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resilients:debrouillardise_et_coquetterie [2012-05-29 14:56] – 109.129.75.193 | resilients:debrouillardise_et_coquetterie [2012-06-03 20:49] – 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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- | METHODOLOGY / EXPERIENTIAL PART : (in construction) | + | **METHODOLOGY / EXPERIENTIAL PART** : (in construction) |
- Phenomenology of the encounter (cf fieldwork) | - Phenomenology of the encounter (cf fieldwork) | ||
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- Assessment of the relational complexity induced by the dynamics of the gift/ | - Assessment of the relational complexity induced by the dynamics of the gift/ | ||
- | - Design spaces/ | + | - Design spaces/ |
+ | [[Some Notes : on my way of hybridizing ethnography with the ethics of textile conservation|Some Notes : on my way of hybridizing ethnography with the ethics of textile conservation]] | ||
- | [[Some Notes on my personal methodological approach: | + | PROCESS |
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- | For ‘Débrouillardise et Coquetterie’ I want to hybridize my ‘ethnographical – encounter’ practice with tools from textile conservation. | ||
- | At the core of my ethnographical practice lies LISTENING to the other, as a receiving and a taking care of its story. Hosting | + | 1. **DOCUMENTING** |
- | Somewhere in between ethics and Sensoriality/ | + | Fields of interests : |
- | Textile is for me intimately related to touching, I like touching with closed eyes. Feeling softness, rugosity, holes, threads. | + | **Débrouillardise** |
- | As listening with the closed eyes is every time again a beautiful | + | |
- | Receiving | + | Repertory of |
+ | - Governmental decrees / rationing tickets | ||
+ | -civil societies reactions : from patriotic adhesion to the expression | ||
+ | - punishments in case of contravening the regulations on clothes (procès verbaux) | ||
- | Textile pieces and threads came up as ‘CONCRETE’ METAPHORS for the sensations i like to focus on when I interview and listen. | ||
- | Deepening the experience of touching a textile, learning the words, concepts and parameters used to analyze a piece of cloth would allows to receive more complex insights in the textures of voices given to me during the process, by analogy-thinking. | + | **Coquetterie** |
- | Textile conservation came up as the most complete approach to analyze textile in depth, its fascinating multidisciplinarity : in between chemistry , biology, art history, craft…A lifelong learning process… | + | dignity – history of the bodies that is sensitive |
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- | If the operating concepts | + | |
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- | Textile conservation also attrackts me as a discipline: | + | |
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- | Because it is a lived, bodily practice to focus on minutiae | + | |
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- | The infinite pleasure I have of focussing on « little » things, I am curious to apply them through textile conservation exercices. | + | |
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- | « Little » things are disscrete and apparently insignificant thruths, that I search for in my ethnographical explorations. ; | + | |
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- | Values of the conservator that I admire: | + | |
- | -Sticking to the concrete | + | |
- | -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 | + | |
- | + | ||
- | 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! | + | |
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- | I became more and more curious to apply metaphorically the tools for conserving pieces | + | |
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- | FINDINGS: | + | |
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- | The Nature | + | |
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- | 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. | + | |
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- | Characteristics : | + | |
- | Loose patterns Zig Zag Patterns | + | |
- | Unevenness in tension | + | |
- | Missing parts | + | |
- | Schilferend | + | |
- | Scheuren | + | |
- | Extreme cases of total fragmentation | + | |
- | + | ||
- | Qualities: | + | |
- | Extensibility | + | |
- | Elastic limit | + | |
- | Flexibility | + | |
- | Density | + | |
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- | Folds | + | |
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- | Size – weight – complexity | + | |
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- | Fragile zones | + | |
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- | How much repair needed ? | + | |
