Bøger udgivet af Onomatopee

Exploring how design educators deploy the idea of the "radical"This book argues that, over the past 15 years, there has been a consistent deterioration of democracy in tandem with the establishment of the marketization and monetization of design education. Navigating difficult external political contexts in the middle of internal power struggles, college design courses seem to be incapable of challenging political, social, cultural and environmental phenomena with the urgency that all of these demand. Swallowed by an ever-rolling snowball of neoliberal educational models, small gestures do not produce the kind of radical change that design education and our catastrophic climate crisis needs for our survival. The fourth issue of Onomatopee's annual design criticism journal investigates the use of the word "radical" in design discourse and practice, exploring the challenges design universities face in responding with urgency to political, social, cultural and environmental struggles.This issue features essays by Danah Abdulla, Anne-Marie Willis, Tanveer Ahmed, Kenneth Fitzgerald, Anja Groten, Hannah Ellis and the research-led platform Depatriarchise Design.

Presenting the present day state of fashion technology, and a glimpse into a future where fashion and technology merge.Despite technological advances in new materials, design processes, artificial intelligence, 3D-printing, miniaturized electronics and design software, changes in the fashion industry and everyday apparel have not been as significant as we might expect. Should the fashion industry embrace any of these innovations, its system could change completely within only one or two seasons. This book shows what the future of fashion could look like, according to designers, scientists, industry professionals and theorists in the fashion tech field. It unites their different perspectives on the challenges and explores alternatives to the plentitude of discarded garments buried in landmasses. Unfolding Fashion Tech: Pioneers of Bright Futures offers a hopeful vista for the future of fashion, textiles and technology.A special timeline insert 1600_2020 places the pioneering Fashion Tech projects in the historical context of innovation.

In this fourth edition of Field Essays we explore the specific decolonial and tactile research approach in the work of Paris-based design-duo dach&zephir. Convinced of the symbolic act of transmission and the gestures objects convey they zoom into the historic making of identity.

Under the titles The Great Ephemeral Skin, Hadassah Emmerich (Heerlen, 1974) presents a new series of works whose central focus is the female body as object. Body and identity, the sensory and the sensual, the commodification of the erotic and the exotic: these are frequently recurring themes in Emmerich's work. The sensuality of her painting resides not only on the surface of the (erotic) image but also in her refined use of colour and technical execution.

We are fascinated by systems of manufacture for art and culture as opposed to the romantic notion of the artist laboring in solitude within their studio. By emphasizing values placed on the production and handling of artistic goods, we are presenting this work as a visual tribute to the creative process.'This publication sees Katrin Korfmann and Jens Pfeifer place the composition and materialisation of cultural identity in focus. This feat is achieved by capturing the production sites of artisans from across the globe. By taking a bird's-eye perspective, joined with anthropological interests, this series of photographs foretell the creativity that comes with human effort in the making, collecting and preserving of culture. Whether they are glassblowers, archaeologists, stonemasons or artists they're all members of the same guild. This is Back Stages: a series of twelve photographic works dedicated to the dynamic processes within the production of art and culture.

?A Cookbook of Invisible Writing', written and designed by Amy Wu, is an introduction to analog steganography, a type of secret writing that is hidden in plain sight. It is an invisible ink colouring book, recipe book, puzzle book and artistic research book. This book also serves as a starter pack to run workshops for those who are interested in alternative forms of communication. A Cookbook of Invisible Writing provides a wide variety of invisible ink recipes and other communication techniques that may be used to subvert surveillance, bypass censorship and make visible the struggles of minorities and other marginalised cultures. Additionally, it aims to inspire communities to develop their own new poetic and playful forms of communication as a way of nurturing social bonds.In the tradition of esoteric manuals published on secret writing, this cookbook also channels the spirit of everyday access and the easy distribution and sharing of practical knowledge. Following Della Porta's 1558 popular science book Natural Magic, one of the first major publications that detailed simple but diverse recipes of invisible inks for public consumption, this Cookbook aims to bring this obscure field to a wider audience. The publication includes a critical essay about the history of surveillance through a feminist and postcolonial lens. In the last Chapter is the artistic practice of the author and her body of work that aims to resuscitate analog techniques in light of surveilled and censored contexts.

