COMME DES KINOIS
Tokyo Arts And Space Open Studio
20. / 21. / 22. July 2018, 11 - 18 h
22. July 14 - 16 h Talk: Heisei Era Crisis - Aesthetics before and after 1989
For Comme des Kinois, Henrike Naumann researches on the ‚Japonais‘ phenomenon from Congo-Kinshasa: sapeurs from the Bandal disctrict that are obsessed with Japanese designer brands like Issey Miyake, Yohji Yamamoto and Comme des Garçons. She is tracing how the fashion obsession started with a Papa Wemba concert it Shibuya in 1986 and how the style in Congo exploded in the 1990s and 2000s. How does fashion transport trauma and memory through different cultural contexts? In photography, video and installation she draws connections between what was labelled ‚Hiroshima Chic‘, the burst of the Japanese bubble economy and post-war fashion in Congo.
In cooperation with Goethe-Insititut Kinshasa (Democratic Republic of Congo)
Interviews Congo: Lucille de Witte, Wilfried Bonpili
Japonais: De la Forêt, Pasquin Yohji Yamamoto, Tony Sosa, Dandri Ibanga, Djino Balondo, Dolet Malalu, Youla Lima, Percy Mabuana Bunker, Junior Ngobila, Wilfried Bonpili
1st Riga Biennial of Contemporary Art
2 June – 28 October 2018
Everything Was Forever,
Until It Was No More
curated by Katerina Gregos
associate curator: Solvej Helweg Ovesen
Henrike Naumann’s newly commissioned installation for the Biennial, Eurotique (2018) is based in the phenomenin of ‚Eiroremonts‘. Latvian for ‚Euro-repair‘. The artist worked with the elements that were used to renovate homes in Latvia in the late 1990s, such as low ceilings with built-in lights, laminate flooring and plasterboard walls. The installation positions itself between museum, store and domestiv space. ‘Eiroremonts’ started in the early 1990s, when at first only the more affluent were able to afford it. By the 2000s this style was available to almost everyone, becoming the de facto style for renovating a home or an office intended for sale or rent at a good price. In Latvia in the 1990s, there was a renovation boom, parallel to the privatisation of the communal and the individualisation of the domestic. In 2004 Latvia became part of the EU. Many young Latvians feel that ‘Eiroremonts’ represents a longing for ‘the West’ that their parents felt they needed to accomplish, and a way of dealing with a complicated past and memories by covering them in new walls and furnishings. Did the crisis of 2008, when the ideal of the West started to crumble, mark a turning point in the idealisation of Western living? Why do these interiors make young people today so melancholic? Do ‘Eiroremonts’ represent a future that never came?