17 Rietveld's Foundation Year students visited the "Stedelijk Collection Higlights /Design" in the newly opened Stedelijk Museum. Marveling at some masterpieces of Interbellum design or surprised –a little further– by the Scandinavian design some of us know so well from our grandparents homes, we arrived at the last part of this "Depot Salon" wondering what a 2012 selection of Design could be.
Researching contemporary design we composed the "2012 Supplementary" which we present in this post. From the exhibit "Stedelijk Collection Higlights /Design" we all selected a personal best and made it the focus of the researches published as part of the project "Design-in-the-Stedelijk"

I had walked around the design exhibition of the New Stedelijk for about an hour, when, after rows and rows of Swedish cutleries, german engineering and dutch design homes, my eyes fell on a piece of pottery by an English artist. His name was Grayson Perry and the work was Strangely Familiar, a ceramic vase acquired by the museum in 2000, contrasting quite a bit from the otherwise dutiful and rather dull exhibition. The vase show blue human figures engaged in sadomasochistic sex over a background of British suburbia. A sentence is written upon it: ‘DADDY DON’T HIT ME, MUMMY STOP HIM...’

A few years back I studied archeology at the university of Stockholm, and for me the most inspiring part of the studies was antique art. The evolution of art in the early centuries of history, in Sumeria, Egypt and Greece is a favorite subject of mine. When I see the pottery of this contemporary artist I recall the faces of Achilles and Ajax, playing a game of dice on the black-figure pottery of 6^th century BC Greek painter and potter Exekias I saw at the Vatican Museums in Vatican City. Grayson Perry pays heed to this tradition and the images on Strangely Familiar remind me of the bacchanals, and is not far from the courting of young boys, often shown in both black- and red figure pottery painting. His splashing text, as recited above, also goes back to the way Greek painters wrote text on their pottery.

Perry discovered early on that he was of a masochistic nature and at the same time a transvestite, which reflects in a lot of his work. His earlier works where in film, but as the medium failed him he found it more interesting and effective to use ceramics, tapestry, metal-works and other applied art forms. Here the beauty and usefulness of the work hid the underlying layer, which sometimes would be sexual or violent, but always and more importantly a vehicle for criticism; comments on social injustices and hypocrisies. Here I find the explanation of why we find Grayson Perry, the artist, in the design exhibit of the Stedelijk. He is surely an artist, and a well-read one at that, but his works are in the field of applied arts. They are essentially meant to be used and useful, in the same way Greek artist made vases that were commissioned by the wealthy families.

Although this is an interesting distinction, that in fact places Strangely Familiar directly in my path, I don’t think that Perry’s vases will ever be used as such. I believe they are works of art in their own right, and the reason we find them alongside teapots, telephones, Bauhaus and De Stijl is a question of definition, and Perry’s choice to work in traditionally applied art forms.

At the same time it is argued that art and design has moved closer to each other in later years, and that they in some cases are indistinguishable. An artist can easily work as a designer, while a designer successfully creates or uses art in his projects. That this is a later development I realized in the halls of the design exhibit, where the visitor moves through rooms chronologically and thematically ordered to show works of great design. As the rooms become more contemporary, I feel there is a certain shift, from usefulness and immediately perceived function towards less obvious designs, that are more autonomous. It is in this last room I find Strangely Familiar.

I am drawn to it, at first by the likeness to a dear subject of mine, the Greek vases, but then I am intrigued by the subject matter of the vase itself. At this moment I haven’t heard of this artist, but the work speaks volumes about him. When I later read about him in the library, I learn of his life as a cross-dresser, artist and art historian. He has practically become a hold house-name in England, and apart from his own work, he writes books about art and curates shows for museums. In 2002, the Stedelijk held a solo exhibition for him, which in turn made him a Turner Prize-winner the year after. He accepted the prize while in his cross dressing-persona Claire.

