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Theorising Masculinities in Fashion Studies
Get PDFThis paper will examine how masculinities theory has inflected on the study of men’s fashion. In recent years, an increasing variety of images of fashionable men has proliferated on the runway, on social media, and in photo-shoots – at the same time, political discourses of gender have become ever more polarised. As culture wars rage, Whig histories of a progressive forward march (and other teleological blandishments with which we once comforted ourselves) now seem dangerously complacent. Meanwhile, fashion itself faces increased uncertainty as an industry.
Contemporary theorisations of masculinity owe much to the work of 1980s sociologists who combined an empirical study of how men and boys interacted, formed hierarchies, and were socialised, with conceptual insights drawn from the feminist movement, gay liberation, and ideas – such as cultural hegemony – taken from the radical left. In the new millennium, researchers continue to develop conceptualisations such as ‘Inclusive Masculinities’ and ‘Hybrid Masculinities’ to describe their observations and to situate them in a broader cultural context. How do these ideas help fashion scholars to make sense of menswear as a field of practice? How do men navigate contradictory and competing notions of identity through dress? And how do designers intervene in these debates
Suppose You Are Not
No full textCurated by Selen Ansen, the exhibition Suppose You Are Not probes the ways in which the domestic context of a private collection can be transferred into a museum context. In so doing, it explores the possibilities of restaging and articulating the affinities created between distinct objects by means of a collector's desires and endeavours. The exhibition, which spans the 4th and 3rd-floor galleries of Arter, brings together works by almost 400 artists, anonymous artefacts and mass-produced items, as well as multifarious objects. Initially formed for an individual purpose within the boundaries of a private space, now made public through a curatorial approach in an art institution, this body of works presents a world at the junction of times and forms that defy habitual classifications. This world, which brings to existence the collector as an abstract subject interacting with the artefacts in their possession, allows a form of experience that connects reality and fiction, as objects leaving the private sphere reformulate their unique character in a new context. Approaching the collection as a multifaceted and living organism, Suppose You Are Not proposes to reflect upon the kinship between the ordinary and the extraordinary, the practice of collecting and the objects that populate our daily lives.
Formed with works selected from the Ömer Koç Collection, Suppose You Are Not is concerned with finding worldly ways to rise upwards in the world where everything falls and keeps falling, and with providing possibilities to formulate infinitude where finitude is the rule. Based on Omar Khayyam’s (1048-1131) verses, where the poet reminds us to embrace life freely by transcending the limits of our own selves, the exhibition invites visitors to challenge given boundaries while exploring the attribution of new meanings to objects in a realm devoid of chronology and hierarchy.
In this territory populated by objects of all sorts, the conglomeration of books, furniture, paintings, sculptures and photographs not only tells us of human pleasures, desires, aspirations and dreams of past lives; it also reflects the spirited viewpoint of the collector. Suppose You Are Not delves into the passionate striving to collect and preserve the traces of humanity, the good and the evil, the ephemeral gestures, states, allusions and movements ranging from the most sublime to the most mundane, from the most permanent to the most ephemeral, which manage to persist by being conveyed from the dead to the living. Through the connections they give birth to in the exhibition space, the numerous works and objects brought together open up a field of vision that allows the emergence of new associations and alliances.
