Design Poverty Fiction

Design Poverty Fiction

Festival DESIGN, POVERTY, FICTION

Festival DESIGNING POVERTY
Work, Poverty & Fiction
du 18 au 23 mars 2013 au Grand Hornu

Designing poverty pose l’hypothèse que le design est une arme de maintien de l’ordre (très perfectionnée), une pratique se jouant sans cesse de sa transparence, illusionniste savante, sans le savoir.

Designing poverty souhaite provoquer cette morale et ces esthétiques contemporaines en les confrontant à différentes quêtes existentielles parfois contradictoires, provocantes, voire à rebours.

Objectif : un monde matérialiste à bousculer dans son imaginaire même.

Designing poverty part du constat cynique que, dans les sociétés

occidentales hautement organisées, le retour de la pauvreté est un objet de design. La pauvreté se dessine, se conçoit. Serait-elle esthétique, serait-elle volontaire ? Le nec-plus ultra de l’être bobo serait-il d’être hobo ?


Argument :

Le design asservi à la société matérialiste a fréquemment été dénoncé comme l’instrument du spectacle, du divertissement permanent. La course en avant vers l’abondance conduit à la consommation excessive, à la satisfaction de “faux” besoins… Aujourd’hui on lui oppose sa succession volontairement pauvre, morale, nostalgie de l’âge d’avant le matérialisme, retour annoncé de multiples Saint François d’Assise. Selon nous, un asservissement aux thèses de la frugalité et de l’ascétisme fera du design le chantre idéal du maintien de la pauvreté. Mais, qu’y-aurait-il donc, après le matérialisme, qui puisse éviter ce dualisme simple?

Quels projets, quels choix, pourraient éviter le retour en arrière à une économie de survie ou en deçà du matérialisme exponentiel, surexploité par le capitalisme d’apparence hédoniste : quel espace de pensée et d’imaginaire ?

Principes :

Designing poverty prend la forme d’un festival mené conjointement entre deux écoles : l’Ensad Paris et le Sandberg Institute Amsterdam.

Festival, car il ne s’agit pas d’un débarquement sans contrepartie : ce sera un festival dans lequel nous diffuserons une production préparée pour l’occasion. Il doit s’accompagner d’un travail de médiation organisé où les étudiants doivent prendre une part active.

Participants :

Kenneth A. Balfelt

Artist, born in Denmark in 1966, lives in Bjæverskov.

Stephane Barbier-Bouvet
Designer educated at ECAL. In 2006 he opened 1m3, an exhibition space in Lausanne, which he still runs. In 2011 he and Benjamin Valenzy launched Kaiser Kraft, a service and construction company for exhibitions. He has been working in the field of both design and art for the past five years and has designed spaces and objects for the Federal Office of Culture in Switzerland, the City of Hyères, Centre Pompidou, Centre d’art contemporain of Geneva, the Mudac, Musée des Beaux Arts de Lausanne, Head Geneva (Haut école d’art et de design), Centro Culturale Svizerro, and Graff Mourgue d’Algue gallery among others.
(http://www.barbierbouvet.com)

Christian Barani
Artist. As a teaching activity, he is directing since 1990, the video & multimedia studio at Ecole national supérieure de creation industrielle(Paris). He is involved in workshops, lectures and researches for exprerimental pedagogy. He co-founded an association to distribute, program and diffuse artists’ videos “Est-ce une bonne nouvelle?”. He has a regular based
collaboration with the Research Unit of Arte.

Jurgen Bey
Designer, head of Sandberg Instituut, Amsterdam. Born in 1965 in the Netherlands, he currently lives and works in Rotterdam and is reputed for
his rich and innovative creations and for his involvement in design research and teaching. He became known in the 1990s in the context of the Dutch design (Droog Design), before founding the Studio Jurgen Bey whose philosophy is “to consider urban and architectural construction as indissolubly linked to the design of products”. Working on a reduced scale
enables him to remain on the ideas level, free from the logistical restraints encountered when making a full-size model. In his own words, “if one could work in a model world, reality would never bore us”. Bey is known to be a critical designer. He takes a critical stance on what is viewed as mainstream. He sees good art as scientific research that enables people to experience reality differently over and over again. Bey believes that the solutions to
everything we want lie in the world around us and he is driven to recognize that and turn those solutions in to something that people are interested in and want to use. As a designer I feel like an explorer travelling the world out of curiosity or being sent with a mission, investigating, asking questions and making connections. Bey’s work generally regards the material side of design.

Marie-Ange Brayer

Curator. Since 1996, Marie-Ange Brayer is the head of Fonds Régional d’Art Contemporain du Centre (FRAC Centre) in Orléans whose collection is built around the relationships between arts and experimental architecture from the 60’s to our days.In 1999, she cofounded with Frédéric Migayrou, ArchiLab, Rencontres Internationales d’Architecture d’Orléans. In 2002, M.-A. Brayer (with Béatrice Simonot) was the curator of the French Pavilion at the VIIIe Venice International Biennial of Architecture. In 2008, she was an associated curator of the Sevilla Biennial of contemporary art («Youniverse»). As a head of FRAC Centre, she organises international exhibition of collection (Mori Art Museum, Tokyo, 2004 ; Barbican Art Center, Londres, 2006 ; Taipei Fine Arts Museum, 2008, etc). Art and architecture critic , M-A Brayer published numerous essays in reviews and catalogues, and give lectures in France and abroad. She is working for a Phd at EHESS (Ecole des Hautes Etudes en Sciences Sociales, Paris) : « La maquette d’architecture, un objet modèle », crossing art and architectural theory.

