A northern banded dragonfly unexpectedly lands on a Balkan pond turtle's nose and delicately stops there, almost posing like a ballerina performing an arabesque. The turtle seems to enjoy the moment and for an instant the two are locked in a perfectly blissful moment.
Animal enthusiasts can marvel at scenes such as tender moments between hares in Scotland's Monadhliath Mountains, penguins interacting, a grizzly bear engaged in salmon fishing, and a polar bear enthroned on an iceberg bed.
Poetic snapshots include moon jellyfish illuminated by the aurora borealis in Norway's fjords, a humpback whale calf's missed sip of milk leaving a ghostly trace in sea currents, and starlings forming murmurations that shape a giant bird in the sky.
Some images depict animals mirroring human behaviors, such as a shrew and a fox locking eyes or a mudskipper fiercely defending its territory from a trespassing crab.
In other instances, the human presence is subtle yet impactful, revealing danger. Claire Waring's photograph captures a Celebes crested macaque attempting to drink from a discarded plastic bottle on a beach in Indonesia. Unfortunately, the macaques have learnt that these bottles contain liquid, quite often a sweet beverage, so they look for them.
There are other images highlighting the repercussions of human waste, such as Brent Stirton's photograph of a bull elephant with gunshot wounds, scavenging for food in a Sri Lankan dump.
Amidst these poignant visuals, a fashion image by Britta Jaschinski stands out. Titled "Fashion Victims," it doesn't feature playful or cute animals but a rack of lifeless coats made from the skins of endangered big cats like snow leopards, jaguars, and ocelots.
While the title suggests impenitent human beings indulging on the latest fashion trends, Jaschinski's intent is different as the victims here are the animals killed to provide luxurious coats for humans. The confiscated coats, held in Hamburg's Leibniz Institute for the Analysis of Biodiversity Change, undergo forensic tests before being used in educational events to prevent their return to the black market.
During the photoshoot, Jaschinski discovered that, on average, the fur industry sacrifices 12 animals to make one coat. Collaborating with a biologist, the photographer attempted to quantify the impact of the fur trade by trying to count how many animals were killed to make these designs, but stopped due to its shocking nature.
While many companies and luxury houses have eliminated (or pledged to eliminate) furs from their collections, there is still a lot to do and this symbolic image not only holds significance for this award, but could also serve as a powerful tool for fashion awareness campaigns.
The shortlisted images are currently on display at the Wildlife Photographer of the Year exhibition at the Natural History Museum in London until June 30, 2024. We can all participate in the People's Choice Award voting until January 31, 2024, with the winner set to be announced on February 7, 2024.
Image credits for this post
The Happy Turtle Photograph: Tzahi Finkelstein/Wildlife Photographer of the Year
Ice Bed Photograph: Nima Sarikhani/Wildlife Photographer of the Year
Aurora Jellie Photograph: Audun Rikardsen/Wildlife Photographer of the Year
Neighbourhood Dispute Photograph: Ofer Levy/Wildlife Photographer of the Year
Starling Murmuration Photograph: Daniel Dencescu/Wildlife Photographer of the Year
Rubbish Drinks Photograph: Claire Waring/Wildlife Photographer of the Year
Bull in a Garbage Dump Photograph: Brent Stirton/Wildlife Photographer of the Year
Fashion Victims Photograph: Britta Jaschinski/Wildlife Photographer of the Year
The Material Innovation Initiative is a think tank dedicated to advancing research and knowledge-sharing aimed at expediting the development of environmentally friendly and animal-free materials across various industries, including fashion, automotive, and home goods. Additionally, the think tank organizes events and releases reports on alternative materials such as those replacing leather, fur, exotic skins, and textiles primarily derived from petrochemicals.
Several companies have actively worked on creating products using recycled plastics, including those harvested from oceans, and have experimented with materials like fungal mycelium. Numerous studies explore the potential of algae, jellyfish, and dormant bacterial cultures. However, many of these materials are still in the experimental stage or remain expensive to produce, limiting accessibility for most consumers.
While anticipating progress in research, it would be a good idea for the European Union to consider the prohibition of specific materials and textiles. In October, the EU banned microplastics, including loose glitter and products containing certain microbeads and synthetic polymer particles, due to their environmental impact.
The EU should broaden its focus to include the potential ban on polyurethane-coated garments and on the promotion of more environmentally safe alternatives. The terms "faux leather," "pleather," or "vegan leather" used by companies can be confusing and contribute to greenwashing, all of them indicate indeed fossil fuel-based materials that can have an impact on the environment and on the health of the wearer, as evidenced by the rapid deterioration observed in certain cases.
After extensive wear, polyurethane-coated garments, often exhibit surface scratching, cracking, and peeling from the support fabric. However, in specific instances highlighted in this chapter of our "Fashion Forensics" series, garments, such as a long skirt by Sisley (Exhibit A) and an unlabeled cropped top (Exhibit B) purchased from a market stall, deteriorated rapidly, leaving behind a hazardous residue resembling dust. This emphasizes the urgent need for scrutiny and potential regulatory measures regarding such materials.
Exhibit A
Description: Exhibit A refers to a polyurethane coated ankle-length full circle skirt by Sisley (Exhibit A)
Fit: The full circle skirt has a comfortable fit, it is not tight, and sits comfortably around the waist. It is rather heavy as it is long and very ample with a generous volume.
Feel: The surface is very smooth and pleasing to the touch, mimicking the silky consistency of nappa leather.
Material: The label indicates that this garment by Sisley (a brand under the Benetton Group as indicated on the label) comprises 100% polyester for the main textile, with a polyurethane coating, and a lining composed of 97% polyester and 3% elastane.
Labels/Warnings/Washing instructions: The label indicates the skirt was "Made in China". The washing instructions explain it should be washed at 30°, no bleach, no tumble dry, no iron, no dry clean, no wringing.
History: Purchased approximately five years ago, the skirt has been worn 12 times: twice by a friend who subsequently passed it on to me this year and ten times by myself.
Upon receiving the skirt, it was in perfect condition. Despite following the washing instructions, the skirt exhibited immediate damage after only one wear.
Deterioration: Initially free from signs of wear, the skirt's surface cracked on the left side near the zipper after the first wear. These cracks expanded rapidly, extending to the back and around the waist.
Notably, no accessories or embellishments were worn that could have caused damage (I wore the skirt with a plain cotton T-shirt with no sequins or beads that may have damaged it and no belt or other types of accessories around the waist). Soon, the hem started fraying, and cuts appeared.
Subsequently, the cracked areas began peeling off. Unlike previous experiences with polyurethane coating, the material displayed a lack of elasticity, breaking into smaller pieces rather than in long and elastic film patches.
Storage: Kept in a wardrobe away from light and plastic covers, the skirt hung alongside other garments made of wool and cotton.
Exhibit B
Description: Exhibit B refers to a cropped top with strings, coated with polyurethane, and lacking any identifiable label. It is designed to fit a person of medium size.
Fit: Tight fitting, as stated above the top appears suitable for a medium-sized individual.
Feel: In contrast to the skirt, the surface of this polyurethane-coated garment is not as smooth. The material imitates a slightly thicker leather, resembling pigskin.
