# talk with LouiseB
12 December 2020

Community engagement: costume/identity, identity of costume in the body. Talking with another textile designer. The traditional species in eu, material culture/traditional culture Lace. Costumes that people wear before festivals etc. as a performative traditional practice. Bob and lace is stuck in the mediums (disappearing). Different problems with similar material thing. Is embedded into a class problem. Artisans have the skills but are low class/traditional do not reinvent the practice. Sounds stuck into labour oriented, does not intellectualise becasue of this. The other artist is thinking of using this as a new form of community engagement tagging as well the museums. New formats for museums to engage actively audience using tangible cultures.

- can it as well performative?
- can it be regenerative?
- Preciousness?

There are two very strong traditional practices.

Do you think that the socio economic link is relevant? Pasolini

- museums in italy
- lace/tissues
- restauratrice
- Movement

want to take costume to another format? Different ideas/making/processes. First making or first research? Reading/making/sketches/writing/pillars of inspiration

Tradition moving into new form of re-invention.

Whether does it come into community engagement?

Augusto Boal/Paulo Freire

- Exploitation of the mind into the body (cast problem)

Philosophically is the cesura all over again (see in: ) west perceive past has what is irremediably lost/alien

- hackers manifest mckenzie wark

My understanding of the hackers manifesto is the emerging of a "class" and a new type of class struggle. Letter to the worker becomes more clear. The hacker world was cryminalised (as for the anarchist). Is the "creative class" that tries to change society. This class should find solidarity.

Corporation/Labour --> Information/Data are the new landlords. The Vector system as she puts it.

How to brake those systems? Traditional is THE BODY: making and performing is BODY. We are handing over everything because we have dematerialised.

- Told ou the story of Maria Basile inthe village of Giampilieri and of the tailor, the artist is Hansk Visser

Lost history and colonialism that becomes a game in the space: check out

https://www.youtube.com/watch?v=ru8OnrFMhDQ

- do you have a community of reference?
- Das Hous
- Bunch in goa, now online
- transforming my meay of working: studio practices what means to be engaged: my goal is to meet projects that are small, even small budgeted but that can enact my practice.
- Artist community art sessions on monday together
- Vulnerability/Trust

entering into this places. I feel vulnerable. I loose a bit focus. Fashion is not relevant for societal change. Art is relevant not fashion. We do not think/need new things anymore. We do not need new products. How does art transform?

- Art is transformational as serendipity (L)
- Antonin Artaud (theatre du seraphin) Theatre as Magic
- Boyce: Artist as a shaman
- hackers manifest mckenzie wark manifesto

https://www.youtube.com/watch?v=ru8OnrFMhDQ
https://www.tentrotterdam.nl/tentoonstelling/the-travelling-hand/?ref=home

Going into spaces and re value time put into stichting. That looking is not there yet, because of socio economic pressure. Where can the east and the west meet in this question?
How we embody in our work this question? Everything now overlaps together. Revolution and protest? Activism/art/popular colture is on one screen. All theories are broken.

- disembodiement as flatness
- identity is flux, if is dematerialised gets FIXED, is like desertification. Processes (flux).
- Art and Tradition is embodied as muscle memory (L)
- the process of doing/learning/defining identity has to be embodied
- Flux is not machine, machine make think about flux as complexity as problems that need solutions. A consequence is desertification
- one specific embodiement?
- stories are to be weaved togheter
- weaving is from one to two to tree dimensions
- computers comes out from the weaving
- a whole industry for 250 years dematerialise the act of weaving
- we share a place online on cloud.trasformatorio.net
- AGENDA
- next saturday
- stories into garments, take back the story of garments/story in a poem (task for fredd) and share drawings/dreams
- Woven Piece make first then if you like
- Federico Bonelli
- Linnaeusparkweg 113/iii
- 1098CV
- Amsterdam The NEderlands
- Interweaving stuff from both of us as a form of embodiement of this process (could be hair) can be material or equivalent to material
- L contribution is going to be Hair, in a piece that we would both own

## the statue begs _ working title
(notes from the previous meeting shared by Loise)

My point of departure, one late evening was an immediacy of seeing, a statuesque rigid static body shrouded in white fabric standing on the road. Covered in a white veil, the face is hidden and a hand and a walking stick protruding. It is an old woman begging on the street. I was on my way home and I saw her I decided to go back and give her 30 rupees. A quarter of one euro. I put money in her facing up begging the palm of her hand. I took a hasty photograph, I took a video of her. I would not have stopped and returned had I not been intrigued by what appeared like a mise en scene this statued burqa’ed in fabric as covering and surreptitious protection white fabric figure standing on the road brought into limelight by a streetlight in the darkness of the night. 

The spatiality of the position of this woman standing, almost on the side of the road but close enough on the road for a car to stop and to drop money on the extended hand. 

The palm facing up, the only part of the body that could be distinctively seen outside of the textile and garment covering of the body and head.  

I did not see her again after that evening. Maybe she will return maybe not. 

In the background of poverty and performativity, sculpture garments is what attracts me. 
The physicality of the act of begging and its dissimilarity to patreon or gofundme or donate for my education. Are all using the emotional qualities of what all charities are concerned with.

I am more concerned with the containment of what that material has and does and its impacts. In Rosalind Krauss’ book Passages in Modern Sculpture, she says Sergei Eisenstein's film October uses sculpture in his opening scenes power to embody ideas and attitudes and not its mimetic quality nor connection with its form. 

Key words : Othering/Representation, cosmopolitan mumbai and its hierachy and class, identity structure, faceless, no body,

While reading about sculpture, one of the first transformative sculptors of modernism was Rodin. He made a sculpture in bronze of Balzac where instead of sculpting the body of Balzac he sculpted Balzac in a robe that covered the body. Therefore the sculpture was in bronze of a robe and the face of Balzac. What I find fascinating about this is how a costume is used on the body. Here, it used to hide the body and give the bronze sculpture a form of the drape of the robe with the body not legibly formed within the robe because of the draping of the robe except for a contour of shape as a form inside the robe. Although before finally sculpting Balzac in his robe, Rodin had also made Balzac in a nude corpulent figure which shocked the sponsors of the Balzac monument.

Costume/ clothes is mostly made to fit a body. Costume at times is used to promote the shape of the body accentuating, hyper-sexualising.

Luciano Castelli in his self portraits of the 70’s glamourised himself with makeup, glitter, sequinns and make up.

Dress can therefore bring out a personality of a person.

In the statue begs it is the opposite of this portrayal clothing is used to hide the persona to close off the face and the body to shy away and veil in shame of the personality of the body.

body and identity forming is a flux and if its dematarialised it is fixed _ disembodiment as flatness on a screen- fixing a flux_ river is poisoned