Designblog

“De letter… n” by Remco Campert and Wim Crouwel, 1966

At “The printed book : a visual history”, I was most interested in the book “De letter… n” by Remco Campert and Wim Crouwel. What attracted me most was its’ hard, yet clean graphic style. The book was opened on a page that read ‘raket bom mes oorlog’, ‘rocket bomb knife war’, in thick black letters of various sizes on an orange and white background. ‘Raket bom mes oorlog’: every word gets its’ own separate line. The opposite page displays an orange ball that may remind us of the sun or, in this context, may just as well be a nuclear explosion.

As the books in the exhibition are set up in glass cases, I wasn’t able to flip through the book so, maybe because of the content of this particular page, the graphics in “Het gejuich was massaal”, a book about dutch punk the the late 70s, immediately came to mind.

Looking at the page again, something else comes to mind.

Paul van Ostaijen was a Belgian poet who started experimenting with typography in his poems in order to translate, among other things, rhythm and sound to the reader. He started in the 1910s with quite safe try-outs, mostly experimenting with different letter-spacing and word-spacing. In the 1920s, he went all out and experimented in a big way with font types and sizes. His best known example is “Boem paukeslag” from his 1921 book “Bezette stad” (“Occupied city”). In this poem, single words – keywords really – are connected and form some sort of narrative through the use of typography. In a similar way, raket bom mes oorlog are keywords but form an understandable whole due to the rhythm and context that is created through the graphics and typography.
post by Lieven Lahaye

Have you ever had this strange, but uncertain feeling that you have experienced something before? An overwhelming sense of familiarity? A moment you are not sure if something similar or the exact same thing already happened? Then you belong to the majority of people who have had a déjà vu. Scientists are still unsure how to explain this phenomenon. Some try to link it to memory functions, claiming that familiar events can trigger memories of forgotten information. Some say it’s a more like a “memory check” of our brain: a signal that there is a conflict between what we think we’ve experienced and what we actually did experience.

There are other interesting theories as well that try to explain a déjà vu:

Precognition: We have the power of foresight. A déjà vu is the evidence that we are actually able to predict the future.

Reincarnation: We have lived before. A déjà vu is the surfacing of a hidden memory, evidence of a previous existence.

Higher dimension: Our consciousness actually exists outside of our physical bodies in a higher dimension, and when a déjà vu occurs, it’s a brief moment when that separation becomes clear.

Parallel universes: There are other versions of ourselves, living in parallel universes. A déjà vu is a moment we share a memory with an alter ego of another universe.

Precognition: A déjà vu is the evidence that we are actually able to predict the future.

Didn’t I see this before?

When browsing through the internet, we often experience this feeling of familiarity. Links and tags create a confusing net of intertwined information, often taking you back to a page you have been before. But because of the information overload we are exposed to, we are often not sure. Maybe you experienced it while surfing through the Design Blog, using the various tags. And you asked yourself, didn’t I see this before?

In a web app I created for iPads you can move along stories told by various images and collages of hands. Sometimes you end up at a point you think you have experienced before. But is it really the same, or does it just familiar? You might just have had a

déjà vu.

Hans-Peter Feldmann (born 1941, Düsseldorf) is renowned for a distinctive use of photography and ready made objects in his work. At the end of the sixties Feldmann started to collect series of images from widespread visual culture as well as his own photographs. These series are displayed differently in printed matter as well as exhibitions.
From 1968 onwards Feldmann produced artist’s books, comprising a substantial part of his oeuvre and of major influence on the development of artist’s books as an independent medium.  In the first period Feldmann made Bilder Hefte, a series of tiny books at times containing only one image. Some books demonstrate a photo series of a single theme, like Die Toten, press photos of victims of political terrorism in Germany, and Alle Kleider einer Frau, a sequence of individually photographed objects. Other examples encompass disparate imagery without any enforced interpretation.
In 1995 Feldmann founded the magazine Ohio together with fellow photographers. This exhibition includes six issues of Ohio magazine that were made by Feldmann himself. Ohio magazine and Feldmann’s artist’s books greatly inspired younger generations of artists.

The exhibition is curated by Frank Mandersloot from his own collection supplemented with a loan from the private collection of the c/o Konrad Fischer Galerie, Düsseldorf, and organized in close collaboration with the librarians. Feldmann’s work is displayed on exhibition tables specially designed by Mandersloot for this occasion. From the 12th May – 2nd June 2012 the exhibition ANOTHER EXHIBITION: artist’s books by Hans-Peter Feldmann takes place in the library of the Gerrit Rietveld Academie, Amsterdam, with about hundred books on display made by Feldmann between 1968 and 2012.

We didn’t ask the school, we sent Linda (Linda Van Deursen, head of graphic design department, red.) a mail to say what we needed, but yeah after that I don’t think we had any contact with the school again.” Niels smiles.

