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resilients:debrouillardise_et_coquetterie [2012-05-28 19:25] – 109.129.75.193 | resilients:debrouillardise_et_coquetterie [2012-06-03 19:48] – 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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- 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 | + | dignity – history of the bodies that is sensitive |
- | If the operating concepts of textile conservation seduced me to apply them on the sensorial level of the voices of my interviewees, | + | ** |
- | + | Resilience** | |
- | Textile conservation also attrackts me as a discipline: | + | |
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- | Because it is a lived, bodily practice to focus on minutiae – as this focus is also central to my practice of ethnography. | + | |
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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 /Precision of craftmanship. | + | |
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- | 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 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 ? | + | |
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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 | + | |
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- | 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 ? | + | |
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- | The irreductible individuality of the story. | + | |
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- | Actions / Performatives: | + | |
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- | -cleaning | + | |
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- | -sewing (steunweefsel naaien) : the stories I collect from elderly spontenously receives ‘steunweefsels’ from helping people surrounding, | + | |
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- | -To raise the piece of cloth/ to raise the story | + | |
- | -To cover the piece of cloth/ To cover the story | + | |
- | -Framing, positioning the piece of cloth/ the story | + | |
- | -Unroll the cloth/ the story | + | |
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- | Pinning : involves making holes, or having marks that tends to remain | + | |
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- | Transfer to other contexts : the fragile condition of the story that is being displaced | + | |
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- | Unprotected condition of the released object/ | + | |
+ | Moral, social and cultural resilience | ||
- | What does this displacement | + | serie of attitudes for protection (textile as a protective skin) and as potential for creativity comme potentialité créatrice (DIY creativity) |
- | IN TEX CONSERVATIONS AND IN MY ETHNOGRAHICAL ENDEAVOURS, WE BOTH WORK WITH OBJECTS/STORIES AT RISK. | + | development of capacities allowing for the psychic transformation of human suffering : in the playfull act of recycling/transforming clothes we find healing strategies for psyche through body dignity and ‘coquetterie’. |
+ | |||
+ | Humour is said to be an important strategy for resilience, a lot of textile practices struck me by their ‘drôlerie’. | ||
- | At risk of dissapearing. | ||
- | Decaying is part of their very essence. | + | 1.1. consultation of specialized literature, articles and archives |
- | The responsability of our disciplines is to slow down these built in process of decay. | + | 1.2. consultation of experts: |
+ | **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 | ||
+ | **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:// | ||
- | Some Notes on my apprenticeship in Textile Conservation: | + | **Dominique Veillon** |
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- | Hands on ! | + | « La mode sous l’occupation », 1990, éditions Payot. |
- | course followed at the Kunstakademie of Anderlecht, sectie ambachtskunsten. | + | http:// |
+ | "Vivre et survivre en France 1939 - 1947", ed Payot, 1995 | ||
+ | interesting review: http:// | ||
- | http://www.academieanderlecht.be/index.php?textiel | + | Hannelore Vandebroek, Nel de Mûelenaere, |
+ | cf ETUDE : | ||
+ | http://www.cegesoma.be/cms/ | ||
- | teacher : http:// | + | Le travail des femmes dans la fabrique d' |
- | 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, assiduity. | + | Cette recherche analyse le travail des femmes dans l' |
- | Something Joke says that I like very much : « Behandel elk stuk alsof het het meest waardevolle ter wereld is. » | ||
- | 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. | + | side note 1 on 1.1 |
- | I like the cleaning ritual of textile conservation : | + | contacted Documentation Centers in Brussels |
- | 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… | + | |
- | In the beginning | + | - Algemeen Rijksarchief: |
- | -the core (ethical) values of conservation through | + | -Archief en Museum voor het Vlaamse Leven in Brussel |
- | - how to make a ‘behandelingsrapport’ : identification form of the textile piece, description (from technique to art history background) // condition report every action that is executed on the piece of textile has to be thoroughly documented (through pictures, calques, draing, samples, formulas…) cf. ‘dagboek der werkzaamheden’ | + | - Brussels Museum voor Arbeid en Industrie |
+ | mainly about the end of the 19th, beginning | ||
+ | My research questions : what was the industrial production level of textile material and where was it requisitionned to (Front de l’Est ?) ; what about labour conditions and entering of the women as workers in the factories, how did the work impacted on women dressing (more practical, introduction of the trouser) do they have propaganda material about women work? | ||
- | - to make a support fabric and a protection fabric, to learn the most important sewing techniques in this regard | + | -CINEMATEK |
+ | access@cinematek.be | ||
+ | Filmmaterial will be accessible, there are pictures but they are not filed at all so it will be quasy impossible to consult them | ||
- | Bibliography | + | Of interest |
- | « Textile Conservation: Advances in Practice », ed. By Frances Lennard and Patricia Ewer, 2010 | + | Interesting reading |
+ | -MJB Musée Juif de Belgique | ||
- | « Textile conservation | + | -Koninklijk Museum van het Leger en de Krijgsgeschiedenis |
+ | information about the requisitioning of the materials from the army, and more important | ||
+ | -Musée National de la Résistance | ||
+ | interesting material : double pockets that were sewen to transport weapons. | ||
+ | The museum does not have examples of it, but can try to put me in contact with people then involved in Resistance who did such a textile practices. | ||
- | « The textile conservator' | + | -CEGESOMA, |
+ | does have a research center for WW II | ||
+ | http:// | ||
+ | [[Sidenotes historical readings WII - Tex - Resilience|Sidenotes historical readings WII - Tex - Resilience]] | ||
+ | [[Communities of Resilients // from the perspective of Clothing as a resistance strategy|Communities of Resilients // from the perspective of Clothing as a resistance strategy]] | ||