Differences
This shows you the differences between two versions of the page.
Both sides previous revision Previous revision Next revision | Previous revision Next revisionBoth sides next revision | ||
resilients:debrouillardise_et_coquetterie [2012-06-03 19:10] – 109.129.58.244 | resilients:debrouillardise_et_coquetterie [2012-06-03 20:49] – 109.129.58.244 | ||
---|---|---|---|
Line 64: | Line 64: | ||
- | METHODOLOGY / EXPERIENTIAL PART : (in construction) | + | **METHODOLOGY / EXPERIENTIAL PART** : (in construction) |
- Phenomenology of the encounter (cf fieldwork) | - Phenomenology of the encounter (cf fieldwork) | ||
Line 73: | Line 73: | ||
- | [[Some Notes on my personal methodological approach|Some Notes on my personal methodological approach]] | + | [[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]] |
+ | PROCESS | ||
- | [[Some Notes on my personal methodological approach|Some Notes on my personal methodological approach]] | ||
- | [[Naikan|Naikan]] | ||
- | For ‘Débrouillardise et Coquetterie’ I want to hybridize my ‘ethnographical – encounter’ practice with tools from textile conservation. | + | 1. **DOCUMENTING** the research topic |
- | At the core of my ethnographical practice lies LISTENING to the other, as a receiving and a taking care of its story. Hosting the story in my dilated present. | + | Fields |
- | Somewhere in between ethics and Sensoriality/ | + | **Débrouillardise** |
- | Textile is for me intimately related to touching, I like touching with closed eyes. Feeling softness, rugosity, holes, threads. | + | |
- | As listening | + | Repertory of |
+ | - Governmental decrees / rationing tickets | ||
+ | -civil societies reactions : from patriotic adhesion to the expression of complaints, black market, smuggling | ||
+ | - punishments in case of contravening | ||
- | Receiving the voices of my interviewees as a precious gift, enjoying soft, slow, fast, textured voices. | ||
- | Textile pieces and threads came up as ‘CONCRETE’ METAPHORS for the sensations i like to focus on when I interview and listen. | + | **Coquetterie** |
- | Deepening the experience | + | dignity – history |
- | 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… | + | ** |
+ | Resilience** | ||
- | If the operating concepts of textile conservation seduced me to apply them on the sensorial level of the voices of my interviewees, it now interest me in the context of D&C to apply them on the story as such. On the very words of the story to be preserved, on how the words are sewen together in sentences, on the narrative structure of the story as a whole. | + | Moral, social and cultural resilience |
- | Textile conservation also attrackts me as a discipline: | + | serie of attitudes for protection (textile |
- | Because it is a lived, bodily practice | + | development of capacities allowing for the psychic transformation of human suffering : in the playfull act of recycling/ |
+ | |||
+ | Humour | ||
- | 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. ; | + | 1.1. consultation of specialized literature, articles and archives |
+ | [[contacted archive centers for resilient WWII textiles|contacted archive centers for resilient WWII textiles]] | ||
- | Values | + | 1.2. consultation |
- | -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. | + | |
- | The textile conservator is constantly involved | + | **Irène Guenther** |
+ | – Specialist | ||
+ | http:// | ||
+ | ivguenth@central.uh.edu | ||
+ | « Nazi ‘Chic’? Fashioning Women in the Third Reich » | ||
+ | current research on the trench postcard art of German soldiers | ||
- | I became more and more curious to apply metaphorically the tools for conserving pieces | + | **Jonathan Walford** |
+ | Founder | ||
+ | http:// | ||
+ | wrote « Fourties Fashion, | ||
+ | http:// | ||
- | FINDINGS: | + | **Dominique Veillon** |
- | 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 ? | + | « La mode sous l’occupation », 1990, éditions Payot. |
+ | http:// | ||
+ | "Vivre et survivre en France 1939 - 1947", ed Payot, 1995 | ||
+ | interesting review: http:// | ||
- | Tex Conservation nations that are ‘operative’ or applying them on ‘narratives’ | + | Hannelore Vandebroek, Nel de Mûelenaere, |
+ | cf ETUDE : | ||
+ | http:// | ||
- | Texture of the piece of cloth : its fabric and structure. | + | Le travail des femmes dans la fabrique d' |
- | Characteristics : | + | Cette recherche analyse le travail des femmes dans l' |
- | Loose patterns Zig Zag Patterns | + | |
