movie day: The value of handmade pieces with Rosa Cortiella

Rosa Cortiella tells us what’s the value of a hand-made piece, and what’s the difference between another one made in an industrial process.
Do people see a value on these handcrafted objects?
Rosa is the ceramist who makes our piece of Soo Sensitive, one by one, by hand, and taking care of all the details.

 

movie day: Shio Kusaka & Jonas Wood

From 30 September 2017 to 7 January 2018, museum Voorlinden presents a duo exhibition featuring the artist couple Shio Kusaka (b. 1972) and Jonas Wood (b. 1977). It is their first two-person exhibition in Europe. Wood, an American painter from Boston, and Kusaka, a ceramic artist from Japan, live and work in Los Angeles. Voorlinden would like to introduce the Dutch public to these artists, who are both celebrated in the United States.

www.voorlinden.nl/exhibition/shio-kusaka-jonas-wood/?lang=en

movie day: Armour by Keegan Luttrell

Individual protections, once made of iron, were meant to defend their owner and improve human capacities. They would shape the body to act as a second layer, define one’s identity and belonging, and maybe, repulse the adversary. From head to toe, covered by her all-in-one, how would Joan of Arc feel wearing her “victorious” harness while marching on Paris?

The inhabitants of an armour chose whether they wanted it to be light and adherent or massive and constructing, either allowing a greater rapidity of movement but with less efficiency or defensive but rigid and heavy, constricting the range of action. In each case, the protection reveals its fragility.

From chainmail to bulletproof vests or tribal face tattoos, the defensive shields made a long way since the heavy overalls and took diverse outlines. Kevlar, polyethylene of molar mass, light metal, ceramic plates or ink; materials and forming varied and evolved regarding mobility and clinging functions to such an extent, that they tend to become imperceptible.

Keegan Luttrell extends this investigation field to other forms of protection or self-defense. Her interest focuses exactly on the invisiblearmours, involved in a daily context. The ones we wear on facial features or disguised under gestures and behaviors.

Through her analysis and in the exhibition taking place, they become tangible, as to allow a closer observation, as if we could even try them. Face lines converted into ceramic pieces strengthened by fire and shattering if mishandled. These fine bone structures are here engaged in a ritualized course, their brittles taken by fluids and movements, turning back into sediments, as the objects are activated by their dissolution.

-Marie DuPasquier

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