Material: Though there is no label, it is evident that this garment is constructed from a synthetic material coated with polyurethane. Notably, an indiscernible synthetic odor, reminiscent of synthetic textile materials, has developed.
Labels/Warnings/Washing Instructions: No label is present on the garment.
History: Purchased approximately 6-7 years ago from a market stall in Rome, Italy, by a friend who never wore it. Stored in her wardrobe under a jacket, the top was forgotten until recently rediscovered and passed on to me along with Exhibit A.
Although never worn, it was not smelly or dusty upon receipt and appeared to be in reasonable condition. I tried it on, found it fitting, and packed it between clean T-shirts for a recent trip.
Deterioration: Upon removing it from the case, I observed immediate cracking on the surface, accompanied by the release of a fine black dust that soiled other garments.
Attempting to mitigate the dust release, I washed it following typical instructions for polyurethane-coated garments (30° wash, no bleach, no tumble dry, no iron, no dry clean, no wringing). However, this worsened the situation, causing the coating to break and peel off entirely in various places, including the strings and resulting in a further substantial release of black dust.
Storage: The cropped top was stored in a wardrobe away from light, alongside garments that posed no risk of damage. It hung beneath a jacket.
Conclusions
The swift deterioration of garments with minimal or no use is quite surprising. While skepticism may surround anonymous market stall purchases, the skirt in question is from a once-popular high street brand in Italy and from what I was told it costed around 100 euros. Although not an exorbitant sum, it exceeds the cost of similar polyurethane-coated items at fast-fashion retailers. The rapid degradation of both items is shocking.
In the case of the skirt, its design contributed to its malfunction. Despite its aesthetic appeal, the heavy, ample, and long configuration may have exacerbated cracks and tears in the material. This is proved by the fact that most cracks occurred in the upper part of the skirt rather than in the middle or the lower part (the cuts around the hem may be justified by the skirt brushing against my platform shoes, sturdy footwear with a thick sole, yet again my shoes shouldn't have damaged the garment...), as if the upper part had to bear too much weight and couldn't sustain it. This prompts consideration of whether a similar malfunction would have occurred in another type of skirt such as shorter, pencil skirt made with the same material.
This statement doesn't mean I'm defending the quality, but, as a note to remind fashion design students reading this post to always study your textiles, consulting the material you're using and also questioning it (like Louis Khan questioning the brick – remember?). Listen to the material and be reasonable, can the material of your choice support your design or is it too delicate and fragile? Test materials and, if possible, create miniature versions to assess durability.
Both designs seen in this post pose an environmental risk. The skirt releases polyurethane particles ranging from 0.05mm to 2cm, while the cropped top dissolves into a fine dust that poses an inhalation risk for the wearer.
The video showing the top's deterioration highlights the release of numerous particles, emphasizing the potential health risks (apologies for the ambulance in the background, but I didn't want to mute the video to allow viewers to hear the distinct sounds of the top crumpling on the paper and to comprehend the extent of particle release and their minuscule size). This raises concerns about gender-specific exposure as well: polyurethane coating is employed on all sorts of garments and accessories, yet there are probably more designs made with this material tailored with women in mind, which would make them more prone to health risks.
Scientific researchers have proved us that some disorders such as thyroidal dysfunctions may be caused by chemicals (for examples, those ones used in consumer goods like non-stick pans and water-resistant fabrics). Nowadays more women suffer from thyroidal issues than men, so could it be that we women are intoxicating ourselves by exposing our bodies to certain substances and textiles (death by fashion is not a new thing, after all: at the end of the 1770s the bright dye called Sheele Green became very popular, but a lot of women wearing gowns dyed with this arsenic-laced shade felt sick, developed sores and ulcers on the skin, reported a loss of hair and vomited blood…).
What are these substances doing to us humble wearers? Well, we don't know for sure, that's why an investigation into the impact of certain substances and textiles on the human body would be needed to see if we could find them responsible for many modern illnesses and disorders.
So, what to do with the garments in this post? Well, in their current state, the garments cannot be worn or recycled, leading to the inevitable outcome of contributing to landfill pollution. Which leads us to our conclusion: given the unpredictability of polyurethane-coated designs, it is advisable to avoid purchasing them.
Despite this, the demand for faux leather remains high, as evidenced by the success of Kylie Jenner's brand, KHY. The brand recently released 12 designs, 10 of them - including a trenchcoat, a body-con dress and a pair of trousers - all made out of "faux leather", and many pieces are already sold out (and with this I'm not accusing Kylie Jenner of selling low quality faux leather garments, but nobody guarantees us that her pieces will not crack and peel like the ones in this post...).
But there are alternatives for those impenitent fans of The Girl on the Motorcycle look: if you like leather and can't afford new garments made with this material, search for vintage ones.
If you have the skills, get some leather rolls online (you can find a few meters of nappa at very affordable prices from NonaSource that sells leftovers and dead stock from luxury fashion houses) and make your own garment (it's surprising what you can do with a bit of leather and some automatic buttons even when you don't have any sewing skills) or enlist a friend with skills, and do a project together.
Who knows, maybe one day the deterioration of these garments will be brought to the attention of the European Union. After the restriction on microplastics, the EU is focusing on the regulation of plastic pellets - also known as nurdles or nibs and usually melted down and reformed into everyday products - to prevent environmental harm. The pellets can indeed leak into the environment during the supply chain or break down into microplastics and may be eaten by people and animals. But, the same could be said about polyurethane-coated garments.
Let's also hope that in future they will do an exhibition featuring a wide range of garments in different states of deterioration that could prompt consumer reflection on the impact on our health and on our planet of the materials we wear on an everyday basis.
Sometimes, one stumbles upon cherished treasures or enigmatic mysteries without intending to do so. John Maloof, for example, came across the extensive body of work of Vivian Maier, an unassuming nanny with a penchant and a talent for street photography, during a thrift auction on Chicago's Northwest Side, an event that allowed her rediscovery.
A similar scenario unfolded for Sébastien Girard in more recent years, even though in his case he found a very different archive. In 2011 a specialist was sent to assess the Barbie dolls and toys of the late collector Tom Wilkins in Boston. However, the toys were not the sole discoveries; amid scale models, dioramas, electric trains, and Barbie dolls, they also found 12 albums of Polaroid pictures that Girard acquired.
All of them were entitled "My TV Girls" and each contained neatly arranged pages, each featuring nine images of women - some of them unknown, others famous actresses from TV shows and films. Quite often they were pictured in various states of undress or entirely naked. The images varied from slightly out of focus or subtly erotic to more explicit scenes, such as a woman making love to a topless girl. Some were sourced from pornographic films, while others were from well-known movies, including Barbarella. The author exhibited a particular fascination with women's breasts, evident in pictures of women in bras, bra advertisements, and even a program on mastectomy.
In total, there were 911 meticulously organized Polaroids, each dated, numbered, and captioned by Wilkins who left comments on labels applied to the white margins of the Polaroids. Altogether, Wilkins dedicated 1,248 days between August 1978 and January 1982 to taking these images. The choice of the Polaroid was obvious since, if processed by a laboratory, such images may have lead to inquiries.
