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School of Observation

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Noon Passama

ISBN 978-3-947432-00-4

2017

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In 2017, jewellery designer Noon Passama developed a group of jewellery pieces influenced by the idea of a numeral system. The body of work has become the starting point of a collaboration with graphic design and art direction Studio Amanda Haas. The result is a publication under the title: 0, 1, 2, 3, 4, 5, 6, 7, 8, 9, titled after the jewellery series. It documents the precise dimensions of each piece which is equalling a numeric value. The book is a pseudo-scientific archaeological undertaking, describing a post-apocalyptic world. In this dusty, sandy world the remaining human beings occasionally encounter objects of value, that might have become useless as decoration but useful as currency. This book contains a science-fictional text written by curator Gabriela Acha and spherical images of excavations sites by photographer Christian Hagemann. It got published in Berlin by newly founded publishing house School of Observation.  Studio Amanda Haas further more created the overall concept, story-line and set design of the photography. This publication undertakes an experimental research that, while visually exploring the shapes of numbers and the dynamics they create, it also suggests an alternative understanding of their visual manifestations. Each contributor in this book looked at this particular jewellery design from a personal perspective, keeping in mind the overarching questions of possible origin, belonging and cultural affiliation. The fictional storyline established itself surrounding the following presumption: What if a past or future tribe of (human) beings had created pieces of jewellery that in themselves are not only otherworldly beautiful, but might even bear a secret force or knowledge beyond the evident? Could there be a transmission of knowledge long after the existence of such a tribe? And if so, what would it be, this lost knowledge?

Noon Passama is a Bangkok-born designer. In 2007, she moved to the Netherlands where she studied to be a jewellery designer at Gerrit Rietveld Academie. Since her graduation in 2010, Passama’s work has been exhibited in various renowned institutions and platforms, such as The Design Museum in London, Stedelijk Museum in Amsterdam, Musée d’Art Moderne de la Ville de Paris, and Design Miami. She works across different genres of jewellery and collaborates between diverse artistic fields. Passama’s main interest is based on existing jewellery typologies in connection to broader subjects, for example, identity and language. Recently, her main interest has been on the chain, a classic archetype of jewellery. Her statement, “making a chain is like composing a sentence out of a transformable typeface” becomes a starting point for this new body of work titled 0, 1, 2, 3, 4, 5, 6, 7, 8, 9. Passama approaches the intangible concept with the tangibility of the materials she has in her hands.

112 pages
154 x 215 x 12,5 mm

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