Constanze Schweiger

2009 American Apparel

2012-02-09T01:48:00.003+01:00

RSAPHTC Opaque Two Color Pantyhose

1952 Ellsworth Kelly

2011-12-12T02:06:00.008+01:00

Another important example of a panel painting that explores the idea of the mural was Red Yellow Blue White (1952). It's the only one I ever did using actual dyed fabric of ready-made colours, which moves the painting into the realm of real objects. It consists of five vertical panels, each with five canvases. The vertical panels are separated on the wall and the intervals of the wall surface between them are part of the painting.

Red Yellow Blue White 1952 dyed fabric on canvas

A photograph of Weber wearing the dress designed by Kelly

In Branden Joseph's book, Random Order, on Robert Rauschenberg's relationships with the "avant-garde," the extensive discussion on Kelly's highly specific use and treatment of color confirms that Kelly used the same fabrics from Red Yellow Blue White (1952) to make a dress for his friend Ann Weber.

1972 Robin Mitchell

2011-10-05T00:24:00.022+02:00

Robin Mitchell Painted Room at Womanhouse Los Angeles 1972

To make a painting that is a room,

To make a room that is a painting,

Color on the floor, on the walls,

on the furniture, on the ceiling,

To fill the room with color

as the sun fills the room with light.

Meisterhäuser in Dessau from the 1920s:

1) View from the sunflower tinted vestibule of Haus Klee into Haus Kandinsky with its keen and much cooler color combinations.

2) Staircase of Haus Feininger

Das Treppenhaus ist meine ganze Freude.
Lyonel Feininger

2009 Alexander Thieme

2011-09-24T11:44:00.009+02:00

1966 Bruno Munari

2011-09-18T00:19:00.044+02:00

Certainly if we now used the colours of the 'art nouveau' period for roadsigns, these would fade magnificently into their surroundings. At that time they used some really refined combinations of colour. A faint idea of them can still be had from Robert's talcum powder boxes and the labels on Strega bottles. They used to put pink and yellow side by side, or brown and blue, coffee and chocolate, pea green and violet. Then they would make unexpected leaps from one shade to another, putting red with pale blue (instead of dark) and so on. Can we imagine a 'No Overtaking' sign with a coffee and chocolate car on a violet background? Well, yes. We can imagine it for fun, but we cannot use it for a roadsign in real life.

From Bruno Munari Design as Art 1966

2011 Sonia Delaunay

2011-09-17T23:29:00.015+02:00

Crocodile, cactus, corinthe, and capucine were some of the names that Sonia Delaunay gave to her colors, personalizing as well as organizing a palette which bestowed meaning to the words and images she painted and the textiles she designed.

From Color Moves: Art & Fashion by Sonia Delaunay Smithsonian Cooper-Hewitt National Design Museum 2011

2006 Jeanne Lanvin

2011-09-16T18:21:00.026+02:00

Light, floral colors are a Lanvin trademark. One within Jeanne Lavins palette is a delicate green inspired by the paintings of Diego Velázquez. She created a pale, powdery pink for her only daughters wedding to the Count de Polignac. But the brilliant and expensive quattrocento blue made from lapis lazuli which Fra Angelico used extensively in his sumptuous fresco for the Niccoline Chapel became her true signature color.

Later in 2006 Lavin introduced new packaging for the fashion house, featuring a pastel hue of the forget-me-not flower color.

Undoctored or Strictly Parted

2011-04-02T05:54:00.003+02:00

Francis Upritchard

This artist is conformably posing amidst her work. Amongst highly simplified combinations, chosen in full awareness of casual details, brands are presented as if by chance. And the way of her undoctored hair takes a pleasing effect on her followers. She is kindly supported.

That artist makes her persona subject to her paintings, anything attached gains matter. By choosing her clothes, parting her hair, arranging interiors she is modeling the pictured world. After all the wardrobe survives its chooser, it provides evidence of her taste, assembling its own distinctive brand.

Frida Kahlo

2004 Frida Kahlo

2011-04-02T05:08:00.033+02:00

Frida Kahlo's wardrope was found in a trunk in an unused bathroom in 2004, with an exhibition following in 2006. The book - Self Portrait in a Velvet Dress: The Fashion of Frida Kahlo: Frida's Wardrobe, Chronicle Books 2008 - not only includes a discussion of the ethnic dress that inspired her choices but also provides details on the restoration process.

