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bspoquemagazine · 2 months

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Diese woche im Hau: Love is a Verb.

Liebes Publikum, was wäre, wenn das Lieben ein allgemeines Wohlwollen gegenüber anderen Menschen, Lebewesen, dem Planeten und sich selbst beschreiben würde, sowie die Bereitschaft, gemeinsam mit ihnen zu wachsen? Mit dem Festival “Love is a Verb”, das noch bis Sonntag läuft, denken wir das Lieben durchlässig und in der Dynamik des Tuns. Denn dem Lieben als Handlung wohnt politische Kraft…

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fashioneditswebsite · 3 months

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7 things you might have missed at Paris Fashion Week

French style isn't always understated. There was a lot of rain and color at Paris Fashion Week, and even some surprises, including replicas. Here are some of the highlights you may have missed from the week… Sprinkles of rain at Hermès It rained outside the Hermès show at the Garde Républicaine in Paris, but this worked perfectly for creative director Nadège Vanhee-Cybulski, who also brought rain inside the venue. As models walked the runway in riding and ankle-length boots, wearing variations of soft earth tones, including red, brown, grey, and nude tailored coats and skin-tight leather dresses with glossy finishes, an elaborate sprinkler system sprayed them with raindrops. Some garments were even finished with fur, studs, and buckles, proving they were water-resistant. Chloé and Alexander McQueen debut new creative directors. Nothing leaves fashion audiences at the edge of their seats more than when a new creative director makes their debut – especially at a reputable luxury design house. During PFW, a former JW Anderson employee, Dublin-born Sean McGirr, took over from his predecessor Sarah Burton, who made her departure from Alexander McQueen after 20 years. For his debut collection, McGirr gave a nod to McQueen's 1995 spring/summer collection, "The Birds," most evidently in the show's first look. A model was wrapped in a compressed black latex midi dress that almost looked like clingfilm, paired with black heeled boots. Chemena Kamali—an alumna of Saint Laurent—made her creative director debut for Chloé with a collection inspired by the bohemian aesthetics of the 1970s. The collection included blouses with frills, wool capes, faux fur, and trousers with subtle flares. Famous faces walk the runway. Sam Smith appeared surprisedly at Andreas Kronthaler's experimental Vivienne Westwood show on Saturday and walked the runway twice. He first wore a draped tartan knicker creation with a plaid cape, platform-heeled boots, a tartan hat, and a wooden staff. The English singer-songwriter came out in a black shredded gown, which paid homage to Renaissance artist Giovanni Battista Moroni, whose work inspired the collection. A jersey isn't the first thing you would expect to see at PFW. Still, Argentine model Georgina Rodriguez, also the girlfriend of Portuguese football star Cristiano Ronaldo, graced the runway for the Swiss fashion label Vetements. Rodriguez wore a red jersey maxi dress, where the top half resembled Ronaldo's signed football jersey. Schiaparelli brought surrealism to life Since 1927, Maison Schiaparelli has been known for its whimsical designs and for bringing surrealism to life, and their PFW ready-to-wear collection show at the Hôtel de Boisgelin – which was masterminded by creative director Daniel Roseberry – was no different. Canadian model Shalom Harlow opened the show in a structured boxy black blazer with a measuring tape embroidery down the plunging neckline. Another model, also wearing a suit, paired it with a tie