Keynote Speakers | DHS-NID 2013

19.11.2013 15:34Keynote Speakers | DHS-NID 2013

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Keynote SpeakersKeynote Speakers

GUI BONSIEPE GUI BONSIEPE studied information design at the hfg ulm and

was involved in teaching and research activity at the hfg ulm

until 1968. Since 1968, he has been providing design and

consultancy services for multilateral and bilateral

organizations for technical cooperation and in government

institutions in Chile, Argentina, Brazil; specializing on

design issues in peripheral countries. From 1987 to 1989 he

worked as an interface designer in a software house in

California. From 1993-2003 he was professor for New Media at

the Kln International School of Design. Since 2003 he has been living in Argentina

and Brazil.

His Publications: 1975 Teoria e pratica del disegno industriale (Italy) |1978 Diseo

Industrial, tecnologa y dependencia (Mexico) | 1983 A Tecnologia da

Tecnologia (Brazil) | 1996 Interface Design neu begreifen (Germany) | 1999 Interface

An Approach to Design (Netherlands) | 2008 Historia del Diseo en Amrica Latina y

El Caribe (co-editor) (Brazil) | 2009 Entwurfskultur und

Gesellschaft (Switzerland) | 2011 Design, Cultura e Sociedade(Brazil) | 2012 Design

como pratica de projeto (Brazil).

The Centre/Periphery Antinomies of Design in Latin America

A short overview of the development of design history studies in Latin America is

given, that in part have been undertaken by design professionals due to the general

indifference of traditional historiography to deal with material and semiotic

artefacts of everyday culture as results of a development process including design.

These studies start from the premiss that design should not be considered in isolation

but inserted in the industrial, technological and political context. The role of

design as one aspect in the multifacetious process of emancipation is explained,

furthermore the reasons for the different perspective of design and design practice in

the Periphery compared to the Centre. The effects of opposed economic policies for the

development of design in Latin America are shown by comparing the 1960ies and the

neoliberal programs of the1990ies. The issue of cultural influence, cultural export,

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cultural imperialism, contextuality is addressed, analyzing the reasons for the

opposition between design as modernizing force and the reaction to modernization by

searching for roots of identity in the vernacular.

TAPATI GUHA-THAKURTATAPATI GUHA-THAKURTA is an art-historian, Professor in

History and the current Director of the Centre for Studies in

Social Sciences, Calcutta (CSSSC). Her two main books are The

Making of a New Indian Art: Artists, Aesthetics and

Nationalism in Bengal (Cambridge University Press, 1992) and

Monuments, Objects, Histories: Institutions of Art in Colonial

and Postcolonial India (Columbia University Press, and

Permanent Black, 2004). She has been involved with the

building of a visual history archive at the CSSSC, and has

curated two exhibitions out of this collection Visual Worlds of Modern Bengal: An

introduction to the documentation archive of the Centre for Studies in Social

Sciences, Calcutta (Seagull, Kolkata, 2002); The City in the Archive: Calcuttas

Visual Histories (Calcutta: CSSSC, 2011). She is at present completing a book titled

In the Name of the Goddess: The Durga Pujas of Contemporary Calcutta.

New Dispensations of Design in a public festival: The Durga pujas of contemporary

Kolkata

Over the years, Kolkatas Durga Puja (an autumnal week-long festival celebrating the

home-coming of goddess Durga) has been scaling new heights as the most spectacular

event in the citys annual calendar. In recent times, the festival has taken on a

particular artistic and designer profile that is unique to the contemporary city. My

lecture will be studying the anatomy of this newly configured popular art-event that

has brought into the fray new categories of artists and designers and new vocabularies

of public design. It uses the occasion of the festival to reflect on the new

dispensations and vocations of design in an urban public setting. And it offers up the

city of the festival as one of those less-explored post-colonial geographies of

contemporary design histories in India a site for thinking about todays transmuting

vernacular practices of art and craft, where the resources of traditional folk and

ritual arts are brought into continuous dialogue with the needs of modern art

production and mass spectatorship.

The lectures has as its focus a new wave of designer productions that came of age in

Kolkata at the turn of the 21st century and took on the local nomenclature of art or

theme Pujas. As it analyses different strands of this phenomenon, it asks how does



a design aesthetic provide a special form of branding of the contemporary festival? To

what extent can it transform the ephemeral ritual icon into a work of art? How

effectively can it mediate the commercial publicities and competitions that have

invaded the current economy of the Pujas? What specific kinds of identities of

designers has the festival nurtured in recent years? How does the new vocation of

Puja designing turn our gaze on the many less-elect forms of artistic livelihoods

within and outside the city, alerting us to the ever-slipping lines of distinction

between the artist and the artisan in such domains of work? And, what kinds of

transient exhibitionary worlds unfold every year on the face of the everyday city?

SUJATA KESHAVAN SUJATA KESHAVAN Sujata Keshavan was the first Indian woman toobtain a post-graduate degree in Design. She graduated from

Yale University with a Master of Fine Arts degree specializing

in Graphic Design in 1987. Her undergraduate degree was from

the National Institute of Design, Ahmedabad. In 1989, Sujata

founded Ray+Keshavan Design, widely regarded as Indias most

influential design firm and consistently ranked by The

Economic Times as Indias No 1 company in the area of Brand

Design. Her company was acquired by the WPP group in 2006 and

is now part of the Brand Union network. Sujata is regarded as a pioneer in developing

the brand design industry in South Asia. Working across sectors from technology to

telecom, healthcare to banking, infrastructure to consumer products, she has played a

pivotal role, after liberalization, in enabling Indian industry to create vibrant

brands that can compete in the global business environment. A strong advocate of the

transformational power of design, Sujata has brought design into the boardroom by

demonstrating through her practice that design can be used to tangibly alter the

fortunes of businesses. In her career of 25 years, Sujata has received numerous

awards, been a speaker at international design conferences, and served on the jury of

design competitions around the world, including the Cannes jury in 2010. She has been

named one of Indias 30 most powerful women by India Today and recognised as The

Outstanding Woman Professional of the Year by the Federation of Indian Chambers of

Commerce and Industry (FICCI) in 2007. She is ranked No. 18 on Fortune Indias list of

the most powerful women in business. Sujata has served on Yale Universitys Global

Council on reputation and is currently on the World Economic Forums Global Agenda

Council on Design and Innovation. A quarter of her work each year has been pro-bono

for foundations working in the areas of education, health, art, culture and other

democratic citizens initiatives.

Towards post post-colonialism Indias design journey



Sujatas talk traces the evolution of modern design in India from independence to the

present. Her own role as a practitioner dovetails with roughly half this period, and

her views are informed by observation and experience working in the field, rather than

through academic research. She shall consider the social, political or economic

contexts against which design as a profession has been evolving. She will analyse the

factors that influenced our journey, from the fledgling experiments in nation building

in the fifties, to the impact of economic liberalization as well as of globalization

and technology in the nineties and thereafter. She shall identify those factors that

are, in her view, unique to India. She will also examine the relationships between

art, craft, technology and design.

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Keynote Speakers | DHS-NID 2013