Claire Koron Elat

2 weeks ago | i-d.co | Claire Koron Elat

This story appears in i-D 374, The Unknown Issue. Get yours now. written by CLAIRE KORON ELAT When artist Rineke Dijkstra (b. 1959) and her assistant were visiting Liverpool in 1994 to shoot photographs at schools, their cab driver brought them to The Buzz Club. The “troubled Liverpool nightclub” was a haunt for teens tirelessly dancing, consuming drugs, and performing other rites of passage.

May 21, 2024 | 032c.com | Claire Koron Elat

May 21, 2024|CLAIRE KORON ELATThe third Istanbul biennial in 2016 asserted that talking about design means simultaneously talking about our species. As design, as a field and practice, has majorly expanded, it is no longer restricted to the actual materials or objects it is working with but extends to more abstract, meta-forms of design. Today design is about “crafting” networks, systems, interfaces, and our selves.

May 8, 2024 | 032c.com | Claire Koron Elat

CLAIRE KORON ELAT: Generally speaking, partnerships are tremendously important in the art world. AF: It is a relationship business. Some of my best friends are gallerists in London, but also in different places. Relationships and cooperation are massively important to me. For example, I did a Simeon Barclay exhibition that was a collaboration in the form of a dual presentation of the same artist across two different non-affiliated galleries. CKE: As you suggest, the art world is a social business.

Jan 30, 2024 | 032c.com | Claire Koron Elat

January 31, 2024|CLAIRE KORON ELATAnd at worst, it is fatal—either physically or cerebrally. When something you desire actually stops you from thriving, you have fallen into the trap of cruel optimism. Coined by American cultural theorist Lauren Berlant, cruel optimism describes a socio-political and psychological system in which people are unable to detach from unattainable reveries.

Jan 16, 2024 | 032c.com | Claire Koron Elat

January 16, 2024|Claire Koron ElatFor London-based and Istanbul-born designer Dilara Fındıkoğlu, churches and strip clubs are both holy sites. In her collections, she often merges ostensible antitheses—a commentary on religion takes place in a strip club or political activism materializes through BDSM visual codes. Her garments are a form of disruption—corsets bedecked with knives, feathered bras, and hairy braids as tops.