made from plaited hair. All black everything at Valentino Valentino stood out and turned its back on the hot pink shade it has incorporated into its designs over the last couple of years. In an entirely black collection called Le Noir – in comparison to the many colors seen across various shows – the Italian fashion house saw its creative director, Pierpaolo Piccioli, take a risk and prove that the color black also represents "an entire spectrum of shades, infinitely nuanced, within one," the brand wrote on X, formerly Twitter. The collection included shift dresses with furred hems, flowing and a-line gowns, balloon sleeves, black accessories, shoulder bags, and dark makeup. Former American tennis player Serena Williams was in attendance, along with Bridgeton's Simone Ashley and model and beauty founder Rosie Huntington-Whiteley. Kate Moss doppelganger at Marine Serre View this post on Instagram A post shared by Nikita Vlassenko (@nikitavlk) People were unsure whether they spotted Kate Moss walking across the runway at the Marine Serre show. But it wasn't her—it was her doppelganger, Denise Ohnona. She wore an oversized black leather jacket and matching over-the-knee boots, which featured the brand's classic crescent moon-shaped logo. She paired them with a white shirt, a shoulder handbag, and a gold-chained handle. Coffee cups, vegetable baskets, shopping bags, and a mother carrying a baby were all spotted. They pulled the audience into an ambiguous marketplace at a former railway shed in Paris called Ground Control. It fostered a sense of intimacy and community with chic clothes in which you could probably run errands alongside grand designs such as a black dress with built-in wings. Winnie Harlow also walked the runway and wore a ruched black spaghetti-sleeved dress and tights with the crescent logo in red. Fashion drama at Mugler It's safe to say Mugler's creative director, Casey Cadwallader, put on a grand and superfluous show at PFW. The French fashion house used silhouettes and vignettes and dropped curtains from center stage to progressively unveil the new collection, which included slinky dresses, sheer corsets, molded leather, and garments that looked like they were melting off the models' bodies. There were also asymmetrical skirts, belt buckles, and printed pieces – designed in partnership with Canadian surrealist painter Ambera Wellmann. Brooklyn Beckham and Nicola Peltz sat next to Alexander Edwards and Tyga. Julia Fox, who wore a sheer feathered salmon dress with ethereal glitter makeup, sat next to Emma Chamberlain and Lisa Rinna. Models sauntered across a darkened room, with spotlights illuminating the slinky collection, as they stepped through dry ice to reach the media pit, where they posed for flashing lights. Louis Vuitton goes big. To mark ten years since his first collection for Louis Vuitton, Nicolas Ghesquière turned their autumn/winter show into a massive celebration, with almost 4,000 people in attendance. With the help of visual artist Philippe Parreno and producer-designer James Chinlund, Ghesquière blended fashion and art while turning the Louvre's Cour Carrée into a futuristic greenhouse. The greenhouse also included 13 large chandeliers that resembled a data and electrical supply system. The star-studded audience included Kelly Rowland, Phoebe Dynevor, and Emma Stone, who watched as models walked the runway in dresses with the fashion brand's classic logo all over them and long, sheer evening wear that gave a nod to the collection's classic futurism. They also wore sportswear-inspired white coats, oversized fur coats, playful sequins, metallic gold suits, and textured blouses. By By Yolanthe Fawehinmi and Prudence Wade, PA Read the full article

