Transfashional II 01 Dobrila Denegri → 60
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A Foreword 01 Barbara Putz-Plecko → 06 02 José Teunissen → 10 03 Robert Pludra → 12 04 Clemens Thornquist → 14 05 Simona Segre Reinach → 16 B Post/Inter/Disciplinary Lexicon 01 Lucy Orta → 20 02 Ute Neuber → 28 03 Clemens Thornquist → 36 04 Ulrik Martin Larsen → 40 05 Naomi Filmer → 44 C The Creative Process 01 Collective Interview → 52 D Transfashional II 01 Dobrila Denegri → 60 E Transfashional II 01 Naomi Filmer → 86 02 Lara Torres → 96 03 Shan He → 104 04 Kate Langrish Smith → 111 05 Saina Koohnavard → 120 06 Aliki van der Kruijs → 138 07 Christina Dörfler-Raab → 136 08 Martin Bergström → 144 09 Linnea Bågander → 152 10 Ulrik Martin Larsen → 160 11 Afra Kirchdorfer → 168 12 Minna Palmqvist → 176 13 Ana Rajčević → 184 14 Naomi Bailey-Cooper → 188 15 Barbara Graf → 196 16 Sonja Bäumel → 202 17 Maximilian Mauracher → 210 18 Manora Auersperg → 218 19 Milena Rosa Heussler → 226 20 Robert Pludra & Wojciech Małolepszy → 230 21 Janusz Noniewicz & Dominika Wirkowska → 236 F Tentative Lexicon → 242 G Index of Images → 250 H Appendix 01 Biographies → 258 02 Summary → 266 03 Colophon → 269 Foreword 01 Barbara Putz-Plecko → 06 02 José Teunissen → 10 03 Robert Pludra → 12 04 Clemens Thornquist → 14 05 Simona Segre Reinach → 16 A 05 A-01 Barbara Putz-Plecko Like fashion, art and design are em- sions and profits from social injustice. tantly applying pressure to conform, The quality of art schools is manifest, as bedded in the social fabric; and in their There is clearly a need for a revision of educational institutions like art schools it has been in the past, in the constant contemporary manifestations and the the fashion system as well as an impe- go to great lengths to provide open, determination to provide and safeguard discourses that they initiate they reflect rative need to search for alternatives in generous structures – that room for open spaces in which life circumstan- the diversity and oppositional nature of the creative and production process. thought, room for maneuver, room for ces can be interpreted and learned current thought and behavior in regard action and freedom that is indispensa- from in unconventional ways, spaces to ways of understanding the world, Given the current state of world affairs, ble for positive change and innovation, that encourage bold initiatives and relating to the world and assessing we need to rethink the position of the in other words, essential for sustainable leave room for open-ended processes, problems that need to be addressed. artist and designer in relation to social, and innovative development in which whereby no one is expected to know in Fashion, seen as a cultural and social economic and political structures, to our individual and collective responsibi- advance where thought and practice phenomenon and as a snapshot of a ecology and the ways in which we lity is taken seriously. are to lead. The general aim is to create process of constant change, is, similarly handle individual and collective re- within the study framework a space for to art, a seismograph of the state of sources, to labor in times of digital However, if we are to involve ourselves learning and development that provides society. Art and fashion can be un- transformation and to the massive in art in a meaningful way, we must not impulses for thought processes and the derstood as a multifarious resonance inequity in our globalized world. only welcome open thought processes, elaboration of work methods that are spectrum that inherently possesses the we must also consistently question, not merely adapted to knowledge that potential for change and innovation. What does all this mean for institutions examine or, indeed, break with habitual has been transmitted or to practices Good artists and good fashion desig- of learning and in particular for univer- patterns of thought and action. Aest- that have been established without ners are visionaries. As such, however, sities for art and design? hetic experience, seen as a mode of ta- questioning. This means opening up they need to be able to perceive and king reflective distance, can enable us spaces for thought and action where reflect critically on current conditions The task that art schools face lies to encounter new worlds of experience. difference and disagreement are welco- and dynamics as well as the interests in reconciling the individual artist’s As such, it should be understood as me and “undisciplined“ vocabularies and dominant paradigms and ‘dispo- experimental, radical practices with the a transformational process that can can be developed and explored. sitifs’ connected with them. These are unruly, unpredictable, asymmetrical play a significant role in developing an often extremely complex and