Further reading and video:
"The Thomb of the Unknown Craftsman"; Grayson Perry in the British Museum until 26 February 2012
http://www.channel4.com/programmes/in-the-best-possible-taste-grayson-perry/4od

23 /09 /2012

The visual identity of the Stedelijk Museum in Amsterdam is undergoing a radical reconsideration by Mevis & Van Deursen. Internationally renowned as one of the most inventive and acclaimed design agencies in the Netherlands, the duo had previously created the graphic identity of the museum’s Temporary Stedelijk program from 2010 to 2012. The museum’s visual re-branding will be an ongoing process, to be seen in a new logo, website design, publications, newsletter, stationery and posters, among other applications. In anticipation of the reopening of the Stedelijk Museum on September 23, the new campaign will be gradually unveiled. Wondering what typeface was used is not that crazy. It is a new ‘font’ designed by Radim Pesko called ‘Union’. A blending between ‘Helvetica’ and ‘Arial’

We relate to an image in context with the place where we see it. Showing scientific images in an art space can be confusing if you don’t know what you’re in for.

It’s a worthwhile contemporary experiment in the sense that science has become an omnipresent part of our reality, and it’s interesting to explore the limits of the meaning and purpose of scientific images.

I can recognize the blown-up images of molecules because I have seen similar ones before or by reading the description. In a place of science, this might not have happened: I stood back and let them sink in, taking a closer look at the abstract forms, realizing: This could be anything. Not knowing how big this thing is in reality, I can imagine it to be anything. Something small zoomed in or a city from a distance. A couple of times, I saw something I would have liked to copy or use, say, as an animation. There’s a fun thing about those images, beckoning me to play. A thing I found funny was how some images could have passed as modern art, had they been painted on canvas.

worms or curly fries?

A different aspect I thought about was the visual properties of nature. Some of these colors were very nice. I wondered if this was an actual attribute of the object or if a pigment had been added by the scientist to make a certain membrane better visible.

In the end, I do believe that scientific images can be put in an art space to enhance the viewer’s flexibility when it comes to the subject. Personally, I found these images very romantic. The devotion of human kind to find their origin developed with them into being and will never fade. Now that’s love!

In the “beginning” all was dark… Paintings were hanging in dark rooms and the walls were so filled that one could barely see the landscape paintings for all the landscape paintings in the salon. Anyhow, most people were happy that they could consume the art, just like people since the ancient Vatican sculpture gardens. In 1812 the first “art-only” building was created by the English architect Sir John Soane. Finally! Here the art could be viewed for what it really was, perhaps even art selected with great taste, as Kant would have wanted it.

In the late 19 century the number of galleries and art museums were booming. Every “metropolis” had to have its own museum of art to be a metropolis. When we are approaching the mid 20 century old ways of building institutions of art, often retro romantic, were abandon for more “clean” and architectural deconstructed rooms, an early examples is the Guggenheim in New York. Exiting times.

At the Van Abbe-museum in Eindhoven you can walk around in beautiful, calm, strictly white and spiritual rooms filled with modernistic art. The worlds’ largest collection of Lissitsky paintings are finding its’ place like a perfect sized glove. Modern art for a modern room!

On the second floor an exhibition about art is presented. Or rather an exhibition of art. Or an exhibition of artworks about the modern art museum, but with new art. Or an exhibition on ehee.
When visiting this exhibition a feeling of unrest is present, an urge to maintain the “white cube” intact. The room can only be intact when art is made in respect of the cube. But what happens when people get tired of the white cube, when artist don´t agree that their works need the white cubes, when the curators finds them self unable to fill their holy rooms? Maybe the beautiful buildings of high modernism will slowly decay? Well to calm the museum directors I have taken my responsibility and re-used the modern room to create new room! Deconstructed the deconstructed. A post modern solution to keep modern. Now we all can sleep well.

One of the first things that strikes Me is the enormous amount of love and energy Irma Boom manage to include within her books. The endless dummy samples to find the right presentation format, the anti-commercial printing and binding methods and the endless corrections are all part of it. It almost feels like the books of Irma Boom are from another planet.

