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resilients:debrouillardise_et_coquetterie [2012-05-28 18:12] – 109.129.75.193 | resilients:debrouillardise_et_coquetterie [2013-02-08 07:52] (current) – nik | ||
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==== Débrouillardise et Coquetterie ==== | ==== Débrouillardise et Coquetterie ==== | ||
- | notes from a [[: | + | notes from a [[: |
- | Coralie Stalberg, April - May 2012 | + | ===PRESENTATION=== |
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- | **PRESENTATION** | + | |
**“Débrouillardise et Coquetterie”** is a project on DIY textile practices and associated recycling strategies during a historical period characterized by a radical scarcity of material resources — the Second World War and the years right after the war. In the context of research for a resilient future that would be more sensitive and committed to sustainability, | **“Débrouillardise et Coquetterie”** is a project on DIY textile practices and associated recycling strategies during a historical period characterized by a radical scarcity of material resources — the Second World War and the years right after the war. In the context of research for a resilient future that would be more sensitive and committed to sustainability, | ||
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+ | ===METHODOLOGY / THEORETICAL=== | ||
+ | at the crossroad of History, Ethnography and Textile Conservation. | ||
+ | **History**, | ||
- | ** | + | |
- | METHODOLOGY / THEORETICAL PART : at the crossroad of History, Ethnography and Textile Conservation.** | + | |
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- | + | ||
- | - **History**, | + | |
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- | http:// | + | |
- | http:// | + | |
- | http:// | + | |
An inspiring text from Dominique Veillon : http:// | An inspiring text from Dominique Veillon : 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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http:// | http:// | ||
- | ** | + | **Anthropology of cloth / Costume History** |
- | ° Anthropology of cloth | + | |
- | ** | + | |
« Pour une anthropologie du vêtement » Yves Delaporte, CNRS/Musée de l’Homme | « Pour une anthropologie du vêtement » Yves Delaporte, CNRS/Musée de l’Homme | ||
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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) |
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- | Some Notes on my personal methodological approach: | + | |
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- | For ‘Débrouillardise et Coquetterie’ I want to hybridize my ‘ethnographical – encounter’ practice with tools from textile conservation. | + | |
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- | 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. | + | |
- | Somewhere in between ethics and Sensoriality/ | ||
- | Textile is for me intimately related to touching, I like touching with closed eyes. Feeling softness, rugosity, holes, threads. | + | ===Methodology / Experiential (in construction)=== |
- | As listening | + | * Phenomenology of the encounter (cf fieldwork) |
+ | * Assessment of the relational complexity induced by the dynamics of the gift/ | ||
+ | * Design spaces/ | ||
- | 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. | + | [[Some Notes on my way of hybridizing ethnography with the ethics of textile conservation]] |
- | 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. | + | ====Process==== |
- | 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… | ||
- | If the operating concepts of textile conservation seduced me to apply them on the sensorial level of the voices of my interviewees, | + | ===DOCUMENTING |
- | Textile conservation also attrackts me as a discipline: | + | Fields of interests |
- | Because it is a lived, bodily practice to focus on minutiae – as this focus is also central to my practice of ethnography. | + | **Débrouillardise** |
- | 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. ; | + | 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 to circumvent the regulations | ||
+ | - punishments | ||
- | Values of the conservator that I admire: | + | **Coquetterie** |
- | -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 in finding out all kind of strategies : conservation | + | dignity – history |
- | I became more and more curious to apply metaphorically the tools for conserving pieces of cloth on micro-narratives from the past. | + | ===Resilience=== |
- | FINDINGS: | + | Moral, social and cultural resilience |
- | The Nature of the piece of textile | + | serie of attitudes for protection (textile |
