Experiential collaborations from garment to costume: Play and the thing as design outcome

Experiential collaborations from garment to costume: Play and the thing as design outcome

Martha Glazzard, Sarah Kettley, Tessa Marie Acti and Karen Harrigan

 First encounters between dancers and costumes, 2012, photograph of rehearsals

Photo: Anders Vejen Andersen, courtesy of Anders Vejen Andersen and Ingrid Kristensen

Abstract Nottingham Trent University (NTU) textile, fashion and interaction practitioners were invited to collaborate with a Danish dance group to contribute a collection of costumes for performances concerned with emotion and the senses, with the ultimate aim of understanding the qualities of audience engagement with dance. This paper discusses the designers’ use of play as a methodology, and its relationship to the philosophical notion of the thing, or how artefacts are brought into being. This provides a framework for the deliberate attempt to preserve a level of ambiguity in the outcome of the design process, such that the creative engagement of other stakeholders is explicitly supported. Epistemological and methodological developments have been the result of a number of differences: between the practices and experiences of the design collaborators; between the conceptualisation of costume as static and a need for something new, yet relevant to the themes of emotion; and between the designers’ intentions and expectations of how a garment might be used, and the dancers’ response to the garments. Outcomes are discussed as moments in a complex and ongoing process, when meanings temporarily coalesce, only to be opened up again. Such a conceptualisation of design has major implications for how we think about methodology, evaluation, material and expertise. Read full paper

Abstract from Experiential collaborations from garment to costume: Play and the thing as design outcome

Full paper published in craft+design enquiry: issue 6 Issue 6 2014, Craft.Material.Memory

experimental design, collaborative design, play, emotional design, material experimentation, thingliness

Reworking the archive: Experimental arts, memory and imagination

Reworking the archive: Experimental arts, memory and imagination.
By Katherine Moline and Jacqueline Clayton
 
 

Onkar Kular, Noam Toran and Keith Jones, Lego farm, 2010

Photo: Diego Trujillo

 

 Abstract Over the past 50 years institutional critique has become a part of the contemporary programming of museum exhibitions produced by practitioners in design, craft and visual art. Challenges and critiques of orthodoxies in museology have developed in response to changing social practices. This paper considers two site-specific installations, I cling to virtue (2010) by Onkar Kular, Noam Toran and Keith R. Jones at the Victoria and Albert Museum, London, and Pleased to meet you: introductions by Gwynn Hanssen Pigott (2012–2013) at the Museum of Anthropology, The University of British Columbia, Vancouver. Both works invited visitors to engage with the artists’ invented arrangements and to attend to subjective responses as authoritative readings of museum display. In other words, they questioned institutionally directed interpretation and brought key aspects of globalisation into view. This paper first describes the installations, then places them within the framework of globalisation and the social imaginary proposed by Arjun Appadurai and Cornelius Castoriades. It discusses concepts of the heterogeneity of globalisation within the framework of the social imaginary evoked in the installations and analyses the works in these terms. The replaying of historical material in these works, we contend, questions the negative implications of globalisation. Further, the definition of interdisciplinarity framed by the social imaginary provides fertile ground for reconceptualising specialisation. When seen within the social imaginary, the experimental approach to curatorial and exhibition norms exemplified by the two installations provides intriguing models for intervening in the archives and histories of design, craft and visual art. Read full paper
 

 

Abstract from Reworking the archive: Experimental arts, memory and imagination.

Full paper published in craft+design enquiry:  Issue 6 2014, Craft.Material.Memory

experimental design, craft, archive, memory,  museology, globalisation

NAVA Artists' Grants

New South Wales Artists’ Grant

This grant operates in quarterly rounds. Applications for the next round close on midnight Saturday 15 November 2014.      

The NSW Artists’ Grant has been initiated by NAVA to assist professional visual and media arts, craft and design practitioners residing in NSW to produce, present and promote their work throughout NSW, interstate and overseas. Funds for the scheme have been made available by Arts NSW specifically to encourage the undertaking of creative and cost-effective initiatives. These funds are to assist directly with the costs associated with the development and implementation of a project plan, for example: the production of new creative work; presentation in a venue; travel or freight; technical assistance; preparation and distribution of a portfolio; market research; building contacts; creating and maintaining a database; setting up a website, and/or a publicity campaign. Read complete details 

Australian Artists' Grant

This grant operates in quarterly rounds. Applications for the next round close on midnight Saturday 15 November 2014.      