Artists Featured in the Exhibition:
Alvar Aalto, Melike Abasıyanık Kurtiç, Anthony Ackrill, Rebecca Ackroyd, Ansel Adams, AdeY, Ahu Akgün, Rasim Aksan, Francesco Albano, Pilar Albarracín, Ellen Altfest, Carl Amann, Doug Anderson, Erik Anderson, Gary Anderson, Palle Anderson, S.A. Anderson, Janine Antoni, François Arnal, Daniel Arsham, Yüksel Arslan, Hale Asaf, Eylül Aslan, Jules Barbey d’Aurevilly, Deborah Azzopardi, Josephine Baker, César Baldaccini, Tufan Baltalar, Balthus, Ronit Baranga, Emin Barın, Clive Barker, Sam Barnett, George Barris, Étienne Barrot, Gregory Barsamian, Massimo Bartolini, Bartošová, Şeyma Barut, Bahadır Baruter, Georges Bataille, Charles Baudelaire, Kerem Ozan Bayraktar, Peter Beard, Cecil Beaton, Beejoir, Fritz Behn, Tom Bell, Léa Belooussovitch, Hans Berger, Sabri Berkel, Semiha Berksoy, Jean-Joseph Bernard, Bertozzi & Casoni, Tony Bevan, Aenne Biermann, Marc Bijl, Aysel Bodur, Stefano Bombardieri, Rudolph Bone, Bashir Borlakov, Osvaldo Borsani, Louise Bourgeois, Norbertine Bresslern-Roth, Jonny Briggs, Rosalie Brill, Hans Brockhage & Erwin Andra, Ondrej Brody, Elina Brotherus, Vincent Michael Brown, Tania Bruguera, David Buckingham, Betty Bui, Balthasar Burkhard, Gökçen Cabadan, Claude Cahun, José Zanine Caldas, Scott Campbell, CANAN, Leonor Caraballo & Abou Farman, Jacques Carelman, Paul & Laura Carey, Étienne Carjat, Asger Carlsen, Maurizio Cattelan, Carl Cauer, Patrick Caulfield, Marc Chagall, Giorgio de Chirico, Ricardo Cinalli, Chuck Close, John Coplans, Joseph Cornell, Denis Cospen, Ian Cumberland, Zhang Dali, Les Dalo, Arth Daniels, Alexandre-Gabriel Decamps, Jean Marie Delaltre, Thomas Demand, Victor Demanet, Selçuk Demirel, Sinan Demirtaş, Mathias Depardon, Susan Derges, Nejad Devrim, Robert Dighton, Nazım Dikbaş, Nanna Ditzel, Otto Dix, Theo van Doesburg, Adrienne Doig, Albrecht Dürer, Gürbüz Doğan Ekşioğlu, Ali Elmacı, Neş’e Erdok, Yael Erlichman, Mengü Ertel, Jean-Bernard Eschemann, Richard Etts, Jan Fabre, Christine Facella, Mark Fairnington, Alexis de la Falaise, David Farrer, Gretchen Faust, Emeric Feher, Mürteza Fidan, Johannes Fischer, Tsuguharu Foujita, Nancy Fouts, Lucian Freud, Pedro Friedeberg, Lee Friedlander, Harriet Whitney Frismuth, Roger Fry, Paul Fryer, Ernst Fuchs, Peter Gabriëlse, Leylâ Gediz, Ingo Gerken, Valeriy Gerlovin & Rimma Gerlovina & Mark Berghash, Augusto Giacometti, Sliz Gillard, Domenico Gnoli, Nan Goldin, Paul Goldman, Dora Gordine, Douglas Gordon, Antony Gormley, Murat Gök, Şakir Gökçebağ, İhap Hulusi Görey, Stephane Graff, Brian Griffin, Ion Grigorescu, Valentine Gross, Aneta Grzeszykowska, Derrick Guild, Ara Güler, Cemal Nadir Güler, James Hague, David Haines, Osman Hamdi Bey, Richard Hamilton, Neil Hamon, Jessica Harrison, Ristyo Eko Hartanto, Vikont | Viscount Francis Hastings, Andrew Hemingway, Seda Hepsev, Léon Herschtritt, Willi Hertlein, David Hockney, Howard Hodgkin, Jane Hoodless, François Houtin, Horst P. Horst, Hannah Höch, Wilhelm Höffert, Carsten Höller, Georges Hugnet, Jean Hugo, John Isaacs, Meltem Işık, Erdal İnci, Nuri İyem, Patrick Jackson, Roxanne Jackson, Arne Jacobsen, Sam Jinks, Oliver Jones, Michael Joo, Orhan Veli Kanık, Massimo Kaufmann, Şahin Kaygun, Clementine Keith-Roach, Mehmet Kısmet, Anselm Kiefer, Giorgio Kienerk, Frederick John Kiesler, Gustav Klimt, Hengki Koentjoro, Oskar Kokoschka, Helmut Kolle, Isidore Konti, Füreya Koral, Angelika Krinzinger, Uno & Osten Kristiansson, Barbara Kruger, Jonathan F. Kugel, Burhan Kum, Alicja Kwade, Félix Labisse, Julien Landa, Mikhail Fedorovich Larionov, Mogens