’s not really possible to translate the excitement of then into a gallery now. If you exhibit remains of a fashion show in a museum, you will always be hindered by the limited possibilities. No matter how much information and material you collect, it will still come down to some text on the wall, dressed up mannequins behind glass and maybe (how exciting!) some moving pictures and sound on a screen. I’m not saying it shouldn’t be done, just that it will surely be disappointing experience to anyone expecting something as edgy and provocative as the original fashion show.

It will probably be a nice sunday afternoon for anyone who was young and hip and probably wealthy (and probably still is, rich bastards) and really with it and happening when it was still 1967. They will be reminded of the olden days and for them, but only for them, it will come alive again. Then they will go home again and read some Gerard Reve while smoking a pipe and listening to Vivaldi or whatever, after which they will go to bed and probably die in their sleep. God why don’t all these old people and curators just die already.

Unfortunately the tape Ms. Boot located with the music of the show was not yet in her possession so we did not get to listen to the pounding beats of early electronic music, which frankly excites me more than fashion.

[by Senne Hartland]

Liza on ‘over de jurk van Gijs Bakker’

It was in 1967 that a sensational show took place in the Stedelijk Museum. In this show futuristic creations of Gijs Bakker and Emmy van Leersum were presented, among music from Karlheinz Stockhausen. Only one dress remained, still I do think they have quite a elaborated idea about what the show must have been like. Marjan Boot, the conservator leading the research, put forward that she wanted to know (even) more about the show in order to find a way to present it in this time. I don’t actually know if she’ll ever know enough to get the right ‘feeling‘ back. I know this sounds vague, but since we’re not living in the sixties there’s no way we can present the work in the same way, or in another way but grasping the same ‘spirit’, as back then. Some things are just great because they happen at a certain place in a certain time, and we can’t bring them back. It’s a bit like childhood memories; we want to re-encounter them, but we will never succeed. Maybe this quality of time in relation to ‘memories’ is what make the ‘memory’ even more valuable.
So my advice is don’t try to hard to make people re-experience a faded memory. (I don’t want to say that you shouldn’t present it, but do it in a simple way, just pictures and the dress, and don’t be disappointed to hear that people didn’t ‘feel it’ )

[by Liza Prins]


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