HOARDICULTURE 002
HOARDICULTURE is a series celebrating hoarding as a modern malady of collecting so much research and claiming it as a cultural trend.
“Hoardiculture: Collecting so much junk there are piles of random shit cluttering everywhere possible and then claiming it’s a cultural trend.”
(Urban Dictionary)
A selection of the past week’s insightful treasures, amassed from our constant research, that signal social-cultural change.
In 032c’s new summer issue, author and journalist Jens Balzer shares a critical and refreshing perspective on the ethics of cultural appropriation. From recounting the historical path of “necessary appropriation” to produce anti-monocultural remixes and hybrids, to reassessing the importance of evaluating the power relations involved in cultural appropriation, the author reminds us that “people worry too much about how to limit the discourse and [how] to cancel each other. Instead, they should think about how to stay in the conversation and how to organize it fairly, which, by the way, was the original idea of ‘wokeness’ […] We need to stop the permanent escalation and confrontation. We need to listen.”
As part of the Under the Influence series, Dazed Studio deciphers the shifting narratives of creativity, from the creator economy to the curator economy in A Generational Shift In Purpose, From Makers To Curators.
In partnership with Art Basel, Rabanne announced the launch of The Rabanne Arts Factory, a programme “dedicated to amplifying the next generation of underrepresented digital image creators”.
Tate Modern Museum unveiled a new exhibition on visual activist Zanele Muholi’s photography, spotlighting the resilience, style, and creativity of South Africa’s queer community.
Foresight centre Futuribles offers an insightful analysis (in French) of Vaclav Smil’s book titled Invention and Innovation: A Brief History of Hype and Failure, appraising a more realistic approach to innovation at a time when innovation is positioned as the pinnacle of European reindustrialization strategies.
Crisis management mode seems to be in fashion within the luxury industry, showing evidence that “the current formulaic, corporatised, anodyne approach to fashion is not working” according to Founder & CEO of The Business of Fashion Imran Amed.
“In fashion, you are never enough” states 1 Granary in conversation with philosopher Clare Chambers dissecting fashion’s need for “constant consumption and the never-ending project of self-improvement”, and examining “the complex and often contradictory relationship between the body, fashion, beauty and societal expectations”.
Creative agency All Corners envisions the potential of reviving the fabric of connection for The Future of Third Spaces.
The never-ending era of -core styles thrives with a new iteration: tenniscore. BBC documents the history of Suzanne Lenglen: The world's first global sporting celebrity and the first player who consolidated the love story between tennis and fashion.
Charlotte Tilbury becomes “the first beauty sponsor, as well as the first female-founded brand to sponsor the F1 Academy”, contributing to the feminization of motorsports.
Powered by French sporting goods retailer Decathlon, Hannah Rosselin’s documentary On se revoit à Paris explores the intimate journey of athletes on their path towards the Olympic Games Paris 2024.