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Today’s empire of cotton, just as it has for the last 250 years, connects growers, traders, spinners, weavers, manufacturers, and consumers over huge geographic distances in ever-changing spatial arrangements. This fundamental innovation—the connection across space—was first forged by connecting slavery and wage labour in the vicious cauldron of war capitalism, and has remained at the core of the empire of cotton ever since. Yet the geography of these connections has changed radically. Nodes once central within the empire of cotton – Lancashire, for example – have been marginalized, while formerly unimportant nodes, especially China, have become its very core.

in “Empire of Cotton. A Global History.” by Sven Beckert, p. 171-172.

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Circulating around and between the buildings, we cannot stop moving. We are unable to concentrate and focus on their bodies. This establishes an absent-minded relation to the building, an unconscious contact, a passive gaze. By imposing our permanent circulation, our absent-minded perception, by ordering our gaze, by structuring our unconscious, by embodying our desire, masking and mythifying the relations of power, by operating under the discreet camouflage of a cultural and aesthetic "background", the building constitutes an effective medium and ideological instrument of power.

Wodiczko, Krzysztof, (1999) "Projections" from Wodiczko, Krzysztof, Critical vehicles : writings, projects, interviews pp.46-47, London: M.I.T Press.

It's not a matter of emancipating truth from every system of power (which would be a chimera, for truth is already power) but of detaching the power of truth from the forms of hegemony, social, economic and cultural, within which it operates at the present time.

Michel Foucault, “Truth and Power” (1977).

“The Song of the Shirt”

by Thomas Hood

(estimated 1843, London)

in Punch magazine

"This image is taken from the highly popular magazine Punch which, after launching in 1841, achieved huge success and influence during the 19th century as a satirical magazine. 'The Song of the Shirt' by Thomas Hood takes the form of a popular verse and uses a female seamstress’s life of drudgery as its central theme: a tale of misery that echoes today’s concerns about the use of ‘sweated’ labour in textile manufacturing. In the text the cloth worker’s life is one of hardship: she is depicted as working from morning until night in a state of utter exhaustion, with nothing to show for her industry but ‘a bed of straw, a crust of bread – and rags’. While labouring away in a state of poverty she dreams of ‘one short hour of respite’ outdoors and pleads for her pitiful situation to be recognized by the rich. Needlework and embroidery stood as iconic symbols of how women workers were often condemned to drudgery in 19th-century jobs. By highlighting the embroiderer’s misery, Hood aimed to articulate concerns about the lot of working women in Victorian society and the oppression they often faced in the ‘sweated’ trades."

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CLOTHO

To see more about this poem, please visit: https://www.bl.uk/collection-items/thomas-hoods-poem-about-working-conditions-the-song-of-the-shirt

Mike Nelson

“The Asset Strippers” exhibition at Tate Britain

[2019]

Photograph: Matt Greenwood © Tate

“There are the dead machines, so powerfully revived, so beautifully fashioned in their own right: sculptural in their torsions, curves and volumes. There are the traces of those who worked them – the fingerprints and the scribbled numbers, the patina on crankshaft and handle, burnished with the workers’ daily touch.”

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CLOTHO

To know more about Mike Nelson’s exhibition, please visit: https://www.tate.org.uk/whats-on/tate-britain/exhibition/mike-nelson

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Gabriel Kuri, Untitled (magenta comienza 2s) (detail),

(2013)

Handwoven wool tapestry.

Courtesy of kurimanzutto,

Mexico City. Photo by Diego Perez.

“Focusing on the objects and space that mediate human relationships, Gabriel Kuri explores the potential for transformation latent in familiar situations when observed from an unconventional angle. Playing with the principles of minimalism and the history of consumption, he integrates elements of everyday life into sculptures and collages.”