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amphtaminedreams · 2 years

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The Best of the Runway with a Guilty Side of Pre-fall, from A-Z: RTW Fall/Winter 2022 (Part 3)

-GCDS RTW, creative dir. Giuliano Calza-

-Giambattista Valli RTW, creative dir.”-

-Givenchy RTW, creative dir. Matthew M. Williams-

-Gucci RTW, creative dir. Alessandro Michele-

-Halpern RTW, creative dir. Michael Halpern-

-Helmut Lang RTW, creative dir. Thomas Cawson-

-Hermes RTW, creative dir. Nadège Vanhee-Cybulski-

-Heron Preston RTW, creative dir.”-

-Isabel Marant RTW, creative dir. Kim Bekker-

-Issey Miyake RTW, creative dir. Satoshi Kondo-

-Jacquemus RTW, creative dir. Simon Porte Jacquemus-

-Jil Sander RTW, creative dir(s). Luke and Lucie Meier-

-Johanna Ortiz RTW, creative dir.”-

-Jonathan Simkhai RTW, creative dir.“-

-Khaite RTW, creative dir. Catherine Holstein-

-Kim Shui RTW, creative dir.”-

-Knwls, creative dir. Charlotte Knowles-

-Lanvin RTW, creative dir. Bruno Sialelli-

-Laquan Smith RTW, creative dir.”-

-Lemaire RTW, creative dir(s). Christophe Lemaire & Sarah-Linh Tran-

-Loewe RTW, creative dir. Jonathan Anderson-

-Louis Shengtao Chen RTW, creative dir.”-

-Louis Vuitton RTW, creative dir. Nicolas Ghesquière-

-Maggie Marilyn RTW, creative dir. Maggie Hewitt-

-Marine Serre RTW, creative dir.”-

-Mark Fast RTW, creative dir.”-

-Marni RTW, creative dir. Francesco Risso-

-Marques Almeida RTW, creative dir(s). Marta marques & Paulo Almeida-

-Maryam Nassir Zadeh RTW, creative dir.”-

-Max Mara RTW, creative dir. Ian Griffiths-

-Michael Kors RTW, creative dir.”-

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roseclothes · 4 months

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Hermès SS24

From Sarah Mower's review for Vogue:

Nadège Vanhee never needs to expend a moment’s worry over whether Hermès fits into the ‘quiet luxury’ conversation—it’s the indubitable home of it. For spring, her collection was exactly that: discreet but extreme luxury Hermès dressing expressed in top-to-toenail tonal colors.

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theaterformen-blog · 7 years

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“I’m losing myself. And this creates something sad and beautiful at the same time” Interview with SARAH VANHEE (OBLIVION)

Sarah Vanhee, born 1980 is an author and performer from Flanders and cofounder of the artists network Manyone. In her work she often turns to people and themes that are omitted by society. An interview about losing control, the importance of excess and plastic cups.

Marvin Dreiwes: Have you selected the waste for OBLIVION in a certain way?

Sarah Vanhee: When I started to work on OBLIVION, I didn’t know, that I was going to collect everything. I wanted to work on ways with which we get rid of things. And this counts for both material and immaterial things like relations, affects, emotions or memories. I didn’t want to make an archive. There’s a difference between keeping waste and documenting everything you do. I constantly had to fool myself to be able to produce things that I consider as waste. So, it was more about this relation to the so-called “waste” than about the objects themselves. So, I tried to keep everything but the material objects are the easiest part of this process because you directly find yourself in the act of throwing something away. For the immaterial aspects it was more complicated. It’s not always clear: what was there in the beginning and what was I going to throw away? For instance the first text being said in OBLIVION is a dropped script from when I planed to make a film about the project.

MD: Did the objects change in a certain way for you over the course of the preparation?

SV: We all get really trained to consume something and then rapidly devaluated it. In his book An Ontology of Trash Greg Kennedy gives the example of a plastic cup from a water dispenser. You take a cup, drink you’re water and then you throw it away. He wonders what happens in this precise act, that something has value for you and two seconds later it doesn’t. I tried to inverse this act. So I focus on the act of reinvestment, revaluating and caring about things that I tend to discard. After that one year I had built a very personal and intimate relation to all the objects and found it very difficult to throw things away. If you do start this, you see how easily you dismiss something because we have this idea of lightness and progress. Even the art-world is conditioned by this paradigm of choice. A “good“ artwork is a distinct choice, its clear-cut and when you see it on stage, you don’t see the web of relations and difficulties behind.

MD: How would you describe your feelings directly after a performance?

SV: The nice thing about this performance is that it’s just too much. And this counts for the audience as well as for me. The landscape of the trash grows and I literally become smaller and smaller. So there is something of lost or dissolving. When I’m performing OBLIVION I’m actually losing myself. And this creates something sad and beautiful at the same time. Besides I’m constantly bending over the objects. This act of bowing feels almost like being in service to the objects. It’s very humbling and breaks the anthropocentric view.

MD: How did OBLIVION change your way of thinking about the function of memory, oblivion and forgiveness?