2010 Salvatore Ferragamo

2011-03-22T13:48:00.004+01:00

The "Creation" Brogue was the only men’s shoe that Salvatore Ferragamo designed in his career, and the style was worn religiously by Andy Warhol. 2010 the Italian label has recreated the artist’s original after a pair won at auction, decorated with ephemeral brushstrokes.

2010 Peggy van Neer and Erik van Loo

2011-03-04T20:06:00.012+01:00

Le Clochard duvet cover and Le Trottoir mattress cover 2010

by Peggy van Neer and Erik van Loo for SNURK Beddengoed

The company promises to donate "a large proportion" of the sale proceeds to SZN, a foundation established for the benefit of homeless youth in the Netherlands.

2011 Slavonice

2011-03-04T20:01:00.008+01:00

Tattoed houses in Slavonice Czech Republic

recorded by Robert Gassner February 2011

1982 Alessandro Mendini

2011-02-12T14:35:00.001+01:00

Excerpt from Alessandro Mendinis studies on visual utopia 1982

There is design and there is the research of the soul of objects that will have contact with the soul of people.

2004 Matt Willard

2011-02-02T16:05:00.006+01:00

Matt Willard Notes to Self (One Minute Drawings) 2004

1927 Gunta Stölzl

2011-01-09T14:18:00.017+01:00

Gunta Stölzl Slit Tapestry Red/Green 1927 gobelin cotton silk linen 150 x 110 cm

1972 Susan Collier and Sarah Campbell

2011-01-09T10:58:00.009+01:00

Bauhaus roller-printed cotton furnishing fabric designed by Susan Collier and Sarah Campbell produced by Liberty 1972

In 1968 Collier began to collaborate with her sister, Sarah Campbell, who had studied painting. This design, adapted from a tapestry wove by Gunta Stölzl at the Bauhaus, paved the way for a new era of intense, vibrant, all-over pattern-making at Liberty - ironically one of the few British companies to offer an alternative to the all-conquering Laura Ashly style during the 1970s.

2011 Laura Ashley

2011-01-09T09:26:00.007+01:00

This season, Clarks have revived the print Sweet Alyssum from the Laura Ashley archive and made it into a Desert Boot.

Originally the British officer Nathan Clark discovered the Desert Boot during World War II in Cairo, Egypt, where soldiers of the Eighth Army used to wear a sort of prototype model out of suede which they had made at the local bazar. After his return home in 1949 Nathan Clark started to produce the first models through his family's orthopedic shoe manufactory and export them all over the world. The shoes got fashionable amongst American students and English mods in the 60s and 70s, what helped them to their rebellious charm. One advertising slogan called them "The offbeat casual for the upbeat intellectuals."

1847 unknown

2010-12-28T19:36:00.005+01:00

Bekleidung gegen Eisenbahnunfälle (anti-railway accident apparel) newspaper cartoon 1847

The Pants Tent Pants

2010-12-08T13:29:00.016+01:00

Schnürlsamt ist ein strapazierfähiges Gewebe aus Baumwolle mit einer dritten Dimension. Pelzige Streifen, beige wie Sand, laufen von den Füßen aufwärts zur Taille. Dazwischen schwingen sich die beiden Bügelfalten in einer lässigen Gegenbewegung abwärts Richtung Boden, dorthin wo sich die Stoffröhren in scheinbar unendliche Faltungen versammeln. Hände streifen unwillkürlich entlang der Hüfte in die Hosensäcke. Der Blick schweift auf den Schritt, wo sich das Material unklar aufbauscht.

Corduroy is a sturdy, three-dimensional fabric made from cotton. Furry stripes, beige like sand, are traveling up from heels to waistline. Inbetween there are two creases swaying downward to the floor in a casual countermovement. Down where the cloth tubes finaly assemble, stopped by cuffs, compressed into semingly infinite foldings. Hands wander automatically along the hip into the side pockets. The gaze rambles to the crotch, where the material is inexplicitly bagging.

Constanze Schweiger The Pants Tent Pants 2008 corduroy

In Pretty, pretty, pretty good. Der zweite Salon des Arts Vienna May 2008 with David Jourdan, Melanie Ohnemus, Tanja Widmann

1794 unknown

2010-11-14T18:51:00.008+01:00

There was an old woman who lived in a shoe,

She had so many children, she didn't know what to do;

She gave them some broth without any bread,

She whipped them all soundly, and put them to bed.