Vincent Beaubois

Philosopher, teacher at Paris 10 and researcher (Laboratoire H.A.R./EA 4414). Philosophy of technic and design.

Frédéric Danos

Né en 1959. Say yes to everything.

Christophe David
Philosopher and lecturer (Rennes 2) in aesthetic and philosophy of Art. Associated fellow researcher at the CREIDD , he is in France the translator of Gunther Anders and has also worked on Benjamin, Kracauer etc. His thesis (regarding philosophy, metaphysic, epistemology and aesthetic) under direction of Dominique Bourg was around the anthropology of technique of Gunther Anders.

(no answer yet)

 

Julie C. Fortier
Artiste, elle est titulaire d’une maîtrise de l’École des arts visuels et médiatiques de l’Université du Québec à Montréal et vit à Rennes (France) depuis 2001. Son travail a fait l’objet d’expositions personnelles notamment à La Criée, Centre d’art contemporain de Rennes, à la VF galerie à Marseille, au Centre Clark à Montréal, à la galerie Art & Essai à Rennes et à la galerie La Box à Bourges. Since 1999, her work has been exhibited in numerous festivals and events as Hereux comme Sisyphe (centre d’art de La Garenne Lemot à Clissons / FR), Interfaces (Quartier, Quimper / FR) , Experimenta Playground ( Arts Center, Melbourne / AUS), Face LIFT ( Kitchener-Waterloo Art Gallery, Kitchener / CAN), MAK Nite (MAK, Vienna / AUS) Future_Feed_Forward ( Forest City Gallery of London / CAN), Single Channel (Blaffer Galery, Houston, USA) and Trames horizontales / défilement vertical (Musée du Québec /CAN).
Anselm Jappe

Philosopher, teaching in Italy. As member of the Krisis Groupe, he has published numerous articles in different journals and reviews, including Iride (Florence), Il Manifesto (Rome), L’Indice (Milan) and Mania (Barcelona). In his writings, he has attempted to revive critical theory through a new interpretation of the work of Karl Marx. He is currently teaching aesthetics at the Accademia delle Belle Arti di Frosinone.[1]
Selected bibliography
An Imbecile’s Guide to Guy Debord’s concept of the Spectacle
Jappe, Anselm. Debord. Pescara: Tracce, 1992 (English translation by Donald Nicholson-Smith, Berkeley: University of California Press, 1999).
Les Habits neufs de l’empire : remarques sur Negri, Hardt et Rufin (with Robert Kurz) (Editions Lignes, 2003).
L’avant-garde inacceptable – réflexions sur Guy Debord (Editions lignes-Léo Sheer, 2004).
Adventures of the commodity: for a new criticism of value (Munich 2005)
(ok on principle / to be confirmed)

Jacques Loeuille

Belgium, artist. 2008-2010/ Le Fresnoy, studio national des arts contemporains – promotion DanièleHuillet et Jean-Marie Straub. 2007/ École régionale des beaux-arts de Nantes – DNSEP avec félicitations du jury.
2006/ Mel Hoppenheim school of cinema, Concordia university, Montréal – graduated. Depuis 2009 / Président de l’association Catch twenty-two.
Développement, création et production de vidéos pour le théâtre, les arts plastiques et le cinéma, Lille. 2006/ formateur bénévole en laboratoire de cinéma expérimental et adhérent l’association mire, Nantes.

Renzo Martens
Dutch artist Renzo Martens has spent the past several years examining the role of the camera in places of severe political unrest, utilizing performance and satire to create metafilms that raise questions about the use of journalism and documentation. For his film Episode 1 (2003), he traveled to Chechnya and, instead of recording the women in line for food, the children in refugee camps, or the heavily armed soldiers, he turned the camera on
himself, asking his subjects what they thought about him. For Episode 3, part of which was shown at Manifesta 7 last summer, Martens went to Congo, where he launched a two-year project that examined the exploitation of one of Africa’s major exports: images of poverty and suffering. In a characteristic mix of journalism and irony, Martens erects a blue neon billboard in one of the villages that reads ENJOY POVERTY (in English for the roaming
photojournalists who might pass by) while also attempting to launch a program that would allow the continent’s poor to receive restitution for being the poster children for global poverty.


Nicolas Maisonneuve
Researcher, engineer, entrepreneur, at the interface of artistic initiatives computer scientist exploring & enjoying horizontality, plurisdicplinary approaches by taking inspiration or collaborating with other domains.
In 2005/2006 he joined the University of Sydney as research assistant, working on E-learning and social computing to integrate social aspects and datamining technics to understand how students work/collaborate together (discovering good/bad practices) in the digital world and use it as a reflexive tool to improve their behavior. Researcher associate in 2007 at Institut europeen d’administration des affaires (INSEAD), and a EU research project working on collective attention management & attention economy in the digital world. At SONY Computer science laboratory, an interdisciplinary lab with an artistic culture, as associate researcher in the Sustainability group.
Selected papers
Maisonneuve N, Chopard B (2012) Crowdsourcing Satellite analysis: study of parallel and iterative models”, GIScience 2012, Columbus, Ohio, USA.
Sustainability / Participatory Sensing Maisonneuve N, Stevens S. and Ochab B. (2010)Participatory noise pollution monitoring using mobile phones. Information Polity Journal. more publications on the noisetube.net
project here
N. Maisonneuve et al. (2009) « NoiseTube: Measuring and mapping noise pollution with mobile phonesâ€

 

 

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