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CLOTHO

To see more of Gabriel Kuri’s work, please visit: http://www.kurimanzutto.com/en/artists/gabriel-kuri

“The True Cost” documentary stills

Directed by Andrew Morgan

[2015]

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CLOTHO

To see more info about this project/documentary, please visit: https://truecostmovie.com/

In 1979 Joaquim Jordà filmed a documentary about workers in the Numax appliance factory, who for two years, from 1977 to 1979, had occupied and self-financed the factory in response to and in protest against its forced closure by the owners, two Germans who had supported Nazism and had taken refuge in Barcelona in the fifties. Numax presenta ... became a testament to the transition to a democracy that had betrayed the working class aspirations for social change. The history of resistance in the Numax factory is the history of a labour movement that, following the death of Franco, had aspired to a transformation of the political and social system. The documentary was made on the initiative of the Numax Workers' Assembly. Nearing the end of its existence, a decision was made to invest the last 600,000 pesetas owned by the collective in recording the process that they had started together. Twenty years later, in 2004, Jordà was reunited with some of those workers for a new documentary, Veinte años no es nada (Twenty years is nothing), that revisits the lives of some of the people who had been part of that episode of the workers' struggle.

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CLOTHO

To see more of “Numax Presenta...”, please read this very interesting article “The biopolitical militancy of Joaquim Jordà” written by Carles Guerra : http://www.ocec.eu/cinemacomparativecinema/index.php/en/23-n-5-pedagogies-of-the-creation/274-the-biopolitical-militancy-of-joaquin-jorda

...a tactic is a calculated action determined by the absence of a proper locus. (...) The space of a tactic is the space of the other. (...) It does not, therefore, have the options of planning general strategy and viewing the adversary as a whole within a district, visible, and objectifiable space. It operates in isolated actions, blow by blow. It takes advantage of "opportunities" and depends on them, being without any base where it could stockpile its winnings, build up its own position, and plan raids. What it wins it cannot keep. This nowhere gives a tactic mobility, to be sure, but a mobility that must accept the chance offerings of the moment, and seize on the wing the possibilities that offer themselves at any giving moment. It must vigilantly make use of the cracks that particular conjunctions open in the surveillance of the proprietary powers. It poaches in them. It creates surprises in them. It can be where it is least expected. It is a guileful ruse. In short, a tactic is an art of the weak.

Certeau, Michel de. 1984. "Making do: Uses and tactics" from Michel de Certeau, The practice of everyday life. Berkeley: University of California Press, p.37.

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CLOTHO

#tactics #decerteau

“10 x 10″

by Rossella Biscotti

(2014)

“With 10 x 10 Biscotti shows us large monumental woolen textiles of a high quality and tactility, designed with unique abstract patterns. The textiles – up till 9 meters long – hang partially downwards through special hanging devices, and structuring, as architectural elements, the gallery space in a new order.Rossella Biscotti’s 10 x 10 project, which she developed originally for Haus Esters in Krefeld (DE), interrelates three histories – the legacy of Haus Esters itself (a single family villa built by Mies van der Rohe for a textile baron), the use of punch cards to program both early data processing machines and automated looms (Jacquard), and how demographic records have been modeled through census taking.In the nineteenth century, there was a big boom in the textile industry which came with the introduction of the Jacquard loom. With this invention, punch cards were used for the first time, which allowed very complex patterns to be woven. The binary system based on 0 and 1 was introduced, and with this the punch code presented an early mechanical storage system that formed the underlying architecture for all data processing to come, a precursor for the modern computer.For 10 x 10 Biscotti has specially designed fabrics woven with patterns derived from the use and transformation of statistical data: statistics that document in an exemplary manner the demographic changes in family structures in Brussels, which were converted by means of an algorithmic procedure into an abstract sign system that served to control the looms. Although it has a tactile dimension, the work’s emphasis lies in the conceptual aspect of the fabric. The spatial installation is inspired by solutions developed by Mies van der Rohe together with Lilly Reich for trade fair stands in Berlin and Barcelona in the 1920’s. The opening will coincide with the launch of a new publication on this work.”