This grant provides assistance towards the costs of public presentation for professional visual and media arts, craft and design practitioners who are Australian citizens or permanent residents. This includes, but is not limited to: advertising; promotional printing; mail outs; media photographs; media releases; equipment rental; framing; freight; installation costs; insurance; opening costs; space rental; technical assistance; travel. Please be aware that this grant does not provide assistance towards the production of artwork (materials, studio rental etc). Read complete details

 

 

DESIGN Canberra 2014

20 – 23 November 2014, launch 19 November 2014

In 2014 Craft ACT: Craft and Design Centre is launching DESIGN Canberra, a four day festival celebrating and promoting Canberra’s vibrant and diverse design community. Inspired by Canberra’s innovative design sector, DESIGN Canberra will host a series of events engaging the Canberra community with craft and design, architecture and the designed city:
Full details and events calendar can be found on the website DESIGN Canberra.

Les Tricoteuses: The plain and purl of solidarity and protest

Les Tricoteuses: The plain and purl of solidarity and protest

Liz Stops

 KNAG banner

Photo: Clare Twomey 2013

Abstract This paper focuses on the use of knitting as a protest tool by the Knitting Nannas Against Gas (KNAG), a group formed to combat the development of Unconventional Gas Mining (UGM) in the Northern Rivers of New South Wales. KNAG is socially and politically motivated, but not aligned to any political party. The group’s ‘Nannafesto’ emphasises care for community and country while protesting against corporate greed. I situate KNAG within a broad historical and contemporary framework of similarly motivated movements that have used knitting as a tool for social, cultural and ideological influence. I also elaborate on the act of knitting as a form of witness bearing, a means to facilitate calm persistence, a strategy for processing ideas and an instrument for reinforcing the threads connecting community. Read full paper

Abstract from: Les Tricoteuses: The plain and purl of solidarity and protest

Full paper published in craft+design enquiry: issue 6 Issue 6 2014, Craft.Material.Memory

Knitting nannas, political, CSG, craft, activism

Unfinished business: Craft and revivification

Unfinished business: Craft and revivification

Mae Finlayson and Karen Hall

Mae Finlayson, All my love, Anon. (stretched doily) (detail), 2013, yarn, pins and embroidery hoop, dimensions variable

Photo: Mae Finlayson

Abstract Reactivating incomplete and discarded domestic craft projects is an exploration of how such objects can mediate between presence and absence. Contemporary creative work that gathers and reclaims the unfinished projects acknowledges, extends and plays with their rich materiality as well as the dormant stories embedded within them. Using unfinished objects can be a way of speaking to loss and absence, and an assertion of the presence of other voices in the act of repurposing. A material dialogue, created through the trace of the hand and the repetitive labour of crafting, emphasises the potential within these discarded objects. The tension between the implied presence of the first maker and the displacement of the past through revivification is the entry point to nostalgia, a label that implies both being out of place as well as out of time. While nostalgia is often seen as an innately conservative practice, functioning as a reductive stand-in for the richness of the past, we take up Svetlana Boym’s (2001) argument that the impossible longing of reflective nostalgia can be productive, humorous and utopian. This essay explores the interplay of past and present in the process of finding, remaking and repurposing. Read full paper

Abstract from: Unfinished business: Craft and revivification

Full paper published in craft+design enquiry: issue 6 Issue 6 2014, Craft.Material.Memory

 

craft, unfinished, trace, materials, nostalgia  

Crafting new spatial and sensorial relationships in contemporary jewellery

Crafting new spatial and sensorial relationships in contemporary jewellery
Sabine Pagan 

Sabine Pagan, Site #2, ring, 2009, 9k yellow gold cube (handmade), surgical steel mount (rapidprototyped), 35 x 35 x 12 mm

Photo: Emily Snadden

Abstract The body occupies a significant place in both contemporary jewellery and architectural practice. The wearable object is made for the body and, therefore, invites the presence of a wearer, even if only metaphorically. Similarly, our built environment is constructed in relation to the scale of the human body and to accommodate our actions as users of architecture. Yet, important to both practices is the relationship between the object — jewellery or architecture — and the body beyond its physicality.

This paper examines embodiment from a cross-disciplinary perspective. Drawing on Jack Cunningham’s model (2005) maker–wearer–viewer as a framework, I propose an extended schema that integrates the object within the relational dynamics, with the aim to investigate the embodied relationship between object and wearer.

Underpinning the research is a case study that I conducted on the sensorial qualities of Peter Zumthor’s architecture, in particular Therme Vals. The study demonstrates that the embodied experience of the architecture by the user contributes to the development of these qualities.

In this paper, I argue that the transposition and testing of this concept in jewellery generates new relational variables, from which a new methodology of practice in jewellery informed by architecture emerges. Read full paper

Abstract from: Crafting new spatial and sensorial relationships in contemporary jewellery

Full paper published in craft+design enquiry: issue 6 Issue 6 2014, Craft.Material.Memory

jewellery, architecture, cross-disciplinary, wearing, senses, Therme Vals