July 26, 2012

At Soepboer & Stooker you can still admire the graduation collections of Morta Griskeviciute, Poul Brouwer and Jolka Wiens of The Rietveld Academy 'MMXII' - mentored by Niels Klavers and Oscar Raaijmakers - UNTIL July 28th 2012


The Rietveld Art Academy in Amsterdam hasn't have a name when it comes to its fashion department and every year the number of graduates in fashion design declined, with probably this year as it's all-time low with just three fashion graduates. But better fashion times are coming. 
Since a year the fashion department has a new director, and not the least: fashion designer Niels Klavers. Together with another big fashion name Oscar Raaijmakers, Klavers trained and mentored the fashion graduates Morta Griskeviciute, Poul Brouwer and Jolka Wiens. These graduates told they had the best final year of their fashion education thanks to Klavers and Raaijmakers, because just being with three students you can get the most of attention and guidance, especially from two enthusiastic and professional teachers. 
The energy and quality of this years graduation collections is high and stood out in clear concepts, research process and experimentation. These three collections and having Niels Klavers and Oscar Raaijmakers on board give a new appeal to the Fashion Department of the Rietveld. Result: a dozen of future fashion students have chosen to apply for the Rietveld now instead of the better-known fashion academies out there.  

Although fashion week is over and everybody is enjoying their holidays, in the magnificent store of Soepboer & Stooker we can still admire the Rietveld graduation collections of Morta, Poul and Jolka until July 28th 2012. 
The store of Soepboer & Stooker is at Overtoom 9 in Amsterdam, open until 4pm and worthwhile visiting. 

POUL BROUWER's BLURRING GRIDS OF SHAME
Poul Brouwer's collection called SHAME, focusing on personal matters he feel or felt embarrassed by or struggled with, like being a red head or liking the Spice Girls as a young boy. The feeling of shame he translated in covering up true identity for the outside world using blankets as his starting point. What kinds of silhouettes take shape when folding, wrapping and layering stuffed blankets on the male body? His pattern design was formed by coincidence. Amazed by the pattern of common tiles, he draw with water-soluble black markers grids by hand on cotton shirts, and, again, by coincidence, discovered the black ink blurred in a thousand colours when dropping water on the thin lines. It fits his concept of SHAME and to resolve the shame, because instead of 'walking the line', Poul is more the kind of person to push the envelope and be different and colourful.  
  


MORTA GRISKEVICIUTE's COLLIDED FASHION RUINES
'Fashion has a pragmatic aspect that I missed in other art disciplines; it combines creativity, technical skill and 3D', Morta explains in an interview. She is not per se a fashion designer, more a creative director with an educational background in illustration and fine arts. 'My collection resembles the way I draw: expressive yet controlled'. For her graduation collection she was inspired by the photos of Robert Polidori, who captures the chaos of decaying and neglected interiors, ruined by disasters, wars or by the hand of time. Morta is fascinated by beautiful ugliness, combining 'trashy elements with contradictory elements; chaos after the chaos'. She focussed especially on the textures, the colours and the flaws of the interior and its materials: torn wall paper, moss on rotten wood, scaled off paint of former luxurious places like opera houses, ball rooms, cinema's or warehouses, and translated these images in textiles -like furry flocked plastic, paper and knitwear- and in shape - expressive and loose- but as a whole all well executed.  
 


MIMICRY DRESSES OF JOLKA WIENS
'I am not your typical fashion person being mostly excited by the psychological and social aspects of design', Morta Wiens explained and continued: 'What does a fabric like neoprene expresses and what kind of experience gives it when wearing it?' Her designs of laser-cut neoprene are flat 'dead' pieces and need a body to come alive and to reveal its identity. Although neoprene and laser-cutting is considered as 'done and dull' due to the popularity of the raw material on todays runway, Morta said it motivates her even more to prove neoprene and laser cutting can still astonish. For her graduation project she researched the anatomy of the human face, how the muscles are placed and creates different facial expressions, mimicry, because the face can communicate on many different levels. This concept she translated in her laser-cut graphics and designs. Like a face, a body gives new shape and therefore a new expression to her cobweb black and white fashion designs.