- | How much alteration has bien carried out ? | + | |
+ | ** | ||
+ | Resilience** | ||
- | The irreductible individuality of the story. | + | Moral, social and cultural resilience |
+ | serie of attitudes for protection (textile as a protective skin) and as potential for creativity comme potentialité créatrice (DIY creativity) , | ||
+ | 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’. | ||
- | Actions / Performatives: | ||
- | -cleaning | + | 1.1. consultation |
- | -sewing (steunweefsel naaien) : the stories I collect from elderly spontenously receives ‘steunweefsels’ from helping people surrounding, | + | [[contacted archive centers |
- | -To raise the piece of cloth/ to raise the story | + | 1.2. consultation |
- | -To cover the piece of cloth/ To cover the story | + | |
- | -Framing, positioning the piece of cloth/ the story | + | |
- | -Unroll the cloth/ the story | + | |
- | Pinning | + | **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 | ||
- | Transfer to other contexts | + | **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:// | ||
- | Unprotected condition of the released object/ | + | **Dominique Veillon** |
+ | « La mode sous l’occupation », 1990, éditions Payot. | ||
+ | http:// | ||
+ | "Vivre et survivre en France 1939 - 1947", ed Payot, 1995 | ||
+ | interesting review: http:// | ||
- | 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 ? | + | Hannelore Vandebroek, Nel de Mûelenaere, and Carmen Van Praet |
+ | cf ETUDE : | ||
+ | http:// | ||
- | IN TEX CONSERVATIONS AND IN MY ETHNOGRAHICAL ENDEAVOURS, WE BOTH WORK WITH OBJECTS/ | + | Le travail des femmes dans la fabrique d' |
- | At risk of dissapearing. | + | Cette recherche analyse le travail des femmes dans l' |
- | Decaying is part of their very essence. | + | [[Sidenotes historical readings WII - Tex - Resilience|Sidenotes historical readings WII - Tex - Resilience]] |
- | The responsability | + | [[Communities |
+ | **FIELDWORK** | ||
- | Some Notes on my apprenticeship | + | 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:// | ||
- | Hands on ! | ||
- | course followed at the Kunstakademie of Anderlecht, sectie ambachtskunsten. | ||
- | http:// | + | The first interviews: |
+ | -[[Interview Débrouillardise et Coquetterie: | ||
+ | -[[Interview Débrouillardise et Coquetterie: | ||
+ | -[[Interview Débrouillardise et Coquetterie: | ||
- | 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 | + | Observations / |
+ | (in process) | ||
- | Something Joke says that I like very much : « Behandel elk stuk alsof het het meest waardevolle ter wereld is. » | + | 4.CASE STUDIES :: intergenerational workshops |
+ | (in construction) | ||
- | 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 a piece we have to use the finest thread possible, so that the intervention is as invisible as possible. | ||
- | I like the cleaning ritual of textile conservation : | + | TOWARD A LIVING ARCHIVE |
- | Conservators have to obsessionally clean their hands before manipulating the cloth pieces, but also regularly during the process. First year students have the tendency to forget this, so part of the teaching process of Joke is to repeat it all over again… | + | Search for critical/ |
- | In the beginning of the apprenticeship we learn : | + | Philosophy |
- | -the core (ethical) values of conservation through the little gestures | + | Michel Foucault « The Archeology |
- | - how to make a ‘behandelingsrapport’ : identification form of the textile piece, description (from technique to art history background) // condition report every action | + | Discursive practices involve systems that allow statements |
+ | Paul Ricoeur « Arcives, Documents, Traces » | ||
+ | http:// | ||
- | - to make a support fabric and a protection fabric, to learn the most important sewing techniques in this regard | + | “Any trace left by the past becomes |
+ | Giorgio Agamben « The Archive and the Testimony » in « Remnants of Auschwit », 1989 | ||
+ | http:// | ||
+ | “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.” | ||
- | Bibliography : | ||
- | « Textile Conservation: | ||
+ | Archive Practices in Contemporary Art | ||
- | « Textile conservation and research: a documentation of the textile department on the occasion of the twentieth anniversary of the Abegg Foundation », by Flury-Lemberg, | + | General writings |
+ | Schaffner, Ingrid et Matthias Winzen (éditeurs). 1998. Deep storage: collecting, storing, and archiving in art. Munich ; New York : Prestel, 303 p. | ||
+ | Mokhtari Sylvie (éditeur). 2004. Les Artistes contemporains et l' | ||
- | « The textile conservator' | + | Dans Archive Fever Enwezor |
+ | principale de vérité historique » | ||
+ | Aby M. Warburg, «Mnemosyne-Atlas», | ||
+ | http:// | ||
+ | Gerhard Richter, « Atlas », 1962 | ||
+ | http:// | ||