“Go straight off the wall” said his dad and Dominic does just that. The film follows Dominic Wilcox, an artist / inventor / designer, on his quest for new ideas….Transforming the mundane and ordinary into something surprising, wondrous and strangely thought provoking.
In 2005, famous designer and architect Maarten van Severen dies. He left us with one of the most extraordinary collections of furniture and several exquisite architectural project but also 4 young sons who carry part of their father’s talent and personality. While we follow the boys’ steps towards a promising future, we reconstruct the tumultuous and tragical life of their father. When his sons get confronted with some of the same challenges and problems as their father, history seams to repeat itself.
Website of the film: maartenvanseverenthefilm.com/
Postmodernism is the notoriously slippery subject tacked by the V&A’s exhibition, ‘Postmodernism: Style and Subversion 1970-1990’. This fast-paced film features some of the most important living Postmodern practitioners, Charles Jencks, Robert A M Stern and Sir Terry Farrell among them, and asks them how and why Postmodernism came about, and what it means to be Postmodern.
Andrew Logan: Post modernism – yes, I still really don’t understand what post modernism is. I’ve been told many times and it’s been explained to me many times and I still am bewildered. But perhaps that’s part of the movement – bewilderment.
Malcolm Garrett: I don’t think I really know too much about what post modernism actually is. For me, it’s primarily an architectural movement.
Robert A M Stern: Post modernism was a kind of style and it was kind of outrageous style at that.
Zandra Rhodes: I think we’re originals, but it wasn’t until I got spoken to by the V&A that I thought about anything that was post modern.
The way I worked I described as retrievalism.
Charles Jencks: The Independent said do use the word ‘post modernism’ because it means absolutely nothing and everything.
Malcolm Garrett: I called myself a new futurist for a while. So that’s a term I would use rather than post modernism.
Andrew Logan: Well, I suppose I had a very post modernist occurrence – I took acid. Normal things suddenly turned into something extraordinary.
Zandra Rhodes: Well, in 1977 punk was just starting to happen and I thought why not do tears that actually look like tears and then got safety pins and beaded round them like 12 years before Versace.
Malcolm Garrett: I had access to the first photocopier and I was able to modify and change the look of the image using a photocopier.
Peter Saville: And, of course, in the 70s and into the 80s the record cover was this incredibly important, vital medium of visual information. There were the music papers and occasionally the Sunday Times colour supplement might just do something about Andy Warhol in New York and that would be about it.
Paula Scher: In the 70s when I first started designing there was a predominance of the international style where the ultimate goal was to be clean and I always felt that that was like trying to clean up your room. So I was looking for ways of designing typography that could be more expressive, that were not about creating order but were about creating spirit.
Robert A M Stern: Times Square was where we were in charge – the whole revitalisation of Times Square is a very interesting, complicated story, but it does show the difference between the modernist point of view of how to redevelop or to develop a city and what we were able to do …
Charles Jencks: Post modern architecture is really to do with pluralism. You’ll find its depth, all of the great post modernism, the philosophy and now in literature, is about pluralism, pluralism, pluralism.
Robert A M Stern: To say, no, no, it’s a mess, in fact we ought to make it more of a mess. The world comes to Times Square not for tidykins, but for mess.
Charles Jencks: It’s accepting that the modern world with Freud, Marx, Henry Ford, mass production, is positive, but it can be radically improved.
Robert A M Stern: We studied the signage in Times Square and then we set minimums, minimums for sizes of signs, minimums for brightness of signs. What we were legislating in a way the capitalist impulse. Once you tell an entrepreneur that his or her sign can only be this big, he will be satisfied, he will agree with it. But if you say it can be this big or bigger or brighter, well everybody wants to compete in a capitalist society.
Charles Jencks: So you have to be on the one hand ironic about failures, probably the beginning of a new depression, another crisis of modernism, modernisation, modernity. What’s going to get us out of this? We have to re-think the modern movements in all the arts and in society and post modernism is the umbrella term for re-thinking.
