Contents
4
Foreword
7
Fabpublic!
Takahashi Mizuki
Discussion: What is the Condition in Community Building? 21
Why does Community Matter? What are We Weaving?
Hui Po Keung, Janis Jefferies
35
The Future of Rural Communities
Winnie Law
Case Study #1 Creating Communities through Redefining Fashion 51
The Empowering Reality of Fashion
Pascale Gatzen
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Fashionscape Design Creating New Situations for Wearing Clothes
Nishio Yoshinari
Case Study #2 Textile Intervention to Transformation of Communities 79
Collaboration & Community Transforming the Conditions of Everyday Life
Nicole Barakat
93
Pangrok Sulap
Harold Reagan Eswar
Case Study #3 Curatorial Challenge in Textile Art Museums 103
How Industrial Heritage Shaped Our Making Activities
Errol van de Werdt
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Weaving the Relationship between Textile History and Audience
Frankie Su
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Editor’s Note
Sylvia Feng, Wee Kheng-Li
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目錄
5 13
前言 Fabpublic!
高橋瑞木
討論：社區建立的條件是甚麼？
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社區爲何重要？我們在編織甚麽？
許寶強、珍妮絲．謝菲斯
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農村社區的未來
羅惠儀
案例 #1 透過重新定義時尚建立社區
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時裝的增強功能
帕絲卡．蓋茨恩
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時尚設計：穿出新意
西尾美也
案例 #2 透過紡織促進社區轉型
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合作與社區：日常生活的轉變
妮歌．巴拉卡特
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龐克棚屋
哈羅德．埃斯瓦爾
案例 #3 紡織藝術館的策展挑戰
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工業遺產如何塑造我們的製作活動
埃洛．范德維
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織品、社區、當代藝術—鳳甲美術館的藝術實踐
蘇珀琪
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編輯的話
馮昱瑄、黃慶理
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(left) Fig. 7 Friends of Light-Woven Jackets / 2015 Image: Daniel Costa (right) Fig. 8 Friends of Light-Woven Jackets / 2015 Image: Shari Diamond
Pascale Gatzen Artist, Head of the Fashion Design Master’s programme at ArtEZ University of the Arts, Netherlands Pascale Gatzen is a Dutch-born artist and fashion designer and Head of Fashion Design Master’s programme of ArtEZ Hogeschool voor de Kunsten based in New York and Arnhem. She is a graduate of the fashion department at ArtEZ Hogeschool voor de Kunsten, Arnhem. Along with five other graduates, among whom Viktor & Rolf, she showed as Le Cri Neerlandais, the first Dutch fashion designers to have a runway show in Paris. Gatzen produces and facilitates large collaborative projects using clothing as her main medium. Embracing fashion as a mode of human togetherness, the focus of both her artistic practice and her teaching is on the relational aspects of fashion, advancing cooperative models of production and exchange. As Associate Professor of Fashion at Parsons School of Design, the New School, she has developed and implemented an alternative fashion curriculum with an emphasis on radical compassion. She is a founding member of “friends of light”, a worker cooperative for textile production in Brooklyn and the Hudson Valley, New York.