For that reason I found it hard to pick out one particular book, so I asked myself the question; what is for Me the most important part of a good book, the reason to just grab the book and get lost in it. For Me a book is really about a good cover at the first place, one that strikes my attention by being unusual or reminds my of something else I’m interested in, so after I realised what is important I picked the CAR GIRLS book by Jacqueline Hassink

That particular book immediately reminded me of the LP “Grand Prix” by the Belgian band Vive La Fête.The cover (and also the cover of the LP) gives me a kind of exciting feeling, the idea that it’s really cool to drive really fast ( I don’t even have a car) and to have a sexy “Car Girl” like girlfriend behind the steering-wheel.

Every Thing Design is a book by Hatje Cantz which presents a large number (more than 700) of design works from the collection of Zurich Gestaltung Museum. It mainly shows prints and posters, but includes also a wide range of other objects from many famous designers. The book is, among books designed by Irma Boom (and some of her own library), on display at the Bijzondere Collecties Gallery, in Amsterdam.

First of all the cover: it’s all black, with a white cheap potato peeler; visually it makes concrete what the title say: everything is design! Design is for everybody! The layout of the book presents the objects making interesting comparisons and associating them in couples which have a sort of connection. What’s interesting, in this couples, is that they do respond to a logic that can be less obvious than expected, as a time, place or artist order, but very explicit. Mainly, they are similar objects and visuals from very different periods and uses but with the same strength, the same conceptual value, the same way to visualize the zeitgeist of the period. So the cover of issue one of the magazine “Neue Grafik” (1958) showing the text perfectly insert into a square grid, is associated to a typeface from the early 20s’, the “new graphic” of the time. Two more recent comparison: the first shows the (famous) poster from Obey’s art for the electoral campaign of Obama in 2008 and the (as much) well known poster of Bob Dylan drawn during the 60’s by Milton Glaser, while the second present the famous Levi’s commercial with the Michelangelo’s David dressed up with Levi’s jeans short, with a more recent HnM’s poster of a beautiful and sensual girl wearing a tiny bikini. In the first couple is explicit the high moral value of the person represented, with the “Che Guevara alike” glance of Obama in the “hand-crafted”, old school appearance of the poster, and the streamy colorful hair of an outlined-comic looking Bob Dylan which transforms the pacifist songwriter into an icon. In the second there also is an iconic value which is a bit “debunk”, and while 30 years ago this value was embodied by a masterpiece of art, nowadays it is just the body of the women to be sold.

What i liked the most is the comparison that offers, which i think it’s a fundamental way of thinking in art and design, and the general look that encourages, contributing to shape better the word “design”, depicting the spirit of the time and taking it away from the idea of a competition between world known designers to create the most posh version of a lemon squeezer, and giving it the role of a discipline which applies to many levels and fields, a way to better resolve mankind problems. Design must be everything for everybody!

Super Mighty Market

– Same rules but BIG difference ? Not all supermarkets must be created equal.

‘There is no other material a designer can work with that is so close to the human body and soul as the material of food’

Marije Vogelzang

Welcome to a new generation of spaces dedicated to food culture, where ? Located inside my very own head.  Please cross over to my ideal dreamworld as this space does not yet exist anywhere else. Over here I design a supermarket  – only it is not really just a supermarket – it is more of a space where design, art and food can meet – becoming more like a Mighty Market.

The dream begins with a beautiful architectural form screaming in need for a revival. The structure of what was once a beautiful spacious building whose glory has passed, now sits ghostly waiting in suspension like those christmas ornaments in storage that wait all year for december to arrive. In order to orchestrate the “revival” of my dream food space – it must not only have that “feel good quality” that makes you want to hang out there all day, but also allowing it to be inspiring and stimulating in a way that makes you think about how we relate to each other, our social food culture, how it’s context affects our behavior and choices.  Naturally, being a food lover – wannabe- healthy- eater myself as well as an art and design enthusiast, I became interested in finding a “glue” for all these to exist under one context of food culture and how its role affects our senses and perception.
In order to create my dream SUPERmarket THE MIGHTY MARKET I had to think about its social, psychological, chemical, technical and ethical core values. No employees but team members for starters. Environmentally friendly and with a fun attitude. I also didn’t want my supermarket to have the same old shoe box boring construction as most supermarkets do. I mean have you noticed how boring grocery shopping can be? So it definitely can’t have an uninviting interior like the cold, dark, dull, crowded interior in most grocery shops. My Dream Mightymarket has to be part renovation and part innovation – not just to refurbish and old existing iconic building such as one of ‘BEST’ old buildings but

