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(BERLIN, Germany) – Guten Tag! I’m honored and excited to be one of the selected fellows for The (Un-)Learning Place, a program by the Haus der Kulturen der Welt. What a great start to 2019 and how fitting having just been immersed in anthropogenic food futures, sustainability and decolonization with China Residencies and Mekong Cultural Hub / British Council this past Fall. I’m in Track 5 on Space/Theory. I can’t wait to be back in Berlin, one of my favorite cities in the world! Let’s take this on. See you soon!

 

From the program text by HKW:

The present is characterized by a crisis of the established epistemic-political order. Outdated categories and terms no longer function. Representational logics fail to grasp the complexity of contemporary phenomena and increasingly global societies, whose change is accelerated by digital infrastructures. In this situation, it is necessary to unlearn established modes of referring to the world and to rethink methods of constructing, situating and criticizing reality.

During the Opening Days of HKW’s new long-term project The New Alphabet , HKW will set up a unique space for gathering, discussion and workshops—a unique (Un-)Learning Place curated by Boris Buden and Olga von Schubert. In the five-day curriculum international participants are invited to take part in (Un-)Learning Tracks to work with curatorial, artistic, or activist strategies in close collaboration with self-organized research collectives and independent artists, researchers and curators.

How do the cultural techniques of archiving, integrating, and classifying transform archived knowledge from within? Can the necro-aesthetics—the presentation of dead beings—in Natural History Museums be reframed by changing museum taxonomies? How do body molecules tell stories of their century-old political suppression and how can they be reread? What are modes of resistance in digital network cultures and how is it possible to navigate through increasingly opaque streams of data and information? What would spaces of learning and unlearning look like in a world permeated by institutional infrastructures of dominance and cultural supremacy? How can a library of African diasporic writing be cataloged without reproducing oppressive categories? And what role does our understanding of the workings and logics of theory and its institutional practice play within?

In five (Un-)Learning Tracks the (Un-)Learning Place seeks out strategies to navigate through the inherent classification and ordering systems of archives, libraries, museums, institutional architectures, and digital networks and offers approaches to situating, negotiating and ‘(un-)learning’ research in artistic, site-specific, poetic, and bodily practices. Together with eight independent curatorial, activist or artistic collectives, and invited guests, the (Un-)Learning Place offers its 80 international participants the opportunity to investigate new strategies for interdisciplinary research and potential crossdisciplinary collaborations in the fields of Translation, Digitality, Archiving, Embodied Infrastructures as well as the Politics of Space and Theory, in order to challenge established perspectives and collectively develop ways of restructuring the order of things.

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It’s almost 2019, and what a year 2018 has been! Here’s a year in review:

Personal

I started the year decluttering my parents’ house, stopped needing a cane from a hip injury, went back to training in taekwondo again, made lots of new friends, and reconnected with old ones. My dad was diagnosed with a benign brain tumor and is back in Manila from treatment in New York. Apart from residency/fellowship travel (see below), I visited Lucerne (to see a friend), Bratislava, Berlin, Salzburg, and Bangkok (with extended family).

Research: Philippine jungles

I visited Cleopatra’s Needle Critical Habitat sponsored by Great Escapes Philippines and Centre for Sustainability PH.

Exhibitions: Manila, Germany, Dublin

The Sewer Soaperie and An Olfactory Portrait of the Amazon Rainforest were part of the Manila Biennale in February. The Ephemeral Marvels Perfume Store was part of “Victor Papanek: The Politics of Design” at the Vitra Design Museum in Germany in September, and was also part of Science Gallery Dublin’s In Case of Emergency exhibition which closed in February.

Projects, Residencies, Fellowships, Awards: Vienna, Beijing, Taipei

From April to June I did a visual arts residency with KulturKontakt Austria and the Austrian Federal Chancellery. I produced another body of work, Wild Science, which explores the role of science in society. There were fun collaborations, such as with Dr. Gerhard Heindl of the Schönbrunn Tiergarten for this piece, Der Tiergarten 1.0: Human Forces on the Animal Kingdom, and a photo shoot with some cool herpetologists and taxidermists at the Naturhistorisches Museum Wien (Natural History Museum, Vienna). I also produced Letters for Science and asked youth from Eferding, Austria to write letters to climate change deniers.

