Sónia Baptista Performance 06-08 February 2025 - 21H30 Free Entry Hosted by Kindred Spirit Rua da Boavista 54 1200 Lisboa
Costume Collaboration
Costume for SÓNIA BAPTISTA by LARA TORRES and Photography by RAQUEL MELGUE
Acclaimed Belgian fashion designer Dries Van Noten has retired at 66, after announcing earlier this year that he would step down after his Paris Fashion Week menswear show in June. It brings to a close a groundbreaking career of almost 40 years.
Celebrated for his eclectic combinations of high and low-culture prints and patterns, such as a Francis Bacon-inspired collection, and oversized pop-prints of Marilyn Monroe, Van Noten taught an entire generation how to work boldly with colour and ideas.
His designs were an almost impossibly coordinated blend of avant-garde aesthetics and practical wearability, often featuring an inexplicably harmonious hodgepodge of cultural references and historical allusions. From referencing Italian poet Gabriele D'Annunzio to taking inspiration from Stanley Kubrick’s masterpiece A Clockwork Orange, the Belgian designer managed always to create intellectually stimulating and visually captivating clothing-as-art.
Born in Antwerp in 1958, Van Noten was the third generation in a family of tailors. His early exposure to fashion and textiles inspired him to enroll in the fashion design course at the Royal Academy of Fine Arts in Belgium, a prestigious institution that has shaped a raft of influential designers.
O fim dos espartilhos foi uma revolução na moda e na vida das mulheres
21 MARÇO 2024 22:57
MODA, O FIM DOS ESPARTILHOS
O paradigma da relação entre o corpo
e o vestuário mudou para sempre no
início do século XX. Constrangido
durante séculos, prisioneiro de um
ideal muitas vezes próximo da
alienação, o corpo foi libertado e
assumido na sua real fisicalidade
Para Lara Torres, doutorada em Moda e professora no Departamento de Moda e Têxteis do London College of Fashion e na School of Arts, Design and Performance da Universidade de Portsmouth, também no Reino Unido, a menor representatividade das mulheres em cargos de topo na moda está ligada ao facto de vivermos numa sociedade patriarcal, na qual os homens detêm o poder primário. “O patriarcado está tão enraizado nos sistemas sociais que tem sido ensinado como algo natural que não deve ser mudado ou questionado. A história não é linear; houve, de facto, um período em particular onde muitas mulheres estavam à frente das grandes marcas de moda, principalmente no início do século XX. Há uma certa ausência masculina nessa época, devido ao recrutamento militar entre as duas grandes guerras mundiais, e nessa altura há também o desenvolvimento dos movimentos de emancipação feminina. Muitas vezes, a participação nesses movimentos era possibilitada pela substituição dos homens no mercado de trabalho numa série de profissões que até então eram masculinas, representando a oportunidade de autonomia financeira. Nem sempre há uma relação direta, mas eu creio que estamos a falar do espírito dos tempos — essa mudança da condição feminina foi encabeçada por mulheres muito independentes.”
SÓNIA BAPTISTA
SWEAT, SWEAT, SWEAT (UM CONJUNTO DE PEQUENOS AFRONTAMENTOS)
RESIDÊNCIA / ANTESTREIA
Se, há vinte anos atrás, a minha primeira série de peças curtas, foi a do fim da juventude, esta segunda série de peças curtas será a do fim da idade adulta. Se a minha primeira série de peças curtas celebrava o verão desabrochante de desejo e possibilidades, esta marca o fim do verão, do cheiro do outono que vem, de mudanças que se adivinham, no corpo e no espirito, de um habitar um corpo que se transforma e um estado que se instala, que se aceita, que se acolhe. Na filosofia chinesa é observada uma quinta estação do ano, o verão tardio, um período expectante, de preparação para um novo estado, sereno e reconfortante. Nesta minha cronologia de vida é aí que eu me sinto, me revejo, vivendo um verão tardio, preparando-me para a outra metade da minha vida, fisicamente, emocionalmente, artisticamente.