a combination of both, bringing also new ideas of design into one unique place.

Small things make things big and even little changes to an approach can make a big difference. With this in mind,  I dream of the inside – it will be subdivided into areas such as a gallery for instance, where food exhibitions and lectures are given maybe  by someone like Daniel Spoerri who’s been an icon of the food art movement since the 60’s. A space in which I dream of bringing in people to host events like Marije Volgezand or Droog,  some nutrition specialists and chefs as well as artists and designers such as Ayako Suwa who’s emotional food art won her international acclaim in 2008 .

‘Designed by Marije Volgezand for a meal for Droog design, she hung the table cloth to the ceiling as a means to conceal signs of status like clothing. The meals were served on plates that had to be shared as she supplied the guests with unusual eating utensils for this purpose.’

Back to my dream. Incorporated but not occupying the same space you can find an area for home appliances that follow the same motto for innovative conscious design.  Everything in this alter- space-s is meant to make you feel something, and actually the whole supermarket is designed to make you feel something – in other words, it is designed to make you become aware of your senses. The rails for the stairs are cold to the touch to wake you up. Similarly all the senses are thought of in every detail of the stores design and even the lay out of the products is carefully thought through. From the lighting to the sound, even the sense of smell is incorporated to bring different sensorial experiences.  Some of the products you would see in this supermarket wouldn’t be the ideal healthiest, although its main focus IS the organic and healthy, and the selection of others redefined. Some of the products you can find at the Mighty market are for instance “EYE CANDY” by the Play coalition for Beta Tank who use something called sensory substitution to allow you to see images contained within the candy.

The packaging of products can’t stay behind and would have to be considered – it must aim to avoid sacrificing freshness amongst other factors in favor of warehouse storage as well as its reusability . Playing an important role as an example leader is ‘ Grown in transit’ by Design Academy Eindhoven graduate Agata Jaworska whose concept is simple: the food grows in the package as it is in transit to reach you changing the label from ‘best before’ to ‘ready by’.

At the eating area you would find ‘tasteful design’ and edible design pieces such as cutlery made out of food etc.. maybe since it is my dream, Nosigner would design the interior which would feature for instance his light unit “Spring rain” made out of bean starch vermicelli, which is edible when boiled (meaning no trash- zero!), or sell things like the ‘Unsustainable’ necklace by Greetje van Helmond for whom choosing food as material is a comment on the impermanence of fashion.

But the dream doesn’t end there. At the Mighty Market you can use books as currency which will eventually create the mighty market interactive library.

Wel bekome !

This spring I went to visit the exhibition “fashion for thought” at the Centraal museum in Utrecht. The exhibition was containing the work of fashion designer Alexander van Slobbe.

In the end of this interesting, and well curated exhibition, Alexander van Slobbe showed one of his patterns for a dress, with all the materials needed to copy it. I decided to make a project out of this dress and went right after the exhibition to buy fabric.

I chose a black, transparent fabric for my dress.

Alexander Van Slobbe works a lot with the fabric, not forcing it into any direction, on the contrary, his way of designing really follows the direction and weaving in the textile he uses.

In my reinvention of the design of Alexander Van Slobbe, I would like to work, like Alexander van Slobbe, by draping the fabric. To find inspiration, I therefor looked up two of my favourite designers, Diana Orving, who works a lot with draping, and “House of Dagmar”, a designer collective who´s design is based on stitching.

left: Diana Orving, middle and right: House of Dagmar (www.dianaorving.com; www.houseofdagmar.se)

When I looked at the patterns I copied, I saw that the size was to big for me. Therefor, so that I can more easily work with draping, and to make the dress my size, I started to make a tailor’s dummy.

