Ceci n’est pas une copie

On display at CID – Centre for Innovation and Design, “Ceci n’est pas une copie” sets out in search of the nature and significance of copying techniques in contemporary design.

Copying is bad. Gaining wealth or fame with the creative work of someone else is morally reprehensible, and in principle forbidden by law. But are things really that simple? Sometimes a copy – or something greatly resembling a copy – comes from a completely unexpected source. Sometimes it can even lead to surprising and liberating new insights. Is it then still substandard, a case of parroting something else, of shameless and unfair competition?

Loeschner, Bert, The Dudes, limited edition, polypropylene, 2011 — **Top:** Albus, Volker, (Lu Yii Wij Tong), polypropylene monobloc with fake Louis Viutton cover, 2011. © Courtesy Volker Albus. **Above:** Loeschner, Bert, *The Dudes*, limited edition, polypropylene, 2011

“Ceci n’est pas une copie” sets out in search of the nature, significance and exceptance of copying techniques in contemporary design practice. This is hardly a self-evident theme, because we are touching on a highly sensitive topic. Designers do not always see the efforts of competitors who copy as a great compliment. In reality, they fear loss of income and damaged reputations.

Copray & Wildenberg, Bob en Niels, Eames Lounge Outdoor Mal, 1956/2012, recycled polyethylene — Copray & Wildenberg, Bob en Niels, Eames Lounge Outdoor Mal, recycled polyethylene, 1956/2012

This exhibition presents a selection of fascinating examples and diverse visions concerning the phenomenon of copying. It covers well-known and acknowledged recycling strategies, such as floatation, collage, reinterpretation, homage and pastiche to more controversial and experimental reproduction, from copying as a accepted form of imitation to copying as base commercialism, plagiarism and piracy. With contributions and work by Jasper Morrison, Richard Hutten, Unfold, Bas van Beek, Konstantin Grcic, Maarten Baas and countless other designers who deal with this phenomenon on a daily basis and are forced to take a stand on the issue, whether they want to or not.

Studio Job, PIPE (Ceci n'est pas une table), sculpture, 2015, polished and patinated bronze, 24 carat gilding. 66 x 63 x 53 cm. Weight: ca. 55 kg. Provenance: Carpenters Workshop Gallery, London – Paris – New York / Studio Job MAD House, Museum of Arts and Design, New York, 2015. Photo © Loek Blonk

Hutten, Richard, Handle with Care, Droog, teapot in keramik and ABS, 2011

Left: Bas Van Beek, Extrapolations and anachronisms, © Courtesy Gallery Vivid. Right: Jongerius, Hella, Long Neck Groove Bottle, Jongeriuslab, ceramics, glass, adhesive tape, 2000

until 26 February 2016
Ceci n’est pas une copie
curated by Chris Meplon
CID – centre for innovation and design
Site du Grand-Hornu
rue Sainte-Louise 82, Hornu

Ceci n’est pas une copie

On display at CID – Centre for Innovation and Design, “Ceci n’est pas une copie” sets out in search of the nature and significance of copying techniques in contemporary design.

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