I’m sitting in the studio of two of the leading fashion photographers in the world, that of Auschka Blommers and Niels Schumm, sipping a coffee that Anuschka made for me.

“Well, it was our idea to use Rietveld students”, Niels explains when I ask them who decided to make the reportage, “It was the Art Director who wanted a street casting and COS was very sceptical to it at first. But it’s always a bit tricky to go out on the streets to find models; they are always staying only for a few days in the country or can’t make it for some other reason. So it was easier for us to pick students from Rietveld. Besides it felt more like a real group, closer to us somehow. We all knew about each other, so that makes it easier to work together.”

What we are talking about is the latest collaboration Anuschka and Niels had with COS, a smaller brand originally an offspring from H&M, with their new lookbook for 2012.

So they started with a casting, asking and selecting fifteen people from the school, of which ten pictures were chosen to be viewed by COS, who then picked out seven of them to be in the magazine.

“But yeah, they see something else than we do” Anuschka explains, “where we see portraits, they see too much blonds. Or too pail skin. Or not enough guys, and so forth.”

I find it interesting that Anuschka and Niels, being former students and employees at the Rietveld, are doing a lookbook for a commercial fashion brand where they make use of Rietveld students without consulting the academy. In this way, Rietveld is portrayed almost as a product, rather than an art school.

But let’s go back a bit. It all started 1996, the year Anuschka Blommers had her end exam show at the Rietveld Academy (Niels graduated a year before). There she met Job van Bennekom, he saw her work and was immediately impressed and wanted her and Niels to come and make a photo series for a new magazine he was working on.

“YOUR work? He saw your work? Here we go again!” Says Niels laughing.

“Ok, our work then”, Anuschka replies smiling. She heard that joke before.

“We’re like a married couple, fighting over little things”, he explains, “not knowing who did what or said what anymore.”

Anuschka and Niels were working more and more together until one day they couldn’t tell who made which pictures anymore.

“It’s ridiculous really, we got to that point were I would help Anuschka set up the light in the studio, and she would hold the camera and take a shot. So which name should it be under the picture? Foto: Anuschka Blommers, Light: Niels Schumm? That didn’t work.”

“So we started to work together as a duo and eventually you forget who did what. You start to believe that you did a lot more than you actually did!” Anuschka fills in.

They are very used to each other, one picks up were the other one is finishing a sentence and they easily slipp into jokes and laughter.

“So anyway, it was Jop who one year later introduced us to Viktor & Rolf for an exhibition some 15 years ago”, Anuschka says.

And that’s where it all started for Anuschka and Niels, they took their first step into the fashion industry and haven’t stepped out of there since then.

“I mean, we were basically doing what we did at the Rietveld, taking pictures of our family and friends, but the only difference now is that they wear big brands like Comme Des Garcons.”

“Then why did you want to do fashion photography?”

“Well we didn’t!” they both respond.

“We didn’t know anything about fashion or clothes or brands. We really had no clue! We just kept doing our thing, but we did it with the models wearing their fashion couture instead.” Niels says.

“We have some influence while taking the picture and printing it in a magazine, but what I find fascinating is that media then picks it up and it can go anywhere, it gets its own life. We don’t know what’s going to happen”, Anuschka explains.

“For instance last year at Queen’s Day, I actually met a woman who sold me one of my first pictures back to me, without knowing! She kept it for 15 years! That is amazing”, Niels says.

But Anuschka and Niels don’t just do portraits and fashion, they have also done work with still life photography, something that Niels was doing a lot in his Rietveld days, whereas Anuschka mostly did portraits back then. When asked what they prefer to do now they tell me that it’s the opposite: when they work separately on private projects Anuschka is the one trying out still life, whereas Niels is doing more portraits.

In their collaborate work they are trying to step away from Photoshop by taking surreal photos of objects floating, or tricking the eye, by only using lights and angles. For instants The Cube was one of the first photos that Niels wanted to make. He got a camera at the age of ten, and it fascinated him then how the perspective changes when you look through the viewfinder, so when you take the picture it never is quite the same as you saw it in reality. This notion he carried with him, he wanted to challenge this illusion by taking a picture with a professional camera, arranging this impossible cube.

“There was actually a young couple at our last exhibition at Foam, where the girl asked the boy; How do they do that?, and the boy answers; Photoshop, of course! We both were like Noooooo!”  Anuschka laughs.

It is fascinating to see how they try to make a real thing look like something that’s not real, like this impossible cube that looks like a cube from one angle and from another angle it’s just pieces of wood. So it’s very much about that, about this non-Photoshop. With little gestures they want to turn around the meaning of the image.