Diz-se que o verão é nostálgico, que traz muitas memórias, memórias de outros verões. Estes pequenos poemas performáticos serão talvez, no fundo, postais de verão. Wish you were here… _SÓNIA BAPTISTA
SHE DEVIL
Image: Ana Gallardo, Casa rodante, 2007
Opening: Wednesday August 9th 12pm
BIENALSUR presents SHE DEVIL, a project launched in 2006 by STUDIO STEFANIA MISCETTI in Rome, where the 13th edition will be held this year. She-Devil, or Shanna the She-Devil, is the name of an adventurous Marvel heroine, one of the first whose identity features break with stereotypical roles of femininity. Inspired by Shanna's mischievous, irreverent, and incisive spirit, SHE DEVIL is an ongoing female curatorial collective. The gender perspective is defined by the theme chosen for each edition: the body, power, the struggle, the mirror. Each curator selects an audio-visual work, introduced by a brief description. Additionally, all the participants jointly contemplate and discuss the work of the artists chosen by their colleagues, following a format reminiscent of the women's salons of the 19th century. At that time, the domestic domain was the primary space for the political education of women, who were excluded from public debates. SHE DEVIL serves as a reminder that the salon model and the informal gathering are still tools of empowerment through "the feminisation of conversation as an intellectual, artistic and political practice".
In the halls of the MUNTREF Museo de Artes Visuales, BIENALSUR presents a selection of 14 videos of the SHE DEVIL project, which will offer a transversal reading of its different editions. At the end of the tour, two video loops summarising each edition will be presented, and the auditorium will screen a loop with historical videos that were part of the proposal. Finally, in line with the constant expansion of SHE DEVIL, the project in Argentina incorporates new voices: four curators from the BIENALSUR team invite four local artists to present their work.
Benedetta Casini
Venue: MUNTREF Artes Visuales sede Caseros I
Address : Valentín Gómez 4838
City : Argentina
Artist(s):
Eugenia Calvo (ARG)
Ana Gallardo (ARG)
Lida Abdul (USA-AFG)
Lia Chaia (BRA)
Nil Yalter (TUR)
Emilija Škarnulytė (LTU)
Bertille Bak (FRA)
Zoulikha Bouabdellah (ALG)
Johanna Bruckner (DEU-AUT)
Anetta Mona Chisa (ROU)
Kathryn Cornelius (USA)
Lilibeth Cuenca (DNK-PHL)
Silvia Giambrone (ITA)
Marta Dell’Angelo (ITA)
Maria Di Stefano (ITA)
Ellie Ga (USA)
Kate Gilmore (IRL)
Margherita Giusti (ITA)
Laura Grisi (ITA)
Nilbar Güres (AUT-TUR)
Shadi Harouni (USA-IRN)
Kristina Inčiūraitė (LTU)
Jess Johnson & Simon Ward (USA-NZ)
Flo Kasearu (EST)
Nina Lassila (FIN)
Loredana Longo (ITA)
Jumana Manna y Sille Storihle (USA-NOR)
Rachel Maclean (GBR-Escocia)
Katharina D. Martin (DEU)
Nandipha Mntambo (ZAF)
Tamara Moyzes (CZE-SVK)
Ariel Nahón (ARG)
Trine Lise Nedreaas (GBR-Escocia)
ORLAN (FRA)
Luana Perilli (ITA)
Mariuccia Pisani (ITA)
Anna Raimondo (ITA)
Julika Rudelius (DEU)
Larissa Sansour (PSE)
Marinella Senatore (ITA)
Tracey Snelling (USA)
Lerato Shadi (ZAF)
Elaine Shemilt (GBR-Escocia)
Irene Sosa (USA)
Gian Domenico Sozzi (ITA)
Mathilde Ter Heijne (FRA-DEU-NLD)
Christian Thompson (AUS)
Lara Torres (GBR)
Eulalia Valldosera (ESP)
Marisa Williamson (USA)
Ming Wong (DEU-SGP)
Rona Yefman y Tanja Schlander (ISR-DNK)
Mary Zygouri (GRE)
Joanna Zylinska (GBR)
Angela Marzullo (CHE-ITA)
Curatorship:
BIENALSUR (ARG)
STUDIO STEFANIA MISCETTI (ITA)
Type(s):
From 2023/08/09
To 2023/12/30
Away Day for the Faculty of Creative and Cultural Industries
Presentation at the Research Excellent Framework Away Day Showcase
The REF showcase event took place on Thursday 9th March at the Institute of Marine Sciences.
