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?
“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.
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.