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resilients:debrouillardise_et_coquetterie [2012-05-28 18:14] – 109.129.75.193 | resilients:debrouillardise_et_coquetterie [2012-06-03 20:46] – 109.129.58.244 | ||
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I am further interested to generate contexts for creative re-enactments and playful re-interpretation of those resilient practices in our contemporary context, through workshops bringing together elderly and kids/ | I am further interested to generate contexts for creative re-enactments and playful re-interpretation of those resilient practices in our contemporary context, through workshops bringing together elderly and kids/ | ||
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- | - **History**, | + | - **History**, |
http:// | http:// | ||
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http:// | http:// | ||
- | - Experimental | + | - Experimental |
-Fieldwork practices are being “recombined” to explore their utility in the recirculation of given knowledge in a relevant manner by the very activity of the exploratory bricolage. | -Fieldwork practices are being “recombined” to explore their utility in the recirculation of given knowledge in a relevant manner by the very activity of the exploratory bricolage. | ||
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-Bricolage of fieldwork in which concepts, methods, techniques from various fields of art (scenography, | -Bricolage of fieldwork in which concepts, methods, techniques from various fields of art (scenography, | ||
** | ** | ||
- | °Anthropology of tranmission | + | °Anthropology of Transmission |
Transmission is a topic of crucial importance for anthropologists. However few are the studies which make transmission their focal point, a subject for and in itself. In this paper I show how cases of transmission haunt the very foundations of our discipline and how they lie at the back of such notions as memory, re-invention and continuity. I conclude by asking how we can study ethnographically the fleeting reality that is the act of transmission. David Berliner – Anthropologie des Mondes Contemporains. | Transmission is a topic of crucial importance for anthropologists. However few are the studies which make transmission their focal point, a subject for and in itself. In this paper I show how cases of transmission haunt the very foundations of our discipline and how they lie at the back of such notions as memory, re-invention and continuity. I conclude by asking how we can study ethnographically the fleeting reality that is the act of transmission. David Berliner – Anthropologie des Mondes Contemporains. | ||
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** | ** | ||
- | ° Anthropology of cloth | + | ° Anthropology of cloth / Costume History |
** | ** | ||
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Out of my desire to collect stories from the past as precious fabrics…. | Out of my desire to collect stories from the past as precious fabrics…. | ||
- | The most important thing that my journey through textile conservation brought me is a deepening of the understanding of the ethical dimension of my practice, throughout the whole process of the fieldwork (from the encounter to the collecting of the story - of the constitution of a living archive of stories - to the transmission of the past story and their transformation by younger generations) | + | The most important thing that my journey through textile conservation brought me is a deepening of the understanding of the ethical dimension of my practice, throughout the whole process of the fieldwork (from the encounter to the collecting of the story - of the constitution of a living archive of stories - to the transmission of the past story and their transformation by younger generations) |
- | Some Notes on my personal methodological approach: | + | **METHODOLOGY / EXPERIENTIAL PART** |
- | | + | |
- | For ‘Débrouillardise et Coquetterie’ I want to hybridize my ‘ethnographical – encounter’ practice with tools from textile conservation. | + | - Phenomenology of the encounter |
- | At the core of my ethnographical practice lies LISTENING to the other, as a receiving | + | - Assessment of the relational complexity induced by the dynamics |
- | Somewhere in between ethics and Sensoriality/Sensuality. | + | - Design spaces/conditions/ |
- | Textile is for me intimately related to touching, I like touching with closed eyes. Feeling softness, rugosity, holes, threads. | ||
- | As listening | + | [[Some Notes : on my way of hybridizing ethnography |
- | Receiving the voices of my interviewees as a precious gift, enjoying soft, slow, fast, textured voices. | + | PROCESS |