The mainstream fashion industry is built upon the exploitation of labour and natural resources. Wealth and power are concentrated in the hands of a few, and growth and profit are rewarded above all else. Big brands and retailers produce too much too fast and manipulate us into a toxic cycle of overconsumption. Meanwhile, the majority of people that make our clothes are not paid enough to meet their basic needs, and already feel the impacts of the climate crisis - which the fashion industry fuels. As global citizens, we all have the power to take action. This Fashion Revolution Week, join us in reimagining a just and equitable fashion system for people and the planet.
On the panel we have: Dr Sass Brown, Bel Jacobs, and Beata Wilczek Moderated by Lara Torres and Noorin Khamisani.
What are the regenerative, restorative and revolutionary new fashion systems?
As part of Fashion Revolution Week, the faculty of Creative and Cultural Industries at the University of Portsmouth invite you to an online panel discussion exploring new fashion systems.
The mainstream fashion industry is built upon the exploitation of labour and natural resources. Wealth and power are concentrated in the hands of a few, and growth and profit are rewarded above all else. Big brands and retailers produce too much too fast, and manipulate us into a toxic cycle of overconsumption. Meanwhile, the majority of people that make our clothes are not paid enough to meet their basic needs, and already feel the impacts of the climate crisis - which the fashion industry fuels. As global citizens, we all have the power to take action. This Fashion Revolution Week, join us in reimagining a just and equitable fashion system for people and the planet. In this online panel discussion we will be exploring: “What are the regenerative, restorative and revolutionary new fashion systems?”
On the panel we have:
Dr. Sass Brown, previously the Founding Dean of the Dubai Institute of Design and Innovation, she is now the course leader for Kingston University London’s newest MA – Sustainable Fashion: Business and Practices. Brown completed her PhD in 2021 on Global Artisanship and Models of Sustainable Development. Prior to joining DIDI, Sass was the Interim Dean for the Fashion Institute of Technology's School of Art and Design in New York. As a researcher, writer and educator, Brown's area of expertise is ethical fashion, and her publications include the books Eco Fashion and ReFashioned for British publishers Laurence King.
Bel Jacobs, a former fashion editor, turned writer, speaker and activist on climate justice, animal rights and alternative systems in fashion. She is founder of the Fashion in Schools Project, highlighting the impact of the fashion industry to secondary students; The Empathy Project, an online magazine amplifying the ethics of protecting animals and people; and the Islington Climate Centre, working with local groups and organisations to bring Islington to net zero.
Beata Wilczek, who specializes in building projects for digital, sustainable, and diverse fashion futures. She is the Head of Digital Sustainability and Social Impact at The Dematerialised and Founder and Research Director at Unfolding Strategies, a fashion consultancy and education lab.
Moderated by Dr Lara Torres and Noorin Khamisani.
SÓNIA BAPTISTA
WOW
In Ancient Greece, beautiful and good were considered to be inseparable concepts. The contemplation of beauty was supposed not only to produce wonder and delight but also to bring the spectator closer to a wish for justice and a desire for higher ideals. But, over time, the cult of beauty has also had its detractors. Beauty, they maintain, is a mere distraction from what really matters. More than beauty, it is the ugliness that leads us to transcend the appearance of physical matter and that opens our minds to the truthful and the haunting perception of the sublime. As if it were a transcendental shock, a creation of the mind, in which terror and pleasure are mixed together.
At the end of the day, we can show the grace of what we have because our disgrace is beautiful for others.
The ugly seems beautiful to those who love it.
13 JAN 2022
THU 21:00
14 JAN 2022
FRI 21:00
15 JAN 2022
SAT 19:00
A CREATION BY
Sónia Baptista, Joana Levi, Josefa Pereira, Gaya Medeiros, Raquel Melgue, Maayan Sophia Weisstub, Cire Ndiaye, Eduardo Raon, Mariana Gomes, Daniel Worm and Lara Torres
Secondhand Cultures in Unsettled Times Symposium
15-16 June 2021
Authors: Dr Elaine Igoe, Susan Noble , Lara Torres and Jennifer Cunningham
Affiliation: University of Portsmouth
This study examines the introduction of a ‘design-led upcycling’ group project into an established design and enterprise curriculum structure with second year students on BA (Hons) Fashion and Textile Design at the University of Portsmouth. It reflects the common experience and situated knowledge of academic, technical staff and students contextualised within the changing imperatives of design education.