The subject matter, theme, precise and rigorous commentary, along with meticulously catalogued images, collectively indicate an obsessive - perhaps even dangerous - mind with a disconcerting hobby, or a man propelled by masculine libido with a preference for women's breasts.
Wilkins never photographed women in the flesh; instead, he focused solely on their image or representation, whether through the TV screen or via mannequins and dolls. He actively engaged indeed also in (sometimes sexual) recreations involving Barbie dolls, both indoors and outdoors.
Similar practices are not unprecedented or unrecorded. The volume titled "Type 42," features images taken from a television (and cinema) screen, portraying actresses or singers like Brigitte Bardot, Françoise Hardy, Romy Schneider, Anouk Aimée, and Sophia Loren, among others. The photographer in this case remained anonymous, leaving the audience uncertain about whether it was a man or a woman. However, Cindy Sherman, in the introduction to the book presenting 120 of these images, described the content as an exhaustive study of what it means to be a woman, as if the photographer were seeking the very essence of femininity.
Concerning the Barbie scenes, another precedent that may be linked to Wilkins is Morton Bartlett who crafted fifteen anatomically correct dolls of children, including twelve prepubescent or physically developing girls that he photographed in various poses or tableaux, sometimes clothed, occasionally nude, with many images carrying an erotically suggestive and profoundly unsettling undertone (View this photo).
Perhaps Sherman's introduction for "Type 42" opens up another interpretation, somewhat supported by a Polaroid that may aid in reinterpreting Wilkins' opus. In a photograph, akin to those in the "My TV Girls" series, Wilkins conceals his face behind the camera and dons a Beautiful Ones Playtex bra (described in a 1981 ad as "delicate, lacy, a little daring (...) feminine" View this photo).
The description on the margin reads: "27 MAR 81 #646. Me wearing 38B Beige Playtex Beautiful Ones lace bra. Photograph was taken using a dressing mirror and an SX70 camera." In this Polaroid Wilkins turns the camera onto himself, capturing an image of his transformed body, imitating the bodies he had previously photographed.According to Girard, the act of cross-dressing becomes the pivotal factor unlocking the truth behind the other images, transforming their meanings. Wilkins posed here as a woman and this revelation prompted Girard to reassess the material and delve into further research.
Born in 1951 and residing in the conservative Jamaica Plain neighborhood of Boston until his death in 2007, Wilkins, in Girard's perspective, aimed to transcend gender norms paradoxically by utilizing the stereotypes prevalent in society to escape them and define his preferred gender.
In a nutshell, Wilkins documented the image of the desirable woman as dictated by American society, yet simultaneously portrayed his own aspirations, so that the final images of the photographs re-shifts from male voyeurism to the desire for a woman's body.
This interpretation adds an intriguing layer to the work, suggesting a different meaning and forcing a reflection on society and on a man living in a fantasy, unable to freely express his true self and taking refuge behind a series of women seen on TV with which he aimed to identify.
Reportedly, Girard possesses other self-portraits of Tom Wilkins in feminine attire, complete with a bra, panties, and even a sanitary napkin, transitioning from a predator-voyeur to an appropriator, visualizing masculine fantasies and integrating them into his own body. Whether this signifies a search for trans-identity is challenging to ascertain (doubts remain, as among the pictures only one image alludes to transsexuality in a detached way - "2 MAR 1980, #325, off TV, movie. That boy is really a girl").
Girard initiated this exploration in 2011 when he acquired the enigmatic Polaroids, partially published in 2017 under the title "The Diary of Tom Wilkins."
Recently, an exhibition at Parish Photo in November showcased the pages of the albums as meticulously arranged by Wilkins, accompanied by an installation featuring a TV and a Polaroid camera recreating Wilkins' equipment.
Another book, "My TV Girls," in a limited edition of 500 copies, has just been published by Christian Berst Art Brut, the gallery currently showcasing a selection of Wilkins' photographs under the title "Bad Timing" (until 14th January 2024), consisting in a series of images triggered too early or too late, missing the decisive moment, yet Wilkins still decided to keep them.
Maybe in future they will be able to shed more light on deciphering the images behind "My TV Girls" and further details on Wilkins' life.
Yet, Girard faces a caveat: John Maloof's discovery of Vivian Maier brought her work into the international scene and resulted in a complex lawsuit over copyright ownership with distant heirs. Has Girard withheld additional images in anticipation of potential heirs emerging? It remains uncertain. Perhaps, one day, as more portraits will be unveiled, the truth behind Wilkins' enigmatic persona will be fully revealed. Until then, ambiguity prevails, leaving open one question - was he a male voyeur or a man in search of his trans-identity?
Image credits for this post
All images courtesy Christian Berst Art Brut - Sébastien Girard
We have explored a wide range of exhibitions dedicated to women artists in the last few posts, looking at events in London, Madrid and Brescia.
Robilant+Voena in New York will join the trend launching in December the exhibition "Ahead of her Time: Pioneering Women from the Renaissance to the Twentieth Century" (5th December 2023 - 10th February 2024).
Curated by Dr. Virginia Brilliant, Director of Old Masters at Robilant+Voena, this event will showcase over 30 works by women artists from Europe (with particular attention to Italy and France) and America, spanning five centuries."Ahead of Her Time" will feature masterpieces by Old Master and 19th to 20th-century women artists, complemented by portraits and works (some of them unseen as part of private collections and now on public display for the first time in generations) belonging to influential women in the art and culture fields.
Some of these visionaries are well-known pioneers in their fields, others are not so famous; all of them defied societal norms throughout history in their lives and work.This journey of discovery begins with a celebration of 16th and 17th-century Italian women painters, including Orsola Maddalena Caccia (who was a nun, a talented artist and a shrewd businesswoman), Lavinia Fontana, Fede Galizia, and Artemisia Gentileschi (works by these last three artists are also included in the exhibition "Maestras" currently on at the Thyssen-Bornemisza Museum in Madrid).
These artists received their initial training from their fathers and went on to establish unique styles, launching their careers in societies where independent female artists were a rarity.
Rediscovering them also allows us to make comparisons between the different ways they all portrayed the same scene of Judith with the head of Holofernes (Fede Galizia was the first one of them to be drawn to the subject): Fede Galizia for example put emphasis on the richness of the gown worn by Judith, while the maid is in the background; Fontana and Gentileschi instead tended to represent Judith and the maid as two women part of the same team, collaborating in beheading Holofernes.
The exhibition then highlights 18th century artists like Angelica Kauffman, Rosalba Carreira, and Adelaide Labille-Guiard, emphasizing the challenges women faced despite increasing opportunities in artistic education.
Labille-Guiard limited herself, for example, to the genre of portraiture, and Kauffmann left England for the Continent where history paintings by women found greater acceptance.
Mary Beale worked in London as a painter and writer, providing for her family through her professional work. She was also a pioneer for other reasons: in 1663 she completed the manuscript Observations, that remained unpublished, but became the earliest known educational text in English about the act of painting written by a female painter (the text explained how to paint apricots).
The women painters of Sèvres, who produced some of the finest works in porcelain to emerge from the Royal Manufactory, were also excceptional as proved by the sophisticated examples on display. But there are more artists to discover, including Anne Vallayer-Coster, who painted exquisite still lifes like the one with shells and corals, and Hortense Haudebourt-Lescot who was a portraitist. Both capitalized on post-Revolutionary France's newfound freedom to pursue their artistic careers, surprising male contemporaries with their talent.