“You should always go back to yourself, and stay true to what you do”, Anuschka says in the end of the interview, smiling vaguely as if she’s possessing a secret that she knows already, and that we all have to discover for ourselves.

Radio Rietveld resident DJ Zachary Airhorn had a little chat with fashion designer Franciscus Van Der Meer about mislabeling, telling stories with garments, fashion jargon and living in London.

fashion -garments- are the most intimate and superficial layer that separates our minds and bodies from all around us. they cover our inner space. so what happens around us? what goes on in the outer space? wars, attacks on politicians, poverty, enough clean drinking water, hiv, riots in suburbia etc. the one word that connects all this is intolerance: angst & anxiety for the unknown and thus the threatening. so how do we deal with each other?
what do we show and what do we conceal? to what extend do you choose for yourself instead of those around you? what’s the relation between our own individuality and selflessness? what the confrontation like, when our inner space meets the outer space?

Franciscus van der Meer

The interview starts with Franciscus calling via Skype during a wonderful song by the Beach Boys, Heroes and Villains. We begin talking about his show at FOAM in Amsterdam, which took place in early 2012. Quickly the interview moves on to the issue of talkin fashion without visual aid, and thus the relation between his collections and this above text on his website from his collection …and I’ll show you mine :

We then speak about his work in London, his time with a label, and his work on his captual collection (a series of five outfits). Franciscus speaks in detail of his process, mentioning how the first outfits are generally more “confined”, while the later ones are calmer. He goes from “a place of aggravation to a place of peace.” The discussion then goes into the importance of atmosphere during a presentation, his annoyance with clichés relating to fashion, and his collaboration with friends documenting his work.

JOFF is the alter ego / the ‘brand’ of Joffrey Moolhuizen, created for his graduation collection in 2001 when he graduated from the Rietveld Academie in Amsterdam. In 2002 JOFF also graduated from the fashion institute in Arhnem. But instead of working in the conventional fashion designer way, making new collections every season, he wanted to establish his work through the art circuit. The designer who grew up in an extremely religious Jehovah’s Witness family, left for art school, where he “found himself” being forced to break with his family. His work originally began as a direct response to the restrictive culture he was raised in, with pieces hiding as much skin as possible (dramatically high collars and uncomfortable cuts are part of the appeal). His work can be seen as androgynous. The designer works on the fine line between femininity and masculinity. As he grew up as a designer, he became more self centered and focused his clothing designs on himself maybe even to the extreme. JOFF’s famous collection ofoffjoff is on the edge of narcissism. Every design is made precisely to his own measurements. So also the models should be approximately his size and build. In theory the work is meant for everybody (though you should be his size) and all the designs are totally unisex, but only avaible in one size, JOFFSIZE.
JOFF is a fashion designer who is multidisciplinary and tries to work in more than one approach to fashion by putting it in the art scene as performance, making books. He tries to combine more mediums to approach fashion, which I think is because of his Rietveld experience. About the Ofoffjoff collection JOFF made a book together with Julia Born (also studied at the Rietveld academie) who is a graphic designer. The book is called Ofoffjoff- one to one. Quoting mrs. Mo Veld who is a fashioncritic and fashion theory teacher at the Rietveld academie  “The  book is more than just the work of JOFF on paper, the classic medium to let fashion transcend beyond the original object of desire, like for instance a lookbook as it is called in fashion. OFOFFJOFF- one to one is a fashion object in itself giving the audience an alternative to discover in detail as well as relate to JOFF”S design, his style, his image, his size, one to one. JOFF and you. Much like early pop magazines featured life size “starschnitt” images of teenage icon. In this publication the designer again becomes the measure of all.”
The book earned two best designed books listings in 2007, by the best designed books foundation presented at the Stedelijk museum Amsterdam, as well as by the most beautiful Swiss books 2007

JOFF is also the artistic director/ curator of the Arhnem fashion biennale. Last year he tried to discuss the relationship between fashion and contemporary art in this city based exhibition. He didn’t want to make it in to a commercial fashion show because there are already to many of those. He sees fashion as the art that’s closest to the body, but tries to get more out of the biennale than only showing nice looking skirts, pants etc. he wants you to get the feeling of what fashion is in his eyes. His concept was a search to the identity and the phenomenon of fashion and also a declaration of love to fashion. He opened the biennale with a love letter to Amber which was also the title of the biennale (AMB first three characters of Amber stand for Arhnem Mode Biennale) which said:  “I’m addicted to your deception and temptation and will never be able to live without this on and off relation.”
The goal of JOFF is to show fashion in all it’s manifestations, it goes beyond clothing. He also wants to show that your hairstyle and the car you choose is part of fashion, fashion is everywhere in daily life. Also photographs, objects, texts and what not will be shown with the goal to show the social-cultural function of clothing. But also outside of the exhibition space there was a lot to see not just the beautiful fashion stores but also the best bakery and the best views in town. This is how he wants to show that fashion is everywhere around us.