pictures and text by Marij Rynja

July 14, 2012

LAST CHANCE: SALON/istanbul at Museum Van Loon


One of SALON/s beautiful locations is Museum Van Loon on the Keizersgracht, a magnificent private residence built in 1672. The canal house was the home of Willem van Loon, co-founder of the Dutch East-India Company (VOC) and his family in The Golden Age. 
In the rooms on the ground floor of Van Loon, like the Blue and Red Drawing Room, SALON/ add contemporary design objects of Dutch/Turkish designers, unexpectedly places in between Van Loons possessions and artefacts.   
Star-rising photograph duo Petrovsky & Ramone have made two images especially for SALON/Istanbul; one of them is showed here at Van Loon, the other in Museum Geelvinck Hinlopen. What we see in Van Loon is a big enrolled red Persian carpet, two bare legs sticking out at the end: a body is wrapped, somebody wishes to hide himself for a moment? The picture is called ‘Embrace’, maybe it shows us to embrace the Turkish crafts, it’s culture, and it’s people. 
Turkish-Dutch Zeynep Altay makes intuitive and organic embroidery pieces, expressing her personal emotions. On her blog she confesses to feel uncomfortable talking about herself in words, so she uses her embroideries to communicate, but as well to digest misfortune and depression. In Van Loon SALON/ shows several objects Altay made – samples and little storyboards – and a top of greys and black yarns looking like scrubs.
NOMAN presents their research process for their installation OSMAN – showed in the Willet-Holthuysen Museum as part of the SALON/workshop – in the Red Room with its Turkish carpets. The traditional carpet is deconstructed and analysed by NOMAN, driven by the idea what direction and shape the evolution of the carpet could go to in the future. (see pictures below) 
Deniz Seyda Tunca designed the Euro memorial coin ‘Tulpen Vijfje’ representing the relationship between the Netherlands and Turkey: on one side of the coin (the Dutch side) shows a fully flowering tulip and the backside (the Turkish side) shows a young, still closed tulip as a metaphor for the origin of the tulip. This is just one of many metaphors Tunca integrated in the coin. 
Spread over the SALON/ locations are the videos of young Turkish Film students of the Istanbul Kultur University who have been selected for the 2012 TENT awards in Rotterdam. Here we can see the video of Kagan Ataseven. 

And in the diner room product designer Lizan Freijsen. Stains and mildews caused by leakage in the house fascinates her deeply. She shows a serie of carpets, inspired by the richness in variation and form of different kinds of lichens that live on walls, trees and stone surfaces. 
  
the evolution of NOMAN's OSMAN

NOMAN shows the research of carpet OSMAN

Zeynep Altay 


 Lizan Freijsen

video of Kagan Ataseven
detail of 'Embrace', by Petrovsky & Ramone 
In between Van Loons artefacts are Zeynep Altay's embroideries
'Tulpen Vijfje' by Deniz Seyda Tunca


Today at Meesteropleiding COUPEUR: JONGHLABEL's project 'Jongh geleerd oud Gedaan, at work'

crochet handpiece 
The Master Tailor Institute in Amsterdam-West re-establishes quality tailoring in the Netherlands since  2011. During SALON/istanbul at The Master Tailor Institute the designers of JONGHLABEL and their co-workers demonstrated how they master the tequeniques of traditional handcrafts. The co-production project 'Jongh geleerd Oud gedaan at Work', women from different cultural backgrounds and from different parts of the city of Amsterdam make jewelry by hand, with a little help of JONGHLABEL, because the woman proof to be skilled and have great ideas


Just like the Master  Tailor Institute, JONGHLABEL aims to renew the interest for old handcraft techniques. JONGHLABEL, founded in 2010 by the two sisters Meis & Anne de Jongh, distinguish itself by producing  products and accessories by hand: it is not only the physical appearance of a product that is important, the accompanying story and production proces is equally significant. 
The expertise of JONGHLABEL focus on reviving old handcrafts by translating them into contemporary designs and seeks the ability to propagate traditional techniques with the help of industrial production. With the project Jongh Geleerd Oud Gedaan twelve participating women still know how to practice Dantel (Turkish handcraft technique), tatting, lace and crochet. By turning them into modern jewelry, JONGHLABEL hopes to renew people's interest in these beautiful old handcrafts. 