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CLOTHO

To see more of Rossella Biscotti’s work, please visit: https://futuregenerationartprize.org/en/history/2014/rossella-biscotti

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Weaving, as a practiced craft, has been a common cross-cultural phenomenon for thousands of years. 'While patterns and techniques differ between cultures. the basic craft of weaving can be found in most. Because the concept of weaving is so accessible, it is often used as an analogy to describe various systems in our world. It describes fabrics of different races. religions, beliefs and values all co-existing. It is an apt analogy for how systems overlap and work together to create a harmonious living environment, as well as the possible destruction caused by the breaking of a single element or strand in the fabric. The fact that we exist as individual members of a cohesive team also applies directly to the building design industry. A look at the range of trades composing any building design team will clearly demonstrate this. Architects, as generalists, have traditionally occupied the role of supervisor for a building project. They are responsible for coordinating and 'interweaving' the interests of the related consultants, owners, occupants and contractors to produce a meaningful work of architecture. By investigating the similarities between weaving and architecture we begin to see overlapping concepts. Architects and weavers b0th recognize the need to look beyond surface appearances in the process of designing. In the same way architects realize that quality design is more skin deep, weavers understand the quality of a textile is dependent on the structure of the weave and not just the visual appearance of its fibers. (...) rather than concentrating on a single physical material. I chose to focus on the process of weaving as an instructional analogy in the design process. For example, in architectural design this analogy can inform the interlacing of ideas, people, place, space and construction.

CRAIG S, GRIFFEN of Philadelphia University in “Weaving as an Analogy for Architectural Design” (2001).

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CLOTHO

“Computer 1.0″

by Victoria Manganiello and Julian Goldman

“The first conception of a computer was developed in 1801 by master silk weaver, Joseph Marie Jacquard - it was a mechanical loom that could run what we now understand as a ‘program’ to create detailed and elaborate textiles without painstaking manual labor. This was the first machine capable of automated task production, and the first known use of binary code. Though Jacquard’s loom performed a task we take for granted in it’s simplicity today, the technology eventually led to the groundbreaking work of inventors Charles Babbage, Ada Lovelace, and Alan Turing.

The Jacquard loom then is not just a relic, but the first ancestor, the Adam and Eve, to our modern computers. Because this history is all but forgotten in our understanding of humanity's digital maturation,

C O M P U T E R 1 . 0 seeks to pay homage to the forbearers of computer history. Artist, Victoria Manganiello and designer Julian Goldman have collaborated in the creation of a striking representation of this digital ghost; a handwoven cloth, with a programmed kinetic surface that brings to mind data, code, and communication infrastructure.

Jacquard’s loom was an enormous driver to the Industrial Revolution, simultaneously fostered the environment for the Luddite revolt as the work of thousands of laborers became increasingly mechanized. C O M P U T E R 1.0 seeks to function as a historical lens that shows how our relationship to computing technology has always been fraught with juxtaposed promises of utopian and dystopian futures, while the reality consistently finds itself somewhere in between.

This installation reminds it’s onlookers that society has been grappling with a digital existentialism and the question of ‘are we better off?’ since the birth of programming itself. In this way, C O M P U T E R 1 . 0 is the physical display of the eternally uncertain potential of technology.”

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CLOTHO

To see more of the amazing work of Victoria Manganiello, please visit: https://www.victoriamanganiello.com/

In Ersilia, to establish the relationships that sustain the city’s life, the inhabitants stretch strings from the corners of the houses, white or black or grays or black-and-white according to whether they mark a relationship of blood, of trade, authority, agency. When the strings become so numerous that you can no longer pass among them, the inhabitants leave: the houses are dismantled; only the strings and their supports remain.

“Trading Cities” from “Invisible Cities” by Italo Calvino (1972).

Questões de legalidade estão na base deste desfecho. Acordo anterior foi anunciado em setembro.

