City-Scape, BLESS Service workshop
This course has a limited capacity of participants therefore we ask you to email us with your contact information and why you would like to take this course to info@wonderfulworkshopsjaipur.org
The course fee is 2250 euros due upon approval, participants will be notified of acceptance within 2-3 working days.
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Approaching its 300th anniversary; Jaipur’s walled city - wildly modern in its grid system planning, was designed as a haven for artisans and makers, built to accommodate craft-specialists in numerous mediums, varying from district to district. Jaipur has earned its place as a UNESCO World Heritage site; the “Pink City” brimming with activity on every corner.
Inspired by this craft network, this workshop focuses around the Old City of Jaipur; an investigation into the contemporary means of production within the scope of city based craft. In a world where we have become more and more disconnected from the origin of the things we use, what can we learn from a city full of makers? When the economic value of daily items no longer lies in their craftsmanship, what other bridges can we build to sustain craft? We investigate why and how certain crafts have or have not survived the demands of the cityscape and how we can responsibly interact with craft as artists, designers and citizens. We consider the radical political and cultural stance of choosing to work with craft in a world post-industrialization.
During the course of the week we will partake in informative exchanges and hands-on training with artisans across the Old City. You will develop an array of your own objects / garments based on the responses reached in the group exploration, culminating in a group exhibition at the end of the week. The crafts will include textile, wood, metal, stone, lac and dye.
We ask: If a separation between fine art and craft has been institutionally implemented, what are the possibilities of presentation to re-contextualize the value of daily objects?
Bless is a transdisciplinary studio working on the edges of fashion, product design and the gestural (in the form of objects or constellations of objects). Founded in 1995 by Desiree Heiss and Ines Kaag, Bless is often characterized as a person. The products Bless makes and wears are at once practical, conceptual and surreal, she doesn’t do shows, she doesn’t do exhibitions, rather she transforms these into everyday environments. Her collections resist time and place, whilst embodying and embracing reality—the home, the office, the city, the museum. Bless, also known as Bless Service, emerged during the 1990s as a fringe, anti-market response to the industry’s peak era, when brands began to permeate and define popular culture at an unprecedented rate. The self-dubbed “situation designers” started out by making garments and quickly expanded into incorporating all things related to shelter. Through design, Bless asks questions: on the nature of the customer-brand relationship, on what luxury is and means, on the nature of objects. These questions are at once practical, conceptual and anthropological, and inadvertently contribute to discourses beyond their own discipline.
Somya Tambi started his journey in finance. Frustrated looking at modernisation and technological developments, and seeing traditional artisanship in danger of extinction, he embarked on a self-taught creative journey of Indian craft and founded his brand “Meekhalio”. For Tambi, reviving tradition with the help of such artisans seems like the perfect way to serve India’s cultural heritage and create pieces that are timeless yet relevant in time.Having experience in banking, corporate, start-ups and family business, he is applying the unique skills in developing his research in Indian Craft. His perspective strongly revolves around deep rooted Indian lifestyle, preserving nature, craft sustainability and cross border intellectual exchanges. He believes in a simple, honest approach to design, where quality, utility and sustainability are elemental. With a passionate desire and a fresh perspective, he strives to responsibly create designs that seamlessly incorporates deep-rooted tradition while playing with modernity and expands cultural sensibilities.
This course has a limited capacity of participants therefore we ask you to email us with your contact information and why you would like to take this course to info@wonderfulworkshopsjaipur.org
The course fee is 2250 euros due upon approval, participants will be notified of acceptance within 2-3 working days.
-----------------------
Approaching its 300th anniversary; Jaipur’s walled city - wildly modern in its grid system planning, was designed as a haven for artisans and makers, built to accommodate craft-specialists in numerous mediums, varying from district to district. Jaipur has earned its place as a UNESCO World Heritage site; the “Pink City” brimming with activity on every corner.
Inspired by this craft network, this workshop focuses around the Old City of Jaipur; an investigation into the contemporary means of production within the scope of city based craft. In a world where we have become more and more disconnected from the origin of the things we use, what can we learn from a city full of makers? When the economic value of daily items no longer lies in their craftsmanship, what other bridges can we build to sustain craft? We investigate why and how certain crafts have or have not survived the demands of the cityscape and how we can responsibly interact with craft as artists, designers and citizens. We consider the radical political and cultural stance of choosing to work with craft in a world post-industrialization.
During the course of the week we will partake in informative exchanges and hands-on training with artisans across the Old City. You will develop an array of your own objects / garments based on the responses reached in the group exploration, culminating in a group exhibition at the end of the week. The crafts will include textile, wood, metal, stone, lac and dye.
We ask: If a separation between fine art and craft has been institutionally implemented, what are the possibilities of presentation to re-contextualize the value of daily objects?