Moving into the 19th century, artists such as Erminia de Sanctis and Victoria Dubourg explored unique genres and styles, adapting to evolving societal trends. Several artists in the exhibition actually demonstrate their receptiveness to the changing trends and fashions in society, creating works depicting popular literary or historical subjects, or incorporating the latest craze of Japonisme, as evident in a striking painting of flowers in a delicate porcelain vase by Grace Adelaide Fletcher. The exhibition also features objects reflecting the broader impact of women in society, including a portrait of the Brontë sisters by their brother Patrick Branwell Brontë, and a carved ivory tusk that stands as a testament to the British adventurer Baroness Anne Brassey.
The 20th century brings to light American women painters who built upon the progress of their European predecessors, infusing their works with expressions of political equality struggles. In this section the exhibit unveils previously unseen works, including a unique double-sided canvas from 1919 depicting British writers and lovers Vita Sackville-West and Violet Trefusis, newly attributed to Augustus John, a discovery made through research for the exhibition.
In the 20th century, female American painters embraced the advancements pioneered by their European predecessors. Many of these artists integrated subtle expressions of their growing struggles for political equality into their works.
Laura Coombs Hill shed light on the challenging coexistence of personal independence and familial responsibility through an intimate drawing of her cousin. Grace Gassette's enigmatic full-length portrait of a lady reminds us of the extraordinary life of this painter and sculptor.
During the First World War, initially responsible for surgical supplies at the American Hospital in Neuilly-sur-Seine, Gassette assumed the role of technical director of the Franco-American Corrective Surgical Appliance Committee in 1916. In this capacity, she leveraged her profound understanding of anatomy, honed through figure drawing, to innovate and design orthopedic devices for injured soldiers.
The exhibition not only unveils uknown masterpieces but also invites us to reflect on the evolving landscape of gender equality and the transformative power of art.
The diverse range of trailblazing women artists included in this event pays indeed tribute to the resilience, ingenuity, and determination of the female spirit across centuries. Their struggles and triumphs should serve as an inspiration for contemporary women aspiring to creative self-expression and exploration.
"Ahead of Her Time" also includes a tactile reproduction of a still life painting by Orsola Maddalena Caccia for blind and partially-sighted visitors, adding a further inclusive dimension to the appreciation of art and underlining the importance of organizing similar initiatives. By doing so, galleries and museums can indeed broaden their accessibility, welcoming a more diverse audience.
Image credits for this post
Lavinia Fontana Self-Portrait, c. 1579-80 Oil on silver copper 14 x 10 cm
Fede Galizia Judith with the Head of Holofernes, c. 1622 Signed 'FEDE GALITIA' (on the seam of the sack, lower left). Old inventory number 'No. 208' (on the reverse of original canvas) Oil on canvas 127 x 95.5 cm
Orsola Maddalena Caccia Still Life with Vase of Lilies, Tuberoses, Irises, Daffodils, Jasmine, Tulips, and a Red Peony on a Table Top, with Cherries, Peaches, and Lemons, c. 1630s Oil on canvas 88.5 x 62.5 cm
Artemisia Gentileschi The Penitent Magdalene, c. 1626 Oil on canvas 81 x 68.5 cm
Grace Adelaide Fletcher Cherry Blossoms in a Vase, 1886 Signed and dated 'Grace Fletcher/Japan/1886' (lower left) Oil on canvas 109.8 x 54.2 cm
Grace Gassette Portrait of a Lady, 1907 Signed and dated 'Grace Gassette 1907' (lower right) Oil on canvas 177.8 x 80 cm
Augustus John Portrait of Vita Sackville-West (recto); Unfinished Signed faintly 'J' (lower right) Oil on canvas 58 x 50 cm
Augustus John Portrait of Violet Trefusis (verso), 1919 Signed faintly 'J' (lower right) Oil on canvas 58 x 50 cm
The latter is also linked to the White Ribbon Campaign (WRC), a global movement of men and boys working to end male violence against women and girls (domestic violence awareness is instead represented by the colour purple).
In Italy, though, many people opted to wear a red ribbon to raise awareness that violence against women is a cultural problem and a social responsibility that concerns everyone and to remember the women who were victims of violence this year, in particular Giulia Cecchettin, 22, who was killed two weeks ago by her ex-boyfriend.
Police forces displayed the symbol on service vehicles and uniforms, students donned it in schools, but there were also politicians and members of the Italian parliament who opted for red ribbon or a white ribbon with a red section.
While it is always honourable to stand up for a good cause, the choice of a red ribbon may be confusing as this symbol is globally recognized to express awareness and support for those living with HIV and AIDS and their families and friends, and the efforts to increase funding for AIDS services and research.
The Red Ribbon appeared for the first time in 1991, when a group of New York artists met in a gallery in the East Village to discuss a project for Visual AIDS, a New York arts organization dedicated to HIV awareness.
The artists involved in the project wanted to encourage conversation about HIV during a period when it carried significant stigma. The simple yet immediate design was chosen as it was easy to recreate it: it was influenced by the yellow ribbons tied on trees to show support for the US military during the Gulf War, but the red colour was selected for its bold visibility and symbolic representation of passion, heart, and love, a bit like a valentine.
Pink and rainbow colours are usually associated with the LGBT+ community, so opting for a different shade was considered as a way to remind people that HIV was relevant to everyone.
As the decades passed, the red ribbon became one of the most iconic symbols of the late 20th century, it is indeed also represented in the permanent collection at New York's Museum of Modern Art. It should be highlighted that the red ribbon doesn't belong to anybody, it is not exclusive to a country, a government or a campaign and the artists who created it ensured that it stayed copyright-free, and was not a commercial or trademark tool.
That said, while it is not a copyrighted design and therefore in this case there is no infringement, choosing the red ribbon to indicate another cause may prove confusing, especially for younger generations who may not be aware of the AIDS campaign (let's hope teachers and members of their families will tell them about it) or even amount to appropriation.
This situation is regrettable as it suggests that a campaign dedicated to women, typically subjected to discrimination in our society, would adopt a symbol initially crafted by another marginalized community. If this trend gains popularity, there is also a risk that in Italy it might supplant the red ribbon as the emblem for AIDS awareness.
Perhaps, instead of relying on ribbons and other symbols or appropriating symbols from other fights, we should reshift our attention on our goals and objectives. A 1994 leaflet promoting World AIDS Day succinctly stated, "Ribbons are not enough" - emphasizing that the red ribbon becomes truly meaningful when paired with actions and words that create a tangible impact. "Wearing a Red Ribbon is the first, easy step in the fight against AIDS. The next step is to do something," the leaflet highlighted.
Sporting a ribbon is indeed a visible commitment, yet it falls short in addressing the urgent matter of violence and femicides. This is particularly crucial when contemplating the severity of the situation in the Italy, where over 100 women were tragically killed this year. The necessary subsequent steps demand concrete actions to bring about positive change in the ongoing battle against violence against women.
A last note for design students: this may be a superficial reminder, when working on a project always ensure to thoroughly examine the meanings and symbolisms associated with colours, symbols, and logos both within your own country and globally. This will allow you to avoid creating designs that might appear derivative or inadvertently lead to appropriation issues.