Socialist Republic of Yugoslavia was a unique experiment with progressive social forms that were matched by specific urban and spatial development. Since the end of the 1960's until the country's disintegration in the 1990's is a period of ambiguity: while according to some researchers, the market-oriented economic reforms brought a much needed opening and liberalization, according to others it marked the beginning of an end of the revolutionary demand for equality. Thus, the anti-utopianism of the consumer welfare reflected in the rise of the middle class with its recognisable habits and taste. Following a specific architectural typology, this book delves into this period which brought along social and economic changes. It focuses on the sports and shopping centre Koteks Gripe in Split and similar architectural complexes in Sarajevo, Novi Sad, and Prishtina all designed by the Sarajevo based architect ?ivorad Jankovic and associates, gradually expanding towards broader considerations of the architectural practice, contention and coalescence within the Yugoslav modernist project.

Decoding Dictatorial Statues is a collection of images and texts revolving around the different ways we can look at statues in public space. How can we decode statues in terms of their object hood and materiality, their role as media icons and their voice in political debates?

This publication marks the launch of MODUS: a first step towards a network for expanded fashion practice. The central thread is a glossary of practices - a developing lexicon of habits, methods, rules, techniques, repetitions and actions - that together, points towards a shared manual for expanded practice. Into this glossary four essays are woven from academics and practitioners revealing questions and challenges as well as suggesting approaches or perspectives that expanded fashion practices might offer.

One-to-One refers to a working method in which items of clothing became large-sized printing tools, covered in black and blue ink. Each clothing item served as a stamp, and was simultaneously being stamped on, thus creating a chain reaction and making each clothing item an original and a copy. As such the project One-to-One offers new perspectives on reproduction - it allows us to look beyond the status conveyed by the label and see the actual, material properties of clothing.Bringing together contributions by Amelia Groom, Ruby Hoette, Joke Robaard, T'ai Smith and Hanka van der Voet this reader explores some of the project's core questions: What does it mean to copy in fashion? What if a garment could be both a copy and an original at the same time? What if reproduction and production are one and the same? This reader documents the process and outcomes of the One-to-One project as well as exploring the implications and possibilities of this unique working method in the broader context of the fashion system.

Both practical and critical, this book will guide you through the concepts underlying copyright and how they apply in your practice.How do you get copyright? For what work? And for how long? How does copyright move across mediums, and how can you go about integrating the work of others? Because they get copyright too! Copy this Book will detail the concepts of authorship and original creation that underlie our legal system. This way, it will equip you with the conceptual keys to participate in the debate on intellectual property today. This sharp and useful book shines a light on the rights of all artists to protect¿and share¿their work. Eric Schrijver has produced an essential guide for navigating the new Commons and the old laws of copyright control.

The center of the city is the place for meeting and consumption. It is where everyone goes, it's where our culture is consumed and lived. However, the offering there is limited, and not a lot is allowed. It's not everybody's space, but the space of the majority. Yet even for that majority, there is no free choice, so it is also place for the silent majority. Meanwhile, every human being wants an inclusive culture, with free offering and free access. Although our culture turns out not to be free, but forced. With this project we ask what could be on offer, and what perhaps ought to be? Many free-thinkers such as designers, philosophers, journalists, artists and others take space to explore this. In short: WE ARE THE MARKET! calls out to freedom in the capitalist commons, within the cultural production of the high street.

In this paperback, questions regarding how to navigate in the present are not raised to generate an answer, a method, or a map, but rather as framing principles analogous to those of a logbook. On a voyage, a ship's crew registers surroundings and important events in a manner such as this. The cargo contained within this edition is an assemblage of materials provided by over 60 practitioners from a variety of professions and personal backgrounds, and is therefore heterogeneous in terms of language, form, and content. The resulting narratives emerge across the pages in the trails left by individuals and collectives of human beings as they move, teach, learn and unlearn, traversing the various apparatuses that determine their agency. In this way, the term "navigation" is activated, implicitly and explicitly on myriad levels such as the biographical, historical, epistemological, technological, and the aesthetical.