SV: Our societies are really conditioned to not go back in time, to only go forward, which results in not dealing with their past. The colonial history of Belgium for instance has almost been denied. There is definitely a kind of suppression about what happens in the past. On a more personal level I’m very inspired by indigenes nations, where the relations to the ancestors, the land and to the stories is very important. Where do you come from? What’s the land you come from? This all has disappeared. To become a more grounded society we should look back at our past.

MD: If objects help us to tell and memorize our biographies, did you feel you like losing control during the preparation for OBLIVION? Did you ever feel overwhelmed?

SV: I felt really overwhelmed, because it’s too much. That’s the problem with the trash: we create just too much. And that’s why we have to push it away and burden other people in other parts of the world. Persons who cannot forget anything are always stuck, they cannot move on because they cannot forgive. At some point I realize that I’m constantly producing things in my mind, in conversations, even if I just walk through the city I leave traces behind. At some point my awareness of everything being something valuable was so huge, that couldn’t move anymore.

MD: I feel happy and relieved after throwing something away. What do you think about this feeling of freeing yourself from ballast?

SV: In the end of the piece we use dance music and this came more from the idea of waste as excess, the pleasure of excess, of plentifulness. I didn’t want OBLIVION to be about waste as something morally reprehensible, because we’re a little bit indoctrinated by these ecological dogmas—which is very suspicious. Jean Baudrillard said something beautiful about this feeling, when he writes about some annual celebrations of excess that are related to the seasons. For example after the harvest there used to be great feasts over a couple of days, where you could waste and feel pleasure in spoiling things, eating too much or vomiting. Here we really find this Dionysian aspect. With the rise of consumer-society were not able to experience this pleasure of wasting anymore. We go to the supermarket everyday and it’s offering is plain too much. I think there could be something beautiful in reclaiming some rituals of wasting.

__ Interview und Fotos: Marvin Dreiwes

#sarah vanhee #interview #performance #theaterformen17 #theaterformen #theater #festival #theaterfestival #waste #trash #memory #excess #jean baudrillard #stageblogger #Marvin Dreiwes #ballhof

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mous-tik · 6 years

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#théâtre #zerowaste #pleineconscience #performance #oblivion #arts #culture #artiste #scène #déchets #sarah vanhee

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one-divides-into-two · 5 years

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vimeo

Sarah Vanhee, The Making of Justice

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clubtravail · 3 years

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Après une longue période de recherche théorique et de terrain, le nouveau projet de Sarah Vanhee, Bodies of Knowledge (BOK), qu’elle mène de front avec ses collègues Flore Herman et Nadia Mharzi et en collaboration avec de nombreux·ses acteur·rice·s locaux·les, prendra place à l’intérieur d’une tente nomade qui sera installée les prochains mois dans différents quartiers de Bruxelles, annonçant « this is a place for learning together ». BOK s’attache à l’idée que les circonstances dans lesquelles on partage les savoirs sont aussi importantes que le contenu-même des savoirs qui s’échangent. Sarah Vanhnee fait partie de ces artistes bruxelloises qui questionnent sans cesse le rapport à la domination (patriarcale, coloniale et autres) qui se niche dans chaque mot, relation, situation, qu’elle apparaisse dans un contexte quotidien, artistique ou pédagogique. Elle se/nous demande: “comment nous parlons-nous? comment partageons-nous nos idées, nos connaissances ?” Et puisqu’elle nous invite sans cesse à nous emparer de ses réflexions, en ces temps incertains où nous marchons sur des œufs cassés que nous ne sentons plus car un virus invisible nous a coupé l’odorat et le toucher, je nous invite à prendre les projets que Sarah Vanhee mène depuis 2007 comme des signes psycho-anarcho-magiques en esquissant un horoscope de la saison à venir, comme si une stagiaire en formation chez Rob Brezsny contemplait les états du spectacle vivant pour déboussoler le futur.

