Projects

The influences of artistic vangardism in experimental design

The influences of artistic vangardism in experimental design

Katherine Moline

(2004 – present)

Differences between art, architecture and design criticism are manifold. Intentionality, interpretive frames and consumer interests are some of the aspects that influence each field in distinct ways. Strategies derived from artistic vangardism are one thread, however, that they implicitly share. Arguing that in referencing fine art a range of experimental designs dispute design trends such as contemporary branding practices, the museumification of design, user-centered design principles, and the redefinition of design as management, Katherine foregrounds the embedded critiques of the assumed powerlessness of consumers in certain design trends. Rather than position users as obedient and passive consumers, these experimental designs characterise consumers as complex and active agents in the manipulation of design. Aspects of this research have been published in: Katherine Moline, ‘Connected: Experimental Design’ (Sydney: Ivan Dougherty Gallery, 2007) and Katherine Moline, ‘The Critical Capacities of Experimental Design’: Art Association of Australian and New Zealand National Conference, Griffith University, Brisbane (2008); ‘Counter-forces in Experimental Design: H_edge and The Technological Dream Series #1 (Robots)’, Material Thinking, Vol 2, No 1 (2008) and presented at symposia including: ‘Material Thinking Design Research,’ ConnectED, University of New South Wales (2007); ‘Contemporary Critical Practices in the Visual Arts and Design,’ Critical Design Practice Research Symposium, University of Technology Sydney (2006); ‘Counter-forces: the rhetoric of the avant-garde,’ Royal Melbourne Institute of Technology (2006).

Influence of Avant-Gardism

Saul Griffith and Selena Griffith, I-Cycle Bridge (2002). Flat pack bicycle with a polycarbonate frame; 100 x 120 x 50 cm.

Saul Griffith and Selena Griffith, <i>I-Cycle Bridge</i> (2002). Flat pack bicycle with a polycarbonate frame; 100 x 120 x 50 cm.
Jop van Bennekom, <i>Re-magazine</i> (1997-2004). Issues 4-11.
Anthony Dunne and Fiona Raby, <i>Technological Dream Series #1 (Robots)</i> (2007). DVD: Noam Toran
Jenny Sabin, <i>Fourier Carpet</i> 2006. Jacquard woven wool threads; 140 x 1100 cm. Installation view from ‘Connected: Experimental Design’ curated by Katherine Moline; Ivan Dougherty Gallery, UNSW.
Ana Mir and Emili Padros (Emiliana), <i>Hot Box</i> (2003). Photograph: Max Yong and Fiona Dawn (Fizzypop Productions)
Marti Guixe, <i>Autoband</i> (1999). Adhesive tape with motorway pattern; 5 x 660 cm.
Cecil Balmond & ARUP Advanced Geometry Unit, <i>H_edge</i> (2006). Video and photographic documentation; variable dimensions. Photograph: Cecil Balmond
Anne Wilson, <i>Errant Behaviors</i> (2004). Video and sound installation, Composer: Shawn Decker; Animator: Cat Solen; Post-Prodction Animator, Mastering: Daniel Torrente. Courtesy Rhona Hoffman Gallery, Chicago and Paul Kotula Projects, Detroit