Evil and care, feminism and mothernism, anti-culture and the underground, misanthropy and life all are seemingly opposite yet are continuously recurring as themes in the life and work of Norwegian artist Grete Neseblod. As well as being a visual artist and a mother of three, Grete is the owner of legendary metal record shop Neseblod Records. This book features texts and images of Grete's solo show at Onomatopee, documentation of early works, an interview with Grete by Vincent Koreman, and a text about art and motherhood by Lise Haller Baggesen.So much hate, I'm shaking my head, but please, it's only nosebleed.

In astrology, the movement of celestial bodies are believed to have an influence on the future development of life on earth. Throughout history, flyby comets and falling stars are believed to have brought respectively disaster or opportunity. In Radiant Matter, Dutch artist Marjolijn Dijkman (b. 1978) curated a brilliant selection of approporiated images that are united in their desire to analyse and reflect on the nature of scientific inquiry, the role of speculation, fiction, and spiritualism throughout time. With the texts by Ken Hollings, Maarten vanden eynde, and Raqs Media Collective, and an artists conversation with independent curator Kris Dittel, flowing through Dijkmans poetic edit of imagesa challenging look into the unknown takes shape and meaning. An exciting catalog released just before celebrating the 50th anniversary of first moon walk in 2019!

The Standard Book of Noun-Verb Exhibition Grammar is a partial compendium of the different modes of being that inhabit exhibitions. These different modes of being, often placed outside the realm of art objects proper, are described and activated here as crucial players in the world of contemporary art. Maximizing a poetic resourcefulness, this book proposes the exhibition as an ecology full of things that are infinitely more dimensional than their ascribed functionality would lead us to believe, and creates a space where species meet, where ontological and epistemological registers clash, overlap, and contaminate each other, where the living and inert, organic and inorganic exchange properties, qualities, and performances. Ultimately this book aims to show that what revolves around, within, and beyond any given system resolves to be just as serious and important as what that system aims to convey. The exhibition and catalog are curated by The Office for Curating, a generic name for a curatorial practice and an agency, established in 2012 by niekolaas Johannes Lekkerkerk, working in Rotterdam.

The Ghost of Weaving explores the visual poetry that is released within the woven patterns ambivalence between fixation by rule and the dynamics of life, and on the fracture of materialistic realism and the limits of the power that we hold in our hands. The project and final book asks, As productive mastery is channelled through ever more abstract processes, digital tools, and semi-finished particles, have we begun to lose touch with the fundamentals of the pattern produced? With this delightfully creative and multi- dimensional artist book, sectioned into multiple books and Chinese foldouts, we take a step back into the mastery of patterns in craft. We will balance this by looking back into the history of ideas involving patterns as visual motives to culture, and dive into our experiences of them. Contributing artists and designers are elisa van Joolen, esther Stocker, Hansje van Halem, Tracy Widdess, Har Sanders, Koen Taselaar, Maria Hedlund, Sigrid Calon, and Timon van de Hijden.

Exploring the impact of the contemporary value-ornament on today's makersAlongside the literal form of ornament a contemporary form has emerged, which shares the ascribed characteristics of the literal ornament, but has an even more pervasive effect. This ornament, that takes the shape of (commercially) constructed values and relates to branding, storytelling and the experience economy, plays a key role in the understanding of fashion today. Interwoven in design practices this value-ornament has gained a dominant position in today's consumer society. By considering the layered character, the evolution of ornament and reflections on this from various sources and contexts ranging from Adolf Loos to Michel de Certeau, this text focuses on the impact of the contemporary value-ornament on today's makers and users revealing potential for future alternatives.