29 September - Lara Torres, Unmaking Fashion
Unmaking fashion
29 September 2020
Crafting Anatomies
Archives, Dialogues, Fabrications
Edited by Katherine Townsend, Rhian Solomon & Amanda Briggs-Goode
LIVING ROOM
A jazzy underground talk about art, fashion and sustainability
Location: basement of B9 at Manifattura Tabacchi, Florence
LIVING ROOM
Michelangelo Giombini, Head of product development MTDM, invites us to have a conversation about the exhibition “if I could, unless we”, the “transfashional” project and about Fashion in general, the relationship between Art and Fashion, and finally about Sustainability in fashion on the occasion of the catalogue launch for the exhibition “if I could, unless we”.
Opening of the exhibition on 26th October 2019 at 6 pm | City Museum of Rimini - Modern Hall | 27.10. 2019 - 06.01.2020
Transfashional
Post/Inter/Disciplinary Lexicon
27.10. 2019 - 06.01.2020
With the participation of: Manora Auersperg, Linnea Bågander, Naomi Bailey Cooper, Sonja Bäumel, Christina Dörfler Raab, Naomi Filmer, Barbara Graf, Shan He, Milena Heussler, Afra Kirchdorfer, Saina Koohnavard, Kate Langrish Smith, Ulrik Martin Larsen, Maximilian Mauracher, Wojciech Małolepszy & Robert Pludra, Ana Rajčević, Clemens Thornquist, Lara Torres, Aliki van der Kruijs
Encounter with Aliki van der Kruijs on 26th October 2019 at 4 pm
Sala Arazzi Museo della Città di Rimini
Curated by Dobrila Denegri
International symposium with pioneering fashion scholars and practitioners to explore critical contemporary fashion research practice.
The Politics of Practice-Based Fashion Research
This Fall, the Austrian Center for Fashion Research, in collaboration with MAK – Museum of Applied Arts, is hosting a one-day symposium to bring together a group of pioneering fashion scholars and practitioners to explore critical contemporary fashion (research) practices. They will investigate the transformative potential of critical fashion knowledge between theory and practice, between doing and thinking, and beyond assumed disciplinary and epistemological boundaries. The symposium aims to react to changing paradigms in fashion practice and its promise to be a tool for criticality outside of fashion’s commercial imperative.
WHY-WHAT-WHO at Museo Nacional de Arte Decorativo Av. del Libertador 1902 Ciudad de Buenos Aires
WHY-WHAT-WHO
An impossible Wardrobe for the invisible is being displayed as part of the Exhibition located at the National Museum of Decorative Arts, in Buenos Aires, Argentina, part of the touring show exhibiting the work to commemorate and celebrate 10 years of the MA Fashion Artefacts course at LCF.
Participating in the upcoming conference THE POLITICS OF PRACTICE-BASED FASHION RESEARCH on 22nd October at the Museum of Applied Arts MAK, Vienna with the ‘paper-installation’: A Fashion Ontology'
THE POLITICS OF PRACTICE-BASED FASHION RESEARCH
Conference language: English
Date: 22 October 2019 | 10 am to 10 pm
Keynote: José Teunissen (London College of Fashion)
An impossible Wardrobe
Displayed as part of the Exhibition located at the National Museum of Decorative Arts, in Buenos Aires, Argentina - part of the touring show titled “Why-What-Who” exhibiting the work to commemorate and celebrate 10 years of the MA Fashion Artefacts course at LCF The exhibition shall take place from 26 September 2019 to 1 December 2019 with a private view taking place on 26 September 2019.
The body as factory: a post-productivist fashion practice through film
Crafting Anatomies
Archives, Dialogues, Fabrications
Editor(s): Katherine Townsend, Rhian Solomon, Amanda Briggs-Goode