Lifestyle - Art
TITLE had the opportunity to sit with curator, writer and creative director Jason Jules and discussed how the exhibition at Somerset recognises and celebrates the contributions of Black designers.
Looking at the current polarised landscape, where human atrocities are shamelessly being led almost with proud by our unsupported but democratically elected leaders, questions such as: what’s our role as viewers? And, can we trust those in power? Are pouring over us.
If fashion houses have realised that their archives are the epitome of their long-lasting legacies, fashion photographers have certainly been the ones who have paved the way for their legacies to endure the passage of time. And even more, the ones defining our relation to fashion.
Looking at Mark’s photography, we are certain of two things. The first one, that the streets used to inform the aesthetics of magazines, and the second, that Mary Ellen Mark was born in the heyday of the women’s rights movements in the U.S. and so her subjects are mostly women.
Alexandra Daisy Ginsberg’s body of work explores the ways emerging technologies – those that are lifelike or engineering life in some ways – can redefine life and our relationship with the natural world. In this occasion, we talk about gaining agency instead of using technologies to manipulate the natural world.
'Let life be beautiful like summer flowers', along with Wehrmuele's 2023 program, explores the complex nature of identity in today’s world: how do we define the Self in contrast to the Other.
Looking at the art-meets-fashion agenda from a place of creative synergy feels like a congruent read of the Raf Simons Spring/Summer 2017 collection illuminated by Robert Mapplethorpe’s photography.
“Droog was all about challenging traditional design norms and exploring unconventional concepts,” says Droog co-founder and current director Ramakers. What's been down in the last thirty years, since the foundation of the Droog design collective?
The most evident example of how our relations are gendered is by looking at the way nature and women are objectified and seen as passive resources to be exploited for economic gain.
Science and biology are de facto in the toolbox of artists and designers since the advancements of biotechnology allow for endless possibilities. But can the fusion between art and biology, or the manipulation of living systems for gallery purposes be considered art?