I think he has a really rich Rietveld background that is visible in his work and the way he directs the AMB. Already by not trying to fit in in the fashion world but trying to put his work in the art circuit feels really Rietveld to me. Also that he tries to combine elements out of other working fields, not just making dresses but his fashion serves a different higher goal. He uses his designs to do performances, installations and publications and by doing this he goes a step further than most fashion designers
Also his work is maybe more conceptual than most fashion designers with his Ofoffjoff project and also using his religious  conservative background and not only to make beautiful looking clothes but clothes with a story

This conclusion is based on available facts. I tried to e-mail Mr JOFF but never got an answer.

http://www.moveld.com/?page_id=132

Approaching the work of Inez van Lamsweerde and Vinoodh Matadin, in contrast with their extremely realistic digital photography reproduction and their vision of the meaning of representation, i begun to ask myself questions on what i could really perceive while facing their works and why. From this idea i ask myself who and how could really possess a neutral analytical capacity, free from cultural influences derived from social background and pattern of thoughts: the answer was children.

Children are ” pure “, meaning free from most external influences in their reasoning, like empty containers ready to be filled with knowledge and information, that can be then used freely in daily socio-cultural relations. From this concept i developed a personal socio-cultural analysis of the possible perception of art by these neutral observers.

I selected from the web four images from the two artists ( picture 1 ),

and then re-elaborated them with different media following my personal taste (that of a student with a analytic approach to the analysis of art work) or simply what’s the picture inspired me (picture 2).

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By wearing masks, I attempted to free myself from my ego and access a collective unconsciousness. It is a reaction to the Western urban human being, wallowing in a nostalgic concept of nature, convinced of being able to reach a certain pure natural state within the safe context of taking a course in “primal dancing” or “collaborating with dead ancestors.  quote by Emmeline de Mooij [x]

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&Foam
Foam lies in the city center of Amsterdam, in the museum on the Keizersgracht. That is where they program a wide range of expositions. From world famous photographers to young and -as of yet- unknown talent. Grand long-term expositions are followed by rapid successions of  smaller expositions.
&Foam are special editions seeking new collaborations with exceptional artist, with intersecting  the fields of photography and other forms of art.
The current &Foam exposition at display in the Vijzelstraat in Amsterdam is about Philippe Vogelenzang

‘Six feet Under’
While visiting the ‘Fashion &Foam’ exposition one particular black and white photograph immediately caught the eye. A photograph depicting the bottom halves of seven soles. Shoe soles branded with the names of famous brands like Moshino, Prada, Hugo Boss, Lanvin, Emporio Armani en Vero Cuoio; designer shoes one and all.
After my tour of the rest of the exposition this piece again caught my eye, this time from a distance. The picture -while still recognizable as the same work- looks completely different from afar compared to what you see close up. These were not shoes, but gravestones!
The artist is playing tricks on his audience. He fools you into seeing the wrong thing, at least that is what it seems at first. The picture leaves a completely different impression from a distance and at second glance. It also made me curious as to the message of the piece. Then again the title is descriptive enough ; ‘Six feet Under’

‘Six Feet Under’

The young photographer (1982) lives in Amsterdam. He mostly works in fashion photography doing shoots for national and international fashion magazines. Digging deeper it soon became clear that he is a very active artist. The internet seems to be full of pictures by Philippe Vogelenzang. Many of the websites containing his pictures are about fashion photography. But not just any fashion photography. There always seems to be a story behind the pictures. A little something extra.

Interview with Philippe Vogelenzang

Does the academy still influence your work?
“No, the academy does not influence my work.
Before going to the academy I studied ‘Design en Styling’ after which I studied Art History for two years at the UVA (university of amsterdam) .”
After studying photography for a year at the ‘Koninklijke Academy for Fine Art’ in the Hague I decided to quit my studies and start to develop my own photographic aesthetics and intensity. The first year at the academy in the Hague did of course provide me with a solid base.”

How did you like the transition van studying at the academy to working in the field?
”I liked it a lot, I made many friends. And also made contact with a lot of photographers, they taught me a lot.”

Where do you get your inspiration?
“Inspiration comes from myself, the surroundings; everywhere basically.
I always work out my feelings and I make what I like and feel I want to make.
How it all eventually develops, as it is growing. Focused work is completely different of course.”

Do you like working with a theme?
“Yes, I like working with themes. I am especially drawn to start working on projects that tell a story and address important social issues.”