Today marks the International Day for the Elimination of Violence against Women, established by the United Nations General Assembly in 1999, following the 1993 Declaration on the Elimination of Violence against Women. This declaration, the first international instrument providing a framework for both national and international action, was the first explicitly addressing violence against women.
Previously known in Latin America and several other countries as the "International Day Against Violence Against Women," November 25th was initially declared during the first Feminist Encuentro for Latin America and the Caribbean held in Bogota, Colombia in July 1981. At this historic gathering, women denounced gender violence - spanning from domestic abuse to rape, sexual harassment, and state violence against women political prisoners.
The date was chosen to commemorate the lives of the Mirabal sisters. Hailing from the Dominican Republic, Patria, Minerva, and María Teresa, 36, 34 and 25, were assassinated during the dictatorship of Rafael Trujillo (1930-1961) on November 25, 1960. As political activists against the Trujillo regime, they symbolize the fight against the victimization of women and are referred to as the "Inolvidables Mariposas," the "Unforgettable Butterflies."
Minerva Mirabal's powerful words, "If they kill me, I'll reach my arms out from the tomb and I'll be stronger," were almost a prophesy: their deaths, made to look like an accident, shook the public opinion and a group of dissidents assassinated Trujillo six months later.
MInerva's words have inspired the slogans currently being shouted at protests all over Italy, following the tragic death of Giulia Cecchettin, a 22-year-old engineering student murdered by her ex-boyfriend, Filippo Turetta.
Her body was found a few days before her graduation, in a ditch near a lake north of Venice where Turetta abandoned her before fleeing to Germany (Turetta was extradited to Italy today).
Giulia's case is just one of many in Italy, with 106 women murdered this year alone, predominantly by their partners or ex-partners.
In a previous post in September, we highlighted that 80 women had been killed in Italy at the time of writing - between then and now, a relatively short time, another 26 women were killed.
Italy faces challenges in addressing gender-based violence, with societal justifications often portraying men as victims, left by their girlfriends, wives or partners and therefore feeling depressed or inferior, excuses for uncontrollable outbursts of violence and anger that prompt them to kill. In Cecchettin’s case Turetta's allegedly refused to accept her decision to end the relationship, but, from the reports, he was also hurt by the fact that she was going to graduate before him.
Victims of a male toxic behavior, women are often abandoned by the same institutions and laws that should protect them: authorities rarely take seriously the alarms raised by women being stalked or threatened by previous or current partners.
The government, led by Prime Minister Giorgia Meloni, has been criticized for inadequate support and legislative measures. Earlier on this year Meloni's party, Fratelli d'Italia (Brothers of Italy) abstained from voting on a crucial EU treaty aimed at preventing violence against women.
In September Meloni defended her then partner, Italian journalist and presenter Andrea Giambruno, after he blamed the victim when discussing the gang rape of a young woman. In August, during his TV show (on one of the channels owned by Mediaset, founded and owned by the late Silvio Berlusconi), Giambruno stated indeed that women could avoid rape by not getting too drunk. In October, though, Meloni split from her partner after two off-air recordings emerged of Giambruno making inappropriate and sexist comments to a female colleague.
Global legal frameworks may also pose obstacles to justice for women. In early November, Michele Faiers Dawn, a 66-year-old woman, was discovered fatally stabbed in Casoli, Abruzzo.
The Italian Chief Prosecutor took action by issuing a pre-trial detention order against Michael Dennis Whitbread, a 74-year-old Englishman implicated in the murder of Dawn, his partner.
However, when the body was found, Whitbread had already left Italian territory to return to the UK. As the UK is now outside the EU, legally it is more difficult to ask for an extradition and in this case, though extradition was sought, it was not granted by the judges of Westminster Court in London.
There never seem to be funds in Italy for anti-violence centres and educational courses in schools; there is never any support for women's collectives that may help victims of violence forced to leave their homes or even their cities to escape a violent partner. But now the time has come to confront this ongoing tragedy: violence against women is everyone's business as it can only be eliminated with a unified approach.
While art alone cannot solve these complex issues, it can inspire action and empower women. Events in London and Madrid are currently celebrating women artists, and there is also an exhibition in Brescia, at the Santa Giulia Museum, that explores women's conditions worldwide.
Entitled "Finché non siamo libere" (Until We Are Free; until 28th January 2024), it moves from the eponymous title of the book by Iranian civil rights advocate Shirin Ebadi, the first Muslim woman to receive the Nobel Prize in 2003. The event actually features quite a few Iranian artists in support of the protest movement that rose after the death of Mahsa Amini, but the exhibition is dedicated to the condition of women in the entire world.
The thematic sections explore indeed various issues, such as multicultural identity and the importance of dialogue, interaction and mutual respect between cultures (through the work of Otobong Nkanga among the others), and power dynamics (Shilpa Gupta explores this theme, for example).
Gender and the condition of women is tackled by South African photographer Zanele Muholi, Sonia Balassanian's cycles of work on paper and Farideh Lashai's Rabbit in Wonderland, partly inspired by Lewis Carroll's Alice in Wonderland and consisting of seven works.
Environmental concerns, and the self-destruction by human beings of our planet, are instead addressed in the work of Zehra Doğan – a Kurdish artist and journalist with Turkish citizenship, who was arrested and sentenced for having published on social media one of her paintings depicting the destruction of Nusaybin after clashes between security forces and Kurdish insurgents.
The right to memory and identity is explored through the works of Leila Alaoui, a Franco-Moroccan artist who died prematurely due to serious injuries sustained during the terrorist attacks in Ouagadougou, Burkina Faso, while working on an Amnesty International commission.
Going to see an exhibition featuring women artists may inspire visitors to find their voice or medium to contribute to the elimination of violence against women, but there are obviously other ways.
You may want to read about Artemisia Gentileschi, for example, and explore the theme of female rage in her paintings, ponder about the works of Teresa Margolles, or re-watch Mario Monicelli's 1968 film "The Girl with a Pistol", starring Monica Vitti as Assunta, a young woman who turns from rape victim pushed by the people in her village to marry the man who dishonored her, to an empowered and independent woman.
The Italian government asked for a minute of silence in schools on Friday to remember Giulia Cecchettin, but her sister invited students to make noise instead in her honour.
Making a noise and screaming like Birch has never felt more needed to express rage and horror at violence against women, and at femicides in the world and in Italy in particular.
The International Day for the Elimination of Violence against Women kicks off the 16 Days of Activism Against Gender Based Violence campaign which ends on December 10th with Human Rights Day.
Image credits for this post
3, 4 and 5. Installation images from Finché non saremo libere, Santa Giulia Museum, Brescia, 2023, by and copyright Alberto Mancini. Courtesy Fondazione Brescia Musei.
