“Oh yes, there is a metre, slightly irregular on one level but very regular on another. There are so many irregular things in this piece that at one point you need to have a regular metre as you say – a bass and a regular pulse anyway – but also a series of harmonies which are all symmetrical. The harmony always gives this impression of something followed by its inverse; there is always a centre – an axis of symmetry. This symmetry of harmony corresponds in harmonic terms to a regular metre. This is very important. There are three types of time. That which is chaotic and irregular such as you have in the beginning (in the speed I mean). Then you have, in the speed, the very regular rapid repeated notes – always in semiquavers. Finally at the end there is a regularity, a kind of metre – but with much ornamentation. The ornamentation is in fact very irregular, but the metre itself is very regular”. Pierre Boulez
»Apfel« ist ein Spiel ohne Regeln. Es beginnt mit einer Wand, die überall mit einer signalroten Klebefolie bedeckt ist. Die Folie besteht aus Tausenden von kreisförmigen Aufklebern, die in einem schmalen Raster vorgeschnitten sind und darauf warten, von den Besuchern abgezogen und in eine neue Reihenfolge gebracht zu werden. Die Aufkleber und ihr weißes Negativ an der Wand bilden sich ähnlich wie binär codierte Pixel, Ornamente, Nachrichten und Bilder – an der ursprünglichen Wand und weit darüber hinaus: Sie bewegen sich in angrenzende Räume, auf Gesichter und verlassen sogar die Stadt.
MIT Media Lab, Stanford University
This work explores a dynamic future where the accessories we wear are no longer static, but are instead mobile, living objects on the body. Engineered with the functionality of miniaturized robotics, this “living” jewelry roams on unmodified clothing, changing location and reconfiguring appearance according to social context and enabling multitude presentations of self. With the addition of sensor devices, they transition into active devices which can react to environmental conditions. They can also be paired with existing mobile devices to become personalized on-body assistants to help complete tasks. Attached to garments, they generate shape-changing clothing and kinetic pattern designs–creating a new, dynamic fashion.
It is our vision that in the future, these robots will be miniaturized to the extent that they can be seamlessly integrated into existing practices of body ornamentation. With the addition of kinetic capabilities, traditionally static jewelry and accessories will start displaying life-like qualities, learning, shifting, and reconfiguring to the needs and preferences of the wearer, also assisting in fluid presentation of self. We envision a new class of future wearables that possess hybrid qualities of the living and the crafted, creating a new on-body ecology for human-wearable symbiosis.
»Appeel« is a game without rules. It starts with a wall that is covered all over with a signal red adhesive foil. The foil consists of thousands of circular stickers pre-cut in a narrow grid that wait to be pulled off and put in a new order by the visitors. The stickers, and its white negative on the wall, form, similarly to binary coded pixels, ornaments, news and pictures – on the original wall and far beyond: they move to adjoining rooms, onto faces and even leave the city.
Threshold Release Ornament
MSHR is the art collective of Birch Cooper and Brenna Murphy. The duo collaboratively builds and explores systems composed of sound, light, sculpture, software and circuitry. Their practice is a self-transforming cybernetic entity with its outputs patched into its inputs, the resulting emergent form serving as its navigational system. These outputs primarily take the form of installations and performances that integrate interface design with generative systems and a distinctive formalist approach. MSHR’s name is a modular acronym, designed to hold varied ideas over time. MSHR emerged from the art collective Oregon Painting Society in 2011 in Portland, Oregon, USA.
Daniel Widrig’s studio now works in a broad range of fields including sculpture, fashion, furniture design and architecture. Embracing digital systems since its early days, the studio holds a unique position in the field and is widely considered to be in the vanguard of digital art and design.The Tower Studies examine this same material behaviour on an architectural scale, further blurring the distinction found on a small scale between structure and ornament.
FABIO ANTINORI AND ALICJA PYTLEWSKA
London-based creative laboratory Bare Conductive was invited to team up with designers Fabio Antinori and Alicja Pytlewska in order to develop a large-scale metaphor for the idea of breathing life into a collection of responsive textile skins. ‘Contours’ is at the core of the interactive tapestry installation; a series capacitive sensors are applied to the suspended fabric substrates using conductive paint. These sensors react to the presence of a person within the vicinity and track their movements, outputting a constantly modulated ambient soundscape reminiscent of medical research environments. The abstract geometric ornamentation connects the tapestries’ individual sensors to form giant panels, serving as an acoustic feedback loop that alludes to the relationship between science and the body.
Matic Veler is ispired by researching his aesthetic development since upbringing up until now. One of the biggest inspiration, architecture of 17th and 18th century architecture, especially details and ornaments together with impression of magical environments combined with brutalism architecture he was surrounded in when he was child, help him to translate and reflect when creating garments and installations to impress viewers and customers. He uses Baroque architecture details and ornaments as his inspiration. Always starting with collecting different photos of details and studying different architects. Matic manipulates the ornaments into collages on which he draw sketches and then making toiles on mannequins.
Nothing comes from nothing … With Alice Pegna, Epicure’s Latin phrase “Ex nihilo nihil fit” is at the heart of a design adventure as strong as it is elegant. Visual artist and interior designer, the young lady is inspired by this reflection on the source of the material to create arachnid sculptures between exoskeleton, armor and ornament.