Because feminism has suddenly become a fashionable commodity, were in desperate need of a more inclusive and varied reflection on contemporary girlhood, cross-cultural feminism, and the relationship between gender, politics, and philosophy. Sense and Sensibility wishes to explore oppositions and contradictions between objects and subjects, between gender identities, and between theory and visual modes of culture here and now. A book that works as part reader and part exhibition document presents the thought processes of four female artists points of view. It features a collection of autonomous work, research outcomes, reflections, essays, interviews, columns, letters, and notes on contemporary feminism by a variety of artists and academics, writers, rioteers, curators and journalists. Artists included are Mandy Roos, Gabriel Ann Maher, Olle Lundin, Janina frye, Roberto Perez de Gayo and Carly Rose Bedford. With essays by nina Power, Charlotte van Buylaere, Alicja Melzacka, Aynouk Tan, Barbara Bolt, ece Canl?, and Luiza Prado de O. Martins.

The conceptual / internet based artist, Jim Rickss synchronic sequence of popular images or objects rests, on opportunities to visually connect politics and/or aesthetics and/or history and/or philosophy together. In Rickss world images explode, reloading their meaning and impact by mere association; a smiling pineapple ends up inside a hand grenade, the hand grenade ends up in the hand of the young boy in the iconic Diane Arbus photograph which leads into a conversation about photography. This dance of culturally charged imagery does not stop until the last page of the book. far from a traditional exhibition, document Alien Invader branches out to be all forms a book can be. It includes collaborations, footnotes as inserts and explorations in print along with a sticker, newspaper, leaflet, cook book, coloring, bookmark, and a book within the book with a text by art and design critic Max Bruinsma, describing the Synchromaterialist approach. Its a riot of infomration! Ricks is American born but now lives in Ireland. He has a devout following constantly tracking both his public installations and voluminous web postings.

Tracy Mackenna & Edwin Janssen are interested in the relationship between conflict, looking and art. In War as Ever!, through visual reflection on images of war and violence they investigated the relationship between seventeenth century visual representations and the contemporary role of the media in the representation of war and violence.War is of all times, so war is now. By making us aware of war and its consequences, and by undermining representations of war, can artists play a role in preventing and ending wars? How can artists make works that relate to war in productive ways? How can the museums and archives that conserve and interpret our memories of war develop their role to mediate for art? The Van Kittensteyn album, a collection of more than 500 prints and drawings dating from 1613 whose subject is the Eighty Years¿ Dutch-Spanish War of 1568¿1648, served as a starting point. The album, currently part in the collection of the Atlas van Stolk (Museum Rotterdam), was compiled by Willem Luytsz van Kittensteyn of Delft and portrays in bloody reportage the lengthy series of battles; sieges, executions and plundering that dominated the Dutch war of independence against the Spanish. The slide projection WAR AS EVER!: Eighty Years and One Day, also shown at Onomatopee, is made up of a selection of prints from the Van Kittensteyn album and newspaper excerpts reporting the Iraq war on April 1st 2003, the day Tracy and Edwin¿s daughter was born. The full exhibition project as shown at the Nederlands Fotomuseum consisted of a double screen slide projection, performative actions, text posters, photographs, educational activities and a conference. The posters included here and designed by the artists, show a series of quotes from Susan Sontag¿s book ¿Regarding the Pain of Others¿. The images recorded in the WAR AS EVER! publication are complemented by texts by Nederlands Fotomuseum Head of Exhibitions Frits Gierstberg and Lina van der Wolde, Director of the Atlas van Stolk.Artists: Tracy Mackenna & Edwin JanssenCurators: Frits Giertsberg (Nederlands Fotomuseum) and Freek Lomme (Onomatopee)Graphic design publication: Stout/KramerTexts: Lina van der Wolde, Frits Gierstberg and Tracy Mackenna & Edwin JanssenTraslations: Charles Welling and Don MaderMade possible thanks to the generous support of The Carnegie Trust for The Universities of Scotland, Duncan of Jordanstone College of Art and Design, University of Dundee, Municipality of Eindhoven, Mondriaan fund, Stichting Begunstigers Atlas van Stolk and Nederlands Fotomuseum.