>>based on different artistic positions the objective of this workshop session is the attempt to (de)construct the artistic research process in the field of (expanded) fashion practice.

Based on a political, (im)material, process-oriented understanding of fashion, art and design we will work on the following questions: How does artistic research as design practice look like, what actually is/means material and what is a product in fashion or design?

Further we are showing and appropriating artistic, experimental, performative approach to research. We will analyse which methods, modes and tools we can establish in our work practice. Which e.g. body related, text_tactile, voicing_sounding research methodes are part of our design process and may help us to find new narrative forms in thinking, designing and showing.

>>conceptional background The interfaces of fashion, art, design and research comprise or mark the actual matrix of an expanded fashion in research, in which the sculptural concept of a “sculpture in the expanded field,” established already in 1979 by Rosalind Krauss, can be made productive.

I would like to localize the interface(s) as interventionist, experimental new territory and space for a potentially radical redefinition of fashion and its conception as work/product.

Here I must grant the interface of fashion and art an important strategic status. This interface offers new experimental and discursive territory. It allows the question of e.g. the timeliness of the ‘collection’ as a seasonal, cyclical, industrially-categorizing commodity-form and product-group to be posed anew, to be artistically researched and interpreted.

What fashion is, what it can be, and how fashion works and in what form, is always also a question of claims and assertive affirmation.

The façade or veneer of neoliberalism, portrayed as limitless growth in production and body optimization and body gentrification is crumbling in the field of fashion.

Contemporary fashion is about radical rethinking, about alternative strategies and forms of production, re-presentation and the distribution of fashion.The idea that fashion represents not only an exclusively capital-, market- and product-oriented system of goods and value, but also, above and beyond this field, generates processual, i.e. political and artistic consciousness and appreciation, is an idea that has been clearly gaining currency and becoming ever more prevalent.