- | Textile pieces and threads came up as ‘CONCRETE’ METAPHORS for the sensations i like to focus on when I interview and listen. | ||
- | Deepening | + | 1. **DOCUMENTING** |
- | Textile conservation came up as the most complete approach to analyze textile in depth, its fascinating multidisciplinarity | + | Fields of interests |
- | If the operating concepts of textile conservation seduced me to apply them on the sensorial level of the voices of my interviewees, | + | **Débrouillardise** |
- | Textile conservation also attrackts me as a discipline: | + | |
- | Because it is a lived, bodily practice | + | Repertory of |
+ | - Governmental decrees / rationing tickets | ||
+ | -civil societies reactions : from patriotic adhesion to the expression of complaints, black market, smuggling with rationnong tickets, or finding strategies | ||
+ | - punishments in case of contravening the regulations on clothes (procès verbaux) | ||
- | The infinite pleasure I have of focussing on « little » things, I am curious to apply them through textile conservation exercices. | ||
- | « Little » things are disscrete and apparently insignificant thruths, that I search for in my ethnographical explorations. ; | + | **Coquetterie** |
+ | dignity – history of the bodies that is sensitive to a memory of emotions and affect (from proudness to shame, the hiding of precariousness) – costume as overstatement/ | ||
- | Values of the conservator that I admire: | + | ** |
- | -Sticking to the concrete | + | Resilience** |
- | -Taking utmost care of the piece you are in charge of | + | |
- | -Humility in the presence of the object | + | |
- | -Respect of the integrity of the object | + | |
- | -Develop a deep affinity with the object | + | |
- | -Commitment to extremely slow processes | + | |
- | -Accept that after the short moment of excitement you will commit to a long time of routine tasks, you will be bored. | + | |
- | -Minutiae /Precision of craftmanship. | + | |
- | + | ||
- | The textile conservator is constantly involved in finding out all kind of strategies : conservation is about inventing ways of handling difficult objects. Your ability to handle difficult situation in everyday life will help you a lot, they say in the guide for textile conservation! | + | |
- | + | ||
- | I became more and more curious to apply metaphorically the tools for conserving pieces of cloth on micro-narratives from the past. | + | |
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- | FINDINGS: | + | |
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- | The Nature of the piece of textile is of fundamental influence on what can be at best done to preserve it. This rules inspires me ver much… but which words to define the nature of a story ? | + | |
- | + | ||
- | Tex Conservation nations that are ‘operative’ or applying them on ‘narratives’ : | + | |
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- | Texture of the piece of cloth : its fabric and structure. | + | |
- | + | ||
- | Characteristics : | + | |
- | Loose patterns Zig Zag Patterns | + | |
- | Unevenness in tension | + | |
- | Missing parts | + | |
- | Schilferend | + | |
- | Scheuren | + | |
- | Extreme cases of total fragmentation | + | |
- | + | ||
- | Qualities: | + | |
- | Extensibility | + | |
- | Elastic limit | + | |
- | Flexibility | + | |
- | Density | + | |
- | + | ||
- | + | ||
- | Folds | + | |
- | + | ||
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- | Size – weight – complexity | + | |
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- | Fragile zones | + | |
+ | Moral, social and cultural resilience | ||
- | How much repair needed ? | + | serie of attitudes for protection (textile as a protective skin) and as potential for creativity comme potentialité créatrice (DIY creativity) , |
- | How much alteration has bien carried out ? | + | |
+ | development of capacities allowing for the psychic transformation of human suffering : in the playfull act of recycling/ | ||
+ | |||
+ | Humour is said to be an important strategy for resilience, a lot of textile practices struck me by their ‘drôlerie’. | ||
- | The irreductible individuality of the story. | ||
+ | 1.1. consultation of specialized literature, articles and archives | ||
+ | [[contacted archive centers for resilient WWII textiles|contacted archive centers for resilient WWII textiles]] | ||
- | Actions / Performatives: | + | 1.2. consultation of experts: |
- | -cleaning | + | **Irène Guenther** |
+ | – Specialist in modern German cultural and gender history | ||
+ | http:// | ||
+ | ivguenth@central.uh.edu | ||
+ | « Nazi ‘Chic’? Fashioning Women in the Third Reich » | ||
+ | current research on the trench postcard art of German soldiers | ||
- | -sewing (steunweefsel naaien) | + | **Jonathan Walford** |
+ | Founder and Curatorial Director of Fashion History Museum of Canada, Writer | ||