(....)

la suite sur le site d’Alternatives Théâtrales

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gabetex · 5 years

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Fashion I Need from the Fall 2019 Collections

#Fashion I Need from the #Fall2019 Collections

The 2nd Skin Co. – Vogue Online – Francesc Ten

Escada – Niall Sloan – Vogue Online

Chanel – Karl Lagerfeld – Virginie Viard – Vogue Online – Alessandro Lucioni

Hermès – Nadège Vanhee-Cybulski – Vogue Online – Filippo Fior

Alexander McQueen – Sarah Burton – Vogue Online

Alexander McQueen – Sarah Burton – Vogue Online – Filippo Fior

Paco Rabanne – Julien Dossena – Vogue Online – Alessandro…

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sabotagecom · 5 years

Photo

ONE - Der Konterfei LI - LXVIII Box Set

Strong limited Set of 10 boxes contains a series of playable sound--picture-postcards 51-67 of the publishing house DER KONTERFEI 2019. In collaboration with the vinylograph and students from various universities the book series were extented with "One", a series of playable sound-picture postcards, where a question is addressed to a person and the answer becomes audible. Subject and theme of the project ONE were relevance and reduction of questions, the selection of the physical counterpart, as well as the carrier medium, in this case an audible sound picture postcard. Over a period of three months, students have each chosen a person of public interest and asked them a specific question. The recorded response was cut on a sound picture postcard at Vinylograph. The required player is a conventional turntable and the sound picture postcard can be sent regularly by mail. With audio contributions by Katharina Sophie Krump – BÉLA TARR, Laura Farmwald – ANNA WITT, Sedef Kucukandac – SARAH VANHEE, Jannik Rapp – CHRISTIAN FENNESZ, Kristin Wadlig – TOSHIKI OKADA, Alexander Garber – MARIANO PENSOTTI, Daniela Nutu – AZADE SHAHMIRI, Kimberly Wächter – PAUL PIZZERA, C. Deniz Tokluoglu – MARKUS ÖHRN, Felix Höhne, Noa Schaub – MONIRA AL QADIRI, Hannah Mucha – METTE EDVARDSEN, Katharina Lehr-Splawinski – ROMEO CASTELLUCCI, Marija Vrdoljak – MARINO FORMENTI, Nairi Summhammer – RÉNE POLLESCH, Noa Schaub – SIBYLLE BERG, Robert Jelinek - NATASCHA MUHIC, Natascha Muhic - ROBERT JELINEK. DER KONTERFEI 068 / ISBN 978-3-903043-58-9 / Release Date June 2019

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fashioneditswebsite · 3 months

