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Saturday, 5 June 2010
Klavers van Engelen
http://www.klaversvanengelen.com/
Niels Klavers (1967, Raamsdonkveer) and Astrid van Engelen (1970, Harmelen) are the creative tandem behind the label Klavers van Engelen. Klavers graduated from the Gerrit Rietveld Academy and worked for three years as an independent designer before enrolling at the Fashion Institute Arnhem. Astrid van Engelen also studied at the Gerrit Rietveld Academy after first taking a course at the Institute for Fashion Management and Design (currently the AMFI). 1998 was a top year for Niels Klavers. It saw him win not only first prize at the prestigious French Festival des Arts de la Mode in Hyères with his own collection, but also a NPS Culture prize back home.
Klavers and Van Engelen’s designs vary from pure conceptual to very wearable. The duo literally and figuratively searches for different perspectives. They mislead the eye with duplication and applying functional pattern components in new ways. In the collection 'Show me your second face' for example, a shirt collar has taken on the function of an arm-hole. 'Je t ‘embrasse', was a new interpretation for the concept of embracing; a scarf made up of multiple sleeves hugs the wearer. Also by using material treated and fixed in a certain way, they can give the impression of a garment crumpled in places or ruffled by a breeze.
The design duo also looks for fresh alternatives in presenting their collections. A tableau vivant was chosen to highlight a collection for which a ball of paper had served as inspiration. Not models but skinny schoolgirls – plucked from the streets of Paris – sat at desks wearing Klavers and Van Engelen’s latest creations. The Centraal Museum in Utrecht has purchased several of their designs and their work has been shown at exhibitions in England, France, Switzerland, Italy, Japan and Taiwan.
awards:
1998 - Festival des Arts de la Mode, Hyères, France
1998 - NPS Culture prize, the Netherlands
teaching activities:
Niels Klavers and Astrid van Engelen teach at the Fashion Institute Arnhem, AMFI in Amsterdam and the Design Academy in Eindhoven.
see:
http://www.contemporaryfashion.net
Thursday, 3 June 2010
Deconstructing Installation Art
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Deconstructing Installation Art focuses on contemporary installation art which came into prominence as a major international movement in the 1990s and still holds sway into the early years of the new millennium. The text provides a critical analysis that compares and contrasts 'deconstructive' strategies in contemporary fine art installation with similar directions in new media art.
Web edition first published December 2006
Installation Art
Installation art describes an artistic genre of site-specific, three-dimensional works designed to transform the perception of a space.
Generally, the term is applied to interior spaces, whereas exterior interventions are often called Land art; however the boundaries between these terms overlap. Installation art can be either temporary or permanent. Installation artworks have been constructed in exhibition spaces such as museums and galleries, as well as public- and private spaces. The genre incorporates a very broad range of everyday and natural materials, which are often chosen for their evocative qualities, as well as new media such as video, sound, performance, immersive virtual reality and the internet. Many installations are site-specific in that they are designed to exist only in the space for which they were created.
Interactive installations
Interactive installation is a branch of the installation arts category. Usually, an interactive installation will often involve the audience acting on it or the piece responding to the user’s activity. There are several kinds of interactive installations produced, these include web-based installations, gallery based installations, digital based installations, electronic based installations, etc. Interactive installations are mostly seen from the 1990s, when artists are more interested in the participation of the audiences where the meaning of the installation is generated.
With the improvement of technology over the years, artists are more able to explore outside of the boundaries that were never able to be explored by artists in the past. The media used are more experimental and bold; they are also usually cross media and may involve sensors, which plays on the reaction to the audiences’ movement when looking at the installations. By using virtual Reality as a medium, immersive virtual reality art is probably the most deeply interactive form of art. At the turn of a new century, there is a trend of interactive installations using video, film, sound and sculpture.
Generally, the term is applied to interior spaces, whereas exterior interventions are often called Land art; however the boundaries between these terms overlap. Installation art can be either temporary or permanent. Installation artworks have been constructed in exhibition spaces such as museums and galleries, as well as public- and private spaces. The genre incorporates a very broad range of everyday and natural materials, which are often chosen for their evocative qualities, as well as new media such as video, sound, performance, immersive virtual reality and the internet. Many installations are site-specific in that they are designed to exist only in the space for which they were created.
Interactive installations
Interactive installation is a branch of the installation arts category. Usually, an interactive installation will often involve the audience acting on it or the piece responding to the user’s activity. There are several kinds of interactive installations produced, these include web-based installations, gallery based installations, digital based installations, electronic based installations, etc. Interactive installations are mostly seen from the 1990s, when artists are more interested in the participation of the audiences where the meaning of the installation is generated.
With the improvement of technology over the years, artists are more able to explore outside of the boundaries that were never able to be explored by artists in the past. The media used are more experimental and bold; they are also usually cross media and may involve sensors, which plays on the reaction to the audiences’ movement when looking at the installations. By using virtual Reality as a medium, immersive virtual reality art is probably the most deeply interactive form of art. At the turn of a new century, there is a trend of interactive installations using video, film, sound and sculpture.
List of video artists
From Wikipedia, the free encyclopedia. List of video artists
This is a list of notable artists who create video art. Artists in this list have gained recognition or proven their importance because their work has been shown in film and video festivals and contemporary art exhibitions of worldwide importance, such as the documenta or the Venice Biennale, the Sao Paulo Art Biennial or exhibited in major modern or contemporary art museums and institutes.
see also:
http://en.wikipedia.org/wiki/Video_art
http://en.wikipedia.org/wiki/Video_installation
video:
Thesis: Antarctic Animation
Thesis: (Lisa Roberts, YASMIN forum today)
Antarctic animation:expanding scientific data with gesture and line
Abstract
The need to engage the public with accurate information about climate change is urgent. Antarctica has become the focus of research for scientists and artists who seek to understand the complex forces at work. Different perceptions of Antarctica are surveyed. These perceptions are expressed as data sets, art works, dances, words, tones of voice, and gestures. An iconography of primal gestural forms is identified that has been used since pre-history to make visible expressions of connection to the natural world.
The primary research methodology is practice-based. Interviews with expeditioners, online responses, and improvised movement workshops are used as sources for animations and art works. Animated forms arise from circling, spiraling, and crossing gestures. These ancient choreographies describe the dynamic structures that shape the Antarctic ecosystem and reflect structures within the body through which they are generated.
Animations are presented at international conferences and exhibitions of Antarctic arts and sciences. An online log is used to display the animations and invite responses. The responses are evaluated. Archetypal gestural forms are found to expand the meaning of climate change data. Recognition of these primal forms (as body knowledge) is found to add a dimension of meaning to scientific information that is an essential component of accurate communication.
Wednesday, 2 June 2010
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