In Manila in September, we finished photo and video shoots of The Ephemeral Marvels Perfume Store and The Sewer Soaperie. I also started doing research for Wild Science on religion and beliefs in Quiapo, a part of Manila where Catholicism, Islam, and paganism intersect.

In Beijing in November for part 1 of the Crystal Ruth Bell Residency with China Residencies and Red Gate Gallery, I performed The Planetary Renewal Spa for the first time and did research for Future Feast. I’ll be back in March 2019 to finish the project.

I’m one of the ten inaugural SEAΔ fellows of the Mekong Cultural Hub and the British Council with part 1 held in Taipei in late November. We were divided into four groups, and mine will meet in Cambodia in May 2019 to execute our project. We will all be together to present the outcomes in Bangkok in June and reflect on the program in September.

I did the second Year for the Planet edition, focusing on my clothing choices.

The Apocalypse Project was shortlisted for Best Climate Solutions Award by Euro-Mediterranean Center on Climate Change (CMCC).

This year’s Ritual Card is a Sunset Wheel, based on the cyanometer used by Alexander von Humboldt.

Talks: From Mental Health to Art and Social Norms

I spoke about artists and mental health in Manila, and spoke about art, science and social norms at the Academy of Fine Arts in Vienna and in Crossboundaries Beijing.

Media

I’m one of ArtReview Asia’s Future Greats for their Summer issue and was featured in my alma mater, the SVA NYC’s Visual Arts Journal for the Fall issue. I wrote an article for Vienna-based contemporary art magazine Springerin, entitled “A Different Shape of Progress: Contemporary Art and Social Inclusion.” I was part of a podcast by America Adapts (Episode 78: Flooding, Climate Change, and Art).

If you have been part of my year at all, thank you very much for your support! Here’s to another productive year. May 2019 be full of new work, growth, relationships, and life!

—Catherine

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It’s that time of the year when I finish all residencies, fellowships, talks, and exhibitions, and reflect on the year that’s about to pass. It’s been a wonderful year of learning from different cultures and finding other ways of pursuing my practice. In 2018, I held residencies and fellowships in Vienna (KulturKontakt Austria and the Austrian Federal Chancellery), Beijing (China Residencies and Red Gate Gallery), and Taipei (Mekong Cultural Hub and the British Council). This post recalls some of my favorite memories during my Beijing residency. Head to this post for thoughts about my Vienna residency.


 

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What a great Friday! Hurray, friendcations! 😍

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My residency with China Residencies was split in two; I finished part 1 in November and will come back in March. I was really excited for this residency. It was my second trip after many years as a journalist, and coming back as an artist gave me plenty to be inspired by. Here are some takeaways for Part 1:

1. If at first you don’t succeed

This was the second time I applied for this residency and I thought my chances were even more dismal than the first time with 700+ applications. Hurray for perseverance! For my younger artists, seriously, just keep going.

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Ni hao, you guys! I'm honored and excited to be selected from a pool of 700 artists for the 5th Crystal Ruth Bell residency by @chinaresidencies, from November to December in Beijing. What an awesome way to round up the year! 😍 I'm looking forward to continuing my work in climate change and sustainability with the residency theme, Nourish. The last time I was in China was more than 10 years ago, on a journalism assignment / youth ambassador thing before the Beijing Olympics, so another visit is long overdue. Let's get this Mandarin restarted, y'all. I even have my reusable chopsticks ready. 😁 This is the second time I applied for this grant, so kids, it just goes to show: If at first you don't succeed, eat your feelings then try again. 😂😉 Xie xie, everyone! 我很高興! 😍 #climatechange #contemporaryart #sciart #artscience #catherinesarahyoung

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2. My fellow residents and the residency staff

For the most part, I’ve been quite lucky with fellowships because no one is a drama queen. I really loved being with my fellow Red Gate Residents this year, and the staff has been fantastic and supportive. I’m also pretty blown away by many of the senior Chinese artists I’ve met, who have been very generous with their time and humble despite their accomplishments. Also, there’s an artist I met in my Vienna residency that was also in Beijing! The world keeps getting smaller.

 

3. The food is great (and nothing to be scared of)

My residency project is about food, so oh poor me, I had to eat my way through Beijing. At first, I was panicking at the thought of buying so-called fake food that I would read about before my arrival. To be honest, I encountered none of these issues; if they exist, I was told by several locals that one might find them in the countryside but not in the upscale markets in the more modern areas of Beijing.