What is the relationship between your work at Fashion &Foam and you other work?
“In my photography i mainly focus on portraiture, fashion photography and art. Starting often with nostalgic of classical pieces. Aesthetics also play a big part in my works, that is where the fashion comes in. Fashion &Foam is a reflection of whom I am and what I strive for’’

In Fashion And Foam your work seems like conceptual photography, what do you think of this?
“My work is now with foam editions and is picked up that way and it seems that way more and more recognition for my work to occur, it is now as well as in foam in a more artistic angle. This is not something you can control it, but it is an honor if you work in this way is put down. “

What camera do you use?
” I was just sponsored a new camera, a Leica S System. Before that one I used a Canon 1Ds mark II”
One more interesting project in cooperation with Majid Karrouch is Project MODE MADE MAN – (for Amsterdam Museum

Vogelenzang in Foam see: http://www.foam.org/press/2012/en_foam

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The Basic year makes me think of a lot, I repeat A LOT, of garbage. Not only do we use trash -mostly found along the road whilst biking to the academy- to produce our most wonderful and ‘sometimes’ NOT so wonderful art works. We are also very skilled in re-transforming the artworks again into the state of what we originally found the loose particles that the artwork is consisting of; garbage. This re-transformation is especially noticeable after assessments, which takes place at the very end of every semester on the third floor of our academy. In case you are very interested in this spectacle of transformation? The next event will be due around the 13th of June, Feel free to participate!

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While being among great amounts of pre-/ post-garbage and garbage,  it struck my attention that it’s not only us, the Basic year students, who love to work with garbage. Also Pablo Londono Sarria, who graduated in 2011 in  his BA of Fashion at the Gerrit Rietveld Academy, got inspired by- and used materials that he found in the trash for his graduation collection called ‘Pedes in Orbis’.

quoting Pablo himself:

”With ‘carrying’ as the backbone of my concept I developed the story of Pedes in orbis, which is Latin for ‘walking in circles’. This is a story of survival, the survival of seven young men in a distant future. They scavenge the surface of what once was the great western civilization. They are looking for useful scrap, treasures that will help them survive another day walking in circles in the infinite desert. That is what you do in deserts, but not all deserts are made out of sand. I designed the garments using the core elements of carrying such as rolling, tying, strapping, stretching and hanging. I returned to the origin of the backpack: a frame in which hang things. A rolled waistline with elastics secure the trousers, waistbands are made out of tied plastic bags and rope. Messy hand stitching and punched seams of wool I contrasted with the industrial finishing known from sportswear. A different use of contrast is found in the vivid color blocking. My color palette is based on a picture of a sand dune: the orange sand in shades of red turns into pink and purple when it mingles with the blue sky due to the wind. Outflanking the whole collection is the pelican, for it’s pouch is a natural Carrier. The animal and backpack are one, a frame is a container to carry. Trash becomes treasure. This is couture for men.”

Pablo is currently studying in London for his Master degree in fashion. Now, this makes me wonder; will Pablo continue working witch trash or was the use of it just because of the fact that he was under ‘Rietveld influence’ ?

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Just to get you out of this Rietveld Bubble for a moment; we are not the first and definitely not the only one who re-use garbage for whatever purpose. In the documentary Wasteland artist Vik Muniz is followed as he journeys from his home base in Brooklyn to his native Brazil and the world’s largest garbage dump, Jardim Gramacho, located on the outskirts of Rio de Janeiro. There he photographs an eclectic band of “catadores”—self-designated pickers of recyclable materials. Muniz’s initial objective was to “paint” the catadores with garbage. However, his collaboration with these inspiring characters as they recreate photographic images of themselves out of garbage reveals both the dignity and despair of the catadores as they begin to re-imagine their lives.

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Collecting garbage is relatively easy and common because of its great availability, in contrast with that lies the actual easiness of applying the garbage in to an artwork. I may conclude; ‘some apply it well and others NOT quite so‘.

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As there are few and mostly dead ending blogs with no entries, lost forgotten pictures that seem ripped out of context, the silence that followed after my e-mail inquiry and at places just evidence of their existence by a humble listing in the colophon, their intended or unintended mysteriousness is welcomed as some sort of deliberate image shaping. In my opinion, in this first introduction I’ve stumbled upon the connection, or rather the archaeological evidence of their Rietveld background.

A proposal for an extension of anonymity.

Probably the most fascinating part of the work of fashion designers Niels Klavers and Astrid van Engelen, is the special role given to the deliberate choice of material as the main ingredient of the design, which influences and shapes the garment (as they describe in the short video/interview Dutch Profile: Klavers Van Engelen). And what particularly fascinates me is the material referred to as the decisive factor of the final product and I will try to describe how the fabric becomes such a strong and inspirational object. The Designers` concept is based on this approach and it is evident that they want the fabric to get its own independent life when it is worn by the model. It moves and creates its peculiar visual  spectacle. That is why the designers Klavers and Engelen said that one cannot capture the whole of the design in a still picture as there is way more to see beyond the precise recorded instance of a shot. And there I can insist on the importance of those few minutes (ephemeral but also intensively documented) of the fashion show as the playground where the garments can perform. However, the shots are essential as they represent the source that the wide public can see. The selected audience that get the chance to attend the show, is thrilled by the wild appearance of the fabric while it is exposed in its most adventurous moment.