Published in Joseph Ritson's Gammer Gurton's Garland 1794

2000 Hussein Chalayan

2010-11-10T02:09:00.003+01:00

Hussein Chalayan Afterwords Autumn Winter 2000

Chalayan's Afterwords Collection was inspired by the story of refugees and the idea of having to leave home in times of trouble. The transformation of furniture into dresses, carrying cases, and a skirt suggests the necessity of leaving one’s home in a hurry with nothing but the clothes on one’s back.

1978 Kraftwerk

2010-10-27T13:34:00.045+02:00

Mensch Maschine

Halb Wesen und halb Ding

Halb Wesen und halb Überding

Kraftwerk Die Mensch-Maschine 1978

Rot. Schwarz. Vier spitze Monturen. Sie spielen ernst. Aufgereiht wie Orgelpfeifen lehnen sie in lässiger Anmutung am Treppengeländer. Multiplizierte Herren. Jeder einzelne hat eine schwarze Frisur aufgesetzt, zurückgekämmte Haare, rasiert bis über den Ohransatz. Eine Art Rotte wie aus einem Stummfilm in neoterischer Pose aufgestellt. Die Lippen sind geschminkt, possierlich, förmlich, rot.

Red. Black. Four acute outfits. They play serious. Stringed along like organ pipes, they lean against the banister giving us a nonchalant impression. Multiplied gentlemen. Each one wears his jet black hairdo like a hat. Sort of a small troop like out of the silent movies striking a neoteric pose. Their lips are painted sweet, ceremonial, red.

1927 Oskar Schlemmer

2010-10-26T23:58:00.022+02:00

Oskar Schlemmer Triadisches Ballett 1927

As director of stage research and production at the Bauhaus Schlemmer created a provocative series of robotic ballets. Until he left the school in 1928 his art can be seen as a manifesto for a robot society, as it mocks the late-Romantic individualism of German painters and the political fantasy of machine communism in the wake of the Russian revolution.

1981 Jean-Paul Goude

2010-10-26T23:40:00.012+02:00

Jean-Paul Goude for Grace Jones I've seen that face before 1981

2003 Quilt Study Groups

2010-10-26T09:14:00.008+02:00

Cut-up - wie eine Seifenblase, die plötzlich zerplatzt und sich in nichts auflöst

2010-09-20T20:22:00.046+02:00

Auf einer Zusammenkunft Worte aus einem Hut ziehen, frei sprechend sie zu einem Gedicht zusammensetzen. Zeitungsausschnitte in einer Collage zu einem Bild neu anordnen. Zwei Texte mit gleichem Zeilenabstand falten und nebeneinanderlegen, an den abgebrochenen Stellen springen und dann alles in eine verzerrte Erzählung zusammenführen.

Ausdruck von Rebellion, Groteske, aus Lust an der Zerstörung, eine aussergewöhnliche Liaison mit den Dingen. Was übrig bleibt wirkt explosiv wie die Szene mit der Bananenschale, auf der der Protagonist ausrutscht. Angenommen solche Techniken könnten angewendet werden, um die wahre Bedeutung einer gegebenen vollständigen Form aufzudecken. Auf jeden Fall erinnern wir uns vorübergehend an uns selbst, während das Übrige seine Wirksamkeit verliert.

1976 erzählt William S. Burroughs in einer Vorlesung "When you experiment with cut-ups over a periode of time, you find that some of the cut-ups and rearranged texts seem to refer to future events. […] We had no explanaition for this but I was suggesting the press, when you cut into the present the future leaks out." ¹

¹ Origin and Theory of the Tape Cut-ups aus William S. Burroughs Breakthrough in the Grey Room 1980

1920 Buster Keaton

2010-09-10T23:40:00.003+02:00

Buster Keaton One Week 1920

House of the very island’s royal club division middlesex klassenkampf, but the question is: where are u, now? Infinite Prime Spring Summer 2009

1984 Jasper Johns

2010-09-02T20:54:00.013+02:00

The fragmented face

My experience of life is that it's very fragmented; certain kinds of things happen, and in another place, a different kind of thing occurs, I would like my work to have some vivid indication of those differences.

Jasper Johns 1984

1982 Geniale Dilletanten

2010-08-21T16:12:00.003+02:00

Wo darf man anfangen, wo darf man aufhören?