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Day 11. A challenge with doing a project on the future of food in China is that the people are already adventurous eaters, and people have been eating insects for centuries. Unlike 2014 when using crickets and worms in certain ways was still a bit new, here I need to be clearer with frameworks and stories. I can't feed people scorpions on a stick; you can already buy them here for 25 yuan. One of the scorpions hurt my palette (crickets and larvae are still better IMHO) and my dumplings were too spicy so I ate some ice cream. I spied many people eating hunks of meat off the bone and all these made me nauseated so I went back to my apartment for some ginger tea. 😂 #ApocalypseProject #FutureFeast #climatechange #adaptation

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4. Reconnecting with childhood and grad school friends

So much time with familiar faces! Barbie has known me since I was 6! I knew Qing Qing from grad school in NYC and she lives across the street from the apartment that Red Gate let me stay in! Tina is a classmate from grad school and she visited! (Her grad school thesis was about food and she trained in culinary school, so our conversations really helped in my residency project.) How amazing to reconnect with all of these people!

 

5. Training in taekwondo after a year

If there’s something I’m thankful for in this residency that I was not expecting, it was training in a taekwondo school again. I haven’t stepped inside a dojang since injuring my hip from side kicks, so I almost cried when my feet touched the familiar rubber mat. It’s so good to train in a school…with a mirror. My poomsae are so off. I had stopped bringing a uniform with me since Vienna, as I had given up on finding a nearby school. Note to self: bring the freaking dobok every time. Plus the coach was World Champion! Hurray for kicking! I will die with this sport (though I hope I won’t die doing it).

This is also the first residency where I felt well enough not to bring a cane. I’m definitely taking way better care of myself this time.

 

6. Visiting the Great Wall

See what I mean? This was my second time on the wall. I’m definitely way fitter this time around, ha.

 

7. The very adaptable people

Flexibility is, I find, a very Chinese trait. China is very much a Big Brother state, but I found the people I interacted with to take this in stride, as though they were used to it and simply found ways to get on with their lives. While I’m sure this has disadvantages, as a (half) Chinese person, female, and of color, who has lots of dreams and has faced lots of challenges owing to her sex and race and background, I think this adaptability and determination to go on are survival skills that have served me well in all the years of being an artist. I also really like seeing the elderly in China; lots of community gatherings such as tai chi, mah jong, singing, etc. It feels less lonely here, for sure.

 

8. The future is here

I designed some Climate Change Couture masks back in 2014-2015, and exhibited them in a show at the Institute for the Future and Swissnex San Francisco. Little did I know this would work the best for me battling Beijing smog in 2018.

I spoke about this a lot during my talks, such as this one in Crossboundaries, an architecture firm in Beijing:

 

9. Can you feel the power?

There are a lot of places in Beijing that will make you contemplate about the centuries and dynasties that it took to build this city. They’re quite inspiring and exhausting to walk around in. Fragrant Hills and the Botanical Gardens looked tiny on the map and I thought I’d be done in the morning. I came home…12 hours afterwards. The good thing about splitting a residency in two is that one can run around in Part 1, determining which ones to go back to and include in your project in Part 2.

 

10. An older history of science

Still a nerd, I think my favorite place in Beijing is the Beijing Ancient Observatory, which was built in 1442 during the Ming Dynasty. Many places i loved in Vienna were built in the 1800s and are therefore babies in comparison. Most history books are so Western-centric and I was grateful for being reminded that the oldest technologies in the world aren’t far from my backyard.

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I love this courtyard! 😍

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TLDR: I had kept my expectations low, mainly because I didn’t have enough information about China as lots of websites like Google are blocked. And so I was prepared for anything. It’s wonderful to have a wealth of information, a lot of new friends, and a tank of inspiration to draw from as I prepare to finish this residency in 2019. Do reach out for more about Future Feast and The Planetary Renewal Spa!

 


 

In November 2018, I was artist-in-residence of China Residencies and Red Gate Residencies as the 5th Crystal Ruth Bell Resident Crystal Ruth Bell was co-founder of China Residencies who passed away in 2014; the residency is held in her honor. The projects I am working on are Future Feast and The Planetary Renewal Spa from The Apocalypse Project series. I will be back in March of 2019.