“What is art?” would be a long discussion subject. So there is no discussions about it, I claim my own hypothesis on this question -art is an experiment of telling your personal motion /thought /opinion via any form of communication . Let’s stick to the word experiment.

What is experiment? Wikipedia says An experiment is a methodical trial and error procedure carried out with the goal of verifying, falsifying, or establishing the validity of a hypothesis. I think  everything you are giving to show to other person becomes an experiment based decision because you can predict but you’ll never know for sure how she or he will respond . So every story/ movement/ your daily life processes when viewer involved becomes experiment/art  …if you ever had doubts who you are –my congratulations you are an artist!

Let’s go deep in to the first steps of this kind hypothesis ART creating , the part that is before the “showing out on public” experiment. Richard Niessen (graphic design artist) gave me some background to start from with answering “What is your opinion on experiments ?”

-“Well, it’s not that I like to do experimental work because I want to experiment. It’s just that I need to do these experiments to find solutions that do not yet exist. I always believed in work that is very outspoken, but I do not want to lean only on style. So the experiment comes from the search to make something appropriate for the subject, in a radical way. The experiments are always design-driven.”

and “Do you prepare yourself for experiments or sometimes they just happens during the working process ?”

-“Sometimes there is little experimentation necessary, sometimes it takes a very long time and a lot of try outs before I come to the right solution. And talking about experiments: there is always this element of risk, like in scientific experiments, you never know if it really is going to work. In the case of printed matter, I only know this when the poster or the book is in the street or in the store. I have the ‘feeling’ that it will work, that’s the hypothesis.”

So process of making art piece is experiment based cooperation of doing and thinking.

One day on my back way home from academy I stopped with this thought:

Usually materials I am using are like viewers -they act, sometimes predictable sometimes not and my decision is based on the particular stage of creating art /so i become viewer for my own experiment/art. In this moment you can increase your idea to keep it going where it goes or change the way it goes to keep your idea.

So I could use more speakable materials like people to find out flexibility of my thoughts and acts in unusually open way in usual environment .

I decided that the simplest moment of our everyday life where we see other people is road (way home or to your job or somewhere, whatever you go) . You “meet” people on the road and you seeing them act somehow/for example you think about them – that’s already an act ,especially if you make serious face during this thinking process ><. The idea is that people can choose reaction or make it up to tell more /show more not just keeping on automate their reactions. I mean If we are an artists…than we are not really good ones. This moment of 3 seconds ,when you look in to the stranger eyes walking by you is used uncreative, it doesn’t go farther than a smile or “hy” I mean that’s great(!), but how much does it says about your mood, day and personality? I do believe you can even start conversation from that , but that’s not colourful on the level of act/standard experiment .But if you have new language involved that was made up on the spot  that’s freedom of expression what allows  to play with this moment as much as you can…as artists in museums playing with their art pieces viewers. Making them wander/questioning/screaming “HELL YEAH” or “NO WAY” !

Playing around with/conclusion of  this hypothesis:

like I wrote before: I want to try change idea by starting acting and change the way I am acting to keep the idea .

first part: I was pretty tired this morning and i started from showing my mood of willpower to stay awake (“look broadly”)

It came out good-people were smiling .

second part: I changed my expression of mood after their reaction on my “look broadly” act.

Second part was more communicable, although people where running on their job  and I didn’t interact with anyone longer than few seconds . So I didn’t wait for something more than a smile ,on which I reacted with my expression of happiness.

i approved my own hypothesis with getting  light motion like after visiting a museum ….and exhibiting the same time as well . Bit sad that people didn’t go wild in their own expressions.By reations of some people i did saw that there is difference between museum and everyday life –it’s criterion of insanity.

But if art (as an experiment) process is the same like life process why should we behave in boarders “to look sane”? ……

p.s.  For me personally I have a feeling that people I met that experimental day will remember this day how they meet my art like a day when they should shown their own.

KEEP IT EXPERIMENTING !

After a long walk on the frozen canals of Amsterdam we arrived at “Fashion and Foam”, where the hot stove welcomed us. We took a seat on the stove to warm our selves. When my toes ware thawed and my fingers not purple anymore I discovered something interesting, two life-size pictures of a man. On the left picture the man is dressed in a long black coat with a cowl and a long black cloth draped on the floor. The only visible thing of this man is his long black beard and his right hand. The right picture is exactly the same positioned the only difference is the color of the clothing. In this picture the man is wearing grey. The same tint grey as the curtain on the background. Both pictures are printed on fabric that hangs from the sealing and lays draped on the floor. Because of this it looks like the two men are really standing in this room.