Lassen, Konrad Adolf Lattner, Alican Leblebici, Gonzalo Lebrija, Tim Lee, Gabriel Lekegian, Georges Lemmen, Michael Leonard, Rachel Lewis, Roy Lichtenstein, Jacopo Ligozzi, Robert Longo, Sarah Lucas, Oliver Lynch, Catherine MacDiarmid, Daniel Maclise, Susie MacMurray, Franziska Maderthaner, Cathleen Sabine Mann, Sandra Mann, Robert Mapplethorpe, Marcel Mariën, Alberto Martini, Pietro Marussig, Alexander Massouras, Angus McBean, Serge Mendjisky, Luiz Philippe Carneiro de Mendonça, Théo Mercier, Constantin Meunier, Adolph de Meyer, Guillermo Meza, Fabien Mérelle, Nino Migliori, Harland Miller, Arno Rafael Minkkinen, Pierre Molinier, Christiaan de Moor, Polly Morgan, Eadweard Muybridge, Peter Simon Mühlhäußer, Renate Müller, Ishbel Myerscough, Félix Nadar, Harry Napper, Graham Nash, Bruce Nauman, Jesús “Bubu” Negrón, Hylton Nel, Marc Newson, Helmut Newton, Nicholas Nixon, Felix Nussbaum, Evie O’Connor, Harold Offeh, Kelvin Okafor, Francesco Olivucci, İrfan Önürmen, Ferhat Özgür, Şener Özmen, Ceylan Öztrük, Christopher Page, Christodoulos Panayiotou, Verner Panton, Pierre Paulin, Pavlos (Dionyssopoulos), Freya Payne, Robert Peary, Evan Penny, Charlotte Perriand, Gaetano Pesce, Atilla Galip Pınar, Pablo Picasso, Patricia Piccinini, Ernest Pignon-Ernest, Isidore-Alexandre-Augustin Pils, Julie Pochron, Gilles-Henri Polge, Serge Poliakoff, Gio Ponti, Stephen Powers, Mario Prassinos, Marcel Proust, Glen Pudvine, Sheng Qi, Roland Rainer, Nâzım Hikmet Ran, Philippe Ramette, Man Ray, Maurice Ray, Ilya Repin, Stephen Reusse, Gerhard Richter, Gerrit Thomas Rietveld, T.H. Robsjohn-Gibbings, Laurent Roch, Ludwig Mies van der Rohe, Clifford Ross, Jacob van Rozelaar, Julie Rrap, François Ruegg, Thomas Ruff, Paul Rumsey, Necla Rüzgar, Anıl Saldıran, Jamie Salmon, Stuart Sandford, Sandeep Sangaru, SANTISSIMI (Antonello Serra & Sara Renzetti), Hrair Sarkissian, Salomon-Léon Léonard Sarluis, Napoleon Sarony, Achille van Sassenbrouck, Nina Saunders, Olga Saviç, İlhan Sayın, Josef Scharl, Mario Schifano, Karl Schmidt-Rottluff, Ole Schwalbe, Turhan Selçuk, Joan Semmel, SENA, Aleksandr Serebriakov, Erinç Seymen, Farkhondeh Shahroudi, Cindy Sherman, Sedat Simavi, Aaron Siskind, Sandy Skoglund, Carolein Smit, Ludwig Otto von Sonnenburg, Jo Spence, Léon Spilliaert, Victor Spinski, Bernard André Steiner, Adrien Steüer, Holly Stevenson, Kerry Stewart & Ana Genoves, Vladimir Feodorovitch Stozharov, Mircea Suciu, Gerald Summers, Edward Sutcliffe, Attila Szűcs, Yaşam Şaşmazer, Ferdinando Tacca, Nevhiz Tanyeli, Sam Taylor-Johnson, Antoni Tàpies, Hale Tenger, Cansu Terzibal, Herbert von Thaden, Michael Thonet, Wolfgang Tillmans, Marco Tirelli, İrem Tok, Tip Toland, Nikolay Tolmachev, George Tooker, Roland Topor, Karl Tratt, Nasan Tur, Pierre Turin, Félix Vallotton, Miguel Calumarte Vaquer, Jorge Luis Varona, Joana Vasconcelos, Keith Vaughan, Geza Arpad de Vegh, Claude Verlinde, Una Vincenzo, Lady Troubridge, Bill Viola, Frances Waite, Garth Walker, Andy Warhol, Jonathan Wateridge, Gillian Wearing, Kem Weber, Jean Weinberg, Oscar Wilde, Conor Wilson, Martha Wilson, Paula Wilson, Erin Wozniak, Daphne Wright, Stuart Pearson Wright, Erwin Wurm, Craig Wylie, Cang Xin, Damla Yalçın, Ecem Yerman, David Zink Yi, Pınar Yolaçan, Carey Young, Fahrelnissa Zeid, Monica Zeringue, Brigitte Zieger, Richard Ziegler, Unica Zürn
Extempore 24
No full textExtempore 24 is an exhibition curated by Alison Aye and Ken Turner. It aims to explore the spontaneity and willingness of the artists to come together ‘in real life’ and be part of the Tension community.