 

It’s that time of the year when I finish all residencies, fellowships, talks, and exhibitions, and reflect on the year that’s about to pass. It’s been a wonderful year of learning from different cultures and finding other ways of pursuing my practice. In 2018, I held residencies and fellowships in Vienna (KulturKontakt Austria and the Austrian Federal Chancellery), Beijing (China Residencies and Red Gate Gallery), and Taipei (Mekong Cultural Hub and the British Council). This post recalls some of my favorite memories during my Vienna residency.


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Upside down castle! 🏰😍 #SchlossWalks

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My residency with KulturKontakt Austria and the Austrian Federal Chancellery was, without a doubt, one of the best and most rewarding residencies I’ve had. Being in the quiet environment of the Schloss Laudon complex, having a very supportive staff (Hi Nicole and Brigitte!) and wonderful collaborators, and having freedom and time made me push myself and not waste a day. It also helped that I was around nature and was able to go hiking every day if I wished. I came out with another body of work and more questions that I hope to pursue as I move forward.

Here are memories that I took away from Vienna and hope to return to one day:

1. The museums

Specifically, I could live in the Naturhustorisches Museum Wien (Natural History Museum, Vienna), and bunk in the meteorite room and hang out with the taxidermists and herpetologists. Then I can take a break by going across the plaza to check out the cabinet of curiosities at the Kunsthistorisches Museum. Then walk across the street to MuseumsQuartier and take a nap on one of the purple benches. It was fantastic to drink in all of this knowledge and be inspired by it.

 

 

 
 
 
 
 
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The meteorite room! Hello again, lover. 😍

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2. The Tiergarten

I love animals and have always been seeking to incorporate zoology (one of the subjects my mom used to teach) into my work, so it was such joy to work with Gerhard Heindl, the historian of the oldest zoo in the world, to produce our collaborative piece, Der Tiergarten 1.0: Human Forces on the Animal Kingdom.

 

 

 
 
 
 
 
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It was really great to welcome Dr. Gerhard Heindl at our group show at the Federal Chancellery exhibition hall yesterday! Dr. Heindl is the historian of the Schönbrunn Zoo, whom I’ve been collaborating since the beginning of my residency with KulturKontakt Austria. Together we produced this project for Wild Science: Der Tiergarten 1.0: Human Forces on the Animal Kingdom is a board game that illustrates the human forces that affect the animal kingdom and, consequently, the biodiversity of the planet. The two-person game allows the players to reflect on the effects of border walls, climate change, poaching, etc., while moving game pieces on the board. The wood was taken from a 100-plus-year-old dying maple tree that was planted in the Schönbrunn Tiergarten, the oldest zoo in the world, and was cut to prevent safety hazards. The artist then sanded and laser-engraved it with a design based on the original menagerie plans of the Tiergarten by Jean Nicolas Jadot de Ville-Issey in 1751. The game cards include archival images of animals in the Tiergarten with images dating before World War II. The game recalls popular card games such as Pokemon and Exploding Kittens, whose strategies for mass attention the artist reflected on. What might we do to make people think about biodiversity in their daily lives? https://wildscience.cc/2018/06/12/der-tiergarten-1-0-human-forces-on-the-animal-kingdom/ #WildScience #DerTiergarten #SchonbrunnTiergarten

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It was also a treat to go around the zoo in a golf cart to carry some 100+ year old wood!

 

 

 
 
 
 
 
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When the historian of the world’s oldest zoo personally drives you with a suitcase full of stuff for your collaboration. 😂😍 Danke for the lift, Dr. Heindl! #WildScience

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3. Schloss Laudon and Augustinerwald

I miss the castle that we were never allowed into. And the swans and flowers. And those two sculptures of wild boars. And the room that used to be a sauna that was turned into art studios. And most of all, the stories of previous residents.

I also miss my bathtub, the Schloss Laudon fox, the trees I would say hello to, the bugs, etc.

 

 

 
 
 
 
 
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Gonna miss you, Schloss Laudon fox! Good to see you on our last days. #SchlossWalks

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There were no taekwondo schools nearby so I had to find other ways of being centered. Thankfully, there was a forest right outside the schloss, so off I went many times. Being in nature is one way to flex our muscle against capitalism and fascism, so this is one thing I always make time for:

 

 

 
 
 
 
 
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Hiking my normal route counterclockwise is definitely a lot better. Look at this light! 😍 Plus the muddy parts become uphill and easier and I shaved off 15 minutes from my usual time. 😀

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4. My fellow residents
As KulturKontakt Austria’s first artist-in-residence from the Philippines (sheesh, aren’t I always the first artist from the Philippines?), it was very mind-expanding to meet fantastic artists from Eastern Europe. To most Asians, when we think of Europe it’s usually the London-Paris-Barcelona triad and nearby, perhaps similar to how Westerners automatically think “Japan” or “China” when they think of Asia. Perhaps we surprised each other. It’s always a very humanizing event to meet different people and realize how very similar we are. Not to mention how amazing their food is.