 I found that fascinating, artists who play with what you see, mysterious and exciting because the men looked so real, and still so unreachable. This made me very curious about who the artists were and what else they would make.

After a second wintry hike I arrived at home. After a cup of very hot chocolate I decided to google these two mysterious artists thoroughly. I was curious if their work was still in relation with the Gerrit Rietveld Academy. The result of this search session was an enormous amount of surrealistic photo-series containing a lot of optical illusions. Every picture the duo makes asks the viewer lots of questions. Is this photoshopped or is it reality? Is this 3D or flat? How does the face of the person on the picture look like? Is this old or newly made? Is it art or fashion? And these questions don’t stop, they keep coming when you’re looking at their work. I began to wonder who these artists really are and where they get their inspirations from.

Carmen Freudenthal was born in 1965 in Utrecht. Form 1983 till 1988 she studied Photography at the Gerrit Rietveld Academy. She lives in Amsterdam, as well ass her colleague Elle Verhagen. Elle Verhagen was born in 1962 in Gemert, and also studied from 1983 till 1988 at the Gerrit Rietveld Academy, instead of photography she did Fashion, but she was always very interested in photography. They started working together after their graduation, and are still doing that up till this moment. Their work combines fine art photography with fashion, surreal imagery with brutal reality.

Often, their inspiration comes from fashion. Elle collects clothing she likes and finds interesting because of its shape or texture., while Carmen lets her fantasy go free towards connecting in formal language. Their models are not selected by their beauty, the only important thing is; they should be uncommon! Sometimes the photo shoots are taking a few days, because the pictures have to be perfect. But after these shoots the duo is not finished yet. They adapt their work to three-dimensional collages, which transform into spatial sculptures with a surrealistic touch. Elle; ”For us everything that happens after the photo shoot is at least as important. After that we can start cutting, pasting and creating. We transform!” mostly their works becomes tree-dimensional, sometimes it stays flat. They work with Photoshop but mix that often with other techniques, this often creates these optical illusions because you do not understand anymore what you see.

But photo series is not the only thing Carmen and Elle make. They have also done different installations and short films. Their most recent short film is; “dear Mr/Mrs” and was made for ArtEZ fashion masters.

DEAR MR/MRS

This film raises question, is intriguing and quite confusing. The main person in this short film is Ray van Haaren. His face is not really manly, pretty feminine so to say. He is wearing a wig, make up and sometimes a dress, this makes you wonder if you are looking at a man or a lady. Carmen and Elle are very good in creating this confusion, but they don’t go to far. Their work stays subtle. I think that is very special and recurrent in their work.

In collaboration with fashion designers, performers and other artists they create various different works. But is it still very recognizable because of their typical humorist approximation of the daily life and their unmistakable own style. This makes quite clear on which academy Elle and Carmen had studied. An academy which stands for the freedom in development of your own approach.  The Gerrit Rietveld Academy aims to support talented young people. The academy want students to create independently, so that they can grow and develop their individual style. the enormous amount of different cultures that study at the academy creates a Gathering of  cultural aspects in art as well. This is something which you can very clearly see in the work of Freudenthal and Verhagen. look for example at this work ;

A lot of different people with different skin colors and different kinds of clothing, some look a bit folkloric. some are afraid of the “ghosts” and others dance with them. I think these kind of works can only be created by artist who studied on an academy with many cultures and such a freedom as the Rietveld Academie. Typical aspects that are very visible in the works of Elle and Carmen. I think these aspects of the academy are really good, and now already after studying for one year at it myself I can tell that I have learned and developed so much because of them.

How much Rietveld is in anyone, who somehow came in contact with this school? I honestly doubt, that there is a real answer to this question. How much are artists influenced by their surrounding? By the people they meet every day? A lot!? At least they chose their professional field to react through their art on what is going on around them. But does a school situation really shape one more than everything that happens afterwards? One might be more open to other opinions of teachers and fellow students though. One might think more about: How much do we have to listen to others to develop? When do we change, when do we improve? Does an academy change us or are we changing the academy? Was the academy first there or the student?
Felix & Mumford think spatial in everything they do; may it be fashion, may it be sculpture. Does this make them artists in the tradition of the architect Gerrit Rietveld?
Trying to find a relation to the work of the Dutch artist couple Felix & Mumford and the Rietveld Academy, I can base this article only on my subjective perception of the educational artistic study programme and the cornerstones of the above mentioned. The duo consisting out of the Egyptian Gamal Eldin Fouad and the Dutch Claire Fons comment on what they see in the world, in the society around them. They seem to work from within, but as someone who walks around with open eyes. It appears, that it is especially the big cities- Berlin and Amsterdam, in which they live, which influence them. Cities in our times- that is where society happens. You can´t get closer to the people: truth and lies, misunderstandings and odd complications. It is an agglomeration of concept material. Felix & Mumford work critical and question conventions through the surprising use of well-known objects.