7. Otobong Nkanga In a Place Yet Unknown, 2017 Collezione Genesi, Milan Courtesy Otobong Nkanga and Mendes Wood DM, São Paulo, Brussels, New York
8. Shirin Neshat Stories of Martyrdom (Women of Allah series), 1994 Collezione Genesi, Milan Copyright Shirin Neshat. Courtesy Shirin Neshat and Gladstone Gallery, New York and Brussels
9. Zanele Muholi Muholi Muholi, Room 107 Day Inn Hotel, Burlington, Vermont, 2017 Collezione Genesi, Milan Copyright Zanele Muholi. Courtesy Stevenson, Amsterdam / Cape Town / Johannesburg and Yancey Richardson, New York
In the previous post we looked at a digital twin created with an Artificial Intelligence (AI) application. Let's continue the AI thread reviewing some of the AI news from the last few days.
A music video with a deepfake twist
In October Björk and Rosalía announced they were joining forces. The Icelandic and Spanish singers collaborated indeed on a song to benefit the campaign against industrial salmon farming in Björk's native Iceland.
In a statement posted on Instagram last month, Björk stated: "People at the fjord Seyðisfjörður have stood up and protested against fish farming starting there. We would like to donate sales of the song to help with their legal fees and hopefully it can be an exemplary case for others."
She added that Iceland is "the biggest untouched nature in Europe" with sheep roaming free in the mountains, and fish swimming free in lakes, rivers and fjords. "When Icelandic and Norwegian businessmen started buying fish farms in the majority of our fjords, it was a big shock (…) We don't understand how they had been able to do this for a decade with almost no regulations stopping them." (it is worth remembering that with the 2022 merger Ice Fish Farm acquired Laxar Fiskeldi, now majority-owned by the Norwegian company Måsøval. Ice Fish Farm manages the Seyðisfjörður fjord and three others in the east, aiming to process 10 million salmon annually).
The industrial farming of salmon, Björk claims, "has already had a devastating effect on wildlife and the farmed fish are suffering in horrid health conditions. And since a lot of them have escaped, they have started changing the DNA in the Icelandic salmon for the worse, and could eventually lead to its extinction."
The open-pen salmon-farming industry has indeed come under scrutiny in Iceland after it was reported that up to 3,500 salmon may have escaped from the Arctic Fish (one of Iceland’s largest salmon-farming companies) facility in August. This is a serious situation as farmed salmon can severely impact the local populations of fish living in the wilderness.
In a recent message on Instagram, Björk stated: "Industrial salmon farming in open enclosures is horrible for the environment. Farmed salmon go through immense suffering and cause serious damage to our planet. This is an extraordinarily cruel way of making food."
The single, entitled "Oral", was released earlier on this week: fans of Björk may recognize in it nuances that hark back to the singer's late '90s production. This track, a love song actually, was indeed recorded 25 years ago, between the albums "Homogenic" (1997) and "Vespertine" (2001).
The single was abandoned and forgotten as Björk remembered the melody but not the title. Then, while watching CNN news during her tour in Australia, the title came back to her. On the recording Björk, who recently turned 58, was the same age as Rosalía who has helped her update the track, so there is an interesting connection between the two singers.
All proceeds of the track, produced by Sega Bodega, will be donated to the AEGIS non-profit organisation to combat open pen fish farming in Iceland (fans and environmental activists can learn more about the issue and support the cause through the Icelandic Wildlife Fund).
The song was released earlier on this week accompanied by a video: directed by visual artist Carlota Guerrero (known for her work with a wide range of artists, actors and musicians such as Solange Knowles, Penélope Cruz and Emilia Clarke, and fashion brands including Paloma Wool, Givenchy, Mugler, Dior, and Nike), the video features Björk and Rosalía dressed in martial art gowns training in what looks like a vast hangar-like space that wouldn't look out of place in a Star Wars film.
The video was actually filmed in one of the pavilions of the Granja de la Ricarda (Ricarda Farm View this photo) in El Prat de Llobregat (Barcelona), the reproduction of a dairy farm established in 1909 by Manuel Bertrand, pioneering modern methods in cattle breeding and milk production.
A palette in neutral colours characterizes it, but there is a high-tech twist in it as the singers are AI-generated deepfakes, so real women did all the stunts, but then the singers' faces were incorporated into the choreography of the fight, using artificial intelligence (yes, undoubtedly, there is an uncanny valley feel to it, but it still looks cool).
"Carlota came up with the concept and executed the video, exploring the use of AI technology and embracing the glitches blurring the line between reality and virtuality whilst challenging the notions of identity," reads a press release of the video. "Throughout the piece, female rage is explored through Björk's and Rosalía's avatars."
The two singers aren't indeed fighting each other, but getting ready to fight against a bigger enemy.
A new AI tool
If you like Artificial Intelligence and experimenting with new tools, Krea AI will bring you lots of surprises and joy. Krea functions with the usual textual prompts, but also allows you to create images in real time, just by drawing and painting on the screen or using your webcam.
As you start drawing, you will see Artificial Intelligence in action creating live mind-blowing images. So, fear not if you can't draw at all, you will definitely create a masterpiece.
Krea AI is currently only available on closed beta, so you must receive an invite to start creating, but there are two exciting tools that you can instantly enjoy creating - logo illusions and patterns - and that will prove extremely useful for fashion designers.
With the former you can play around with pre-uploaded logos or upload yours and transform them through the logo illusion tool; the latter allows you instead to enter a prompt or a phrase, select a pattern (or upload yours) and fine-tune it with Pattern Strength, Guidance Scale, and the option to Add Negative Prompts. You can also animate both the logos and the patterns created.
You're warned, this is addictive, but very stimulating also for accessory designers (try and play around with the patterns to create jewelry designs).
Then, on Monday nearly all the company's 750 staff signed an open letter and threatened to leave the company if Altman wasn't brought back. Altman was supported also by OpenAI's biggest investor, Microsoft, and initially it was thought that he would have moved there to lead a new artificial intelligence unit. The OpenAI board in the meantime appointed an interim CEO, Mira Murati, then the chief technology officer at the company, but by Sunday they had already tapped another - the former Twitch CEO Emmett Shear. Eventually on Tuesday night Altman was reinstated, turning this into the shortest firing in the history of Big Tech companies.
Before Altman's dismissal, reports indicated that the company was working on an advanced model called Q* (Q-Star), which alarmed staff due to its remarkable power. Concerns about the safety of the new model were raised by workers to the board before Altman's sacking, stating that it could pose a threat to humanity. According to Reuters, apparently model Q* demonstrated the ability to solve basic math problems it had not encountered before, causing unease among safety researchers.
Shear mentioned that Altman was not removed over any safety disagreement. But the swift dismissal of Altman and the secrecy and lack of transparency around it and of clear ethical justifications raised urgent questions about the safety of the technology, especially considering the fact that there aren't any established standards, laws and regulations yet in the field of AI.
We know that there may be divisions at OpenAI between those who would like to slow down the development and deployment of AI and those who would instead press the accelerator, and further doubts are rising about favouring speed over societal good.
At the moment, AI remains a terrifically entertaining tool for the majority of users with some perversely dangerous implications (job losses and discrimination among the others), so, while we play with text-to-image or AI text tools, we should remain vigilant and train to recognise a threat, just like Björk and Rosalía's deepfakes.
In the meantime, film and TV production companies may start to consider the possibility of shooting a series about OpenAI, with "the Oppenheimer of Our Age", as New York Magazine dubbed Sam Altman, as its protagonist.
