kdrake: August 2010

1. The works are indeed challenging to the viewer. The images of ‘Burka’ (1996) are particularly challenging as they contain graphic nudity, which would make many people feel uncomfortable. Personally, I think the work is shocking because of my pre-programmed Western view of the Burka. Admittedly my ignorance of Muslim culture and war means that my immediate thoughts of a Burka are to do with sexism and terrorism. Hence the work just seems very strange to me due to my pre-conceived context (maybe that’s the point?). ‘Afterwords’ (2000) comes across as a more light-hearted, quirky work that surprises me with its cleverness and process…however the concept behind the work is quite emotionally challenging. The furniture that transforms into clothing and suitcases really “has nothing to do with furniture” but addresses war, and how people could take their lives/possessions with them in the moment of leaving home behind. I can imagine what that would feel like so this work really engaged me. The presences of the models that show the work add to this engaging quality because of their neutrality, though I suspect this is to keep the focus on the clothing, it reminds me of the strong woman of the household (a mother) who must be strong for everyone else.

I think ‘Burka’ is a good example of high fashion- not necessarily practical but makes a statement. ‘Afterwords’, I believe, is more art than fashion; only because the focus seems strong on construction, composition and the ideas of the work over the final garment itself. It is hard to categorize as it is also mainly about the versatility of a garment which would relate more to fashion.

Sometimes there is no difference between fashion and art because fashion is art, and cannot be pinned down to either category. I think it is all relative to context, concept and the practicality (wearability) of the design. What makes fashion- fashion is its ideas and continuous challenging of what we think is possible. Fashion shows us something new and interesting, as well as broadens our perspectives on what is beautiful? What is truthful? Etc…

2. Chalayan’s work for commercial businesses has a different nature to his personal experimental and design work. For example ‘The Level Tunnel’ done in collaboration with Level Vodka is scientific in nature; the work exposes common human senses and responses. As Chalayan does not include any personal back story/personal content this work is appropriate to its purpose. It does not create connection between artist and viewer but associates the ‘experience’ with the product. The work ‘Repose’ completed in 2006 is also a neutral, non-conflict work that serves its purpose as an advertising tool for Swarovski. The nature of the work is uncontroversial, the focus definitely on the aesthetic value of the work and the exclusive, modern, high class feeling it communicates.

In conclusion the meaning of Chalayan’s art changes when it is used to sell products; because he has to leave out part of himself (exclude his story) in order to make it appealing to everyone. This does not mean the work has any less aesthetic quality, it is still innovative, creative and impressive, however it lacks the personal ‘statement’ that artists and designers express in their work. Commercial work does not provide the same ‘story’ or personal narrative on society that non-commissioned work does.

It is still art.

It is still design.

It’s more impersonal.

I think it can be seen as apathetic in comparison to his non-commissioned works.

3. -‘genetic art’ is a new art movement that seems to have directly influenced Chalayan. An article I found on a new art exhibit called ‘Paradise Now: Picturing the Genetic Revolution’ in New York’s Soho neighborhood also shows identification between art a science. (http://findarticles.com/p/articles/mi_m1200/is_25_158/ai_68951558/).

-art engagé is influenced by social significance, literally translating to ‘art involved in life’- from my interpretation of the definition this style from the 1800s could be an influence on Chalayan’s work.

-Similar intention to a work I studied in semester 1 which was featured in the 2010 triennial at Auckland Art Gallery. The work “The House of Economy” by Learning Site was based on decomposition and scientific breakdown of materials. Not too sure what this can be described as but it’s undoubtedly growing in popularity.

Trying to read Chalayan’s approach is very difficult as he is known to be interested in many different areas. However in this particular project the inspiration appears to have been derived from DNA patterns and from there developed into a study of real and imagined identity.

-“The film displays the interplay of the real and the imagined with a series of collected clothes and digitally deformed crystallized garments”

-“The Absent Presence is an enigmatic story based on identity, geography, genetics, biology and anthropology. He opens the argument on how certain identities can or can not adapt to new environments and generates a research based narration for his cross-disciplined installation with filmic images and sculptures.”

(http://www.kunstaspekte.de/index.php?tid=40009&action=termin)

4. I think it important that the artist, whenever possible, personally makes the piece because otherwise I see it as a way of cutting corners to the final product; which can be a let down for the viewer when/if the viewer is made aware of this. However when it is not possible to have the design truly ‘realized’ with just a solo effort, resorting to technology and collaboration is understandable but I think everyone involved should be accounted for in the publication of the work. At the end of the day the artist should always be accounted for as the ‘designer’ if they didn’t literally make the work themselves and also the ‘creator’ if they did. Now that I know that Chalayan does not do everything himself, the work does not amaze me as much as it did before.

References:

http://we-make-money-not-art.com/archives/2006/02/shadi-ghadirian.php

http://www.we-make-money-not-art.com/archives/2005/10/his-autumnwinte.php

http://www.designboom.com/contemporary/hc.html

http://www.youtube.com/watch?v=CE07_aFF4no

http://www.youtube.com/watch?v=LHgI2xaxt3k&feature=related

http://www.notcot.com/archives/2008/05/level-vodka-tun.php

http://www.stylezeitgeist.com/forums/showthread.php?p=61712

http://www.dezeen.com/2009/01/27/dezeen-podcast-hussein-chalayan-at-the-design-museum/

http://designmuseum.org/design/hussein-chalayan

http://www.kunstaspekte.de/index.php?tid=40009&action=termin

http://www.thisislondon.co.uk/arts/review-23626540-hussein-chalayan-is-fashions-techno-wizard.do