   
Meis de Jongh of Jonghlabel consults with one of the makers of the jewelry. Here the woman in blue shows her own design proposal for a ring with Meis. Meis tells they all have great ideas for new jewelry design and applications of the chochet. 
 
Crochet: in the center they place the yarns in between the neadles, who are pinned in image of a fish, and than you have to switch two of the sticks from left .. to right...etcetera. 
example of a broche and a collar
At opening day of SALON/istanbul they had a demonstration in the Frozen Fountain shop. 



July 12, 2012

SALON/istanbul presents: Linda Maissan in the Chinese Room of Museum Geelvink-Hinlopen


'Pot Luck' - Collages of fashion magazine pages, illustrated with black yarns
Vogue covers recovered by Maissan
Artist and textile designer Linda Maissan creates clothing in which magazines are represented. With  handmade, unique T-shirts she shows in Museum Geelvinck-Hinlopen, she blurs the boundaries between fashion and art.  
Maissan studies the representation of the female body and image in contemporary visual culture incorporating images into paperwork collages. She edits Vogue covers, luxury product advertorials and images fashion shoots by scrathing, pasting, cuting, painting or even sewing.
The female figures she chose are displayed in different guises, such as the warrior, the nymph, the hybrid, the transformer or the domestic figure. 
In earlier work she focused on transformation, metamorphosis and mythology by incorporating animal or cyborg-like elements in representations of women, thereby strengthening their superhuman proportions.   
Since 1998 she makes magazines and fanzines with titles like “The Editors Interview”, “Hust” and “Pot Luck”.  In more recent work Maissan investigates how human figures can approach the status of object, with references to Modernism, making use of excisiting materials such as photos, books and magazines.

Website with more work of Maissan, visit www.brightandbeautiful.nl 


Linda Maissan studied at the Academy of Fine Arts in Maastricht and the Jan van Eyck Academy and participated before at SALON/maastricht. 

July 8, 2012

SALON/istanbul @ Magazijn 153: Ahmet Polat, Josephine Colsen, Sara Vrugt, Painted Series and a video installation of Deniz Buga



In the hallway of Magazijn the black and white pictures of Ahmet Polat  
Left: men's wear by Safak Tokur // Right: Lamp by Josephine Colsen 
Sara Vrugt 's ‘Look at you 07’ (2012), Japanese silk and dmc-yarn embroidered on silk/cotton voile.  While travelling overland from The Netherlands to Iran these miniature embroideries have been made by Sara as tactile log posts. The encountered people presented as strangers show that the artist is the stranger in the end, a question of perspective. Those moments in which the traveller is an outsider, a gharedji, shows our helplessness when it comes to truly understanding the other.  
The work of Sara Vrugt focuses on the combination of fashion design and art. She uses clothing as part of an autonomous language. By using textile as a medium and the human body as an instrument she aims to investigate, question and push the boundaries of her discipline with her collections, textile installations and community projects. Thanks to the sculptural and theatrical qualities her work is categoriale in divers art disciplines. The reflective and critical position she holds towards her immediate environment and society is a returning aspect in her work.