Ich lese alles, was interessant ist.

Ich kaufe nichts, was billig ist.

Ich trage nur, was modern ist.

Mir gefällt alles, was extravagant ist.

Ich

Mir

Jeder von den Herren.

Jeder von den Damen.

Jede von uns Damen.

Jede von den Frauen.

Jede von uns Frauen.

Jeder von unserer Firma.

From Wolfgang Müller (Hg.) Geniale Dilletanten Merve Verlag Berlin 1982

Patchwork - Füllstücke in einer hervorragenden Organisation versammelt

2010-08-21T13:18:00.022+02:00

Wie vorgefunden und an dieser Stelle gruppiert: eine Mauer aus singulären Steinen, ein Flickengewebe, Josephs Mantel, Coat of many colors, buntfleckiges Harlekinkostüm, die schotten-karierte Weste Redburns ...

Hierbei handelt es sich um demokratische Konstruktionen wie auch um Zeichen von Exklusivität.

As found and arranged at this point: a wall out of singular stones, a patchwork, Joseph's coat, coat of many colors, the multicolored costume of a harlequin, Redburn's waistcoat out of Scottish tartan ...

Thereby it is about democratic constructions as well as signs of exclusivity.

2010 Hermès

2010-08-21T00:54:00.002+02:00

J’aime mon Carré by Hermès

Launching this fall in collaboration with Colette, the collection comes in an assortment of patterns and designs that puts a spin on Hermès' typical signature silk scarf.

2007 Sissi Edholm and Lisa Ullenius

2010-08-14T13:59:00.019+02:00

Sissi Edholm and Lisa UlleniusSusanna (striped/multicolor) 2007 for Ikea

Chiara Minchio Bricks on Canvas 6 2010

Postcards from the Park quilt 2010

1850-1900 Pennsylvania

2010-08-04T13:07:00.027+02:00

Joseph's Coat quilt Pennsylvania 1896

Joseph's Coat quilt Pennsylvania 1893

Constanze Schweiger Holding Up Joseph's Coat in Seltener Stil Westphalie Hors Collection 2007

1993 Derek Jarman

2010-08-04T12:46:00.007+02:00

Schillerndes

Traurig sitzt das Chamäleon

vulkangesteingrau

auf seinem Felsen

am Himmel kein Blau

grau ist sein Mantel

und grau ist sein Herz

Grauauge Chamäleon

in tiefgrauem Schmerz.

Ein Regenbogen

kommt mit einer Bö

und dicke Tropfen

fallen aus der Höh'.

"Oh Regenbogen

bitte vertreib

Grau aus meinem Leben

Grau von meinem Leib."

Bö hort diesen Wunsch

und bläst sofort

Chamäleon hin

zum Regenbogenhort

wo auf dem Boden

unten im Sand

eine Perlmuttermuschel

es fand.

Opalgleicher Glanz

Mondsteinschimmer

Benzin auf Pfützen

Seifenblasen blitzen

Perlmutter, du entzückst mich immer.

From Derek Jarman Chroma. A Book of Colour - June'93 London 1994

Balloon party Michigan 2007

Picket Fence Michigan 1980

Comme des Garçons 2007

Victor Vasarely Tridem K 1968

This painting presents a three-dimensional illusion which confuses and attacks the vision. It consists of cellular structures, axonometric cubes, unassignable volumes, and an ambiguity of forms. The artist has successfully produced a feeling of movement using color changes, illusionary and unreal spaces created through this alternate mode of seeing.

Fortlaufend und noch ohne Titel

2010-07-29T22:20:00.022+02:00

Abends nach Hause kommen,

in den Aufzug steigen.

Die Türen schließen sich.

Im Ohr Stimmen, Klatschgeräusche, ein Klavier

"Hold on to what you got but don't let go."

Im Spiegel eine Stechmücke schweben sehen.

VIII

Am Campus in der Wiese liegen,

Zigarette rauchen,

den Kopf Richtung Wald drehen,

seine Grenze betrachten.

VII (D.G., Pittsburgh 1991)

In der Empfangshalle herumhängen,

warten

abgeholt zu werden.

Gemeinsam vorm Computer

einen Vergleich suchen,

sich einen Walfisch von innen vorstellen.

V (B.J.A., Los Angeles 1970)

Kleider auf einem Dach ausbreiten.

