___ Through a series of three exhibitions within the Teaming Up
theme we look at the nature and possibilities of classic as well as modern collaborations between human, nature, animals and machines. It is of great interest to revise different forms of collaboration, especially in a time where certain systems and forms of collaboration seem incompetent or even harmful.
In the beginning of 2013 the exhibition Still Unidentified Objects
started to explore unidentified shapes that herald a different era. These ‘new appearances’ dispose of extraordinary characteristics and (possible) functions: a cabinet with an energy-generating crockery; interactive textiles that adopt a shape derived from human emotions; the possibility to use human hair as a material for commodities.
The exhibition Linking Parts
showed the ‘links’ that are able to activate certain systems. These links were made by several applications: using fungus to degrade plastics, residual wood to support the survival of wild bees or a machine that intervenes the design process by doing suggestions on design and process to its user.
In Teaming Up
we explore the next level of new ideas, shapes and links that lead to different forms of collaboration.
Studio 1:1 / Biological Clock (Time)
The earth’s rotation around the sun can be counted as the biggest influence on the biological rhythm of all organisms. Though plants and animals stick to this biological rhythm, mankind tends to stick to a different rhythm: the economic, technical rhythm. This non-biological rhythm can have a negative effect on the health of human beings. Biological Clock
serves as a method to connect the biological and technical clock of hospital patients, without disturbing the hospital’s indispensable schedule. It makes biological time visible, by giving an insight into the rhythm of the ecological environment, from within the highly technical hospital and synchronises the two different rhythms in order to improve recovery.
Today Designers / Fishing for Ink
The paradigm of print media is being ruptured in this project. Fishing for Ink extracts the main apparatus or printing, ink, from nature: from squid, to be exact. The printed book, a book that tells nautical tales, smells like the sea because of the use of squid ink. 700 books were printed from one and a half litres of squid ink, sourced from a Dutch fish auction. Each page is silk-screen printed and are joined with a Japanese stab-binding technique using fisherman’s thread. It is a frivolous, harmless and innovative approach to the use of natural materials. The remainder of the squid is used for the production of calamari. In that way, the residual of two industries is made useful again.
EDHV / Roots
The twilight zone between the physical and the virtual dimension is being explored in Roots. Through the language of algorithms that are present in nature, new patterns arise. This project has led to the concept of how objects take root and serves as a research on the development of these structures and the fusion and frameworks they offer. Roots serves as a revaluation of the interchanging reality, of shifting cultures and collapsing economies we are living in nowadays.
Suzanne van Beest / Wonderpus
The Wonderpus Body Accessories are objects inspired by the extraordinary characteristics of the octopus. Through the use of colour and shape of its body, the octopus communicates and expresses itself. It even takes on the shape of other animals to mislead or frighten its predator(s). These characteristics have been translated to the Wonderpus collection, resulting in accessories that can be worn on any part of the body thanks to their adaptive qualities. The first accessory, transparent tubes knitted into a fabric, can be filled with coloured ink, depending on the input of its user; the other accessory.