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Aware: Art Fashion Identity Art Fashion Identity Marina Abramović Aware Marina Abramović Acconci Studio Acconci Studio Azra Akšamija Azra Akšamija Maja Bajevic Maja Bajevic Handan Börüteçene Handan Börüteçene Hussein Chalayan Hussein Chalayan Alicia Framis Alicia Framis Meschac Gaba Meschac Gaba Aware: Art Fashion Identi ty, published in associati on with the exhibiti on at Marie-Ange Guilleminot Marie-Ange Guilleminot the Royal Academy of Arts in London, refl ects upon the relati onship between Andreas Gursky our physical covering and constructed personal environments, our individual Andreas Gursky Mella Jaarsma and social identi ti es and the contexts in which we live. It also looks at the role Mella Jaarsma Kimsooja of clothing in cultural and personal stories through the work of Kimsooja Grayson Perry, Marie-Ange Claudia Losi Claudia Losi Guilleminot, Helen Storey and Susie MacMurray Claudia Losi. Issues of belonging Susie MacMurray Marcello Maloberti and nati onality, displacement and Marcello Maloberti La Maison Marti n Margiela politi cal and social confrontati on La Maison Marti n Margiela Alexander McQueen are addressed by Yinka Shonibare MBE, Alexander McQueen Alexander McQueen, Sharif Yoko Ono Yoko Ono Waked, Alicia Framis, Meschac Maria Papadimitriou Gaba, Dai Rees, Yohji Yamamoto Maria Papadimitriou Grayson Perry and Acconci Studio. Meanwhile, Grayson Perry Dai Rees the importance of performance in the presentati on of fashion and clothing, Dai Rees highlighti ng the roles that we play in our daily life, are explored through the Katerina Šedá Katerina Šedá work of Marina Abramović, Hussein Chalayan, Yoko Ono, Gillian Wearing RA Cindy Sherman Hon RA and Andreas Gursky, amongst others. Cindy Sherman Hon RA Yinka Shonibare MBE Yinka Shonibare MBE Helen Storey Helen Storey Rosemarie Trockel Rosemarie Trockel Sharif Waked Sharif Waked Gillian Wearing RA Gillian Wearing RA Yohji Yamamoto Yohji Yamamoto Andrea Zitt el Aware Andrea Zitt el Art Fashion Identity € 30,00 $ 40,00 First published on the occasion of the Publisher exhibition Damiani editore ‘GSK Contemporary – Aware: Art Fashion via Zanardi, 376 GSK Contemporary Identity’ 40131 Bologna, Italy Royal Academy of Arts, London t. +39 051 63 50 805 2 December 2010 – 30 January 2011 f. +39 051 63 47 188 www.damianieditore.com Supported by [email protected] Aware Editor Abbie Coppard Art Fashion Identity Catalogue supported by Co-editors London College of Fashion Gabi Scardi and Lucy Orta Editorial Co-ordination Exhibition organised by the Eleonora Pasqui Royal Academy of Arts, London Enrico Costanza Exhibition Curators Design Exhibition concept by Gabi Scardi and Lorenzo Tugnoli Lucy Orta, and co-curated with Printed in November 2010 by Grafiche Damiani, Bologna Kathleen Soriano (Director of Exhibitions, Copyright © Royal Academy of Arts, London, 2010 Royal Academy of Arts) and Edith Devaney Any copy of this book issued by the publisher is sold subject to the (Curator, Royal Academy of Arts) condition that it shall not by way of trade or otherwise be lent, re-sold, hired out or otherwise circulated without the publisher’s prior consent in any form of binding or cover other than that in which it is published and without a similar condition including these Exhibition Manager words being imposed on a subsequent purchaser. Sunnifa Hope All Rights Reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photography, recording or any other information storage Photographic and Copyright Co-ordination and retrieval system, without prior permission in writing from the Kitty Corbet Milward publisher. British Library Cataloguing-in-Publication Data A catalogue record of this book is available from the British Library Curatorial Research Assistants ISBN 978-88-6208-162-7 Valentina Laneve Camilla Palestra Front cover: Acconci Studio, Umbruffla, 2005–10. Silk, chiffon, radiant film, cotton thread, boning, 114.3 x 152.4 x 114.3 cm. Courtesy Acconci Studio (Vito Acconci, Francis Bitonti, Loke Chan, Pablo Kohan, Eduardo Marquez, Dario Nunez, Garrett Ricciardi) Exhibition Designer Consultants: Billings Jackson Design; Katie Gallagher Calum Storrie Back cover: Azra Akšamija, Nomadic Mosque, 2005 Textile and photographs, 160 x 50 x 30 cm. © Azra Akšamija and Jörg Mohr 2005 Questi oning Identi ty swift ly by a stock market crash as well as �� L��� O��� mass unemployment leading to general social unrest, stood in stark contrast to the superfl uous fashion we had been observing in the extravagant catwalk shows. Along with a group of similarly disheartened designers I began searching for alternati ve means of expressing the deep changes that were taking ‘GSK Contemporary – Aware: Art Fashion place in society. Our focus for redefi ning the Identi ty’ has evolved out of a deep necessity role of clothing was directed towards basic to expand the defi niti on and role that clothing needs, such as