An einem sonnigen Tag aufs Land fahren.

Ein Pferd an einer Wiese stehen sehen,

es beobachten,

es zudecken.

III

Einen Sänger in einen weit auslaufenden Mantel stellen,

ihn singen lassen, mit tiefer Stimme,

einen Zipfel hochheben und drunter kriechen.

Sich zu zweit in einen übergrossen Sack setzen,

einige Platten spielen, immer lauter,

Zigaretten rauchen.

I (Y.O., New York, 1966)

Auf einer Leiter sitzen,

nach oben schaun

und etwas denken.

1943 Lindy Hop

2010-07-17T11:10:00.002+02:00

Leon James and Willa Mae Ricker

Dorothy Johnson and Tiny Bunch

Dorothy Johnson and Frankie Manning

Skee ba doobie do wah

2010-07-17T10:58:00.013+02:00

Skee ba doobie do wah

Do wap dee doo lah.

Put 'em together and

what have you got?

Shim me sha wabble

Do dab dee--dee

Didelie daddle.

But--skee bab dee boo

The thingmabob that

does the job is

Wabble dee luh--chicka

Skee dad lee boo.

Doobie do--woo

Bang--rang--wang. Booh!

Constanze Schweiger Skee ba doobie do wah Westphalie 2007

1915 Pablo Picasso

2010-06-28T15:26:00.004+02:00

I am going to give you a very good tip for the artillery. The artillery is still visible to airplanes, even like the cannons painted gray. They retain their form. They should be painted and daubed with vivid colors and in bits of red, yellow, green, blue, white, like a harlequin.

Pablo Picasso in one of his letters to Guillaume Apollinaire

Fom Kenji Kajiya The Aesthetics of Camouflage: The Art of a Military Design and its Transformation in Art 2001

Mountbatten Pink

2010-06-26T21:12:00.005+02:00

In Anlehnung an die lavendelgraufarbene Vorkriegsbootshaut entwirft Louis Mountbatten 1940 im Auftrag der Royal Navy ein Tarnpigment vom mittleren Grauwert 507B versetzt mit Venetian Red, einer Form von Eisenoxydrot. Auf offener See wechseln Licht und Wetter ständig; das Meer, der Himmel sind von uneinheitlicher Erscheinung. Weiters lässt sich beobachten, dass Unterseeboote bevorzugt in der Dämmerung torpedieren, dann wenn die Sonne unter dem Horizont steht und die Atmosphäre Rauschrot färbt. Mountbatten Pink taucht in diesem Licht erfolgreich unter, verhält sich hingegen zu Mittag auffällig neben dem konventionellen Battleship Grey.

Famous Rosarot

2010-06-26T20:59:00.004+02:00

1959 macht ein amerikanisches Uboot in der Blake Edwards Kriegskomödie Unternehmen Petticoat Karriere. Im Film wird bei einem japanischen Luftangriff die USS Balao SS-285 in der Rolle der USS Sea Tiger ernstlich getroffen. Im Zuge der Reparatur erhält das Unterseeboot einen improvisierten Schutzanstrich gemischt aus roten und weißen Farbresten. Noch bevor die graue Lackierung aufgetragen wird, muss die Sea Tiger in lächerlicher Montur auslaufen. Nach den Dreharbeiten, genauer 1963, versenkt die US-Marine die mittlerweile zum Trainingsboot klassifizierte rosa Balao als Ziel.

Wüstensandrosa

2010-06-26T20:36:00.004+02:00

Desert Sand Pink ist eine blassrote Farbe, die sich ein wenig ins Gelbliche neigt, samtartig, geschmeidig wie errötende Puddingkrem. Der ‚Pink Panther’, ein Wüstenpatrouillenfahrzeug des Special Air Service der Britischen Armee, ist mit einer verdichteten Version überzogen. Beobachtet wird der Farbton während des Zweiten Weltkriegs an einem Flugzeugwrack, das für viele Monate in der Wüste verschwunden liegt. Wind und Wüstensand haben die Lackierung des Fliegers bis auf seine hellrosa Grundierung abgeschliffen. Übrig geblieben ist ein Fleischton, staubiges Babyrosa, puderartig weich blendete es sich in das öde Setting.