Ahmet Polat (Roosendaal, 1978) is a Dutch-Turkish photographer living in Istanbul. Polat has studied at the St. Joost Academy in Breda. Ahmet Polat, recipient of ICP’s, International Center of Photography, “Young Photographer” award, is a photographer whose work questions preconceived notions. His upbringing was the fusion of West and East. Born of a Dutch mother and Turkish father, he integrates both cultures. In the past years he has worked on commissioned projects for cultural institutes like the Rijksmuseum and international publications like the New York Times.  His work has been exhibited in Turkey, France, Vienna, Germany, Malaysia, Holland and Belgium as well as published in French and Turkish Vogue, Paris Match, Marie Claire, and Vice magazine. March 2012 his latest book “Kemal’s Dream" is published
Safak Tokur was born in Sinop in 1975. After finishing at the Painting Department of Istanbul Anadolu High School for Fine Arts, he entered the Textile Department in the Faculty of Fine Arts at Mimar Sinan University and graduated in 2001. He was one of the finalists in the 1996 Beymen Academia competition. In 1997, he participated in the National Shoe Design Competition and won an honorable mention award at the category of men’s shoes. In 1998, he was among three designers in the category of youth clothing of the Beymen Academia. In 2001, Tokur attended the 2001 Asia Makuhari Grand Prix in Tokyo and became the Turkish finalist. 
In Magazijn Deniz Buga shows a dizzily video, where he filmed himself turning, and turning like a Turkish Sufi dancer, a hard thing to practice. Sufi dancers can turn for an hour without  stopping, what's physically impossible... 
Deniz Buga was born in 1982 in Istanbul. He studied social sciences in Bosphorus University, Istanbul. He wrote film articles for national magazines, worked in film sets and finally shot his first short films: Brothers (2003) and Sleep (2005) both made their screenings at Oberhausen Film Festival. Along with partners, he founded Studio 4 Istanbul, an independent production company, thus getting actively involved in the Turkish independent film scene. In 2006, he was accepted into MFA Film Production Program at NYU Tisch School of the Arts and moved to New York where he specialized in writing, directing and cinematography. Deniz Buga is currently a resident at the Rijksakademie van beeldende kunsten, Amsterdam.





July 7, 2012

July 6, 2012

SALON/Workshop 'Amsterdam-Istanbul' - what are the designers working on for the Istanbul Design Biennial?


SALON/ ran a workshop targeted towards the transmission of designers’ works and ideas through visual presentations while collaborating with the creative industries, craftsmen and designers based in Istanbul. During the SALON/workshop, a round table discussion took place last March, whereby the designers communicated their works, ideas and philosophies via visual presentations and responded to the students’ questions. In this way a dialogue exchange was made possible between the designers and participating students.

The workshop provided opportunities of encounter between fashion and product designers such Mattijs van Bergen, Vroonland, Desiree Hammen, Hyun Yeu, BCXSY, Antoine Peters, Borre Akkersdijk, Noman and Reinier Bosch who travelled to Istanbul for this project, with various organizations and ateliers that could offer co-operation. These young and independent designers working on new ideas and techniques, shared their knowledge of legacy and craft, the significance of the unique, and the confrontational encounters between hand-crafting techniques and new technologies, with the artists, designers, craftsmen and producers of the creative industry in Istanbul. The sites visited by the designers and the students included the ateliers where the art of Ebru painting is performed, the Topkapı Museum which houses Turkish carpets, caftans and seating groups, leather ateliers, artisans’ shops in Tahtakale and the rug sellers in the Sultanahmet area.

In the period up to the Istanbul Design Biennial in October, whre SALON/ is part of, the designers will use their experiences and observations of the unique characteristics of Istanbul to create new products that pay homage to their originals by clearly revealing their ties to them.

At the Museum Willet-Holthuysen SALON/ lifts a corner of the veil what the designers are working on. Here we can see their progressions and research, a journey from idea to final product. The workshop was organized collaboratively by the Royal Netherlands Consulate and the Dutch DFA as part of the celebrations for the 400th anniversary of Dutch-Turkish diplomaitc relations, and was hosted by Material ConneXion Istanbul in Yapı Endüstri Merkezi.