Media Cover about the suspension of the contract that would refurbish the Sports Centre of Coelima in order to bring it back its functions.

8 January 2018

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CLOTHO

The textiles industry relies mostly on non-renewable resources...including oil to produce synthetic fibres, fertilisers to grow cotton, and chemicals to produce, dye, and finish fibres and textiles," writes Ellen MacArthur, head of the foundation behind the report. "The current wasteful, linear system is the root cause of this massive and ever expanding pressure on resources.

in https://i-d.vice.com/en_au/article/wjzeaz/fashion-creates-more-greenhouse-pollution-than-the-airline-industry?utm_source=vicefbuk&fbclid=IwAR3NWQnNrzmgHwAn_QKlT0gtfZ0CYE0FDocXVdkwwUS_46EB8s5OXRYxpyw

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CLOTHO

#textile architecture #textileindustry #climate crisis #capitalism

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By image order:

Standstelle und Gelbe Säule, 1981 coton, wood, 235 x 160 x 40 cm, 2 pieces

Zentriert, 1965 / Über Arm, 1967 Kope zu Kopf über Kopf, 1967 / Kopf Leib Glieder, 1967

28 Standstellen Zeichnung, 1967 / Ort Zeit Innen Aussen, 1967 Kreuz Bewegungsraum, 1967 / Rahmen Wege, 1967

Proportionen und Zeit, 1967 / Ort Feld, 50 x 50 m, 1967 Strecke Gewicht Form, 1968 / Auge modelliert, 1968

Mass Messung, 1967 / Plastik-5 Stufen, 1967 Kurz vor der Dämmerung, 1967 / Argument, 1967

Ausgangpunkt und Wege, 1969 / Rede, 1969 Plastische Behauptung, 1969 / Positionen, 1969

Plastische Rede, 1983 coton, wood, 365 x 470 x 40 cm, 6 pieces

“Since the early 1960s, German artist FRANZ ERHARD WALTHER has created objects or ‘instruments‘ out of fabric that people could manipulate to increase their awareness of time, space and the human body. His work is therefore not an autonomous, independent work; it becomes a tool that invites the viewer to become its user. If the viewer accepts the invitation, a sculpture arises in the interaction between user and object.”

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CLOTHO

To see more of the fascinating Franz Erhard Walther’s work, please visit: https://www.we-find-wildness.com/2012/01/franz-erhard-walther/

HUO: Today, we don’t understand how sewing was really taboo. I read that Joseph Beuys was very skeptical. FEW: He said, “Franz is becoming a tailor, ha ha.” Craftsmanship was never to be used in art, in his estimation. But I used it for the sake of stepping out of art history. (...) HUO: This idea of immersion brings us to architecture. One is completely physically immersed in a building. It’s an aspect of your work that is little known. How did you come to design the Ritter Kunsthalle in Klagenfurt? FEW: I have to say, I never wanted to realize actual architecture. I was forced to. So I did my best. The best architecture is not realized. HUO: There are many differences between the world of art and that of architecture. One difference is that we hardly know anything about the unrealized projects of artists, but we know a lot about the unrealized projects of architects. Even very well known architects who actually build quite a lot tell me that maybe 80 or 90 percent of their work is unrealized. I was very lucky to spend so much time in your structure in Klagenfurt, which later got destroyed. What have been your other architectural projects? FEW: About 10 years later, I was persuaded to do an ensemble of architecture, including a park and residences, and it worked out. But then I decided, that’s it. HUO: Where is this? FEW: It’s in Northern Germany, in a small town called Meppen.

At the time of the exhibition at the Drawing Room in London entitled Franz Erhard Walther: DRAWINGS – Frame / Line / Action / Drawn Novel, Hans Ulrich Obrist conversed with the German artist known for his radical reformulation of the relationship between art and action.

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CLOTHO

To see the full interview, please visit: http://moussemagazine.it/franz-erhard-walther-hans-ulrich-obrist-2014/

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