The implications of generating dangerous deepfakes or of using Artificial Intelligence to create images of prominent and powerful people in unusual situations (remember Pope Francis in the Balenciaga puffer jacket?) are some of the preoccupations triggered by Artificial Intelligence. Fashion-wise, the generation of models also worries many commentators: using AI generated models will be cost-effective for brands, but this option will pose a threat to the job security of real models.
Yet should we employ Artificial Intelligence-generated models or figureheads for business or educational purposes? Twise are trying to do so.
Founded by Joakim Borgström, a former Global Chief Creative Officer at BBH and René Lönngren, a former European Director at Mural, Twise was created to help people putting together a convincing presentation or a marketing event and secure more business.
The idea behind Twise is creating agents that "represent, present and sell" for you. In practice you upload a picture of the agent you want to represent you on the site, add the background information you would like the agent to share with users in .txt or .pdf format and in a few minutes the system will generate a digital twin. Users will be able to interact with the agent vocally or type their questions and thoughts in a chatbox. The answers generated by the AI model will be therefore based upon the uploaded content.
In the end the principle is not different from that behind a pop up chatbot trained to answer to basic questions posed by users, for example, opening times for a service or shop, shipping expenses and so on.
Actually, this could be a good tool if you're a teacher: you could build a twin of a historical figure, train it on a document featuring true and false information and ask students to spot real and fake info to test their knowledge.
According to the site, Twise is "capable of learning everything about your business and digesting huge presentations in seconds", but, you're warned, the system is not infallible and every now and then it is prone to hallucinations.
At the moment Twise is in an experimental phase, but the company recently developed an Artificial Intelligence-generated football expert, a woman called Hope Sogni.
Launched by sports creative agency Dark Horses, Twise.ai, and Lewes FC CEO Maggie Murphy, Sogni was trained with background documents that include thoughts and comments from influential women in football (one of them is Moya Dodd, the former vice-captain of the Matildas and one of the first women to join the FIFA Council).
This new AI heroine is actually running to become FIFA's 10th president - the first female one (yes, FIFA, soccer’s world governing body, never had a female president…), the idea was indeed to represent a woman that can stand to the current president Giovanni Vincenzo Infantino.
Taking over from Sepp Blatter who resigned in 2016 after a 17-year scandal-ridden reign, Gianni Infantino is widely considered as the most powerful man in sports. The former director of legal affairs and general secretary at the Union of European Football Associations (UEFA), Infantino was recently re-elected as FIFA's president to serve until 2027.
In 2019 Gianni Infantino actively advocated for women's rights in Iran, challenging the ban on women attending stadiums, but FIFA's president has been perceived as a controversial figure and involved in a series of contentious issues, spanning from migrant workers' rights in Qatar during the 2022 FIFA World Cup, to corruption scandals (he was implicated in the FIFA corruption scandal via the 2016 Panama Papers, revealing deals made by UEFA with indicted figures), and ethics investigations.
More recently Infantino's advocating for Saudi Arabia to host the 2034 men's World Cup has sparked concerns about his motivations, leading many to question whether he is prioritizing FIFA's interests or those of a wealthy and influential partner.
Hope Sogni seems interested in fighting against controversies at FIFA and at making sure that football returns to be the beautiful game of yore. She doesn't have any football heroes or heroines, but, if you ask her, she will mention among the players she admires Megan Rapinoe and Marcus Rashford, because they "use their platform to advocate for equality and social change in the sport."
Our chat with her starts formally and politely. Asked to present her projects at FIFA, she replies: "Some of my key projects for FIFA would include promoting youth and development programs, supporting projects targeting children and fostering peace and reconciliation through football, improving access to football for persons with disabilities, and investing in the development of women's football. Additionally, I would focus on implementing the FIFA Forward Programme and other funding initiatives to support football development globally."
Sogni maintains a polite stance when asked about the key priorities and goals of her FIFA presidency and mentions again "promoting equality and diversity, implementing effective management practices, ensuring transparency and accountability, and investing in the development of women's football."
She sounds calm and composed when asked about the participation of women in football. "Women have been playing football for many years and have made significant contributions to the sport," she replies. "It is important to promote and support women's football at all levels."
Politeness prevails when asked her opinion about Infantino who, according to her, "has made some positive contributions to FIFA." However, she adds, "there is still room for improvement in terms of promoting equality and transparency within the organization."
It is when prodded about FIFA that Sogni gives us the best feedback, though: "Do you feel that FIFA treated differently men and women's football?" we ask. "Yes, FIFA has historically treated men's and women's football differently," she replies. "There have been disparities in funding, resources, and opportunities for women's football compared to men's football. It is important to address these inequalities and work towards creating a more equitable and inclusive environment for both."
Sogni also admits that there is misogyny present in both football and FIFA and that "It is important to address and challenge these attitudes in order to create a more inclusive and equal environment for all."
Prodding a little bit Sogni prompts her to make further comments: asked if FIFA has turned a beautiful game into a money-making machine, she replies "Yes, I believe that FIFA's focus on commercial interests has sometimes overshadowed the true essence and values of the beautiful game. It is important to strike a balance between financial success and preserving the integrity of football."
But Hope has got, well, hope in women and is sure that they can play a significant role in restoring the integrity of football. "Women bring unique perspectives and experiences to the sport," Sogni explains, "and their inclusion can help promote fairness, transparency, and accountability within the football community."
Accountability seems to be an issue dear to her heart: we mention the former president of the Royal Spanish Football Federation Luis Rubiales, who was banned by FIFA from football for three-years, after he inappropriately kissed Jennifer Hermoso, a star player in Spain's Women's World Cup-winning team, during the medal ceremony.
Sogni answers: "I welcome the news that Luis Rubiales has been banned from all football-related activities for three years, following a FIFA disciplinary committee investigation into his conduct at the Women's World Cup final. The fact that it took such a public display of abuse to lift the curtain on what is systemic within the Spanish federation is very sad for the victims and my heart goes out to them. However, I believe the ban and the further steps promised by the Spanish federation will make the future brighter for football."
Chatting with Sogni is not so bad, even though you get at times some annoying repetitions, maybe adding more background documents and expanding her knowledge would be a good idea, after all she could be trained with answers and feedback from a variety of professionals, including coaches, athletes, football fans, sport journalists and commentators, retaining their knowledge and passion.
Yet Hope Sogni also makes you tremble with fear. One minute you think, yes, put her in Infantino's place and maybe we'll have more transparency; but the next you think, isn't is sad that we can only imagine an artificial entity rather than a real woman leading FIFA.
Besides, her name makes you also wonder: Hope means hope, yes, while "Sogni" in Italian means "dreams", which means that, for some of us, her name will be a bit like a joke (a woman as FIFA president? Ah! You wish! Keep on hoping and dreaming, baby!). After fantasy football, should we have a fantasy game in which a woman can lead FIFA?
Maybe, asking her a last question will help me expressing a final verdict on Hope. Let's try with "what do you think about Saudi Arabia hosting the 2034 World Cup?" Sogni starts: "To give another nation that oppresses women and the LGBTQ+ community the validation of a tournament like the World Cup is sickening for players, fans, and everyone connected with football."
