bricoleur of modernity
dashilar flagship store
mondrian for sale
state of transience
the prison project
this was a counterfeit
The on-going project, State of Transience, is a responsive design process, which is continuously shifting over time. Using the relatively simple design archetype of a chair, Sander Wassink repurposes materials, making additions, subtractions and mutations, to suggest the impossibility of a final or fixed form. As the world of design is more and more spreading through images on the internet or the press no physical object is presented. Each new version of this chair, documented in incremental stages, shows evidence of its future potential. Every new state is a testament of the ingenuity of human production and the fragility of supposedly rigid constructions. In this way the project maintains a lineage of its arrangements, preserving both its past iterations and suggesting future possible developments simultaneously. The goal is not a finished product, but instead a material history of combinations and constructions.
In Afterlife Inc. Sander Wassink puts his emphasis on the afterlife of products of contemporary culture. He focuses on finding ways of deconstruction that provide a proper memorial for them. This project shows his fascination for the human urge of imitating and mimicking natural events, but thus ignoring the notion of death and destruction. Whereas it is the inevitable byproduct of its functioning. His life size technical prints show a complexity which is impossible to design upfront. No software is capable to take the unpredictable amount of parameters involved into account. A visualisation of our incapability of maintaining control. Once perfectly straightened dreams crumbled and destroyed, now represent the complex ingenuity of reality.
During Beijing Design Week 2013, Sander Wassink set up a temporary flagship store in the Chinese capital's Dashilar district. The fictive flagship store saw him transform the space into a pop-up shoe shop. On this occasion, he used cheap, counterfeit footwear as his choice material, employing designers to cut and re-edit them into new pieces, assembled by local Dashilar shoemakers. Uncracking a new local pride and identity, Wassink’s initiative resulted in an interactive project which led to a refreshed collaboration between the product, the maker and the industry.
In deze fictieve en tijdelijke schoenenwinkel in Beijing wordt met goedkope, nagemaakte schoenen een merk gecreëerd. Ontwerpers snijden de schoen en stellen die opnieuw samen, lokale schoenmakers verzorgen het ambachtelijk proces.
Een project starten in een land waar de namaakindustrie floreert en waarbij het kopieerprincipe omgebogen wordt naar een persoonlijke activiteit, dat noemt de commissie een boeiende daad. Door het inzetten van ambachtslieden zijn nieuwe unieke exemplaren ontwikkeld uit gekopieerde schoenen. In een flagship store zijn de creaties tentoongesteld. Deze winkel is druk bezocht door de Chinese bevolking en lokte vele reacties uit.
TEXT SANDER WASSINK ( USE TO REWRITE )
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About Sander Wassink:
Sander Wassink is a Dutch artist and designer who encourages us to reconsider our ideas on beauty, aesthetic value and status. How can we reconsider what is important and what is desirable to include notions of history, memory and the preservation of a past which is slipping away. Amid new construction, new production, and constant proliferation of new forms and facades, Wassink turns his attention to the discarded, the abandoned, the left over and attempts to reimagine what can be done with the already partially formed. What new possibilities exist in the surfaces and materials that are half-built or half-destroyed. Whether his object is the partly demolished facade of an abandoned building, or the everyday detritus from our overproductive culture, Wassink asks what new forms and new visions of beauty already exist to be discovered and appreciated. His creative practice sees him heavily engaging in product deconstruction, harnessing the ‘raw material’ to develop objects with new meaning.
Wassink's practice evolves organically, opposing the rigid construction of modern architecture, city planning and design. His work tends more towards the shifting, the ephemeral and the momentary. His process tries to take into account how our interactions in space and with objects have specific needs in specific moments. His design projects attempt to reflect the mutating shape of use, value and inhabitation, as it is evidence of human activity. These shifting constructions, which Wassink refers to as “self-perpetuating spaces” take their inspiration from organically developed communities and forms, appearing more rhizomatic in nature than firmly designed and are often considered to be disorganized or chaotic. These more reactively developed forms are meant to reflect the blurred boundaries between architecture and object, inside and outside, public and private.