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時裝的增強功能 帕絲卡 . 蓋茨恩
Fig. 1 Questioning the Concept of a Uniform / 2014 攝影 : 長島有里枝
我們究竟如何創造行爲和活動才能使他人得益？如何利用時裝的變革力量令自己和社區增權自強？又如 何以（物質）時裝工業促成社會、經濟、生態和文化的改變？ 我在荷蘭阿納姆的阿特爾兹藝術大學，開辦了「Fashion held in Common」時裝設計碩士課程，而以上 問題概為課程的核心。這個課程盡量發揮時裝愛的潛能，以迎合我們對聯繫、歸屬、交流、互惠、幸福 的共同需求。 我依據過去幾年累積的經驗和策劃項目去設計這個課程。 回想一個最令人興奮的精彩項目是「Questioning the Concept of a Uniform」，2014 年先後展出於 日本水戶市水戶藝術館、丸龜市豬熊弦一郎現代美術館「You reach out–right now–for something: Questioning the Concept of Fashion」展覽。這個項目向我展示了時裝無庸置疑的變革力。 展覽開幕前的兩周，我與三十二位博物館女接待員其中八位合作，教導她們如何設計和縫製自己的制服。 由於她們大部份從未有縫製經驗，所以需要從頭學起，我們就曾一起進行了五小時的裝袖工作坊。我帶 領她們集體參與決策過程，從中啟發靈感並決定制服的樣式。最後我們以一條相當簡單的裙子配獨特的 領子，作為基本的設計，然後讓她們自由發揮。在展覽開幕的晚上，八位女職員均成功完成作品（Fig. 1）。 她們為此感到非常自豪，有的更有所感觸。這是她們職業生涯中，第一次獲參觀者主動接觸和交流，自 己並成爲展覽重要的部份。
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Fig. 6 Pubrobe / 2016 old clothes, hangers, pipe scaffolding, flameproof sheet, wire fence, tables, chairs, sewing machines Interactive installation Photo by Yoshihiro Kikuyama
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Fig. 4 Proud and elated after the first day of eco-dyeing in the Narrandera Common, May 2015 Photo credit: Vic McEwan
the platform of the seldom-used train station. Using water from the river, native and introduced plants from the commons, as well as plants from the women’s homes, we dyed about twenty old wool blankets and scraps of silk sourced from second hand stores in the region. We managed to stay in the moment, agreeing that we would not consider the outcome until closer to the festival date (Figs. 4-5). Over the week leading up to the festival, we constructed a total of twenty-six large textile works with the cloths we dyed. This process was largely directed by the women themselves, my job was mainly to work out the logistics of the installation as a whole. Fortuitously, it turned out that a total of twenty-six people worked on the project; after the festival, the works were divided amongst all who participated, including our installation team. Everyone managed to keep a piece of this collaborative work. Each piece of cloth became a record of this place and its community. The dyed and resistprocess marks on the cloth bore silent witness to our gatherings – offering a memory of the conversations, laughter, and ideas exchanged. The work itself was created by many hands and hearts, and across a number of generations (from 4 years old to 86 years old). The work, titled I think I still hear the sky vibrating... acted as a reminder of the importance of collaboration, of coming and of being together, as artists, as makers, and as a community (Fig. 6).
I returned to Narrandera a year later to work on a second project with The Cad Factory called Shadow Places for the Sydney Design Festival. I have continued to deepen my relationship with many of the women. On a recent visit to a friend in nearby Wagga Wagga, I made the extra 100 km drive to Narrandera. As I was approaching the town, I felt a sense of returning home. The familiarity of the wide-open landscape, witnessing storm clouds forming in the distance, the bright yellow of the canola, I realised what this town and these people meant to me. I was coming back out of choice, to visit my friends, to see their exhibition, to share a meal. This is what a genuine, trusting, sustainable connection feels like. This is what a meaningful experience that definitively transforms the conditions of our everyday lives feels like.
Notes: 1 Irvine, Samantha. “Suburbanites take to their front lawns for a new kind of theater festival − Minto Live”, in Makeshift issue 5, http://mkshft. org/minto-live/ (accessed 27 November 2017). 2 The Cad Factory Artistic Vision, http:// www.cadfactory.com.au/about (accessed 27 November 2017).