Text

7 things you might have missed at Paris Fashion Week

French style isn't always understated. There was a lot of rain and color at Paris Fashion Week, and even some surprises, including replicas. Here are some of the highlights you may have missed from the week… Sprinkles of rain at Hermès It rained outside the Hermès show at the Garde Républicaine in Paris, but this worked perfectly for creative director Nadège Vanhee-Cybulski, who also brought rain inside the venue. As models walked the runway in riding and ankle-length boots, wearing variations of soft earth tones, including red, brown, grey, and nude tailored coats and skin-tight leather dresses with glossy finishes, an elaborate sprinkler system sprayed them with raindrops. Some garments were even finished with fur, studs, and buckles, proving they were water-resistant. Chloé and Alexander McQueen debut new creative directors. Nothing leaves fashion audiences at the edge of their seats more than when a new creative director makes their debut – especially at a reputable luxury design house. During PFW, a former JW Anderson employee, Dublin-born Sean McGirr, took over from his predecessor Sarah Burton, who made her departure from Alexander McQueen after 20 years. For his debut collection, McGirr gave a nod to McQueen's 1995 spring/summer collection, "The Birds," most evidently in the show's first look. A model was wrapped in a compressed black latex midi dress that almost looked like clingfilm, paired with black heeled boots. Chemena Kamali—an alumna of Saint Laurent—made her creative director debut for Chloé with a collection inspired by the bohemian aesthetics of the 1970s. The collection included blouses with frills, wool capes, faux fur, and trousers with subtle flares. Famous faces walk the runway. Sam Smith appeared surprisedly at Andreas Kronthaler's experimental Vivienne Westwood show on Saturday and walked the runway twice. He first wore a draped tartan knicker creation with a plaid cape, platform-heeled boots, a tartan hat, and a wooden staff. The English singer-songwriter came out in a black shredded gown, which paid homage to Renaissance artist Giovanni Battista Moroni, whose work inspired the collection. A jersey isn't the first thing you would expect to see at PFW. Still, Argentine model Georgina Rodriguez, also the girlfriend of Portuguese football star Cristiano Ronaldo, graced the runway for the Swiss fashion label Vetements. Rodriguez wore a red jersey maxi dress, where the top half resembled Ronaldo's signed football jersey. Schiaparelli brought surrealism to life Since 1927, Maison Schiaparelli has been known for its whimsical designs and for bringing surrealism to life, and their PFW ready-to-wear collection show at the Hôtel de Boisgelin – which was masterminded by creative director Daniel Roseberry – was no different. Canadian model Shalom Harlow opened the show in a structured boxy black blazer with a measuring tape embroidery down the plunging neckline. Another model, also wearing a suit, paired it with a tie made from plaited hair. All black everything at Valentino Valentino stood out and turned its back on the hot pink shade it has incorporated into its designs over the last couple of years. In an entirely black collection called Le Noir – in comparison to the many colors seen across various shows – the Italian fashion house saw its creative director, Pierpaolo Piccioli, take a risk and prove that the color black also represents "an entire spectrum of shades, infinitely nuanced, within one," the brand wrote on X, formerly Twitter. The collection included shift dresses with furred hems, flowing and a-line gowns, balloon sleeves, black accessories, shoulder bags, and dark makeup. Former American tennis player Serena Williams was in attendance, along with Bridgeton's Simone Ashley and model and beauty founder Rosie Huntington-Whiteley. Kate Moss doppelganger at Marine Serre View this post on Instagram A post shared by Nikita Vlassenko (@nikitavlk) People were unsure whether they spotted Kate Moss walking across the runway at the Marine Serre show. But it wasn't her—it was her doppelganger, Denise Ohnona. She wore an oversized black leather jacket and matching over-the-knee boots, which featured the brand's classic crescent moon-shaped logo. She paired them with a white shirt, a shoulder handbag, and a gold-chained handle. Coffee cups, vegetable baskets, shopping bags, and a mother carrying a baby were all spotted. They pulled the audience into an ambiguous marketplace at a former railway shed in Paris called Ground Control. It fostered a sense of intimacy and community with chic clothes in which you could probably run errands alongside grand designs such as a black dress with built-in wings. Winnie Harlow also walked the runway and wore a ruched black spaghetti-sleeved dress and tights with the crescent logo in red. Fashion drama at Mugler It's safe to say Mugler's creative director, Casey Cadwallader, put on a grand and superfluous show at PFW. The French fashion house used silhouettes and vignettes and dropped curtains from center stage to progressively unveil the new collection, which included slinky dresses, sheer corsets, molded leather, and garments that looked like they were melting off the models' bodies. There were also asymmetrical skirts, belt buckles, and printed pieces – designed in partnership with Canadian surrealist painter Ambera Wellmann. Brooklyn Beckham and Nicola Peltz sat next to Alexander Edwards and Tyga. Julia Fox, who wore a sheer feathered salmon dress with ethereal glitter makeup, sat next to Emma Chamberlain and Lisa Rinna. Models sauntered across a darkened room, with spotlights illuminating the slinky collection, as they stepped through dry ice to reach the media pit, where they posed for flashing lights. Louis Vuitton goes big. To mark ten years since his first collection for Louis Vuitton, Nicolas Ghesquière turned their autumn/winter show into a massive celebration, with almost 4,000 people in attendance. With the help of visual artist Philippe Parreno and producer-designer James Chinlund, Ghesquière blended fashion and art while turning the Louvre's Cour Carrée into a futuristic greenhouse. The greenhouse also included 13 large chandeliers that resembled a data and electrical supply system. The star-studded audience included Kelly Rowland, Phoebe Dynevor, and Emma Stone, who watched as models walked the runway in dresses with the fashion brand's classic logo all over them and long, sheer evening wear that gave a nod to the collection's classic futurism. They also wore sportswear-inspired white coats, oversized fur coats, playful sequins, metallic gold suits, and textured blouses. By By Yolanthe Fawehinmi and Prudence Wade, PA Read the full article

