| dc.date.accessioned | 2017-12-07T10:07:11Z | |
| dc.date.available | 2017-12-07T10:07:11Z | |
| dc.date.issued | 2016 | |
| dc.identifier.uri | http://hdl.handle.net/2077/54603 | |
| dc.subject | Cloisonné | sv |
| dc.subject | craft | sv |
| dc.subject | vessels | sv |
| dc.subject | mass production | sv |
| dc.subject | skills | sv |
| dc.title | Chinoiseries | sv |
| dc.type.svep | artistic work | |
| dc.contributor.creator | Cheng, Nicolas | |
| art.typeOfWork | As exhibitor in a group exhibition: List of exhibitors: Nicolas Cheng, Yeung Chin and Dylan Kwok. | sv |
| art.relation.publishedIn | January - February, 2016 National Design Centre, Singapore | sv |
| art.description.workIncluded | Chinoiseries_series, 5 vessels; gold plated cloisonné, black nickel stainless steel, industrial enamel; various dimensions; unique work.
Images credit: Nicolas Cheng and Asia Society Hong Kong | sv |
| art.description.project | In Chinoiseries, I have been addressing craft and its methodologies as well as problematicity. I had worked with cloisonné techniques in one of the last surviving enamel workshops in Beijing. The work addresses and confronts the contradictions in a country set to become an economical power other than cultural. China the fast-paced, the alienated, the progress-centered. In what way, if any, does the rhythm of craft meet with the fast beating heart of contemporary China? A country that has historically represented
a magmatic reservoir of the finest expressions in both art and craftsmanship, but where these very forms of cultural expression might soon dissolve in the name of technological and economical power and progress.
In this particular project, I focused on issues of locality and exoticism in relation to material culture and how the value of both craft and luxury has shifted and changed together with our notion of time and space in the globalized culture of today. I’m interested in the concept of distance, especially in its relationship to postcolonial theories, in how craft production has been used to shape certain ideas of nation and to construct hierarchical systems of value. How the idea and definition of craft has become elastic, defying geographical borders as well as ‘nationalisms’, questioning and confronting the accepted notions of skill and time has always interested me. | sv |
| art.description.summary | In an era of unprecedented innovation in science and technology, how do craftsperson/ designers respond to the constant paradigm shift in our lives? After all, good designers do not just explore how we will, but also how we should live in the future. The exhibition, Imminent Domain: Designing the Life of Tomorrow, the exhibition is curated by Fumio Nanjo, Director of Mori Art Museum, Tokyo, works from across industries including jewelry, automobile, fashion, product, and interior design among others, were displayed to provoke ideas on lifestyle. Traveling to National Design Centre Singapore, the smaller-scale exhibition continues this goal with a focus on the changing concepts about future living. | sv |
| art.description.supportedBy | Organized by Asia Society Hong Kong Center, at National Design Centre, Singapore. | sv |
| art.relation.uri | http://asiasociety.org/hong-kong/exhibitions/imminent-domain-designing-life-tomorrow-singapore | sv |