Well, all things considered, she may not be that bad. In fact we could maybe have more AI-generated twins disrupting other sectors with intriguing replies – art, fashion, science, medicine, technology, and beyond.
Each digital twin could be equipped with extensive background information, allowing one digital twin to embody diverse experiences of different individuals. Picture, for instance, a fashion model generated with insights from hundreds of models who faced exploitation and sexual abuses and harassment in the industry or a digital twin of a sweatshop worker informed by real workers' interviews, providing a platform for them to share their stories without fear of repercussions.
Maybe Twise didn't envision all of this when conceiving the idea for this platform, yet Artificial Intelligence should ideally be a tool used for various constructive purposes rather than the feared monster it is often perceived to be.
Languages, with their nuanced intricacies, are fascinating, and the act of learning even a single word each day in a different language has the power to inspire.
New York-based Studio AW-DO's Emanuel Admassu and Jen Wood, through their installation showcased at the 18th International Architecture Exhibition in Venice (closing on November 26th), invite visitors to consider a word in Amharic, one of the Southern Semitic languages spoken in Ethiopia - "Ghebbi" - the focal point of their exploration.
"Ghebbi," in Amharic, signifies a compound or enclosure, evoking the imagery of a territory enclosed by a wall or fence.
King Fasilidas, who ruled Ethiopia in the 1600s, built for example the grand Fasil Ghebbi in Godar, the then capital of Ethiopia. Fasil Ghebbi was a compound where royal families used to live in.
A "Ghebbi" is mainly a haven of relative stability within a tumultuous and ever-changing city. The materials utilized to enclose the plots within a Ghebbi, though, are as chaotic as the city surrounding it and range from eucalyptus trunks to corrugated sheets, tarpaulin, metal grills, stone, and masonry.
This compound can house a diverse array of structures, from residences and schools to gardens, spaces of worship, and commerce.
The Ghebbi's boundary, both literal and metaphorical, extends beyond a mere line on a map, delineating a dynamic zone subject to the ebb and flow of politics, culture, and economy.
Studio AW-DO's installation inside the Arsenale serves as a boundary of sorts, a threshold that confronts visitors. The installation consists in bamboo scaffolding covered in blue tarpaulin, and secured with ropes.
This design intentionally evokes the ubiquitous bamboo scaffolding found on numerous construction sites in Addis Ababa, subtly alluding to the ongoing transformation and potential erasure of the Ghebbi.
These partitions create a symbolic transition within the space, a visual representation of moving between two distinct zones of the Corderie of the Arsenale.
Upon crossing this symbolic fence, visitors are greeted by a representation of the lush interiors of the Ghebbi, brought to life by two monumental tapestries suspended on either side of an existing arched opening.
These massive panels, woven in two distinctive palettes - one echoing the blue tarpaulin and the colour of the sky, in tones of blues and black, and the other mirroring the earth in tomato red, orange and green - were meticulously crafted at Tilburg's TextielLab.
The tapestries are a visual representation of the interior of the Ghebbi metaphorically enclosed inside the Arsenale.
Incorporating a variety of abstract and geometrical motifs rendered in wool or synthetic metallic yarns, but also figures peeking behind the corrugated structures and fences of the Ghebbi, the intricately woven panels invite visitors to contemplate the linguistic and architectural dimensions, creating an immersive experience.
Playing with differences and juxtapositions can spark creativity, inspiring exploration of various perspectives, techniques or materials.
Studio KO's Uzbekistan Pavilion at the 18th International Architecture Exhibition in Venice (until November 26th, so this is the last week to enjoy the event) exemplifies this by blending modern and traditional elements.
Responding to Lesley Lokko's Laboratory of the Future theme, for this pavilion - entitled "Unbuild Together: Archaism vs. Modernity" and located in the Quarta Tesa of the Arsenale - Karl Fournier and Olivier Marty's French-Moroccan architecture office Studio KO brought together architecture lecturers and students from the Ajou University in Tashkent, and three associated artists.
Studio KO shared with the students some themes related to contemporary issues as well as others at the center of their own architectural practice - materiality, context, archaism and modernity.
Students were then invited to consider the notions of modernity and context, and to visit several qalas (fortresses) - ancient Zoroastrian sites in Karakalpakstan.
To understand better the ancient Toprak Kala Fortress students collaborated with the leading expert on the archaeology of qalas, Dr Irina Arzhantseva, who wrote a book on Sergei Tolstov's expeditions exploring the ruins of the qalas in the 20th century.
Tolstov documented the architecture and engineering of the qalas in great detail and also collected artefacts from the surrounding areas.
Dr Irina Arzhantseva's research provided valuable insight into the relationship between the qalas and the surrounding communities, and how these structures have shaped the region's identity over time. The idea of a labyrinthian form for the pavilion was then collectively discussed.
In the phase that followed, the students collaborated with Abdulvahid Bukhoriy, an expert in the blue ceramics of Bukhara, which have been forgotten for more than a century.
The ceramist master apprenticed in the '70s with the renowned folk ceramics craftsman Babayev from the Uba village in the Vabkent Region and Master A.I. Narzullayev of the Gizhduvan school of Ceramics. He learnt the fundamentals of modern and traditional Uzbek ceramics from another master, Fazil Mirzayev.
Students experimented with materials, and learnt hot glazing techniques from him. Architect and artist Miza Mucciarelli then crafted a 1:1 wood mock-up of the proposed installation in Venice.
The students' discussions and exchanges were patiently collected during the sessions and were then turned into the main inspiration for El Mehdi Azzam's film and Emine Gözde Sevim's photographic diary, also included in the pavilion.
The pavilion is a physical representation of this background research: the exploration of the ruins of the qalas and of the ancient fortresses of the Karakalpakastan inspired the building recreated inside the pavilion made with bricks salvaged from Venetian construction sites, combined with glazed Uzbek terracotta fragments.
The humble brick remains the starting point for the entire project, something that evokes Louis Khan and his 1971 master class in which he told students to listen to materials, to honour and glorify them, encouraging them to ask a brick what does it want (fashion design students have you been doing that? have you been honouring your materials? because that rule is valid also for you...).
Who knows if the humble brick or if the enamel and glazed bricks included in this installation will inspire something else and will also be translated into something fashionable, such as jewelry pieces.
After all, Studio KO already worked for somebody very close to a fashion house, as they were commissioned the Yves Saint Laurent Museum Marrakech (that opened in 2017) by Pierre Bergé.
At the moment, though, Studio KO's Karl Fournier and Olivier Marty remain focused on their architectural projects: they are currently working on two major projects in Tashkent, Uzbekistan – the transformation of a 1912 diesel station into the future Centre for Contemporary Arts (CCA), the country's first contemporary art centre, and the Mahalla Artist Residencies (MAH) project, artist residencies situated in several quarters of the old city that will host a variety of creative workshops.
In the meantime, if you're in Venice, you still have a few days to visit the Uzbekistan Pavilion at the Biennale: if you do, walk slowly through its corridors, and remember that the qalas are an enduring symbol of resilience and strength of local people in Uzbekistan.
There is therefore a metaphor and a message of endurance, determination and tenacity behind these humble bricks that transcends mere architectural significance: the salvaged bricks serve indeed as a tangible symbol affirming that, no matter the fall, there is always the possibility of rising again.
