{"title":"REFRAMED: Archiving Primary Emotions","description":"\u003cp data-start=\"510\" data-end=\"652\"\u003e\u003cem data-start=\"510\" data-end=\"652\"\u003eAn ongoing research into the emotional foundations of trust —\u003cbr data-start=\"572\" data-end=\"575\"\u003ewhere decorative objects become evidence of what we once knew instinctively.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-start=\"654\" data-end=\"1076\"\u003eThe \u003cem data-start=\"658\" data-end=\"668\"\u003eReframed\u003c\/em\u003e series functions as a field of inquiry within the \u003cem data-start=\"719\" data-end=\"734\"\u003eWunder Kammer\u003c\/em\u003e.\u003cbr data-start=\"735\" data-end=\"738\"\u003eWhere traditional museum classifications are concerned with style, period, or technique, this collection focuses on the \u003cstrong data-start=\"858\" data-end=\"890\"\u003eemotional origins of objects\u003c\/strong\u003e.\u003cbr data-start=\"891\" data-end=\"894\"\u003eEach piece is read as a residue of an early stage of human consciousness — a moment in which trust, dependency, and tenderness had not yet been corrected by the logic of adulthood.\u003c\/p\u003e\n\u003cp data-start=\"1078\" data-end=\"1480\"\u003eThe recontextualisation of these objects — vases, ceramic animals, domestic ornaments — serves as a method for tracing \u003cstrong data-start=\"1197\" data-end=\"1238\"\u003eprimary emotions before socialisation\u003c\/strong\u003e.\u003cbr data-start=\"1239\" data-end=\"1242\"\u003eNot as nostalgia, but as fieldwork.\u003cbr data-start=\"1277\" data-end=\"1280\"\u003eThe aesthetics of the everyday are reconsidered as an archive of \u003cstrong data-start=\"1345\" data-end=\"1382\"\u003epre-rational affective structures\u003c\/strong\u003e: traces of how human beings once looked, felt, and believed that the world was inherently good.\u003c\/p\u003e\n\u003cp data-start=\"1482\" data-end=\"1690\"\u003e\u003cem data-start=\"1482\" data-end=\"1492\"\u003eReframed\u003c\/em\u003e is therefore not a collection of objects, but an \u003cstrong data-start=\"1542\" data-end=\"1568\"\u003eexercise in perception\u003c\/strong\u003e —\u003cbr data-start=\"1570\" data-end=\"1573\"\u003ean inquiry into how beauty, vulnerability, and trust intersect at the point where culture ends and humanity begins.\u003c\/p\u003e\n\u003chr data-start=\"1692\" data-end=\"1695\"\u003e\n\u003ch3 data-start=\"1697\" data-end=\"1754\"\u003e\u003cstrong data-start=\"1701\" data-end=\"1754\"\u003eContext and Position within Contemporary Research\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp data-start=\"1756\" data-end=\"2219\"\u003eThe \u003cem data-start=\"1760\" data-end=\"1770\"\u003eReframed\u003c\/em\u003e collection situates itself within a broader lineage of artists who have examined the affective and domestic dimensions of material culture.\u003cbr data-start=\"1910\" data-end=\"1913\"\u003eFrom \u003cstrong data-start=\"1918\" data-end=\"1938\"\u003eAnnette Messager\u003c\/strong\u003e and \u003cstrong data-start=\"1943\" data-end=\"1957\"\u003eMary Kelly\u003c\/strong\u003e, who redefined the private sphere as a site of female knowledge, to \u003cstrong data-start=\"2026\" data-end=\"2050\"\u003eNiki de Saint Phalle\u003c\/strong\u003e and \u003cstrong data-start=\"2055\" data-end=\"2076\"\u003eJoana Vasconcelos\u003c\/strong\u003e, who reappropriated ornament and kitsch as expressions of autonomy — all explored the emotional and political charge of the everyday object.\u003c\/p\u003e\n\u003cp data-start=\"2221\" data-end=\"2749\"\u003eWhile these predecessors politicised intimacy and care, \u003cem data-start=\"2277\" data-end=\"2287\"\u003eReframed\u003c\/em\u003e returns to a more fundamental level: the \u003cstrong data-start=\"2329\" data-end=\"2361\"\u003epre-social origin of emotion\u003c\/strong\u003e.