La giovane designer polacca Ewa Nowak, tra le altre cose, ha creato una linea di gioielli in metallo. Sono dei ninnoli eleganti dalle linee pulite che non rinunciano a una certa morbidezza e artigianalità. Più simili a delle piccole sculture che a degli ornamenti fatti in serie. Tra loro c’è anche ‘Incognito,’ nato per sviare i software di riconoscimento facciale con stile e originalità.
Her making focuses on feminine objects and materials. Lace, veils, undergarments and hair adornment speak not only of womanhood, but also of the duality of human nature. Lace speaks of purity and sexuality, it reveals and conceals, it is humble, yet gluttonous in its ornamental overindulgence; lace is the ultimate dichotomy.
Fascinated by the interplay of textiles and light, Denmark-based artist Astrid Krogh explores the dialogue between natural and artificial illumination when paired with fibers. While studying at the Danish Design School, Krogh explored her interest in textiles, which shines through in the craftsmanship, patterns, and ornamentation of her work. Inspired by cycles of life in nature, many of Krogh’s neon.
Spring Summer 2020
Rick Owens’ Bauhaus Aztec priestesses were some kind of bad-asses. Gliding around the Palais de Tokyo fountain, they presided over a ceremony of wands and bubbles while sporting chrome headdresses glinting like car hood ornaments. It was a kick. Owens was feeling nostalgic, as it turns out. Using blasts of Luis Barragán color, folkloric sequins and volumes with the grandiosity of couture, Owens mined his Mixtec heritage. (His mom, Connie, is Mexican, and his dad, John, worked in the public court system as a Spanish-English translator defending farm workers’ rights.)
Dominique Pétrin brings the image to its highest degree of saturation and develops an intense dialogue between images, their support, and their configuration. Pazzazz is a Greco-Roman fresco that recalls the music-hall of the 70s. Excess, wealth, and decadence are represented in an ornamental style that is almost threatening. Between dreams and apparitions, the optical illusion is lost in a maze of pleasure and abuse, enjoyment and intoxication.
Centro de Rehabilitacion en Austria
“The project developes an architecture that uses rules of natural growth and connects both growth and ornament, with a landscape environment, topologically and calligraphically. The ornament creates a symbiotic relationship with the existing environment by framing existing topographic features and at the same time giving a feedback to the landscape by creating topographical irregularities.”
RACHEL PERRY WELTY
Lost In My Life
Consumismo delirante? L’arte è il miglior modo per ingannarlo. Fra i tanti esempi di artisti che si stanno affacciando nel mondo dell’arte del riciclaggio ce n’è uno in particolare: Rachel Perry Welty. Le opere di questa artista straordinaria è di assemblaggio tra essere umano e riciclaggio, contornando ed amalgamando la persona di ricevute, etichette adesive, fil di ferro plastificati, ma anche scarti virtuali quali aggiornamenti di Facebook, e-mail indesiderate, registrazioni di messaggi sbagliati in segreteria e chi ne ha più ne metta. Insomma, riciclo a 360°.
I beni, per quanto desiderati o utili, possono diventare un peso nel tempo. Tuttavia, diventano anche una parte molto reale di ciò che siamo e delle vite che costruiamo per noi stessi. Melanie Bonajo esplora le nostre relazioni con gli oggetti materiali e il ruolo che giocano nella nostra creazione del “sé”. La serie Furniture Bondage parla della necessità di una perfetta armonia con il mondo che ci circonda. Il risultato è una nuova forma vivente, una fusione del corpo umano con i suoi ornamenti esterni.
Gretchen at the Potlatch Feast
“Potlatch is a festive event within a regional exchange system among tribes of the North pacific Coast of North America, including the Salish and Kwakiutl of Washington and British Columbia.”
The potlatch takes the form of governance, economy, social status and continuing spiritual practices. A potlatch, usually involving ceremony, includes celebration of births, rites of passages, weddings, funerals, puberty,and honoring of the deceased. Through political, economic and social exchange, it is a vital part of these Indigenous people’s culture. Although protocol differs among the Indigenous nations, the potlatch could involve a feast, with music, dance, theatricality and spiritual ceremonies. The most sacred ceremonies are usually observed in the winter.
Within it, hierarchical relations within and between clans, villages, and nations, are observed and reinforced through the distribution of wealth, dance performances, and other ceremonies. Status of families are raised by those who do not have the most resources, but distribute the resources. The host demonstrates their wealth and prominence through giving away the resources gathered for the event, which in turn prominent participants reciprocate when they hold their own potlatches.
Before the arrival of the Europeans, gifts included storable food (oolichan [candle fish] oil or dried food), canoes, and slaves among the very wealthy, but otherwise not income-generating assets such as resource rights. The influx of manufactured trade goods such as blankets and sheet copper into the Pacific Northwest caused inflation in the potlatch in the late eighteenth and earlier nineteenth centuries. Some groups, such as the Kwakwaka’wakw, used the potlatch as an arena in which highly competitive contests of status took place. In rare cases, goods were actually destroyed after being received. The catastrophic mortalities due to introduced diseases laid many inherited ranks vacant or open to remote or dubious claim—providing they could be validated—with a suitable potlatch.
Sponsors of a potlatch give away many useful items such as food, blankets, worked ornamental mediums of exchange called “coppers”, and many other various items. In return, they earned prestige. To give a potlatch enhanced one’s reputation and validated social rank, the rank and requisite potlatch being proportional, both for the host and for the recipients by the gifts exchanged. Prestige increased with the lavishness of the potlatch, the value of the goods given away in it.