Design has changed to an emotionally charged term: much creativity falls short under the denominator, many applications are from the very start effective under the denominator. Art, on the other hand, has changed to an autonomous, concluded program. In the meantime both in the design and in the art world a turn starts to occur: application finds more and more breeding ground in the strategic communication of the creative practice, which finds, by cautious use of form and content, its public and avant-garde way. Desarting steers a middle course on the field of tension between the industrial darkening of the commitment and the autonomous absence of commitment. With Desarting Onomatopee inventories current tendencies by approaching concrete practices soundly.
Desarting is a case study in expressive communication; its possibilities and applications, with autonomous qualities and engaged possibilities.
Once a month, a trained artist and a designer – both qualified as creative entrepreneurs - make a presentation in Onomatopee’s own presentation space. Flanked by a critic/writer, their professional practices will be related with each other; from a sound attitude they reach a stimulating setting. At each opening the people concerned will hold a short public conversation concerning their findings.
A mapping, from art and design practices, of similarities and differences and of the tensions and cross-fertilizations, which exist around the practices.
For this third edition in a series of four, Onomatopee presents two creative entrepreneurs, Ruth Lodder, trained at the design academy, and Danielle Smits, trained at the HKU. Both ladies work with ceramics from functional and aesthetic motives. Both present a unique identity with their objects, with a meaning that will stimulate a broad audience. Nevertheless there are also expressly antagonisms, where Ruth applies discerningly and with a tight line sheathing the functionality of forms in another context, the forms of Danielle play with a robust, even misshapen decadence.
What at first sight pleasantly coincides and what we perceive aesthetically, appears on second thought, both functionally and substantive, to contain a multitude of layers. The parallel presentation of two creative practices of ceramists, one more applied, the other one more autonomous, presents how a creative practice can function, allows access to motives by applied communication structures. Each move in their professional practice stems from their heart and is carried intentionally.
During the opening the public can talk with Ruth and Danielle profoundly about this game. Preceding this debate, Freek Lomme (curator of Desarting and director of Onomatopee) and Renske Brinkman (critic, project manager at Premsela and writer of a text concerning the tension between and within the creative practices of Ruth and Danielle) will put already interesting matter on the agenda.
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