Jagdorange

2010-06-26T20:32:00.008+02:00

RAL 2005 ist die Komplementärfarbe zum Blau des Himmels. Ihr Signalcharakter kommt in der Warnweste zum Ausdruck. Auf Gesellschaftsjagden tragen die Teilnehmer so ein Orange, um sich für einen anderen Schützen von Wald und Flur optisch abzuheben. Trotzdem tarnen sie sich immer noch erfolgreich, denn es ist bekannt, dass grüne Farbtöne vom Schalenwild vorrangig differenziert wahrgenommen werden. Für einen Damhirsch also fächert sich die Skala zwischen Olive Drab und Lodengrün in unvorstellbar viele Nuancen auf, wohingegen Knallgelb oder Leuchtorange für das Tier nicht wahrnehmbar wirken.

Pinques Rot

2010-06-26T20:02:00.004+02:00

Fuchsjagdteilnehmer tragen Farben. Die traditionelle Bekleidung der Jäger und Jagdmitarbeiter besteht, neben den Springstiefeln, weißen Reithosen, aus kräftig roten Gehröcken, auch Pinks oder Pinques genannt. In vornehmem Scharlach zeichnet sich die Hatz vom Feld ab. Röcke und Meute, die ganze Rotte stürmt auf direkter Fährte dem Rotfuchs hinterher.

Walking with Peter Selvier

2010-06-12T16:23:00.012+02:00

"In a way you could phrase it, colours do have appointments."

One of the things that always struck me is to look at the world in terms of color composition; e.g. you sit in a cafe, in front of you an orange brownish glas ashtray and a woman next to you with a seemingly identical color of hair. Wie verabredet. Fortune, by chance, making a connection, equal circumstances ...

Waterloo Bridge London May 1998

1930 Anni Albers

2010-05-28T19:05:00.002+02:00

Design for table cloth by Anni Albers 1930

I grow green

2010-05-26T22:48:00.012+02:00

Joan Baez and Mimi Fariña, Bread and Roses, performed at the Greek Theatre, U.C. Berkeley 1979

Galaxy 2 Galaxy, Metamorphosis, Galaxy 2 Galaxy, UR 1993

Steve Reich, Come Out, for tape (1966), Early Works, Nonesuch 1987

Underground Resistance, Mirage, Interstellar Fugitives, UR 1998

Golden Quartet, Atom and Evil (1947), Like an Atom Bomb: Apocalyptic Songs from the Cold War Era, Buzzola 2004

Autechre, Gelk, Peel Session 2, Warp 2000

Ernst Busch, Lenin, Lieder der Arbeiterklasse & Lieder aus dem Spanischen Bügerkrieg, Pläne 1989

Kraftwerk, Die Roboter, The Man-Machine, Toshiba EMI 1978

Curtis Mayfield, Love to the People, There's No Place Like America Today, Curtom 1975

Theo Parrish, Instant Insanity, Sound Signature 2001

KRS-One, Yes, Yes, Y'all, Strictly For Da Breakdancers, Front Page Entertainment 1995

Squarepusher, B-side, track 4

Robert Wyatt, Pigs... (In There) (1986), EPs, Domino 1999

D.J. Rush, Batman, D.J. Rush presents Knee Deep, Saber Records 1991

Leon Roach, Berlin on a Donkey, Ah Wanna Fall – Calypsos from Trinidad & Tobago, T&T Ent. 2001

Der Zyklus, Tonimpulstest, International Deejay Gigolo Records 1998

Devo, Whip It, Freedom Of Choice, Warner Bros. 1980

D.A.F, Mussolini, D.A.F, Virgin 1988

Talking Heads, I Zimbra, Fear Of Music, Sire 1979

Eartha Kitt, Uska Dara (A Turkish Tale), That Bad Eartha, RCA 1953

Gang of Four, To Hell with Poverty, Solid Gold, EMI 1981

Eduka, Nite Klubka

Bo Diddley, Mr. Krushev, The Story of Bo Diddley, Pye 1964

War, War Is Coming! War Is Coming!, Platinum Jazz, Avenue 1977

Gil Scott-Heron/Brian Jackson, The Bottle, Winter In America, Snapper 1974

Theo Parrish/Sun Ra, Saga of Resistance, Kindred Spirits 2002

Timmy Thomas, Why Can't We Live Together, Why can't we live together, Collectables Records 1974