\u003cbr data-start=\"2362\" data-end=\"2365\"\u003eIt does not analyse how feelings are expressed, but how they \u003cstrong data-start=\"2426\" data-end=\"2453\"\u003eexisted before language\u003c\/strong\u003e — before the codification of trust, shame, and self-control.\u003cbr data-start=\"2514\" data-end=\"2517\"\u003eIn this sense, the project departs from the ironic strategies of Pop and Camp and introduces a \u003cstrong data-start=\"2612\" data-end=\"2637\"\u003epost-ironic framework\u003c\/strong\u003e, in which tenderness, dependency, and vulnerability are not viewed as sentiment, but as \u003cem data-start=\"2726\" data-end=\"2746\"\u003eforms of knowledge\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp data-start=\"2751\" data-end=\"3034\"\u003eThe collection reads decorative objects — vases, figurines, domestic ornaments — as \u003cstrong data-start=\"2835\" data-end=\"2870\"\u003earchaeological traces of affect\u003c\/strong\u003e.\u003cbr data-start=\"2871\" data-end=\"2874\"\u003eEach object is reframed as an index of an early human condition: the ability to trust before distrust, to feel before reflection, to belong before separation.\u003c\/p\u003e\n\u003cp data-start=\"3036\" data-end=\"3375\"\u003eThis approach distinguishes \u003cem data-start=\"3064\" data-end=\"3074\"\u003eReframed\u003c\/em\u003e within current artistic discourse by merging \u003cstrong data-start=\"3120\" data-end=\"3175\"\u003ecuratorial research with phenomenological fieldwork\u003c\/strong\u003e.\u003cbr data-start=\"3176\" data-end=\"3179\"\u003eCollecting becomes a method for reconstructing the lost architectures of feeling — transforming the \u003cem data-start=\"3279\" data-end=\"3294\"\u003eWunder Kammer\u003c\/em\u003e from a cabinet of curiosities into a \u003cstrong data-start=\"3332\" data-end=\"3372\"\u003elaboratory for emotional archaeology\u003c\/strong\u003e.\u003c\/p\u003e\n\u003chr data-start=\"3377\" data-end=\"3380\"\u003e\n\u003ch3 data-start=\"3382\" data-end=\"3407\"\u003e\u003cstrong data-start=\"3386\" data-end=\"3407\"\u003eDistinct Position\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp data-start=\"3409\" data-end=\"4069\"\u003eWhat distinguishes \u003cem data-start=\"3428\" data-end=\"3438\"\u003eReframed\u003c\/em\u003e within this field is its shift from representation to origin.\u003cbr data-start=\"3500\" data-end=\"3503\"\u003eRather than engaging with feminist domesticity in the tradition of Messager or Kelly, the project investigates \u003cstrong data-start=\"3614\" data-end=\"3636\"\u003epre-social emotion\u003c\/strong\u003e — the stage in which trust, dependency, and surrender existed before cultural regulation.\u003cbr data-start=\"3726\" data-end=\"3729\"\u003eIt operates \u003cstrong data-start=\"3741\" data-end=\"3757\"\u003ebeyond irony\u003c\/strong\u003e: neither nostalgic nor detached.\u003cbr data-start=\"3790\" data-end=\"3793\"\u003eArchiving here becomes a method of \u003cstrong data-start=\"3828\" data-end=\"3839\"\u003einquiry\u003c\/strong\u003e, not preservation — a way to reconstruct emotion as a form of knowledge.\u003cbr data-start=\"3912\" data-end=\"3915\"\u003eIn doing so, the \u003cem data-start=\"3932\" data-end=\"3947\"\u003eWunder Kammer\u003c\/em\u003e evolves from a collection into a \u003cstrong data-start=\"3981\" data-end=\"4005\"\u003eknowledge instrument\u003c\/strong\u003e, systematically uncovering the lost architectures of feeling.\u003c\/p\u003e","products":[],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0135\/7080\/1764\/collections\/ChatGPT_Image_8_jun_2025_18_55_40.png?v=1751898684","url":"https:\/\/anneliesnuy.com\/collections\/useless-design-reclaiming-function-redefining-value.oembed","provider":"Annelies Nuy","version":"1.0","type":"link"}