Day-to-day experience ripped out of context, put in a gallery so that the sudden space around it would make people aware of what they tend to oversee. So what about this big idea, that art could be for everyone, that everyone should be able to comprehend it or- at least- relate to it in some way or another? Most of their work uses an ironic twist to pose a question based on the “treasures” the duo finds- looking and reflecting on what they see.

In their choices, they might be too close to actual life, as that their art could be appreciated by non-art interested viewers. Nevertheless the artists play with the connotation of the Authentic and Honest. Their choice for materials shows a very “grounded” approach with objects and creative tools clearly recognizable from the “real world”, but manipulated (e.g. through a shift in context) to strengthen the artistic idea. The research and process part of a project are at least of equal importance as the final result, but don’t necessarily have to become a part of it in the exhibiting act. Fons and Fouad don’t create art for a purpose in the sense, that it would be a usable tool afterwards. The work functions as an attempt to understand and explain normalities and oddities likewise.
In dealing with their questions, they do not seem to mind classical art genre borders. Felix & Mumford use various media to express their thoughts often including text material. This fact – the department overlapping working-might refer strongest to their Academy background.

Their temporarily focus on language is probably due to Gamal Eldin Fouad, whose own work merely deals with text and who also taught creative writing at the Rietveld academy.
Felix and Mumford aim for a clear visual language, with their art always featuring only but a few different elements. However their work somehow gives the feeling of a certain separation into two parts. While one part strives for poetic subtlety (referring for example to the video, that can be seen in Fashion & Foam at the moment), the style of the other part often refers to urban art and is a somehow more decorative and literal translation. A good example for this would be one of their last projects, called Sub Rosa.

In this work they mapped the remaining graffiti tags around the Rosa Luxemburg Platz in Berlin to draw attention to the city´s restoration and polishing in the curse of the on-going gentrification of the Center. At the end of their somewhat archaeological search stands a painting, which assembles the separate writings to one big memorial piece. One could say Felix & Mumford fit the Rietveld style in their subjects and their execution, how much this is due to an education they followed is albeit hard to detect in a time where the human mind processes so many impression and various information every day.

http://felixandmumford.com/news

Soepboer & Stooker- A fashion brand, a collaboration between designer Berber Soepboer and Anne Stooker. It’s not only about fashion but also involves different media like installation, photography but mainly based on textile and clothing.

I went to the store for a little interview with Anne Stooker, she told me it was her dream to have her own concept store. She was born in 1984, she first did a foundation course in Fashion academy ARTENIS in Rotterdam, then she came to the Rietveld to continue her Bachelor programme of fashion. She met Berber Soepboer who was one grade higher than her during the study in the Rietveld . Here is some pieces from her in her graduation collection during 2006.

she describes, ‘in her designs, she gets concepts out of existing clothing to which she add subtle details by using a variety of fabrics with prints and her own designs.’

After graduation, as a freelance designer, she also participated styling for a Hip Hop band The Fringe and on September, 2009, she started the concept store with Berber Soepboer. What they are doing, she said, is a bit different than the other brands, they don’t design collections for every season, every piece they designed is connected to the rest of one big collection. It’s like if from one a trunk a lot of branches grow.

Berber Soepboer, finished her bachelor programme of fashion in 2007, she declares: “I design items of clothing that are characterized through the different ways in which they can be worn. The wearer can make choices in how he or she wants to wear the garment and is thus co-designer of the garment.  In this way I want to create a greater awareness of personal identity, sustainability is a recurring theme in this.” There’s some of her works which explains her concepts very well.

‘The dresses of the collection are extremely complex, with a series of wires that allow changing the shape of the dress.’

I remember this piece which hung on the wall in the store, one is not colored was put next to another one Which was colored, with pens next to it.

This few pieces below are some of the recent pieces in their big collection.

When I talked with Anne, she told me this piece is inspired by the city of Gorkum and the history behind. “Inspired by Countess Jacoba van Beieren a remarkable historical person from this region. Elements from her life such as traditional dress, Dutch ship trade and waterways are reflected in the designs. Present and Past + Identity and Perception were visualized in designs in which shapes and prints of the past get a new form and function in the present. This has resulted in garments which can be worn in different ways where there is an interaction between the individual pieces by means of encounters and connections.

The designs for the two silk scarves find their origin in folds; for storing clothes in cupboards and chests, it was necessary to fold in the old days. The folds are visible on the print but the actual scarf isn’t folded, also the VOC painting is folded and then printed.”  – Berber Soepboer