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derkonterfei · 5 years

Photo

ONE - Der Konterfei LI - LXVIII Box Set

Strong limited Set of 10 boxes contains a series of playable sound--picture-postcards 51-67 of the publishing house DER KONTERFEI 2019. In collaboration with the vinylograph and students from various universities the book series were extented with "One", a series of playable sound-picture postcards, where a question is addressed to a person and the answer becomes audible. Subject and theme of the project ONE were relevance and reduction of questions, the selection of the physical counterpart, as well as the carrier medium, in this case an audible sound picture postcard. Over a period of three months, students have each chosen a person of public interest and asked them a specific question. The recorded response was cut on a sound picture postcard at Vinylograph. The required player is a conventional turntable and the sound picture postcard can be sent regularly by mail. With audio contributions by Katharina Sophie Krump – BÉLA TARR, Laura Farmwald – ANNA WITT, Sedef Kucukandac – SARAH VANHEE, Jannik Rapp – CHRISTIAN FENNESZ, Kristin Wadlig – TOSHIKI OKADA, Alexander Garber – MARIANO PENSOTTI, Daniela Nutu – AZADE SHAHMIRI, Kimberly Wächter – PAUL PIZZERA, C. Deniz Tokluoglu – MARKUS ÖHRN, Felix Höhne, Noa Schaub – MONIRA AL QADIRI, Hannah Mucha – METTE EDVARDSEN, Katharina Lehr-Splawinski – ROMEO CASTELLUCCI, Marija Vrdoljak – MARINO FORMENTI, Nairi Summhammer – RÉNE POLLESCH, Noa Schaub – SIBYLLE BERG, Robert Jelinek - NATASCHA MUHIC, Natascha Muhic - ROBERT JELINEK. DER KONTERFEI 068 / ISBN 978-3-903043-58-9 / Release Date June 2019

Go to Webshop: www.derkonterfei.com

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roseclothes · 1 year

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Hermes FW23

From Sarah Mower's review for Vogue

It gave her a kind of reference framework for various techniques. It was picked up in the braid on the front of a sweater, the detail of chunky scarves which were thrown over the backs of jackets and fastened with chrome bands, the rippling waves embedded in an intarsia shearling coat.

All eyes were riveted by the square-toed over-the-knee suede boots which went with everything, in every shade, from the beginning to the silky plissé beaded dresses at the end. The heels, made in the elegantly tapered shape of inverted horse-shoe nails, were an on-point silhouette for women on the lookout for a new alternative to stilettos. Vanhee-Cybulski delights in developing these details, on a continuum that upholds the casual outdoor-sporty culture of the house in ingeniously posh ways. The technical padded jacket, for one. This season, it took on the sense of a brown duvet-parka, with a back hitched up with a shoulder-chain. It turned out to unzip into an actual sleeping bag. And amongst these looks came the classic Birkin, de-ladyfied and casualized for everyday with useful, removable cross-body straps.

