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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:// | ||
- | ** | + | **Anthropology of cloth / Costume History** |
- | ° Anthropology of cloth / Costume History | + | |
- | ** | + | |
« 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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- | METHODOLOGY | + | ===Methodology |
- | - Phenomenology of the encounter (cf fieldwork) | + | * Phenomenology of the encounter (cf fieldwork) |
+ | * Assessment of the relational complexity induced by the dynamics of the gift/ | ||
+ | * Design spaces/ | ||
- | - Assessment of the relational complexity induced by the dynamics of the gift/ | ||
- | - Design spaces/ | + | [[Some Notes on my way of hybridizing ethnography |
+ | ====Process==== | ||
- | Some Notes on my personal methodological approach: | + | ===DOCUMENTING the research topic=== |
- | | + | |
- | For ‘Débrouillardise et Coquetterie’ I want to hybridize my ‘ethnographical – encounter’ practice with tools from textile conservation. | + | Fields of interests : |
- | 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. | + | **Débrouillardise** |
- | Somewhere in between ethics | + | |
- | Textile is for me intimately related | + | Repertory of |
+ | - Governmental decrees / rationing tickets | ||
+ | -civil societies reactions : from patriotic adhesion | ||
+ | - punishments in case of contravening the regulations on clothes (procès verbaux) | ||
- | As listening with the closed eyes is every time again a beautiful and deep sensorial experience. | ||
- | Receiving the voices of my interviewees as a precious gift, enjoying soft, slow, fast, textured voices. | + | **Coquetterie** |
- | Textile pieces and threads came up as ‘CONCRETE’ METAPHORS for the sensations i like to focus on when I interview | + | dignity – history of the bodies that is sensitive |
- | 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. | + | ===Resilience=== |
- | 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… | + | Moral, social and cultural resilience |
- | If the operating concepts | + | serie of attitudes for protection (textile as a protective skin) and as potential for creativity comme potentialité créatrice (DIY creativity) |
- | Textile conservation also attrackts me as a discipline: | + | development of capacities allowing for the psychic transformation of human suffering |
+ | |||
+ | Humour is said to be an important strategy for resilience, a lot of textile practices struck me by their ‘drôlerie’. | ||
- | Because it is a lived, bodily practice to focus on minutiae – as this focus is also central to my practice of ethnography. | ||
- | The infinite pleasure I have of focussing on « little » things, I am curious to apply them through textile conservation exercices. | + | 1.1. consultation |
- | « Little » things are disscrete and apparently insignificant thruths, that I search | + | [[contacted archive centers |
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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/ | + | |
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- | 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 ? | + | |
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- | IN TEX CONSERVATIONS AND IN MY ETHNOGRAHICAL ENDEAVOURS, WE BOTH WORK WITH OBJECTS/ | + | |
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- | At risk of dissapearing. | + | |
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- | Decaying is part of their very essence. | + | |
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- | The responsability of our disciplines is to slow down these built in process of decay. | + | |
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- | Some Notes on my apprenticeship in Textile Conservation: | + | |
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- | Hands on ! | + | |
- | course followed at the Kunstakademie of Anderlecht, sectie ambachtskunsten. | + | |
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- | http:// | + | |
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- | teacher : http:// | + | |
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- | 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, | + | |
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- | Something Joke says that I like very much : « Behandel elk stuk alsof het het meest waardevolle ter wereld is. » | + | |
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- | 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. | + | |
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- | 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… | + | |
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- | In the beginning of the apprenticeship we learn : | + | |
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- | -the core (ethical) values of conservation through the little gestures of the practice, ‘richtlijnen bij het manipuleren’ | + | |