Playlist for jirjirak Fluc Vienna August 2009

in collaboration with Heiner Stahl

1906 George Albert Smith

2010-05-22T16:04:00.012+02:00

George Albert Smith Tartans of Scottish Clans 1906

Stand fast

2010-05-22T03:39:00.010+02:00

Wahlsprüche schottischer Clans, ursprünglich Identität bildende Zeichen, werden in der Produktion für BLACK PAGES zu offenen Repräsentationen. Tapferkeit, Aufrichtigkeit, Stärke, Mut, Disziplin, Vorsicht, Aufmerksamkeit, Treue, Eifer und Liebe sind hier Eigenschaften, die in ihrer sozialen Funktion auf den Fortbestand einer Gruppe und in der Folge auf die Erhaltung eines patriarchalen Systems ausgerichtet sind. Beim Lesen der Publikation tauchen gleichermaßen bestimmte Erinnerungen und vertraute Gefühle sowie ein sonderbarer Impuls zu eigenen Interpretationen auf. Die gestaltenden Eingriffe verhalten sich merkwürdig, fortschreibend und wertfrei.

Mottoes of Scottish Clans, originally identity forming signs, become open representations in the production for BLACK PAGES. Braveness, honesty, strength, courage, discipline, cautiousness, advertence, faithfulness, zeal und love are in this case qualities, oriented in their social function towards the continuity of a group. Reading the publication, particular memories and familiar sensations emerge likewise as a peculiar/curious impulse for own interpretations. The formative interventions behave oddly, updating and value-free.

http://www.blackpages.at/

VBKÖ Vienna November 2009

2005 Bernhard Willhelm

2010-04-12T14:49:00.002+02:00

Bernhard Willhelm Spring Summer 2005

2010 Gerwald Rockenschaub

2010-04-12T14:28:00.001+02:00

Acute, Outright and Zealous

2010-04-10T20:29:00.006+02:00

For some time now I’m interested in a couple of cultural phenomenon revolving around, in short, fashion, art and social tie. Not only art like fashion may be discriminatory but both are also huge things to create communities.

As a painter, relating to the tradition of the relationship between the avant-garde and the vernacular (let’s say from Varvara Stepanova and Anni Albers to Daan Van Golden or Helmut Federle) my interest in fashion relies on textile design. It first appeared with the “Friends” series (2001), where portraits of friends were coupled with abstract paintings mimicking the individual's stylistic-palette. The qualities of the patterns in the paintings (recalling dress shirting stripes or gingham checks) imply signs of personal distinction which are determined by the outcome of social interactions and personal engagements.

More, it embodies the claim for the belonging to a specific community (based on ethnic, social, cultural, class, etc. characteristics). Scottish clans as an extremely tight-knit group fiercely proud of its particular woven wool tartan know that one. Corporate executives too.

Earlier this year I found in New York a book on the fabric collection of Susan Meller (the founder of the Design Library in New York). Once again, one can look at it as what it is: a very good compendium on textile design covering the past two centuries in Europe and the USA. But once, if you look at it as an art history book, it becomes another good story.

In fabric patterns, abstraction has been around forever and is an entirely comfortable presence. The textile designer knows that abstraction is inherently, shamelessly decorative.

A quick look at the installation, one is instantly obviously confronted with the impressive scale of the work on display and a quiet office working situation.

I’m bringing in an abstract pattern. In textile design it would be named a gingham check. Gingham checks are all-time favorites. Their origin, like of every plaid, is in the threads of the loom, the warp set up lengthwise, the woof or weft filling it in horizontally. Only print designers building on the tradition of woven plaids can make patterns into fantasies that the loom cannot manage. Through the use of monumental color fades, I am not only breaking the loom’s rule but the print designer’s one too, dedicated to work with the repetition of the same motif.

However, blown-up, the gingham check becomes a scenery and looses the reference to its origin. It is maximized.

I intend the stripes, their crossings and the variations on the colors to emphasize a synergic world, a collective identity build up on the sum of its constitutive parties, strongly connected, subtly merging, overlapping and confronting in dialogue… In short, a dream firm.

The decorative elements of which the original pattern is comprised of, become an abstract representation with an inherent formalistic quality. Perhaps it will spark some sense of familiarity, some cultural memory that may not have to be articulated in order to be effective. Or perhaps it will work as a blank slate for an interpretation of the viewer’s own. In either case it will work well.

Le Marais Paris October 2006