Instructions how to make your own tailor´s dummy

Material: tape, scissor, plaster bandage

• wrap your self in tape. Not to tight

• cut it open

• tape it together again

• cover it with plaster

while starting the cutting process, I realized what a difficult fabric I had chosen. It was to thin. When making the hem, and cutting it, thin fabric gets really easily wrinkled. I had to put a cotton ribbon between two layers of the fabric to be able to complete the hem, both in the sleeves and the collar.  After stitching and unstitching several times, i could finally start with the drapings.

The most problematic part was the making of the collar. I called my parents for advice. My mother told me that her mother  used to cut very thin fabric on the diagonal when making a collar. By doing so, the weeving of the fabric lyes in the “wrong” direction, and therefor the fabric stays in place.

My grandmother would be horrified if she could see my way of working with the dress with the unregular stitches and the cutting in the fabric. She was a teacher for dressmakers and always knew who should wear what and how. She used to design clothing from private orders by rich ladies in the 50s. Actually my other grandmother, the mother of my dad, was also working within fashion. She was a sewer, and her sister a fashion designer. But I guess I lack the patience and interest in mathematics to work with sewing. On the other hand, the fashion designer Diana Orving, sketches directly on the dummy. She didn’t have any training in pattern construction. She just began by putting fabric on a dummy and register the way the fabric was falling.

I don´t know why I like drapings so much. Maby I see it as reaction against garnment wich only aims to bring out the body, clothes that are not interplaying with the fabric nor with the person who weares it. This kind of fashion is very excluding. It´s only made for people who are happy with their body, or only think that they are beutifull if they show their body parts because of objectification. But working with drapings goes further than that. It makes us aware of the importance of the fabric. It makes us see the handicraft and how gravitation creating shapes through the fabric. What Alexander van Slobbe does, is that he manages to balance the drapings through simple lines, forms and colours. It never becomes to much.

By choosing a black, thin fabric I tryed to do the same. The belt in the waist, and the  narrowing of the lower part of the dress brings out the classical shape of the woman body.

By making the décolletage in the back more low-cut than in the front, the dress becomes sensual without revealing to much.

So this is the result. Now it´s  only Me, You and Alexander Van Slobbe!

SI Module is the portable platform for Applied Arts and Autonomous Design, initiated by Sandberg Institute Applied Arts department.
On a special table a system of modules will be build. The sizes of these modules are variable, depending on the size of works exhibited.
SI Module, was part of Object Rotterdam

three more links inspired by the design fair: Object Rotterdam
1•Odd Designs on Film, 2•Richard Hutten "playing with tradition", 3•Total Table design
The Object Rotterdam excursion was part of the Basic Year "form-lab" workshop

The screen sees me the whole time while I am looking at it, I am not embarrassed by it, it is neutral, invisible even, I don’t register its existence,
it is just a glowing surface.
The screen is inextricably connected to my life. It is a door that I pull shut behind me, which gives me access to a space where I can disappear. It is my gateway to information, it is my space for communication, it is a space where
I carry out my work and enjoy myself.
I entered into this connection and I am addicted to it.

For 9 months, starting in April 2009, our laptops took a portrait photo through the built in webcam and a screenshot of our desktops every 5 minutes while we were using it. We have arranged and displayed this enormous amount of imagery in the hope that both patterns and details will become visible.

INFODECODATA is part of the April 1st BasicYear Design Trip
more on Conditional Design

HUDSON MUSEUM is part of the April 1st BasicYear Design Trip
more on the Hudson Museum

De Daily Whatever was founded in 2006, as a free and independent newspaper. The newspaper was being produced ‘on the spot’ during the Dutch Design Week in Eindhoven. The main motivation for starting up the newspaper was to inform the public on design topics and to stimulate the local design climate by bringing exciting theory and hereby provoking debate which in return can stimulate innovation.