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- | - 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’ | + | |
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- | - to make a support fabric and a protection fabric, to learn the most important sewing techniques in this regard | + | |
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- | Bibliography : | + | |
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- | « Textile Conservation: | + | |
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- | « Textile conservation and research: a documentation of the textile department on the occasion of the twentieth anniversary of the Abegg Foundation », by Flury-Lemberg, | + | |
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- | « The textile conservator' | + | |
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- | PROCESS | + | |
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- | 1. DOCUMENTING the research topic | + | |
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- | 1.1. consultation of specialized literature, articles and archives | + | |
1.2. consultation of experts: | 1.2. consultation of experts: | ||
**Irène Guenther** | **Irène Guenther** | ||
+ | |||
– Specialist in modern German cultural and gender history | – Specialist in modern German cultural and gender history | ||
http:// | http:// | ||
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**Jonathan Walford** | **Jonathan Walford** | ||
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Founder and Curatorial Director of Fashion History Museum of Canada, Writer | Founder and Curatorial Director of Fashion History Museum of Canada, Writer | ||
http:// | http:// | ||
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interesting review: http:// | interesting review: http:// | ||
+ | Hannelore Vandebroek, Nel de Mûelenaere, | ||
+ | cf ETUDE : | ||
+ | http:// | ||
- | It interest me to collecting data, facts and stories that contradicts the big narratives, that are puzzling, surprising, funny. | + | Le travail des femmes dans la fabrique d' |
- | **Débrouillardise** | + | Cette recherche analyse le travail des femmes dans l' |
- | | + | [[Sidenotes historical readings WII - Tex - Resilience|Sidenotes historical readings WII - Tex - Resilience]] |
- | Repertory | + | [[Communities |
- | - Governmental decrees | + | |
- | -civil societies reactions : from patriotic adhesion to the expression | + | |
- | - punishments in case of contravening | + | |
- | **Coquetterie** | + | ===FIELDWORK=== |
- | dignity – history of the bodies that is sensitive to a memory of emotions and affect | + | Senior centers interested in participation : |
+ | - Résidence Arcadia | ||
+ | - LDC Randstad (social restaurant for Seniors, Molenbeek) | ||
+ | - the Institut Pachéco | ||
+ | - ‘Ages et Transmissions’: | ||
+ | - ‘La Mémoire Vivante’ : http:// | ||
- | ** | ||
- | Resilience** | ||
- | Moral, social | + | The first interviews: |
+ | * [[interview therese from uccle|Thérèse from Uccle]] | ||
+ | * [[interview jeanne | ||
+ | * [[interview jeanne van molenbeek|Jeanne van Molenbeek]] | ||
- | serie of attitudes for protection (textile as a protective skin) and as potential for creativity comme potentialité créatrice (DIY creativity) , | ||
- | development of capacities allowing | + | Observations / |
- | + | (in process) | |
- | Humour | + | |
+ | ====4.CASE STUDIES :: intergenerational workshops==== | ||
+ | (in construction) | ||
+ | |||
+ | |||
+ | ====5. TOWARD A LIVING ARCHIVE==== | ||
+ | |||
+ | Search | ||
+ | |||
+ | Philosophy | ||
+ | |||
+ | Michel Foucault « The Archeology of Knowledge » : Chapter 5: The Historical a priori and the Archive | ||
+ | |||
+ | Discursive practices involve systems that allow statements to emerge as ' | ||
+ | |||
+ | Paul Ricoeur « Arcives, Documents, Traces » | ||
+ | http:// | ||
+ | |||
+ | “Any trace left by the past becomes a document | ||
+ | |||
+ | Giorgio Agamben « The Archive and the Testimony » in « Remnants of Auschwit », 1989 | ||
+ | http:// | ||
+ | “the archive | ||
+ | |||
+ | |||
+ | |||
+ | Archive Practices in Contemporary Art | ||
+ | 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' | ||
+ | Dans Archive Fever Enwezor | ||
- | 2.FIELDWORK | + | Aby M. Warburg, «Mnemosyne-Atlas», 1924 – 1929 Mnemosyne-Atlas, Boards of the Rembrandt-Exhibition, |
- | studies of concrete people, places, sites, groups or organisations, | + | http:// |
+ | Gerhard Richter, « Atlas », 1962 | ||
+ | http:// | ||
- | 3. INTERVIEWS combined with some drops of consciousness / | ||
- | 4.CASE STUDIES | + | ==== Interviews ==== |
- | summarising, | + | * [[interview jeanne |
+ | * [[interview jeanne van molenbeek]] | ||
+ | * [[interview therese from uccle]] | ||
+ | ==== Notes on methodology==== | ||
+ | * [[some_notes_on_my_personal_methodological_approach]] | ||
+ | * [[some_notes_on_my_way_of_hybridizing_ethnography_with_the_ethics_of_textile_conservation]] | ||
+ | ---- | ||
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