Materials & Tradition is an exhibition for the inaugural Rotterdam Design Biennale curated by Adelaide-based designer Bolaji Teniola. On the crux of Materials & Tradition is the Biennale’s idea of What’s Actual Is Unfamiliar. Eight Adelaide-based Australian creatives and one duo — Takeshi Iue, Nat Penney, Lotte Schwerdtfeger, Keulemans & Hashimoto, Gretal Ferguson, Carly Tarkari Dodd, Alexandra Hirst, and Bolaji Teniola himself — are launched to the design neighborhood in Rotterdam. From ceramic, timber, varied metals, glass, stone and textiles, Tenoila asks, ‘What does your selection of supplies say about you?’ We’re invited to contemplate how they are often an extension of tradition by way of an surprising methodology.
Emma-Kate Wilson: Hello Bolaji, thanks for the interview all the best way from Rotterdam. To start out, when did you first provide you with the concept for Materials & Tradition, and may you inform us extra about the way it follows on out of your earlier exhibition Reflections Of House?
Bolaji Teniola: I’ve wished to comply with up Reflections Of House one way or the other, both by providing individuals the chance to debate their works in relation to the theme as a means of capping off that chapter. Or by shifting focus to a brand new theme underpinned by the essence of Reflections Of House, which was to analyze the connection or affect between our inventive follow and our residence, heritage or tradition. So the sensation was there, however it didn’t have a reputation. When the chance to take part within the Rotterdam Design Biennale got here up, I had the possibility to workshop these ideas and convey my focus to Materials & Tradition. Admittedly, each, I consider, have loads of scope to delve deeper, as a result of it appears like I’m simply scratching the floor.
EKW: Has there been any variations within the supply of the exhibitions or new belongings you’ve found within the curation of each reveals?
BT: The 2 largest variations have been the discount within the quantity of individuals between every present. So from 18 all the way down to eight, and naturally, specializing in Australian creatives quite than a mix of worldwide and nationwide abilities. However the visible language, by way of the graphics, has been carried over to keep up that connection, and each are underpinned by a thematic or query. The place Reflections Of House was responding to the query, ‘What does the concept of residence imply to you?’ Materials & Tradition responds to the query, ‘What does your selection of fabric say about you?’
EKW: How did the exhibition with the Rotterdam Design Biennale come about?
BT: I accomplished an internship fairly just a few years in the past in Eindhoven, Netherlands, the place I made robust connections with a number of the those that I interned with and linked with whereas there. We’re nonetheless good pals to at the present time—which has been incredible for a lot of causes. After that internship, I moved to Rotterdam and lived there briefly earlier than returning to Australia. So quick ahead to late 2024, buddy of mine from these Eindhoven days kindly shared the open name with me for the Design Biennale and inspired me to use. The Biennale has been an ideal alternative to reconnect with previous pals and the town of Rotterdam. It’s form of a full circle second!
EKW: Why did you solely resolve to work with Adelaide artists?
BT: For me, it was a no brainer to deal with Adelaide-based artists and designers as a result of there’s a lot expertise and variety of talent inside Adelaide and its inventive neighborhood. Having spent three and a bit years in Adelaide, I now have a greater understanding and appreciation of the expertise on this metropolis. I felt that it could even be one-to-one change between Adelaide and Rotterdam as a facet of the Biennale was to spotlight the inventive neighborhood of Rotterdam. So why not spotlight the inventive neighborhood of Adelaide? As well as, given the tight timeframe I needed to convey this present collectively, it solely made sense to suppose regionally to behave globally.
EKW: Are you able to inform me extra in regards to the artworks for the exhibition – how do they “both improve, problem or subvert the standard potentialities of their chosen materials”?
BT: The number of mediums is numerous with distinctive items produced from ceramic, timber, varied metals, glass, stone and textiles. For my part, each bit does a fairly good job of enhancing the usage of its medium by way of the execution of method and course of. When considered collectively, the items provide visible unity as their pure, nearly natural qualities unify them, whether or not in kind or materials use, however upon nearer inspection, every holds its personal tales and that means.
EKW: Are you able to provide some examples of artworks and the way they do that? I’d additionally love to listen to about your work within the exhibition.
BT: Gretel Ferguson’s Sew sequence challenges the entrenched gender roles inside craft and society whereas paying homage to these earlier than by combining the historically masculine craft of silversmithing with hand stitching. Though the steel parts are important to the work, it’s truly the silk threads that maintain the steel parts collectively, making it structural and ornamental. And, in Gretel’s phrases, the right analogy for ladies in any society.
Man Keulemans and Kyoko Hashimoto’s Carbon Circumstances subverts the notion of coal, which is seen economically and politically as a commodity. Hashimoto and Keulemans suggest that coal ought to be modified within the public creativeness to mirror its geological story inside the historical past of the earth. Via the topologies of jewelry and jewelry packing containers, coal can convey a preciousness and an obligation to care, expressing efficient qualities as an historic sedimentary rock, tens of millions of years previous, linked to the evolution of timber and the greening of the world.
And I’m exhibiting my Athos lamp which was considered one of three lamps first produced for Melbourne Design Week 2023. It’s product of walnut timber shavings layered and mixed with a home made adhesive over a rudimentary mould to create its kind. It showcases a option to upcycle what is usually seen as a waste materials within the timber shavings. It’s fairly fascinating to see how persons are reacting to it right here!
EKW: The works do all play into the Biennale’s transient of ‘What’s Actual Is Unfamiliar’ very effectively. I’m certain it should be nice to be in Rotterdam for the Biennale. I’m curious to listen to how the 2 locations (worlds aside!) could encourage your follow?
BT: I’ve been extremely lucky to include journey as a part of my follow. I consider it’s necessary for me to journey as a result of it all the time helps to get out of my bubble and join with inventive communities past those I do know. This additionally opens up extra alternatives and probabilities to develop and develop as a designer.
EKW: And at last, what are your ideas on the way forward for design and supplies?
BT: Since I’m within the eye of the storm, I largely have incoherent ideas, however it appears like an thrilling time. There appears to be a want to maneuver away from the greenwashing connotations of sustainable design and as an alternative embrace and deal with resourceful and environment friendly methods of working with supplies, in addition to imbuing them with a narrative or that means in a means that connects with individuals; enhancing the intrinsic worth of our mediums. Hopefully it helps construct additional appreciation for the finite sources now we have. Nonetheless, there’s nonetheless a protracted option to go!
Materials & Tradition is on present on the Rotterdam Design Biennale from February 20 to March 2.