 

 

 
 
 
 
 
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What a gorgeous day for a picnic! 😍

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5. My non-residency friends
Isn’t it great to click with people from all over the world? In this residency I met some activists, translators, artists, and many other people who made my three-month stay in Vienna seem as though I was home. There are still lots of freethinking people in Austria; I highly recommend checking it out!

 

 

 
 
 
 
 
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One Manileño down, one to go. We’ll miss you, Poklong! Even me; I live in Malate and you’re in QC! 😂

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6. New skills
Each project makes me want to push myself and learn something new, so it is with a lot of pride and excitement that I report that I can now work with a belt sander and a laser engraver. The latter is only after a lot of help from German-speaking people at HappyLab. I’m a member of a maker lab—how miraculous is that?

 

 

 
 
 
 
 
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This century-old tree took so long to work on. Now I need a massage. But very happy to work with my hands. 😂😍 #ChicksWithPowerTools #WildScience

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7. Working with kids
I think working with children and youth will always be part of my practice, so hurray for the first group of writers for Letters for Science!

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This June 18th, I was at Eferding,  the third oldest city in Austria, to hold an art and science workshop for KulturKontakt Austria's Artists in Residence Go to School program. The 13-year-old students studied their specimens under the microscopes, learned about Austria's historic Novara Expedition, did a scent workshop, and for the last fifteen minutes the girls and I discussed feminism. 😂😍 These were the kids who wrote the first cohort of Letters for Science, Wild Science's participatory project where the public writes letters to people skeptical of the science of climate change, shape of the earth, vaccinations, etc., to create a respectful and empathetic discourse with people of different beliefs. Their letters were exhibited at our group exhibition at the Austrian Federal Chancellery in Vienna. It was really good to meet them for the first time. Thanks, kids, and to their English teacher, Frau Eva Heider-Stadler! Eferding is also the place where astronomer Johannes Kepler got married, so it was cool to visit! #WildScience

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8. Being around the history of science and art
From carrying a pizza box outside Johannes Kepler’s old apartment to having coffee in Gustav Klimt’s old stomping grounds, Austria is pretty fantastic for art-science nerds like me.

9. The Naschmarkt

 

If I add up the ages of all the old science books I bought, they will span centuries. I miss my Saturday routine of grabbing a couple of Kaspressknödel and saying hello to my favorite booksellers, Gerard and Idris.

 

 

 
 
 
 
 
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Last day in the flea market and said goodbye to my favorite stalls. Going to miss these century-plus-old books! 😍😭

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I also unwittingly built a collection of Nazi books, including a 1938 Mein Kampf. I’m still hoping to incorporate into a project. (I only read half of it; how depressing to read someone’s unadulterated hatred for other people.)

 

10. The cakes
Hey Austria, when I finally lose the 10 pounds I gained from three months of eating Sachertorte, I hope to see you again.

 

 


Thanks for everything, Vienna! Hope to see you again soon!

 

From April to June 2018, I was artist-in-residence of KulturKontakt Austria and the Austrian Federal Chancellery. The body of work produced during this time was Wild Science.

The Planetary Renewal Spa

The Planetary Renewal Spa (2018- ) is a series of self-care performance rituals that illuminate the effects of climate breakdown. The spa currently offers two services: Back Massage to Simulate Hurricanes and Disappearing Honey Facial.

The Planetary Renewal Spa: Back Massage to Simulate Hurricanes

Back Massage to Simulate Hurricanes takes clients on a sensory experience of a hurricane, from light feathery touches of the coming storm to a full catastrophe.

 

The Planetary Renewal Spa: Disappearing Honey Facial

 

Disappearing Honey Facial gives clients a relaxing facial massage using raw honey while the artist narrates the story of bees disappearing because of climate change.

 

The Planetary Renewal Spa: Back Massage to Simulate Hurricanes

 

The Planetary Renewal Spa was first performed at Red Gate Gallery in Beijing as part of my residency as the 5th Crystal Ruth Bell resident of China Residencies.