De Daily Whatever 2009 was edited and printed from room 9 at the Van Abbemuseum in Eindhoven. This years editors: Eric de Haas, Hugo Naber and Lucas van Hapert, www.dedailywhatever.nl

online editors: Hexaplex.

The most intriguing aspect of  ‘100 years graphic design in the Netherlands’, out of all the graphics, fonts, posters and publications I saw there, was in my opinion the contrast between two different forms of an Alphabet.
These alphabets, or better Font types, were created by the dutch Graphic Designers Wim Crouwel and Anthon Beeke.
The computerlike and clean structure of Crouwel’s ‘New Alphabet’ and the unconventional and quite controversial looking letter type, made out from naked girls, of Beeke on the other side.
For me Beeke’s style visualizes the spirit of the time when this font was created. It let me think of the sexual revolution, the feministic movement and a general break out of traditional and conventional norms of these times.
But also Crouwel, with his mathmatical looking font, hits for me a certain actuality of the late 60ties and 70ties, as that was the begin of the development of the computer age.

Wim Crouwel vs Anton Beeke

for more on functional versus engagé, read part 2

Welcome to part 3 of : tagging slow design. This is a worksheet on which all the link-topics and post-it tags collected on the “slowWall” are listed in relation to the research subjects as components of the ‘slow design project’. (researches can be downloaded as .pdf’s).

link topics.

Performance links the Morgan O’Hara research to the one on Julia Mandle. The Julia Mandle research links to the one on Richard Long on the topic street /nature & art, by slow movement to the Kunsthalle Bern exhibit and by sensibility & violence to the Psychogeography research. Psychogeography has the link topic urban life with the Karmen Franinovic research, consumption /destruction /life style with Futurisme, against and pro community with Wim Wenders, evolution of everyday life to Downshifting, and a anonimous link to Maria Blaisse. This anonimous link is not the only one linking Marie Blaisse. Link topics like art and left over, connect this research to Uta Barth. Karmen Franinovic links to Christian Nold by means of the topic mapping, and to Psychogeography by urban life, to Futurisme by life is getting faster & people are getting a social, to Julia Mandle by just stop & think and to Richard Long by the link a way to see. Richard Long links to many other researches: to Sophie Calle by self related art, to Christian Nold through a line made by walking, to Karmen Franinovic linked by the topic a way to see, to Downshifting by choosing slowness. Downshifting links back to Julia Mendle by the link topic us and them, to Psychogeography by revolution of everyday life, to Futurisme tagging the link with designed lifestyle, to Marie Blaisse by us and them, and to the Kunsthalle Bern exhibit by reflect /a closer look. The research on Futurism has some remaining links to Julia Mandle through the topic exploring / explosive / sculptural. Following links from Wim Wenders to Uta Barth is made possible by the topic notice the small things in life, to Christian Nold by moving /memories. Mapping links Christian Nold to the Ambient/Brain Eno research while that last one makes a link back to the Kunsthalle “The Half and the Whole” exhibit creating a take time to cook link.

Reading all the researches the links will surely start to make sense, as will their variety shed light on the specific nature of many of them. Some research subject however did not create any link at all, like in the case of Maison Martin Margiela. And it was 0nly after some discusion that the performance link was created between Sophie Calle and Karmen Franinovic. Uta Barth was anonimously linked to Richard Long which might have been an intuitively act

Post-it tags.