Vanhee-Cybulski had a great way of describing how she thinks about coaxing this kind of modernity out of classic, conservative design templates. “They are archetypes, maybe the most boring clothes on earth, but I want to kind of bring this surprising creativity to them,” she remarked. “I want to keep this tradition of finding the right balance the pattern and the fabric. I mean,” she added, “I’m definitely the first one saying that I love casual—but it’s also important that we are keeping alive the science of pattern cutting and draping.”

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mixedmediasintlucas · 4 years

Link

Curators Cup: Nekvel vs Siebe Faes

Gentse curator: Siebe Faes

met werk van: Maikel De Greve, Selah De Ceuster, Bert Monsaert, Zoé Lejour, Lynn Kessels, Gilles De Moor, Eline Adriaensen, Paulien Christiaens, Emiel Vandekerckhove

Brugse curator: Nekvel

met werk van: Bart Vinckier, Rembert De Prez, Sarah Lefevre, Eva Dinneweth, Florien Allemeersch, Bert Drieghe, Bernd Fink, Evelien Addink, Gijs Vanhee, Angela Taverne

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teaminclusie · 4 years

Text

Artikel uit Rekto Verso, 23 oktober 2019:

Bodies of knowledge: hoe we meer kunnen leren van elkaar

Als we ons afvragen hoe de kunstschool zich beter kan verhouden tot een veranderende wereld, dan is een eerste vraagstuk kennisoverdracht op zich. Hoe zijn we ‘kennis’ precies gaan begrijpen? En welke aannames zitten er allemaal verborgen achter ons (westerse) idee van het doorgeven van die kennis? We vroegen kunstenaar Sarah Vanhee om haar reflecties te delen over haar project Bodies of Knowledge (BOK), een onderzoek naar minder gestuurde vormen van gedeelde kennisoverdracht. Misschien kan ook de kunstschool er inspiratie in vinden?

Link:

https://www.rektoverso.be/artikel/bodies-of-knowledge-hoe-we-meer-kunnen-leren-van-elkaar-

#literatuurstudie #kennis

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shadyphilosopherdeer-blog · 6 years

Link

CO-LOCATIE #2

DE VLOER, DE OUDE STADSBIBLIOTHEEK GENT ZUID INGANG ACHTERAAN PARKZIJDE, 3DE VERDIEPING

29.11.2018 OPENING VANAF 20 U FOOD MATTERS all you need is the lavatory

CONCERT the singing painters meet carver & horn VANAF 21 U

30.11. — 29.12.2018

OPEN DON - ZON

14U TOT 18U

Artists aaron daem, antoine goossens, astridcollectief, bart de clercq, bart maris, benoit felix, bjorn pauwels & nora dedecker, bram borloo, bram van stappen, christophe lezaire, dirk bogaert, dirk zoete, elien ronse, emilie de vlam, emma van roey, frederic geurts, geert marijnissen, griet van de velde, hans verhaegen, janes zeghers, jeroen frateur, jesse cremers, johan de wilde, karen vermeren, katelijne de corte, klaas vanhee, kristof lemmens, maarten van roy, maud vande veire, melissa mabesoone, merel vandecasteele, merlyn paridaen, natasja mabesoone, peter morrens, pieter de clercq, reinhard doubrawa, renée pevernagie, sacha eckes, sarah westphal, steffie van cauter, stijn van dorpe, william ludwig lutgens, thuy le thi thu & thomas de geyter What 43 hosts / 43 guests. Each artist participates as host of one of the other artists and is likewise guest of one of the other artists. The host could be seen as the passive conglomerate, the guest as intruder, as invité(e), invited to discuss the work of his/ her host and point a favourite object - or work - or item, taking advantage of the fact that he or she is the active character in a meeting of two persons who know each other or don’t. Croxhapox won’t interfere in the process of meeting, talk and choice. A group show made by 63 artists involved in 43 encounters.

#nest #rensconsultancy #leegstandbeheer #art #expo

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