Robert A M Stern: We knew 42nd Street was an incredible success when the Consolidated Edison Company called the State of New York and said, you know our grid is zapped out.
Peter Saville: In the case of, particularly, Joy Division and then New Order, they could never exactly agree amongst themselves. There was no hierarchical structure, particularly in New Order after the end of Joy Division, after Ian Curtis had died. The responsibility for the covers came to me and so they were about what I was interested in, they were about in a way beginning to learn the canon.
Carol McNicoll: The thing that I was doing was I was using slip casting. A lot of the Leach tradition and minimalist things also had that idea of expressing the deep, inner, mystic qualities of clay. And I thought that was a load of complete rubbish. And I thought what was wonderful about clay was the fact that you could make it look like anything else.
V&Aの展覧会「Postmodernism: Style and Subversion 1970-1990」に合わせて収録された、ポストモダニズムの実践者たちへのインタビュー集。チャールズ・ジェンクス、ロバート・A・M・スターン、ザンドラ・ローズ、ピーター・サヴィルなど。
Watch this video and find out about one of our recent DesignLab projects, a collaboration between V&A Schools, Heatherwick Studio and Whitecross High School in Hereford. The project aimed to showcase Heatherwick Studio’s extraordinary and cross-disciplinary approach to working, as well as model how to use the V&A’s collections to answer contemporary design briefs.
DesignLab is a programme of projects that explore new ways of engaging students with design. It brings schools together with museum educators, practising designers and the museum’s collections to work on projects and engage in CPD activities.
Students acquire new and transferable skills, knowledge, curiosity and tons of inspiration. Teachers’ classroom practice and creativity is enriched through access to working with contemporary creative practitioners, museum staff and the V&A’s unrivalled collection of art, design and performance.
DesignLab aims to inspire a new generation of creative practitioners as well as broaden young people’s understanding of the designed world around them, how it is made and its impact on society and the environment.
A three screen film installation for the Power Of Making exhibition at the Victoria and Albert Museum. A collaboration between the V&A and the Crafts Council, the exhibition presented 100 crafted objects in a cabinet of curiosities that explored traditional and time-honoured ways of making, as well as innovations taking place around the world. From 6 September 2011 to 2 January 2012, with 320,000 visitors made Power of Making the most visited free exhibition ever staged at the V&A.
Director / Camera: Juriaan Booij
Client: Victoria and Albert Museum / Crafts Council
Commissioning Editor: Daniel Charny
Editor: Mark Whelan
Sound Design / Music: Filipe Sousa
Camera Assistant: Tania Freimuth
Sound Recordists: Matthew Hansell and Stephen Partington
With thanks to Priya Sundram
With special thanks to
Coventry Prototype Panels
Eleanor Pritchard Woven Textile Design
Ndidi Ekubia Silversmith
Sebastian Tarek Bespoke Shoes
David Carpenter, Moorfields Eye Hospital
Industrial Facility Design Studio
Mattiazzi SpA. Furniture Manufacturers
Watson Bros. Gun & Rifle Manufacturers
Stewart Hearn, London Glassworks
WAH Nail Art
Nigel Semmens Surfboards
Ron Arad Design Studio
Format: HD / 16:9
Commissioned for Power of Making
ヴィクトリア＆アルバート博物館で行われた展覧会「Power of Making」のために制作された映像。「つくること」の技術とプロセスを紹介している。
The title of this workshop has a double meaning as seeds that offer new research and new experience and as a reference to “Semina” – the avant-garde Pop magazine of the late 1950’s and 60’s. “Semina” was strongly interested in collage, a most crucial stylistic innovation in the arts of the twentieth century that provided this extraordinary magazine with a principle for both aesthetic and existential novelty.
This workshop tries to re-think “Semina” in its key-concepts and re-launch a process of research through a very open idea of collage that relates to our contemporary daily life.