+ | http:// | ||
+ | wrote « Fourties Fashion, from Siren Suits to the New Look », 2011 | ||
+ | http:// | ||
- | -To raise the piece of cloth/ to raise the story | + | **Dominique Veillon** |
- | -To cover the piece of cloth/ To cover the story | + | |
- | -Framing, positioning the piece of cloth/ the story | + | |
- | -Unroll the cloth/ the story | + | |
- | Pinning | + | « La mode sous l’occupation », 1990, éditions Payot. |
+ | http:// | ||
+ | "Vivre et survivre en France 1939 - 1947", ed Payot, 1995 | ||
+ | interesting review: http:// | ||
- | Transfer to other contexts | + | Hannelore Vandebroek, Nel de Mûelenaere, |
+ | cf ETUDE : | ||
+ | http:// | ||
- | Unprotected condition of the released object/ | + | Le travail des femmes dans la fabrique d' |
+ | Cette recherche analyse le travail des femmes dans l' | ||
- | What does this displacement of concept from the conrete realm of the cloth pieces to the immaterial realm of the words and narratives mean to me, and what does they mean to you ? | + | [[Sidenotes historical readings WII - Tex - Resilience|Sidenotes historical readings WII - Tex - Resilience]] |
- | IN TEX CONSERVATIONS AND IN MY ETHNOGRAHICAL ENDEAVOURS, WE BOTH WORK WITH OBJECTS/STORIES AT RISK. | + | [[Communities of Resilients |
- | At risk of dissapearing. | ||
- | Decaying is part of their very essence. | + | **FIELDWORK** |
- | The responsability of our disciplines is to slow down these built in process of decay. | + | Senior centers interested |
+ | -Résidence Arcadia (elderly house Molebeek/ | ||
+ | -LDC Randstad (social restaurant for Seniors, Molenbeek) | ||
+ | -the Institut Pachéco (elderly house in 1000 Brussels), | ||
+ | -‘Ages et Transmissions’: | ||
+ | -‘La Mémoire Vivante’ : http:// | ||
+ | The first interviews: | ||
+ | -[[Interview Débrouillardise et Coquetterie: | ||
+ | -[[Interview Débrouillardise et Coquetterie: | ||
+ | -[[Interview Débrouillardise et Coquetterie: | ||
- | Some Notes on my apprenticeship in Textile Conservation: | ||
- | | ||
- | Hands on ! | + | Observations / |
- | course followed at the Kunstakademie of Anderlecht, sectie ambachtskunsten. | + | (in process) |
- | http:// | + | 4.CASE STUDIES |
+ | (in construction) | ||
- | teacher : http:// | ||
- | Joke has an impressive knowledge in chemistry, crafts, art history and insects. She tries with a lot of patience to transmit me the basic skills of a textile conservator. The skills needed in this course are very challenging and difficult to me : patience, concentration, | + | TOWARD A LIVING ARCHIVE |
+ | Search for critical/ | ||
- | Something Joke says that I like very much : « Behandel elk stuk alsof het het meest waardevolle ter wereld is. » | + | Philosophy |
- | I still can’t separate the Gutterman thread into its 3 consitutive threads. It’s a kind of choregraphy with the fingers you have to master, I just can’ grasp it. We have to do this because when restauring | + | Michel Foucault « The Archeology |
- | I like the cleaning ritual of textile conservation : | + | Discursive practices involve systems that allow statements |
- | Conservators have to obsessionally clean their hands before manipulating | + | |
- | In the beginning of the apprenticeship we learn : | + | Paul Ricoeur « Arcives, Documents, Traces » |
+ | http:// | ||
- | -the core (ethical) values of conservation through | + | “Any trace left by the past becomes a document for historians […], |
- | - how to make a ‘behandelingsrapport’ : identification form of the textile piece, description (from technique to art history background) | + | Giorgio Agamben « The Archive and the Testimony » in « Remnants of Auschwit », 1989 |
+ | http://www.scribd.com/ | ||
+ | “the archive is situated between langue, as the system of construction of possible sentences – that is, of possibilities of speaking – and the corpus that unites the set of what has been said, the things actually uttered or written.” | ||
- | - to make a support fabric and a protection fabric, to learn the most important sewing techniques in this regard | ||
+ | Archive Practices in Contemporary Art | ||
- | Bibliography | + | General writings |
- | « Textile Conservation: Advances | + | Schaffner, Ingrid et Matthias Winzen (éditeurs). 1998. Deep storage: collecting, storing, and archiving |
+ | Mokhtari Sylvie (éditeur). 2004. Les Artistes contemporains et l' | ||
+ | Dans Archive Fever Enwezor | ||
+ | principale de vérité historique » | ||
+ | Aby M. Warburg, «Mnemosyne-Atlas», | ||
+ | http:// | ||
- | « Textile conservation and research: a documentation of the textile department on the occasion of the twentieth anniversary of the Abegg Foundation | + | Gerhard Richter, |
+ | http:// | ||
- | « The textile conservator' | ||
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