I’ll be traveling for some residencies and fellowships, so until then, here is a preview of some work coming soon:

I got dolled up to create videos for The Sewer Soaperie and The Ephemeral Marvels Perfume Store:

I explore the intersection of religion, belief, and technology in the center of mysticism in Manila:

Ciao!

xo
Catherine

I’m honored to show “The Ephemeral Marvels Perfume Store” at the “Victor Papanek: The Politics of Design” exhibition at the Vitra Design Museum in Weil am Rhein, Germany, which shows from September 30, 2018 to March 10, 2019! I’m excited to be one of the contemporary designers and honored to have a small contribution to this fantastic exhibition for my work on climate change. Very humbled to be among some amazing people whose work I’ve learned from through the years. Deepest thanks to the curators and exhibition team!

An excerpt from the VDM site:

With the exhibition »Victor Papanek: The Politics of Design«, running from 29 September 2018 to 10 March 2019, the Vitra Design Museum will present the first large retrospective focussing on the designer, author, and activist Victor J. Papanek (1923–1998). Papanek was one of the twentieth century’s most influential pioneers of a socially and ecologically oriented approach to design beginning in the 1960s. His key work, »Design for the Real World« (1971), remains the most widely read book about design ever published. In it, Papanek makes a plea for inclusion, social justice, and sustainability – themes of greater relevance for today’s design than ever before. The exhibition includes high-value exhibits such as drawings, objects, films, manuscripts, and prints, some of which have never before been presented. These are complemented by works of Papanek’s contemporaries from the 1960s to 1980s, including George Nelson, Richard Buckminster Fuller, Marshall McLuhan, or the radical design initiative »Global Tools«. Contemporary works from the areas of critical and social design provide insight into Papanek’s lasting impact.

»Victor Papanek: The Politics of Design« is organized into four sections offering an in-depth look at Papanek’s life and work. The exhibition begins with an introductory, large-format media installation presenting the designer’s ideas in a contemporary context and follows with a biographical overview tracing Papanek’s life from his escape from Europe to his international success. For the first time, organizers were able to draw upon materials of the Papanek estate held by the Papanek Foundation at the University of Applied Arts Vienna, which includes a number of documents that have never been exhibited, including notebooks, letters, furniture, pieces from Papanek’s collection of ethnological objects, as well as over thousands slides that the designer used for his lectures.

Two other sections focus on the main themes of Papanek’s work, including his fundamental criticism of consumerism and his engagement with social minorities, his commitment to the needs of what was then known as the »Third World«, ecology, sustainability, and »making« culture – creation and production using one’s own resources – which had its origins in the 1960s do-it-yourself movement. Visitors can also view a wealth of designs by Papanek, his students, and other collaborators, including those by the Danish designer Susanne Koefoed, who as a student of Papanek developed the first International Symbol of Access in 1968.

The exhibition is supplemented with around twenty carefully selected contemporary works that transport Papanek’s ideas into the twenty-first century by designers including Catherine Sarah Young, Forensic Architecture, Jim Chuchu, Tomás Saraceno, Gabriel Ann Maher, or the Brazilian collective Flui Coletivo and Questtonó. They, too, deal with complex themes such as global climate change, fluid gender identities, consumer behaviour, or the economic realities of migration, meaning they reflect the continuing resonance of the questions Papanek was already addressing in the 1960s. At the same time, they break out of the white, Western, and male-dominated world to which Papanek was bound despite all his efforts to the contrary.

»Victor Papanek: The Politics of Design« is thus both a retrospective as well as a themed exhibition. By focusing on Papanek the person, we can better understand a larger theme, namely the significance of design as a political tool. After all, what was revolutionary for Papanek’s time is now generally accepted: design is not only about giving form to something; it is a tool for political transformation that must consider social and ethical points of view. This is reflected by the fact that today’s debates over themes such as social design and design thinking draw upon Papanek’s ideas as a matter of course. The exhibition seeks to rediscover Papanek as a pioneer of these debates – and as one of design’s greatest forward thinkers – for the twenty-first century. At the same time, it examines how Papanek’s socially engaged design is changing our world today – as well as how it can make the world a better one.

The Ephemeral Marvels Perfume Store at the “Victor Papanek: The Politics of Design” opening. Image by Vitra Design Museum

More here.