maandag 25 januari 2010

Dear all,
We received from 19 students text and/or images. Please be sure that what we receive is complete (so send us your text and one or more images).
Can anybody send us the complete list with students who are going to participate?
Thank you

Have a great week


dinsdag 19 januari 2010

Dear all,

The deadline for printing the catalogue has been postponed.
We received from 16 students material for the catalogue. The 1st of February we need all the final text and images. Please be carefull that the images are around A5 and 300 dpi. Thanks a lot!

greetings Pinar&Viola

maandag 11 januari 2010


We would like to make few collages before tomorrow morning. 
Email: &

Many thanks, 

Folding bags / Furoshiki

For the first time in history, more than half of the world population lifes in cities
Worldwide is a huge movement of people going. Every hour 7500 people moves from rural to urban. For example, a resident of New Delhi have to drive at least seven hours to get outside the city. And who travels from New York to Washington DC, is not even outside the urban environment. One third of the 3 billion urban dwellers in the third world lives in a slum and that number is rapidly increasing. In twenty years two thirds of the world population lives in cities.¹ ¹ The urban age VPRO

The city is the place with the endless possibilities with a strong appeal to the hinterland, the rural people see it as a place to realize their dreams, people move to the city with no real idea what to expect, will they succeed in their dreams or will they fail?
This modern nomadity is the starting point for the creation of two series of folding bags.²

1) For those people arriving in the city, bags are made from basic materials, like canvas, which refers to the "blank" beginning, free to absorb the city.
2) For the people who are leaving the city the bags are made of material that is found in the city think of construction plastics, or shopping-bags, etc.
² Furoshiki

The grids and buildings on the bags are copies of the cities which are dealing with the issue of migration, Cities like Dubai, Singapore, Shanghai, etc. These grids and buildings are downloaded from 3d warehouse ³ and re-used as drawings on the folding bags as an icon of migration for the past and for the future.


Un command de Chine

My work for this show is based on Chine de Command. This is porcelain custom ordered in China in the 17th 18th century with western family crests, drawings and symbols on them. Therefore the name Chine which refers to porcelain, de command which means order in French.

The drawings on the pieces where copied by Chinese master painters on porcelain. But true the fact that they never saw a western person. They depicted them with some Chinese features. This comes really clear if you compare them with the original drawings used for the order.

Most of the examples known to me are made without the finesse and perfection, which characterizes the later European porcelain like Meissen and Sevres porcelain. This could be because the clients would never be able to complain. Because several years could pass between the shipping of the order and the delivery of the product. So the work didn’t had to be as precisely.
Or it could also be that the painters interpret the drawings in their own way and vision.

For me this is an example for copy without knowledge about the depiction. Which I find fascinating. How can you make something without knowledge of the theme? Without meaning?
This I what I would like to show in the exhibition: the power of copy.
I want to copy the same way of working for this show, but than in reverse. I want to make something in Europe for China. In this work I would like to catch the same cultural misunderstanding we western people have with the modern China.

Arthur de Vries
13-01-1982, Leiden, the Netherlands



Dear Applied Arts students & Krimo,  
We are still waiting for the content. 
Please note that we have to finish the book less than 2 weeks and we have only 2 people who delivered the text 

zaterdag 9 januari 2010

Proposal for the exhibition the Power of Copy, Apostolos Ntelakos

student dept. of Applied Arts, Sandberg Institute.

The Xiamen University in China organises a contemporary design exhibition around the concept of copy. The exhibition, named the power of copy is going to take place in Xuzhou, in May 2010.

Looking back at the history of the Applied Arts (in relationship of course to China) one cannot avoid but come across the chinoiserie(1). A French term, meaning "Chinese-esque", normally used to characterize a European style in art that flourished in the late 17th and 18th…(2)
… a complex phenomenon that has taken many different shapes and produced a wide variety of objects and styling – from splendid works of art and excellent examples of craftsmanship to mass-produced pieces of rubbish(3).

In my work historical facts are playing more and more an important role. I am interested in what has happened, how things looked like and what a re-construction of such facts could mean today.

This exhibition in Xiamen seemed like a perfect opportunity to present work: Thinking of China my first association has been vases. More specifically porcelain vases, the ones that Europeans started importing already since the fifteenth and sixteenth century(4).

Going through digitalized archives, books and catalogues I made photocopies / prints of images that attracted me. Taking these prints as reference I tried to re-construct the shape of the vases (executed in stoneware covered with a slip of porcelain). By zooming-in at the images those vases carried, I took parts of them (the images) and tried to re-construct them by means of on-glaze colours (lusters).

How accurate or authentic are images that we artists and designers use? Where lies the difference between functional objects and sculptures of them? Where is the line between a copy, an interpretation, or a reconstruction? Is copying per se passive? Copying occurred for centuries between east and west; European craftsmen attempted to imitate the styles and techniques of decorative art imported from the Middle and Far East. Those craftsmen not only copied designs from imported objects, but also adapted these objects in creative ways(5). And if distortions / mutations occured in this process of copy, were they pure accidents or were they projections of the one who was copying? And what do these distortions tell us about the copyist?

Jean-Étienne Liotard (Swiss, 1702–1789), Still Life Tea Set, 1783


(1) chinoiserie |ʃɪnˌwɑːzəri|, noun ( pl. -ries)the imitation or evocation of Chinese motifs and techniques in Western art, furniture, and architecture, esp. in the 18th century.
ORIGIN late 19th cent.: from French, from chinois ‘Chinese.’
(2) Arie Pos, (2008) “Het paviljoen van porselein. Nederlandse literaire chinoiserie en het westerse beeld van China (1250-2007)”, proefschrift (Leiden 2008),
(3) idem
(4)Munger, Jeffrey, and Alice Cooney Frelinghuysen. "East and West: Chinese Export Porcelain". In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000 (October 2003)
(5) Imagining the Orient, October 5, 2004–April 3, 2005,