In this collaborative work, designer Gabriel A. Maher, designer and social worker  Roberto Perez Gayo  and multidisciplinary artist  Carly Rose Bedford  elaborate on the relationship of feminism to the collective regimes of enunciation that produce it.  How do you orient yourself within this word? How do you orient yourself in a language that precedes you?  If we look from this perspective to the word feminism we understand how, as a word, it can transform its own conditions, function as a disruptive agent and incite analysis of any condition or context it is placed within. Recognising it as a composite term, means to embrace its complexity. It houses a multiplicity of positions, approaches, interpretations, histories and subjectivities. All of these positions are there within the word.  Once I cross into that space,  how do/can/must/may/ought 'I'  move/relate/think/interact/feel?  And how would I describe it?  In order to achieve this, Maher, Perez and Rose speculate on how setting the listening conditions prior to the act of speech can generate new forms of community and collectivity. By approaching the word Feminism as a technology, they look towards how this process can generate self-reflection and invite the word feminism to listen to itself in a queer and intersectional feminist framework.  As much as a physical exhibition, this work exists as a methodology that attempts to reflect and act upon the collectivity that feminism as a word connotes. It contemplates collectivity, the act of listening and knowledge production. This process and outcome reflects dialogues of urgency or irreverence, analysis and reflection that cycled within a collective of people each unified by an investment in feminism.  “___________ ” is an invitation to explore how our individual positions and actions relate to the collective arrangements we belong to through the technology of the word and consequently, through the act of listening.  A network of 26 feminist voices transmit  Installation & performative action(s),  Onomatopee  150.2 / NEST Project 2017, Eindhoven.  production design by  Isabel Mager   Images:  Kyle Tryhorn  &  Daantje Bons
 Exhibition for Örebro läns museum, Sweden  Official opening in 2019  Collaboration with designer,  Isabel Mager  and political scientist, Daniel Urey
 Deconstruction and analysis of the EU Commission Application Grant for which the International exhibition  Shared History  was developed - analysis of key premise and word use by both EU Commission and Färgfabrieken as the main applicant
 Based on fragments from the  Salone Internazionale del Mobile di Milano  website, Empty Orchestra is an absurd script composed of object lists and object names from Salone product libraries: adjectives, nouns, verbs and chronological word use, with, words, phrases and loaded expressions associated with design. With a backing track of ‘easy listening’ sound used on the Salone website (2016), Empty Orchestra is performed through spoken word, concrete poetry and karaoke, live within the context of the fair.  The offcial Salone del Mobile website hosts all promotional material and facilitative communication for the fair. The website is an archive charting both technical and emotional information relating to the ‘design fair’, including press releases, interactive maps, brand catalogues, product libraries, inspirations, advertisements, interviews as well as exhibition, visitor, exhibitor and media information. Its extensive display of materials mediates a kaleidoscope of consumer goods through design ideologies and “novel concepts for living”. The website demonstrates a dichotomy between design ideologies and its general output as consumer products. Endless scenographies showcase props for living (table, bed, container) surrounded by linguistic value beyond their form, such as “ethical and social commitment,” “design of the future,” “improve people’s quality of life” and “the most meaningful and profound issues of contemporary.”  By using fragmentary and incomplete material clippings the existence of mutually incompatible and antithetical meanings can occur. It creates a skewed, slightly mocking narrative of the Salone’s marketing ideology. A satirical comment on the rhetoric and disinformation of commodity culture and consumption.  Note: This was performed live and in a participatory way with an audience / consumers / journalists etc. This text/soundscape is to be performed live, using the tools of the tools of a DJ, dual vocals and large-scale visuals; a hybrid between performance lecture and DJ set. This work was developed for  Fictional Journal   Propaganda Issue 02 . It specifically relates to the Salone Del Mobile context and mediation.  In collaboration with designer  Isabel Mager
 Disegno #15, Gendered Objects collaboration with  Disegno Magazine , with editors Oli Stratford & Kristina Rapacki & Philosopher,  Nina Power , In collaboration with Disegno Magazine  Words: Nina Power |  Montages:  Gabriel Maher   Image maker’s note:  While dissecting the press release images of objects referenced in the text, I was particularly struck by the absence of the body in the photography. These objects were mostly center-aligned, singular, rather lonesome and captured without human interaction. Deconstructing these object images made it possible to locate lines of desire in the fragments. Remixing these fragments, brought them together again in unexpected ways and produced a certain performativity. At the same time, this process skewed and exaggerated their original reading. The new arrangements and object combinations started to present with ‘camp’ sensibilities and elements of personification. This transformation summoned the aesthetic techniques of Montage and Drag and reveled in reproductions of suitably dragged-objects and images. The montage fragments directly reference specific objects and moments described in the text, so the final images are bound to these delicious textual-sexual descriptions – Gabriel .A. Maher  Essay: Gendered Objects pp. 46-56   Writer’s note:  It struck me while writing this piece just how functionally androgynous much design is, and how more could be that way too. I thought a lot about the bicycle’s role in the emancipation of women and the way in which, while we may laugh at objects that are pointlessly gendered, we don’t always think about the hidden gendered qualities of objects. Unless we use a language that genders everything – and even then we might forget – Nina Power  Chamber –                                                           De Castelli –
 photo  JW Kaldenbach
Storehouse 01