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Fig. 5 Jacqui Ryding with a length of eco-dyed wool blanket created in the second series of workshops, July 2015. Photo credit: Vic McEwan
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Fig. 11 Heringa & Van Kalsbeek – Armor / 2016 Photo credit: Tommy de Lange commissioned by TextielMuseum
collection. Collecting, in this case, is not done retrospectively, but through the process of co-creation. The new objects will always be exhibited – together with samples and sketches – in one of our exhibitions. These sketches and samples are also collected and documented for the purpose of sharing knowledge with other artists and the public. An example: an evocative sculpture by Heringa/Van Kalsbeek Amsterdam based artists Heringa/Van Kalsbeek create evocative sculptures assembled from a variety of found objects. The TextielMuseum asked the artists to develop a large new work for the museum collection. Inspired by their own collection of an assortment of ethnographical artefacts, and a traditional Chinese bridal headpiece in particular, the artists created intricate wing-like shapes of laser-cut canvas. These parts are fixed by a coloured resin and draped over a metal frame to resemble a “drawing in space”. The finished piece was on show at the TextielMuseum exhibition “Fringes of Beauty” in 2017 (Fig. 11). It is through reinterpretation by artists and designers who are inspired by the museum collection − our shared cultural capital − that
a heritage-based legacy lives on for future generations. Innovation can be considered to be a way of rethinking the way we have done things so far. By adding new technology, modern yarns, and the vision of an artist, new cultural heritage is born.
Errol van de Werdt Director CEO, Textielmuseum, Netherlands Errol van de Werdt was educated in different cities in the Netherlands-leiden, Amsterdam, Groningen and Zwolle. He received a bachelor degree in Museology from the Reinwardt Academy in leiden and a master degree in Art Histrory and Archeology in Amsterdam. In 2000 Errol became director of collections and research in Utrecht Centraal Museum. Recently he started as general director of the TextielMuseum and TextileLab and is now general director (CEO) of the Mommers Heritage Foundation which includes beside the TextielMuseum and TextielLab, the regional archives, the Local History Museum, and Vincent drawing school. The TextielMuseum includes a research Laboratory and an international Textiles Trainee programme to give talented students from all over the world the opportunity to do research, study and develop textiles prototypes or autonomous works. At the TextielMuseum research, study and exhibitions place much emphasis on crossovers between the different disciplines such as design, art, fashion and architecture.
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工業遺產如何塑造我們的製作活動 埃洛・范德維
Fig. 1 紡織博物館外觀 / 2016 圖片版權：Josefina Eikenaar / 紡織博物館
蒂爾堡的紡織博物館收藏著該市的工業遺產，城市位於荷蘭西南部，介乎安特衛普與鹿特丹之間。該市 歷史悠久的羊毛紡織業始於中世紀，幾百年來一直是當地的支柱工業。從十八世紀開始，由於機械化和 工業化的推進，當地羊毛工業迅速發展，至 1881 年蒂爾堡的羊毛工廠達到 145 間。而自 1960 年起，這 個荷蘭的羊毛之都開始走下坡，至 1980 年幾乎所有工廠消失殆盡。1958 年一座博物館在數百年紡織工 藝及生產的歷史餘燼中建立起來，1986 年搬進一座由十九世紀紡織工廠改建的館址。2008 年博物館進 行大型裝修後重新開放，擴建工程結合翻新的工業樓與現代建築，反映出博物館的理念—敘述當地與歐 洲古今的紡織工業，強調創意工業建基文化遺產之重要（Fig.1）。 下一步：製作者博物館 保存舊時的工業建築與收藏文物都是博物館傳統的立館之本，也是紡織博物館的建館理念，並由此過渡成 為一間活動博物館，由博物館與工作室兩部分構成。博物館的核心是紡織實驗室，它既是專門的工作室， 亦是梭織及針織品生產的實驗室。在不久將來，紡織實驗室會變成製作者博物館，昂然步向新的工業革 命時代：製造業 2.0。到那時，博物館觀眾參觀紡織實驗室，也能自訂產品的風格。 館藏的角色 博物館藏品和檔案是我們共有的重要文化資本，紡織博物館的收藏包括：20 萬件物品、6000 件圖像和聲 音檔案、3000 件紡織製作、藏書 25000 本的專科圖書館、大型樣品庫和參考物料庫。 111
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