- | Tex Conservation nations that are ‘operative’ or applying them on ‘narratives’ : | + | 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’. | ||
- | Texture of the piece of cloth : its fabric and structure. | ||
- | Characteristics : | + | 1.1. consultation |
- | Loose patterns Zig Zag Patterns | + | |
- | Unevenness in tension | + | |
- | Missing parts | + | |
- | Schilferend | + | |
- | Scheuren | + | |
- | Extreme cases of total fragmentation | + | |
- | Qualities: | + | [[contacted archive centers for resilient WWII textiles|contacted archive centers for resilient WWII textiles]] |
- | Extensibility | + | |
- | Elastic limit | + | |
- | Flexibility | + | |
- | Density | + | |
+ | 1.2. consultation of experts: | ||
- | Folds | + | **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 | ||
- | Size – weight – complexity | + | **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:// | ||
- | Fragile zones | + | **Dominique Veillon** |
+ | « La mode sous l’occupation », 1990, éditions Payot. | ||
+ | http:// | ||
+ | "Vivre et survivre en France 1939 - 1947", ed Payot, 1995 | ||
+ | interesting review: http:// | ||
- | How much repair needed ? | + | Hannelore Vandebroek, Nel de Mûelenaere, |
- | How much alteration has bien carried out ? | + | cf ETUDE : |
+ | http:// | ||
+ | Le travail des femmes dans la fabrique d' | ||
- | The irreductible individuality of the story. | + | Cette recherche analyse le travail des femmes dans l' |
+ | [[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]] | ||
- | Actions / Performatives: | ||
- | -cleaning | + | ===FIELDWORK=== |
- | -sewing | + | Senior centers interested in participation : |
+ | | ||
+ | - LDC Randstad (social restaurant | ||
+ | - the Institut Pachéco | ||
+ | - ‘Ages et Transmissions’: | ||
+ | - ‘La Mémoire Vivante’ : http:// | ||
- | -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 | ||
- | Pinning | + | The first interviews: |
+ | * [[interview therese from uccle|Thérèse from Uccle]] | ||
+ | * [[interview jeanne and jacoba from pacheco|Jeanne and Jacoba from Pachéco]] | ||
+ | * [[interview jeanne van molenbeek|Jeanne van Molenbeek]] | ||
- | Transfer to other contexts : the fragile condition of the story that is being displaced | ||
- | Unprotected condition of the released object/story | + | Observations |
+ | (in process) | ||
+ | ====4.CASE STUDIES :: intergenerational workshops==== | ||
+ | (in construction) | ||
- | 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 ? | ||
- | IN TEX CONSERVATIONS AND IN MY ETHNOGRAHICAL ENDEAVOURS, WE BOTH WORK WITH OBJECTS/ | + | ====5. TOWARD A LIVING ARCHIVE==== |
- | At risk of dissapearing. | + | Search for critical/ |
- | Decaying is part of their very essence. | + | Philosophy |
- | The responsability | + | Michel Foucault « The Archeology |
+ | Discursive practices involve systems that allow statements to emerge as ' | ||
+ | Paul Ricoeur « Arcives, Documents, Traces » | ||
+ | http:// | ||
- | Some Notes on my apprenticeship in Textile Conservation: | + | “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) |
- | | + | |
- | Hands on ! | + | Giorgio Agamben « The Archive and the Testimony » in « Remnants of Auschwit », 1989 |
- | course followed at the Kunstakademie | + | http:// |
+ | “the archive is situated between langue, as the system | ||
- | http:// | ||
- | teacher : http:// | ||
- | Joke has an impressive knowledge | + | Archive Practices |
- | Something Joke says that I like very much : « Behandel elk stuk alsof het het meest waardevolle ter wereld is. » | + | General writings |
- | 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. | + | 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' | ||
- | I like the cleaning ritual of textile conservation | + | Dans Archive Fever Enwezor |
- | 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 | + | Aby M. Warburg, «Mnemosyne-Atlas», |
+ | http:// | ||
- | -the core (ethical) values of conservation through the little gestures of the practice, ‘richtlijnen bij het manipuleren’ | + | Gerhard Richter, « Atlas », 1962 |
+ | http:// | ||
- | - 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 | + | ==== Interviews ==== |
+ | * [[interview jeanne | ||
+ | * [[interview jeanne van molenbeek]] | ||
+ | * [[interview therese from uccle]] | ||
- | Bibliography : | + | ==== Notes on methodology==== |
+ | * [[some_notes_on_my_personal_methodological_approach]] | ||
+ | * [[some_notes_on_my_way_of_hybridizing_ethnography_with_the_ethics_of_textile_conservation]] | ||
- | « 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' | ||
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