No links did not mean no tags. Time, Maison Martin Margiela for example was closely read and tagged with post-it. This created tags like memories, replica, time(less), can’t relate to it, time, physical picture of memory and the photographical tag to a picture by Mark Manders. Wim Wenders (present in our research list because of his beautifull documentary “Notebook on Cities & Clothes” about fashion designer Yohji Yamamoto) generated also many tags like sublime, I finally found time, hillbilly, surreal, the truth, place, moving. Sophie Calle tagged by the moderator with authorship, generated: life=art, stories, documenting life. Uta Barth looking was tagged: rainy day with half closed eyes, in between places, no left over, sunday. Ambient the research connected to Brian Eno tagged as big here long now was retagged as live the moment, loosing yourself, don’t think, sound. Christian Nold place-ness got tagged with keywords like biomapping, google earth, links, remapping memories. Linked to many, tagged by few. Julian Mandle pause, was tagged with pause from urban flow only. Morgan O’Hara gestures was tagged with trans, transforming, concert-art, transmission, energy of moments, reaction. Maria Blaisse architecture by border between self and not self. Futurism with fast life, life style, save time? Downshifting was tagged with life style too and change assumption. Richard Long tagged as a subject with landscape was enriched with the two tags: exploring fast and slow and perception of space, time and personal potency. Psychogeography with destruction of community, philosophy, socialism, anarchisme and urban live. Finally Karmen Franinovic subtraction, served as a hub for the tags: observe, spontaneous landscape, discover a realy nice place that never be online, easy fast, MTV generation, reflect, and observe. Some researches like Conditional Design re-mapping did not make “the slowWall” and were concequently not linked

added tags from the slow design lecture.

scale, gestures, measurements, relations, sustainability, evolving, creative activism, reveal, expanding awareness, reflect, engage, participal, deceleration, fresh connections, rhythm, probing, (im)materiality, metabolism, reflective consumption, live span, memories, community, record, tracing, (human) body, break (take a break), nothingness, inclusive, transparent, re-mapping, connection to scale

read also: >tagging slowdesign part 1

Our modern world is dominated by speed, we’re addicted to it. We try to squeeze in as much as possible in every minute of every day. All the mintues of the day are a race against the clock. The last 150 years everything seems to get faster, our world had turned into a race of the fastest, not the fittest. Quantity has become more significant than quality.
It’s time for a new approach on the time and the experience of it. Following this philosphy a cultural revolution has begun against the notion that faster is always better. It’s not about doing everything in a snail pace, but about doing things in the right speed. With the right speed you become more aware of the world around you.
Slow movement is also a strategy artists use to explore a new world, parallel to the real one. By examining and exploring the decelerated movement, you experience a completely new place that tells a totally different story then the movement would in a regular pace. The quick movement easily misses the essence of the being. New interpretations and other information occur by applying a slow movement strategy.
Art wants to be looked at closer and deeper, and not to function as a spectacle for the consumer. By engaging more with the work, you get introduced in the inside world, which is not visible in the beginning. It’s like reading a book, as the ‘halves of it’, instead of looking at the cover, the ‘whole’.



The Kunsthalle of Bern shows an exhibition of artworks focussed on the slow movement.. Reading about the slow movement and looking at the works made me rethink about looking at art. I’m not a person who takes the time to look at art more closely. I judge by the cover, the ‘whole’ of what I see.
Last christmas I visited Paris and went to Centre Pompidou. Mindlessly I passed the diffrent works, without truly engaging. After a while I realised I had no clue what I had seen. Then I forced myself to take a closer look and a stronger connection occured to me. Your experience a higher level of commitment, when you let yourself get absorbed into the work. Most people do not reach this level, because they crossmark the artworks they saw and feel satisfied by saying “I’ve seen a real….”. Again; it’s not about quality, but about quantity.
The quest for understanding works hand in hand with a process of decelaration. There are no routine practices that could be used to save time. Why hurry through art and miss it’s essence? An artwork was build out of energy, emotions and time and it deserves to be experienced with the same care.
“Slow Movement or: Half and Whole” means life before art and life after art.

by Bregje Sliepenbeek: download as pdf

I will start with a beautifull sentence that has inspired me often. ”standing still for a moment, is actually a big step forward. So I stand still the whole day”. This sentence is a complete overview of what slowness is for me. But is this in connexion to any kind of design or art? For me in some cases this standing still adds a big layer in looking at things. By looking at objects and art for more than an hour and from the same perspective, it gives a new strength. But is there a way to make other people expierence this power of standing still. What could design/art add to this?