protecti on, survival shelter plays within our society. It has taken almost and cocooning: some examples that come to twenty years of questi oning and research (and mind are the Final Home by Kosuke Tsumura a lot of frustrati on) fi nally to bring together for Issey Miyake, which are parkas stuff ed a series of fellow arti sts and designers who with newspaper for heat conservati on, share the same dedicati on to agitati ng Vexed Generati on’s muffl ed jackets and C.P. the defi niti on of fashion and demonstrate Company’s transformable shelters. that clothing is a powerful instrument for I began spending less ti me in the communicati on that we have a tendency to Parisian couture houses fi tti ng beauti ful choose, use and discard too arbitrarily. models with exquisite dresses, and more The questi ons I began posing were ti me in my partner’s arti st-studio, sketching generated by an uncomfortable doubt in Utopian responses to these fundamental Lucy Orta, Refuge Wear – my successful career as a young fashion needs. Among some of these early drawings Habitent, 1992. Aluminium-coated designer and, not withstanding, linked we fi nd the Habitent, a domed tent that polyamide, polar fl eece, directly to the economic decline throughout converts in a matt er of seconds into a telescopic aluminium poles, whistle, lantern, the early 1990s. The fi rst Gulf War, followed waterproof cape; Ambulatory Survival Sac, 125 x 125 x 125 cm 32 33 a sleeping bag that divides into two parts – designers presented their work in non- change society. In this short introducti on to created an innovati ve collecti on of women’s a jacket and rucksack; and Mobile Cocoon, traditi onal catwalk venues in Paris and such a vast and fascinati ng subject I would wear, which developed their creati ve refl ecti ng on basic survival strategies such coincidently Marti n Margiela at Le Cité de like to touch upon some of the themes which skills, built confi dence and reconstructed a as mobility, warmth, protecti on from harsh Refuge (1992) and Victor and Rolf in the merit special att enti on. psychology through the therapy of creati ng. elements – refuge from an increasing alien Modern Art Museum (1994). Within this You may wonder how clothes can make On seeing the designs emerge from the and hosti le society. Not having much success truly exciti ng design context my practi ce us think diff erently about society and how makeshift cutti ng room we had sequestered with these proposals within the fashion as a contemporary visual arti st was to fashion can possibly transform lives. Perhaps in the laundry room of the Salvati on Army, world, I gravitated closer to the Parisian develop out of frustrati on at the established these two examples can inform us. more members of the hostel became involved contemporary art scene, and my ‘prototype’ system – staging an impromptu Refuge Wear Andrea Zitt el is an arti st who has and together we were able to renovate all Refuge Wear sculptures were immediately Interventi on (demonstrati on) outside the devised a large body of her work around the kinds of discarded items of furniture, lamps exhibited to much acclaim in a number entrance to the Carré du Louvre catwalk functi on her clothing plays within her life, and household objects. These formed the of venues, including the Galerie Anne de shows and some abandoned squats around right down to daily chores such as cleaning backdrop to a catwalk show staged during Villepoix (1992), the ‘Art: Foncion Sociale!’ Paris simultaneously – into a longer and and cooking. She creates a garment for each Paris Fashion Week, to the acclaim of many (Art: Social Functi on!), which was held inside deeper enquiry into the communicati ve occasion so the shape and the materials journalists. These kinds of sustainable fashion Le Corbusier’s Cité de Refuge Salvati on Army aspects of clothing that refl ected on noti ons are carefully considered using handcraft ed initi ati ves are more and more frequent, some homeless hostel (1993), and ‘Ateliers 94’ at of visibility/invisibility; the role fashion plays and traditi onal methods to construct each with great long-term benefi ts, such as the the Modern Art Museum Paris (1994). in the constructi on of individual and collecti ve one. A garment is literally spun directly from social enterprise Fine Cell Work which helps Around the same ti me a young avant- identi ti es; and how we can harness the the wool on the sheep’s back, felted and to rehabilitate prisoners by giving them the garde fashion scene was emerging from power that clothing exhorts on us through its moulded into the shape of a dress. The dress opportunity to earn and save money as well Holland and Belgium, diverti ng att enti on extreme diversity and universality in ways that is not just a dress, nor is it just an apron! It’s as the chance to rebuild their lives through away from the élite Parisian couture.
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