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"Panamarenko" Tag

He flew too high, the wax melted, and Icarus fell down into the sea and drowned.

Saturday, January 28, 2012

Come to the edge, he said
They said: We are afraid
Come to the edge, he said
They came
He pushed them…and they flew.

by Guillaume Apollinaire

Design; while going in a more and more functional direction, slowly losing its identity or personality, we can see globalisation in comparison with every object, especially from minimalistic or functionalist movements, there are no more locations, no more things which are related to places . In this case designers; who’ve been born with brick in his stomach. In other words one who lives all their life in the same place and were inspired by local traditions are starting to feeling more tension nowadays.
In the conception of slow design in the way how research has become a scientific experiment or philosophical theory the line between art and design become finer. On the exhibition which was dedicated to the theme New Energy / sustainability /Slow design one object was more related to the art then to the design , but the way of construction it is in the experience of the thing by itself that reflective ideal of positing thought has it’s basis. This statement is an almost perfect description of Panamarenkos notion of indention as creative method because for him inventive thinking must be invested in something, it must be realised in some way.
Thus when Panamarenko speaks of his machines as working, he is not simply talking about function -although this is enormous importance to him – but about the way in which a whole trajectory of new thought, aimed at an empty location of a certain kind? The journey into the unknown, the adventure, becomes embedded in or embodied by a thing. Even if this trajectory is never completed and flying machine, despite repeated attempts at improving the technology, fails to get off the ground, the concept together with the material engagement with the thing itself, will lend it an undeniable sense of purpose. It will make it intelligible, both as an object of technology and as an object of knowledge. Most important of all, it achieves an independent existence as what might best be described as a ‘radically styled’ work of art. It becomes inappropriate to categorize Panamarenko s works according to their appearance within some overarching notion of his development as an artist; we must look at them instead as a types and categories of things, aeroplanes or birds, insects or cars.
The impetus underlying Panamarenko s approach to work is a somewhat sceptical one, and his scepticism is directed at the institutions of both science and art. In this respect, it is part of an important and still current strand of scepticism in the complex weave which forms the history of ideas in the post-war period .
The most basic assumptions of science- it is institutionalised forms and routine methodologies- were being questioned by a generation intent upon pursuing their dreams rather than acquiescing in the face of a technology driven, steadily-intensifying cold war. In the field of art , this same spirit was manifested as a robot and to branch an attack upon the modernist conception of relationship based upon the idea that some profound sense art should demonstrate belief in a world, even a universe , that was potentially analysable, describable and measurable in its entirety.
His sceptical outlook extended to the nature of human existence .Rapid advances In the social sciences were leading individuals to question the biologically singular and rationalist construction of the human subject. For a brief historical moment it looked as though there were no certainties any more and seemed that everything was up for grabs .

As an example is an excerpt from an interview with an artist which reflects the position of Panamarenko about art and design:

If somebody asks me about my profession, I’m ashamed to have to reply: “I’m an artist.” For I consider most artists to be retarded. They always work in relation to the galleries and museums. This goes for all art, of course, art can only exist in relation to museums and galleries, but why should it depend completely on it? 50% should have a reason of its own as well. It should also have been made if the art world with all is crap wouldn’t exist. Most of the time one sees art which is 100% dependent. I absolutely dismiss all of it. My position is very neutral with regards to the general ideas about art. It’s easy. It relieves me of the question how to be anarchistic. It comes without saying, because otherwise I couldn’t make any good work. Without this dismissal my work wouldn’t be free and it wouldn’t contain any attempt of adventure. What a burden, all those stupid galleries and museums! One should analyse these people who have organized art shows for half of all the artists. One really wonders what artists are looking for in the neighbourhood of such jerks.

B group /encounters with the autonomy of design

Monday, March 24, 2008

When two exhibitions present a clear insight in the autonomy of modern designing, DesignResearch has to examen what it is all about and who is involved.
This occasion was presented by the “Joyride Expo” organized by Platform 21 and “At Random: Networks and Crossovers” curated by the Paviljoens Almere.

frank tjepkemaX-XL chair at Joyride
(l>r: at studio Tjep > cuddling the XXL-chair > visiting JoyRide Expo)

The participation of the Dutch product- and interactive design avant garde presented an unique opportunity to experience the freedom in which design concepts can be developped. This became clear at the opening event of the Joyride Expo, when designers transformed remote control toycars into their ultimate joyride dream

skycatcher at random reader
(l>r: Skycatcher by Maurer & Puckey > Expo & Reader designed by Lust)

When visiting Almere (only a 20 minute train-ride), Luna Maurer presented insights into the philosophy behind here work “Graybloc“. One of her other works “Floor design” –an ongoing and ongrowing work in progress– covers the floors with mappings of the organisations consultative structure, as such visualizing the Paviljoen’s network. We could be present to witness her weekly upgrade.
Studio >Tjep< was visited in a later stage as part of a students investigations. We enjoyed an informal presentation of some projectbooks, focussing on his proposal for the restyling of the IKEA restaurant.

Soap Box ResearchBertjan Pot Research part1

Research material was edited down to A4 sized guided tours into selected subjects. All subjects presented in this list are also available as hard copy research prints at the ResearchFolders at the Rietveld library.

Related to Joyride the investigation focussed on the following subjects and people: Bertjan Pot (furniture design), Strange Attractors (interactive design), Marijn van der Poll (product design), Moniek van Heist (fashion design), Dinie Besems, Pieke Bergmans (product design), Frank Tjepkema /Tjep (interior/product design) the general subjects of >Concept Cars<, >Soapbox Racing<, “Craddle to Craddle” McDounough/Braungart (industrial design) the Nature Design exhibit in Zürich and its publication by Lars Müller, Droog Design, Bruce Mau’s “massive change” (communication design) and as added subjects Sophie Krier (Design Lab) and the artist Panamarenko.

related to the ongoing At Random: Networks and Crossovers exhibit, the investigation focussed on: Jeanne van Heeswijk (artist), Lust (graphic design), Nathalie Bruys (geluidskunstenaar), Luna Maurer (interaction design), the At Random reader by Lust design, and the related subjects SKOR and OPEN magazine #13

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