As contemporary artists, living in a post-Lockdown world of virtual meetings and social media, it is often hard to make real connections. Extempore 24 aims to dispose of superficiality, put names to actual faces, build relationships and physical community.
Artists were invited via Instagram, approximately 2 weeks before the installation date, to take part in this impromptu exhibition. The only requirements being; a piece of art in any medium, no larger than 40 x 40cm, to be installed by the artists on the same day as a part
Listening to Legacy: The Background Voice As Aural Archive
Get PDFAlthough perhaps a ubiquitous presence across many pop recordings, what we might consider the history of the background and the background vocalist remains largely overlooked and under-heard. Often anonymised on recordings, and coded out of center labels the backing, back-up, and background voice is a distinctly aural archive dependent on it being heard rather than being seen. The history of the background voice across pop remains ultimately unstable and ever unfolding. I discuss the background voice as a distinctly aural encounter considering how we might begin to identify its archive. Working with Brook’s instruction of listening hard and Ouzounian’s work with ‘counter listening’ the paper seeks to signal the role of listening in relation to archival work with undefined and unstable archival material. Focusing on The Andantes and their work with labels such as Motown I discuss how we might understand and articulate both the legacies and archive of the background. Used extensively on recordings between 1961 and 1970 the work of Louvain Demps, Marlene Barrow, and Jackie Hicks, as The Andantes, remain a core characteristic of what we understand as the Motown ‘sound’ but also signal ways in which the background voice plays a crucial yet anonymised role within pop. In listening for the background, we are reminded how the background not only signals a distinct narrative parallel to dominant pop histories, but also how this narrative is situated within the archives of others
Extracurricular
No full textExtracurricular is a 4-hour performance hangout exploring the strangely social and definitively uncool phenomenon of the ‘school play’ with its collectively made costumes, props, stage sets, songs, and choreographies. The term ‘extracurricular’ often denotes creative activities motivated by an unbridled enthusiasm, which typically exceed the confines of academic study, including amateur forays into arts, dance, and theatre. You are invited to drop in, drop out.... or stay as long as you like. Extracurricular brings together students from MA Fine Art at Central Saint Martins and MA Post at the Art Academy of Latvia
Experience is learning: the Piazza Grace case study
Get PDFThe experiential learning activity presented in this case study integrates embodied processes and participatory practices to enhance sensory-emotional awareness in interior design students and help them understand how to consider the design of spaces from the experience of others, in this instance by bridging the gap between their sensory world and that of elderly people with dementia. Expanding on established sensory-emotional research and theories of experiential learning, the activity is structured across four processes, exploration, participation, interpretation and realisation, each building on the previous one. The role of the teaching team, students’ engagement and participants’ engagement are discussed, and a presentation of outcomes is followed by a summary of findings, including feedback from students. This case study advocates the value of experiential learning in supporting future learning and practices that enable young interior designers to better integrate empathy and diversity in their design
Translational Design: Enabling impact in complex multistakeholder research
Get PDFTranslational research seeks to apply knowledge generated through fundamental research into tangible impact outside academia. Designers are increasingly involved in complex multi-stakeholder, impact-oriented research projects, acting as ‘translators’ across disciplines. Designers draw on the rich history of practice in design research to synthesise, integrate, and bridge disciplinary knowledges into practice outcomes. This editorial introduces the papers of the thematic track ‘Translational Design: Enabling impact in complex, multi-stakeholder research projects through design’ presented at the DRS2024 conference. 12 papers were selected from 44 submissions and classified into three groups: ‘Designers as interpreters, mediators, and facilitators between disciplines,’ ‘The translation of research knowledge into and through artefacts,’ and ‘Translational design in PhD research.’ These papers present descriptions and case studies that help to make explicit the implicit translational roles, tools, and methods of design researchers in academic and multidisciplinary contexts. The track invites researchers to explore an expanding role for practice-based design research as an explicit tool for research translation
Fragments and Borders: (re)constructing Korean womanhood through patchwork
No full textThis thesis is a decolonial feminist exploration of the representation, materials, and histories of Korean women told through Korean patchwork, theorising patchwork as a radical form to reimagine (material) histories of Korean women and women of the Korean diaspora. As an amalgam of different pieces that unifies once separated fragments, patchwork is identified as a material object, decolonial methodology, and metaphoric and corporeal lens that contributes polyphonic voices to histories of Korean women, while troubling nationalist agendas in the (re)construction of the Republic of Korea (1948 to 2023). Beginning with, but not bound to the patchwork wrapping cloth called jogakbo, I explore the possibilities of decorative, ornamental wrapping, by mapping new connections between jogakbo, patchwork in contemporary Korean fashions, and the Korean plastic surgery industries through the processes of cutting, sewing, mending, wrapping, healing, and becoming.