Bless is a transdisciplinary studio working on the edges of fashion, product design and the gestural (in the form of objects or constellations of objects). Founded in 1995 by Desiree Heiss and Ines Kaag, Bless is often characterized as a person. The products Bless makes and wears are at once practical, conceptual and surreal, she doesn’t do shows, she doesn’t do exhibitions, rather she transforms these into everyday environments. Her collections resist time and place, whilst embodying and embracing reality—the home, the office, the city, the museum. Bless, also known as Bless Service, emerged during the 1990s as a fringe, anti-market response to the industry’s peak era, when brands began to permeate and define popular culture at an unprecedented rate. The self-dubbed “situation designers” started out by making garments and quickly expanded into incorporating all things related to shelter. Through design, Bless asks questions: on the nature of the customer-brand relationship, on what luxury is and means, on the nature of objects. These questions are at once practical, conceptual and anthropological, and inadvertently contribute to discourses beyond their own discipline.
Somya Tambi started his journey in finance. Frustrated looking at modernisation and technological developments, and seeing traditional artisanship in danger of extinction, he embarked on a self-taught creative journey of Indian craft and founded his brand “Meekhalio”. For Tambi, reviving tradition with the help of such artisans seems like the perfect way to serve India’s cultural heritage and create pieces that are timeless yet relevant in time.Having experience in banking, corporate, start-ups and family business, he is applying the unique skills in developing his research in Indian Craft. His perspective strongly revolves around deep rooted Indian lifestyle, preserving nature, craft sustainability and cross border intellectual exchanges. He believes in a simple, honest approach to design, where quality, utility and sustainability are elemental. With a passionate desire and a fresh perspective, he strives to responsibly create designs that seamlessly incorporates deep-rooted tradition while playing with modernity and expands cultural sensibilities.
This course has a limited capacity of participants therefore we ask you to email us with your contact information and why you would like to take this course to info@wonderfulworkshopsjaipur.org
The course fee is 2250 euros due upon approval, participants will be notified of acceptance within 2-3 working days.
-----------------------
Approaching its 300th anniversary; Jaipur’s walled city - wildly modern in its grid system planning, was designed as a haven for artisans and makers, built to accommodate craft-specialists in numerous mediums, varying from district to district. Jaipur has earned its place as a UNESCO World Heritage site; the “Pink City” brimming with activity on every corner.
Inspired by this craft network, this workshop focuses around the Old City of Jaipur; an investigation into the contemporary means of production within the scope of city based craft. In a world where we have become more and more disconnected from the origin of the things we use, what can we learn from a city full of makers? When the economic value of daily items no longer lies in their craftsmanship, what other bridges can we build to sustain craft? We investigate why and how certain crafts have or have not survived the demands of the cityscape and how we can responsibly interact with craft as artists, designers and citizens. We consider the radical political and cultural stance of choosing to work with craft in a world post-industrialization.
During the course of the week we will partake in informative exchanges and hands-on training with artisans across the Old City. You will develop an array of your own objects / garments based on the responses reached in the group exploration, culminating in a group exhibition at the end of the week. The crafts will include textile, wood, metal, stone, lac and dye.
We ask: If a separation between fine art and craft has been institutionally implemented, what are the possibilities of presentation to re-contextualize the value of daily objects?
Bless is a transdisciplinary studio working on the edges of fashion, product design and the gestural (in the form of objects or constellations of objects). Founded in 1995 by Desiree Heiss and Ines Kaag, Bless is often characterized as a person. The products Bless makes and wears are at once practical, conceptual and surreal, she doesn’t do shows, she doesn’t do exhibitions, rather she transforms these into everyday environments. Her collections resist time and place, whilst embodying and embracing reality—the home, the office, the city, the museum. Bless, also known as Bless Service, emerged during the 1990s as a fringe, anti-market response to the industry’s peak era, when brands began to permeate and define popular culture at an unprecedented rate. The self-dubbed “situation designers” started out by making garments and quickly expanded into incorporating all things related to shelter. Through design, Bless asks questions: on the nature of the customer-brand relationship, on what luxury is and means, on the nature of objects. These questions are at once practical, conceptual and anthropological, and inadvertently contribute to discourses beyond their own discipline.
Somya Tambi started his journey in finance. Frustrated looking at modernisation and technological developments, and seeing traditional artisanship in danger of extinction, he embarked on a self-taught creative journey of Indian craft and founded his brand “Meekhalio”. For Tambi, reviving tradition with the help of such artisans seems like the perfect way to serve India’s cultural heritage and create pieces that are timeless yet relevant in time.Having experience in banking, corporate, start-ups and family business, he is applying the unique skills in developing his research in Indian Craft. His perspective strongly revolves around deep rooted Indian lifestyle, preserving nature, craft sustainability and cross border intellectual exchanges. He believes in a simple, honest approach to design, where quality, utility and sustainability are elemental. With a passionate desire and a fresh perspective, he strives to responsibly create designs that seamlessly incorporates deep-rooted tradition while playing with modernity and expands cultural sensibilities.