contra- relations that characterize the world in attitude of critical empathy, so essential Seen from the students’ perspective, dictory. which such art and design is conceived for sustainable change: art as a cataly- the aim is precisely not for them to and brought to realization. We need to zing force in society, a medium for free adapt themselves uncritically to esta- For example, fashion looks for novelty; reflect in a consistent way on what is discovery, but also for the awkward, blished forms of practice. Of particular it creates a need for change, which meant by art (and here I include design, the surprising, the unpredictable, the importance are learning processes that implies creative technology, innovation, architecture, fashion, etc.) and educa- ambiguous, a medium for constructive enable them to reflect on and transform social exchange. At the same time, ho- tion today and how they can be seen divergence and productive play. the basic requisites. On the levels both wever, it results in inclusions and exclu- evolving in the future. Instead of cons- of production and of reception, it is 06 Foreword A 01 Barbara Putz-Plecko 07 essential to examine modes of functio- act, we must avoid applying the usual rable presence on the part of everyone certain extent, consciously kept distan- ning, to analyze the contingencies of patterns; we must learn and unlearn; involved. What grows out of this – and ce from each other, in the late 80s the the ways in which work is articulated, to we must further develop our ability to what proves effectual – is knowledge borderlines became permeable thanks contextualize one’s work and connect it communicate and cooperate; we must that reflects social awareness, know- to crossovers, collages, montages and with the outside world. Students should break up binary forms of logic; we must ledge that has a particular potential overlapping. Fashion became the new become aware of the social aspects of recognize hitherto unnoticed connec- to initiate innovation and to generate leading medium; but it often profited, artistic endeavor and should be able to tions; and we must develop a net- alternative strategies. In view of the- in a lasting way, from radical artistic find support for developing their own work-like, transversal way of thinking. In se observations, the university must approaches and intelligent synergies. critical practice. order to be able to take action in a way set itself the task of opening up its The reverse is also true. that is commensurate with the challen- institutional structures, transcending Dialogue-based reflection, together ges that arise, cross-disciplinary and institutional boundaries and boundaries It was in this spirit that the project with the cultivation of differentiated transverse forms of practice and new between fields and disciplines, enabling “Transfashional” opened up (and still knowledge and skills in practice and forms of collaboration are needed. new synergies to be tapped. maintains) dynamic spaces for explora- theory, constitutes a driving force in art- tion and debate for young, fresh forms school teaching. This means that the The demands and goals described here The project presented in this catalog, of practice that are grounded in com- deeper individual and collective inter- require an opening up of the systems, “Transfashional: New Vocabulary for mitment, forms of practice that propose ests become, and the more students a general framework that favors new Fashion-Related Practice”, a project unusual approaches and reinterpret the expand their artistic knowledge and movement and encounters. Providing conceived by curator Dobrila Denegri liminal zone between art and fashion. refine their skills, the better they learn, cooperative impetus is among the most and which has evolved over the course They deconstruct dominant forms of both individually and collectively, to for- important current priorities. It has beco- of three years with a growing interna- logic and also challenge the individual mulate their questions, to develop their me clear that the unrelenting speciali- tional group of students and teachers to take a critical look at what he or she critical faculties and to examine their zation of disciplines and their fragmen- from partner universities, is a refreshing is wearing – at his or her second skin, various approaches and positions, as tation into increasingly narrow areas and model example of such an inspi- at codes and ways of functioning and well as to probe their personal potential of concentration is a development that ring form of cooperation. Launched on at the myths and methods that prevail and limits. They increase their ability to frustrates efforts to deal constructively the initiative of Martin Meisel, former in the fashion system. tolerate what is left open and in doubt;