Locating and situating the practices of collecting jogakbo under General Park Chung Hee’s cultural reform policies, this dissertation reveals how tradition and authenticity were evoked to build the written histories of the patchwork form. As the democratic uprisings of the 1980s led to the democratisation of the government, jogakbo came to represent folk cultures, while symbolising ‘Korea’ to global communities. By foregrounding these nationalist agendas, I draw on a multiplicity of perspectives to complicate these narratives, excavating new material relations between jogakbo as a wrapping cloth, patchwork fashions and the corporeal processes of plastic surgery cultures, while foregrounding these practices as women’s work.
Three chapters of the thesis unfold to map Korean patchwork in archives, asking how Korean patchwork as jogakbo was constituted in national memories; the development of patchwork as style-fashion-dress in South Korea and for Korean diasporic communities abroad; embodied patchwork practices through (Korean) plastic surgery cultures, specifically exploring the experiences of blepharoplasty for Korean women and women of the Korean diaspora. This thesis builds and tests patchwork as a decolonial methodological approach, using material object analysis, archive research, interviews, and oral histories, and autoethnography, to produce a cross-disciplinary practice that pieces fragments of knowledge, and memories of being as a conceptual writing of history.
Necessarily understanding ‘Korea’ and South Korea through the framework of coloniality and colonial modernity, Fragments and Borders highlights the multiple encounters that shaped the formation of the country through institutional and national memory. By illuminating the transcultural and global connections and constellations of Korean womanhood through patchwork, I complicate and trouble the constitutive practices of Korean womanhood through these polyvocal approaches, while imagining the possibilities for the Korean woman through an alternative ontology of ornamental existence. In doing so, this thesis contributes to decolonial feminist studies, Korean diasporic studies, and Korean design and material histories by highlighting new possibilities for Korean womanhood by understanding patchwork as a form of mending and becoming
Improving Conversations about Parkinson’s Dementia
Get PDFBackground
People with Parkinson's disease (PD) have an increased risk of dementia, yet patients and clinicians frequently avoid talking about it due to associated stigma, and the perception that “nothing can be done about it”. However, open conversations about PD dementia may allow people with the condition to access treatment and support, and may increase participation in research aimed at understanding PD dementia.
Objectives
To co-produce information resources for patients and healthcare professionals to improve conversations about PD dementia.
Methods
We worked with people with PD, engagement experts, artists, and a PD charity to open up these conversations. 34 participants (16 PD; 6 PD dementia; 1 Parkinsonism, 11 caregivers) attended creative workshops to examine fears about PD dementia and develop information resources. 25 PD experts contributed to the resources.
Results
While most people with PD (70%) and caregivers (81%) shared worries about cognitive changes prior to the workshops, only 38% and 30%, respectively, had raised these concerns with a healthcare professional. 91% of people with PD and 73% of caregivers agreed that PD clinicians should ask about cognitive changes routinely through direct questions and perform cognitive tests at clinic appointments. We used insights from the creative workshops, and input from a network of PD experts to co-develop two open-access resources: one for people with PD and their families, and one for healthcare professionals.
Conclusion
Using artistic and creative workshops, co-learning and striving for diverse voices, we co-produced relevant resources for a wider audience to improve conversations about PD dementia
Salomé Voegelin on Paul Nataraj
No full textThis is a very very short text about Paul Nataraj's work Repetitions of 108: Counting almost nothing from 2024, chosen for the Jerwood Survey II