- | Unevenness in tension | + | |
- | Missing parts | + | |
- | Schilferend | + | |
- | Scheuren | + | |
- | Extreme cases of total fragmentation | + | |
- | Qualities: | + | [[Sidenotes historical readings WII - Tex - Resilience|Sidenotes historical readings WII - Tex - Resilience]] |
- | Extensibility | + | |
- | Elastic limit | + | |
- | Flexibility | + | |
- | Density | + | |
+ | [[Communities of Resilients // from the perspective of Clothing as a resistance strategy|Communities of Resilients // from the perspective of Clothing as a resistance strategy]] | ||
- | Folds | ||
+ | **FIELDWORK** | ||
- | Size – weight – complexity | + | Senior centers interested in participation : |
+ | -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:// | ||
- | Fragile zones | + | The first interviews: |
+ | -[[Interview Débrouillardise et Coquetterie: | ||
+ | -[[Interview Débrouillardise et Coquetterie: | ||
+ | -[[Interview Débrouillardise et Coquetterie: | ||
- | How much repair needed ? | + | Observations / |
- | How much alteration has bien carried out ? | + | (in process) |
+ | 4.CASE STUDIES :: intergenerational workshops | ||
+ | (in construction) | ||
- | The irreductible individuality of the story. | ||
+ | TOWARD A LIVING ARCHIVE | ||
+ | Search for critical/ | ||
+ | Philosophy | ||
- | Actions / Performatives: | + | Michel Foucault « The Archeology of Knowledge » : Chapter 5: The Historical a priori and the Archive |
- | -cleaning | + | Discursive practices involve systems that allow statements to emerge as ' |
- | -sewing (steunweefsel naaien) : the stories I collect from elderly spontenously receives ‘steunweefsels’ from helping people surrounding, for example from other pensionees, or from their children that actively support them in the process of remembering, | + | Paul Ricoeur « Arcives, Documents, Traces » |
+ | http://www.scribd.com/ | ||
- | -To raise the piece of cloth/ to raise the story | + | “Any trace left by the past becomes a document for historians […], the most valuable traces are the ones that were not intended for our information.” (2006: 67) |
- | -To cover the piece of cloth/ To cover the story | + | |
- | -Framing, positioning the piece of cloth/ the story | + | |
- | -Unroll | + | |
- | Pinning | + | 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.” | ||
- | Transfer to other contexts : the fragile condition of the story that is being displaced | ||
- | Unprotected condition of the released object/ | ||
+ | Archive Practices in Contemporary Art | ||
- | 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 ? | + | General writings : |
- | IN TEX CONSERVATIONS AND IN MY ETHNOGRAHICAL ENDEAVOURS, WE BOTH WORK WITH OBJECTS/ | + | 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' | ||
- | At risk of dissapearing. | + | Dans Archive Fever Enwezor |
- | + | principale de vérité historique » | |
- | Decaying is part of their very essence. | + | Aby M. Warburg, «Mnemosyne-Atlas», 1924 – 1929 Mnemosyne-Atlas, Boards |
- | + | http:// | |
- | The responsability of our disciplines is to slow down these built in process of decay. | + | |
- | + | ||
- | + | ||
- | + | ||
- | Some Notes on my apprenticeship in Textile Conservation: | + | |
- | + | ||
- | + | ||
- | Hands on ! | + | |
- | course followed at the Kunstakademie of Anderlecht, sectie ambachtskunsten. | + | |
- | + | ||
- | http:// | + | |
- | + | ||
- | 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, | + | |
- | + | ||
- | 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. | + | |
- | + | ||
- | I like the cleaning ritual of textile conservation : | + | |
- | 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 of the apprenticeship we learn : | + | |
- | + | ||
- | -the core (ethical) values of conservation through the little gestures of the practice, ‘richtlijnen bij het manipuleren’ | + | |
- | + | ||
- | - 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’ | + | |
- | + | ||
- | + | ||
- | - to make a support fabric and a protection fabric, to learn the most important sewing techniques in this regard | + | |
- | + | ||
- | + | ||
- | Bibliography | + | |
- | + | ||
- | « Textile Conservation: | + | |
- | + | ||
- | + | ||
- | « Textile conservation and research: a documentation of the textile department on the occasion of the twentieth anniversary of the Abegg Foundation », by Flury-Lemberg, | + | |
- | + | ||
- | + | ||
- | « The textile conservator' | + | |
+ | Gerhard Richter, « Atlas », 1962 | ||
+ | http:// | ||