Mattijs van Bergen investigates, decomposes and melts images of his previous four collections, in order to restore the parts into a renewed but still iconic Mattijs item. At the museum Mattijs reveals four paper collages representing his research process. 
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Placed on an antique diner table the sketches, drawings, crayons, inspiration images and Antoine’s coffee cup are right where he left it. Fashion designer Antoine Peters is working on a laser printed self portrait he calls ‘hide and seek’, referring to the revealing and concealing of laser cut and printout techniques. -->








Pauline van Dongen made contact with one of Istanbul's biggest industrial companies, which also develops and applies new production techniques and high tech materials. Pauline van Dongen’s sculptural scientific designs are made of materials not common in the fashion industry, what can transgress the possibilities of moulage and the appearance of fashion design as we know it.
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Traditional craft techniques are still a flourishing part of Istanbul’s rich culture. One of them is Gold Embroidery, a rare technique that has its origins in Turkey. Being specialized in this technique Desiree Hammen will explore it further as part of the SALON/workshop to combine contemporary and traditional embroidery techniques. Desiree Hammen shall create a conceptual altar where she honors our daily ‘industrial’ clothes and the clothes created by craftsmanship. In her research and in the garments she presents in the Willet-Holthuys her passion for craft is a key element, as well as the positive vibes of the encounter of the west and the east.
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Furniture label Vroonland challenged itself to re-invent the pouffe. Leading in the design process for Vroonland is the overall question: is a chair purely functional? In Istanbul Vroonland noticed people rather sit on the ground or on pillows than on chairs. How will a crossover between a Western chair and an Eastern pouffe look like and be confortable, using wicker-work techniques? Examining and exploring the means and usage of design classics will create new perceptions and functions. This eventually leads to a pedigree or an evaluation within the Vroonland collection.
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NOMAN presents the starting point for an installation called ‘Project Osman’. Intrigued by images of evolution fashion designer Selina Parr en set designer Lara Tolman of NOMAN decided to make a mutation of a traditional Turkish carpet into five steps. They analysed its patterns, colours and images and gave these elements a contemporary, abstract interpretation. The rectangle flat shape of the carpet will evoluate into a 3D object, using rubber, a modern counterpart of the traditional knotted carpet. The knots are replaces by wood for connection. The rubber parts of the object shall also serve as a contra product to accentuate the tension between handwork and machine work. --> 


Borre Akkersdijk has a thing for thickness, volume, knits and double weaves. He is driven by the idea to transform something two-dimensional into a three-dimensional item. For SALON/TR he developed double knitted fabrics, the patterns of a jacket stitched into it.
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Istanbul has captured the western imagination for centuries; especially the boundaries between private and public fascinated the West. Looking at what was not supposed to be seen was a particular popular theme in the arts during the 18th and 19th century’ Europe and formed the base of a romanticised idea about the East. This historical data has been the inspiration for the installation of Studio Reinier Bosch. It is a study of the process of looking and being looked upon; the way the outer world looks at you and the way you look at the outer world. The room divider reflects the fine-grained boundary between realities and cultural images; it mirrors the play of cultural image-forming, and invites the redefinition of a cultural image. Design: Studio Reinier Bosch; Research: Marleen Folkerts; Thanks to Kim Amankwaa, Anil Van Der Zee, and Hyun Yeu.  -->




<-- Turkish Delights is an installation by BCXSY. BCXSY is a balanced combination of two unique talents (Boaz Cohen and Sayaka Yamamoto) creating multidisciplinary experiences through the creation and development of concepts, identities, products, graphics, interiors and atmospheres. For SALON/TR they created a kaleidoscopic projection of food images, collected in Istanbul, projected on the ceiling of the Willet-Holthuysen's dining room, using a modified old slide-projector. Food, as an organic product, is an important element in their work in general. And food is strong related to a culture. Their passion for food is their way of getting familiar with other cultures.

pictures by Marij Rynja



Previous blogpost on the SALON/ amsterdam-istanbul workshop visit this link: http://salon1amsterdam.blogspot.nl/2012/05/pictures-taken-by-participants-pre.html

July 5, 2012

SALON/istanbul special exhibition: 2h 26min - a selection of graduation students of ABKMaastricht at PuntWG

Official opening exhibition “2h26min”, July 5th (THURSDAY) between 19.00- 21.00 we invite you to come along and have a drink at the PuntWG: Marius van Bouwdijk Bastiaansestraat 15 Amsterdam.
Opening times on July 6, 7 and 8: 14.00 - 18.00 pm.

