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Danish art collective Superflex’ project Porcelain Pirates for the Zeeuws Museum in Middelburg, the Netherlands, is a fascinating and complex example of how a museum collection of artefacts from a colonial past may gain critical new meaning by means of cultural production and curatorial strategy. By means of a museum installation (Porcelain Pirates, Zeeuws Museum, 2009) and a popular TV-series (Porcelain, Propellerhead, 2010) produced in Vietnam by a Vietnamese production company, Superflex seeks to explore and question a complex piece of colonial history with an important Asian-European as well as a nationally Dutch and regionally Zeelandish dimension.The installation and the television series is based on peculiar historical construction based on the Zeeuws Museem’s collection of porcelain: The Dutch capture of the Portuguese vessel San Jago which set sail from Goa bound for Lisbon in 1601 with one of the first consignment of South East Asian porcelaindestined for the European market. San Jago’s cargo of porcelain was realized economically by a big auction in the Netherlands. According to the Museum and it’s installation, the “importance of this auction was unprecedented and it provided enormous economic stimulus in the entire region and also provided diplomatic gifts that were used to cement the Dutch war of independence against Spain.”Authentic artefacts from San Jago were used as props in the TV-series produced in Vietnam and were subsequently included as artefacts in the installation. This paper provides an analysis of Superflex’ project with special reference to the cultural recycling of artefacts tied up with a sensitive colonial context. The analysis focuses especially on the role of the artefact and the way the project contributes to and challenges regional and national postcolonial identity(Zeeland, Netherlands, Vietnam). The paper will finally discuss its findings with reference to Superflex’ general profile as artists.

Are you interested in designing new ways of networking at the Nordes conference with fellow researchers?Do you want to explore and discuss the so called “workspacelab” as a platform for user involvement?This workshop invites participants to explore a particular version of the design:lab called the workspace:lab. With a focus on methods like probekits, design games and experience prototyping the participants will experience what it is like being part of the design:lab as “users” and they will be exposed to the different equipment and tools used in the “laboratory of change”. Though the main focus of the workshop is to explore the workspace:lab, the actual output of the workshop is also relevant. The participants will be encouraged to codesign examples of new ways of networking at conferences, which could benifit the Nordes community in the future.

This paper offers a typology for understanding design fiction as a new approach in design research. The typology allows design researchers to explain design fictions according to 5 criteria: (1) “What if scenarios” as the basic construal principle of design fiction; (2) the manifestation of critique; (3) design aims; (4) materializations and forms; and (5) the aesthetic of design fictions. The typology is premised on the idea that fiction may integrate with reality in many different ways in design experiments. The explanatory power of the typology is exemplified through the analyses of 6 case projects.