Denim covered lighters, 2000s
© Manuel Fabritz
Denim objects, Gewerbemuseum Winterthur
© Hans Schürmann
Denim objects, Gewerbemuseum Winterthur
© Hans Schürmann
Brooch, pink textile imitation denim, 2000s
© Manuel Fabritz
Disposable camera, 24 frames film, blue plastic, printed paper, 1990
© Manuel Fabritz
Embroidered denim shoes, size 44
© Manuel Fabritz
Paper suitcase with jeans patchwork print, late 1970
© Manuel Fabritz

Jeansdinge. Focus sur une collection / archive de 450 denimeries

May 2021 to October 2022

Leading institution: HEAD – Genève
Applicant and project manager: Katharina Hohmann
Project team: Katharina Tietze (ZHdK), Aude Fellay, Loreleï Regamey, Clara Vischel, Constance Delamadeleine
Partners: Manuel Raeder, Manuel Fabritz
Financing: HES-SO, HEAD – Genève
Event: Symposium and exhibition @ HEAD – Genève, Le Cube, March 18-19, 2022

This research-creation project in visual arts takes as its starting point the Jeansdinge (denim objects), a collection of more than 500 objects covered with denim or a material imitating it. Initiated in 2001 by artist and teacher Katharina Hohmann (HEAD - Geneva) and designer Prof. Katharina Tietze (ZHdK), this collection has never been shown in its entirety before.

Because of its American origins, the jean refers to an ideal of freedom and singularity, and to a massification of uses (two billion jeans are sold each year). Charged with historical and aesthetic stakes, it also echoes political struggles against systems of domination, which the Jeansdinge collection embodies through its hybrid, kitsch, and even queer character.

These objects will be made available to researchers and artists to be analyzed (according to various transversal criteria), exhibited and discussed (in the form of an exhibition-colloquium), and then activated ("actualized") by filmed performances that will be gathered in a film intended to be screened in festivals. A website will associate the objects with their documentation and videos.

Between art, design and fashion, this project will deal with the following problematic: can the sensitive relation (spatial, filmic, etc.) of a collection of "vulgar" objects deploy an artistic interpretation of the material-object that is the jean?
 

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