SALON/ aspires to stimulate the interaction between designer, public and space, also outside Amsterdam. Last June SALON/ was in Maastricht at the invitation of Marres and NAiM/Bureau Europa to continue the dialogue between the creative disciplines. At SALON/maastricht both young and upcoming talents and established designers and artists from Amsterdam and Maastricht presented their work on various locations throughout the city. 
To continue the dialogue, SALON/ invited several talents from Maastricht to Amsterdam to be part of the SALON/istanbul edition. Amongst them are Gabriel Guevara, Liesbet Bussche, fORS, and Linda Maissan. But there is more of Maastricht coming to Amsterdam: 2h 26min - a selection of graduates from the ABK Maastricht, curated by Henri J Sandront at PuntWG (Marius van Bouwdijk Bastiaansestraat 15, Amsterdam). 

About 2h 26min - a short interview with the curator
2h 26min started with the premise that physical distance between Maastricht-Amsterdam of 2 hours and 26 minutes by train should not necessarily imply remoteness and ends with an exhibition that turns out to be more than a mere presentation. SALON/ spoke to Curator Henri J Sandront about this Maastricht graduation exhibition:

SALON/: Can you explain why you especially choose these designers to represent the ABK Maastricht in Amsterdam during SALON/istanbul?
Henri: 'The four participants are according to my subjective eyes the most promising outcomes of the ABK Maastricht in their own disciplines. For some reason, albeit formally and conceptually different, the works of Morgane, Josine, Sanne and Fabian share affinities with each other and manage to co-exist in a same space. Sanne is the exception to the rule as she is not graduating yet (3rd year). Unlike the 4th year end projects in fine arts, her works (a video and a sculpture) are not in closed bubble and can put in relation with the others.'

SALON/: What are the strong features of each designer’s work in your opinion?
Henri:They all deal with very different issues with entirely different means. Morgane Kerbrat departed from Aristophanes's Speech from Plato's Symposium and created an extensive series of jewellery based on alterations of a circle. Josine Heuts on the other hand designed a collection of hairy garments that proclaim the end of an era and hint at the beginning of a new one. Fabian Landewee literally spread his photographs on a large wall creating an installation that deals with fragmented narration and self-(autobiographical)-perception. Last but not least, Sanne Vaassen composes her own seemingly supple visual language and uses her work as some kind of bodily extensions.'

SALON/: What do you hope for how ‘we’ here in Amsterdam will receive your Southies Art? Do you see any differences between the Amsterdam and Maastricht art students?
Henri: ´Let's be honest, Maastrichteners have a different set of influences than here in Amsterdam, because we are closer to Aachen, Cologne and Brussels than to the Randstad. I believe that artists from Maastricht come with a mind-set that is less self-content and more bound to challenge itself. Nevertheless, although the accent might be different, the language remains the same. SALON/ already made a successful experiment few months ago in Maastricht (SALON/maastricht) and took along a few of its participants for SALON/ Istanbul. In a way, the participants of 2h 26min once again prove that physical distance has nothing to do with artistic and creative remoteness.'

Virgule by Josine Heuts (fashion design)
Josine Heuts found inspiration in the overwhelmingly present rhetoric of change that has characterized the year 2012. Her graduation collection comprises six outfits, a kind of formal wear for the dawn of a new era.   




Circles by Morgane Kerbrat (product/jewellery design)
Morgane Kerbrat's extensive series of craftily manufactured pieces of jewellery is based on circle alterations which play with the idea of opportunity and material necessity. 





Untitled by Fabian Landewee (photography)
Fabian Landewee's installation of photographs is a collection of self-portraits, found photographs and other constructed images which investigates the concept of fragmentation as well as his own self-perception.  








 
Vervreemding (transl: Alienation) by Sanne Vaassen (fine arts)
The body is a predominant theme in Sanne Vaassen's works on show as part of 2h 26min. Through a video and a sculptural work in this case, the young artist translates reality in her own visual language.