At no time in history were costumes of greater importance than in the courtly world of the Baroque. They were meant to give the natural human figure imposing dimensions by turning them into walking sculptures using hooped skirts, padded bustles, and brocade clothes. Such accessories constrained all movement to basic regular forms, which in turn served as functional correspondences to courtly ceremonies.

The costumes by Gwen van den Eijnde (*1981) recall many aspects of the forms of Baroque costumes. Van den Eijnde, who was born in the Netherlands and lives in Paris, has developed a specific form of performance that situates itself between haute couture, design, craftsmanship, and sculpture. Drawing inspiration from contemporaneous pattern books, from films such as Jarman’s “Caravaggio” or Fellini’s “Casanova,” he meshes these influences into an individual style.

The costumes themselves are the result of a deliberate manufacturing process that begins with small design models and culminates in the completed costumes made using exceptional, and frequently highly valuable, materials. However, the artwork itself only finds completion in the artist’s performance: Van den Eijnde stages his compositions as if for a theater stage or the catwalk. Neither mime nor content are of importance, only the costumes and the frequently absurd outgrowths determine these performances.

This is also the case in the exhibition Isabel Halene curated at the Kunstraum Riehen that includes pattern collages and costume designs along with a video recording of van den Eijnde’s three-part performance staged during the Basel Museum Night. The shimmering clothes testify to what took place: “Le Lion habillé en fleur,” “Pam-Pam,” and “L’obélisque.” The poetic titles open imaginary spaces that evoke in us the desire to step out of ourselves and be absorbed into these imaginary forms. Anybody interested in the possible metamorphoses of collar plissés, silk chiffons, or head cages should not miss this subtly presented exhibition.


Durch das Pfauenauge, Gwen van den Eijnde. Kunstraum Riehen. Until 24th February 2013.

Maria Becker
Neue Zürcher Zeitung, Samstag, 9. Februar 2013 . Nr.33

SOURCE: http://www.gvde.net/




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Tags: Eijnde, Gwen, art, clothes, costume, crafthaus, den, fabric, fashion, head, More…shoes, van

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Comment by chesley williams on January 21, 2014 at 4:57pm

So in love!

Comment by Margarita Sampson on January 17, 2014 at 5:36pm

LOVE!!!!!!

A modern metalsmith/metal artist can be found working in traditional metals as well as in nontraditional materials. The designs can range from the classic to the extravagant, and the techniques can either be centuries old or decidedly current.

The wide range of expression preferences, design options, materials, and processes has lead within our field to unfavorable misconceptions, misunderstandings and in some cases even outright disdain between artists. Can the metal and jewelry field overcome its division and send out a much-needed signal?

We appreciate and respect our historical past and acknowledge that current materials have a rightful place in jewelry/object making!

Arriving at this message is the goal of this traveling exhibition opening at the SNAG conference in Boston 2015, Velvet da Vinci, San Francisco, CA - Aug 19 - Sept 20, 2015, Equinox Gallery, San Antonio, TX - Oct 16 - Nov 15, 2015, Baltimore Jewelry Center, Baltimore, MD - Dec 11, 2015 - Jan 08, 2016, Brooklyn Metal Works, Brooklyn, NY - Feb 5 - Mar 4, 2016.

DETAILS on exhibition premise, call for artists, submission guidelines.....

Rachel and Brigitte will be appearing on the wonderful Jay Whaley Metalsmith Benchtalk Radio Show, talking about the Co:Operation Garnish project, how they came up with the idea, what the project is about and the plans moving forward.

The radio show will be LIVE on air September 25, 2014 @ 6PM EST / 3 PM Pacific.

http://www.blogtalkradio.com/whaleystudios

Listeners can call in during the show via phone, skype, or directly connect via the blog talk website.

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