I can only ask why? Well I know the answer, but really ?

however I was fascinated by the Craftmanship that goes into creating a carrying case, have a look:

It was commissioned by FIFA, the special order case, handmade by a single master craftsman in Louis Vuitton’s historic Asnières workshop near Paris, has been meticulously designed to accommodate the celebrated Trophy, which measures 36 cm in height, weighs 6.175 kg and is made of solid 18-carat gold with a base of semi-precious malachite. Covered in Louis Vuitton’s iconic Monogram canvas, the travel case is fitted with the company’s signature brass lock and corners, and has a dark brown lining that complements the Trophy’s rich gold.

Like all Louis Vuitton special orders, the FIFA World Cup Trophy case was made at the company’s original workshop in Asnières, which opened in 1859. The case opens at the front and at the top to allow the Trophy to be removed easily when, at the final on 11th July in Johannesburg, watched by many millions of people across the globe, it will be presented.

Louise Paramor‘s sculptures are showing at the Incinerator Arts Complex. In the vain of Martin Kippenberger, Jessica Stockholder, Franz West and Jim Lambie. Paramor excites our senses with bright colours and exotic shapes. You peruse the space as if shopping, with all the shelves shouting dazzlingly bold brands and at you. As you pass through the isles you scrutinize the effortlessness in manufacture. What struck me about the sculptures was their content seemed to posit solely on the colour and shape arrangement. The fabrication, combined with the confident colouring, provided these little contemporary Totems with a relationship that was understated but absorbing.

She also placed a photograph of the installed piece in Court 3, evoking a sense of Kippenberger and also Starling however it seemed an extension of the sculptures. You became aware of another line of inquiry but they unlike Kippenberger’s arrangements in The Happy Ending of Franz Kafka’s Amerika, where you were ushered through a definitive path (not dissimilar to IKEA). Paramor gives us our own path to plan through the work, a shopping ‘free for all’ if you like. She does not I believe have the European eccentricity/ madness that undulates through the very personal Kippenberger piece. Also she deviates away from Lambie’s work because she doesn’t engross you in the volume of the space (I can’t think of a shopping metaphor), making you aware of every centimetre of the experience. It seems that Paramor simply wishes to evoke the content of the sculptural phenomenon.