IMPRINT • IMPRESSUM TEXTILE FORUM English edition ISSN 1431-3529 TEXTILFORUM Deutsche Ausgabe ISSN 1431-3510 Published/Erscheint 4 x per annum, Publisher/Verlag: Textil-Forum-Service/B. Sterk Friedenstr. 5, P.O.Box/Postfach 5944, D-30059 Hannover; Tel: +49-511/817007; Fax: /813108 E-mail: tfs@ETN-net.org Website: http://www.tfs-etn.com Textile Forum: http://www.facebook.com Textile Forum: http://www.flickr.com Co-editor/Mitherausgeber: ETN Association (European Textile Network), Strasbourg Editor-in-chief/Chefredakteurin: Beatrijs Sterk Editorial staff/Redaktion: Dietmar Laue Translator/Übersetzerin: Susanne Mattern Advertising office/Anzeigen: Textil-ForumService, Hannover Layout/Herstellung: Ute Lehmann Printed by/Druck: Bonifatius GmbH Druck Buch Verlag, Paderborn Single magazine/Einzelheft: Euro 12,– plus postage / zzgl. Versandkosten (ab/from on 2009) Subscription/Abonnement International (calendar year only): Euro 50,– (or reduced price of Euro 45,– if payment is made by postal order or Diners Club/Eurocard/ Visa) Abonnement/Deutschland (Kalenderjahr!): Euro 45,– (Reduktion um Euro 5,– = Euro 40,– bei Zahlung per Bankeinzug) Bank account/Bankverbindung: Textil-ForumService/B. Sterk, account no./Kto.-Nr. 20733-301 (bank code/BLZ 250 100 30) Postbank Hannover

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TITLE • TITEL "Untitled", 2009, design: David Noonan/AUS, woven: Victoria Tapestry Workshop (see page 41) "Ohne Titel", 2009, Entwurf: David Noonan /AUS, Ausführung: Victoria Tapestry Workshop (siehe Seite 41)

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Informationen aus deutschsprachigen Ländern (mit Kalender)

Information from German-speaking countries __________________ 2 Maß und Freiheit, Textilkunst im Jugendstil Dietmar Laue Measurement and Freedom, Textile Art Nouveau 7 Das Textilfestival 2010 in Leiden Beatrijs Sterk

The 2010 Leiden Textile Festival

8

VORSCHAU PREVIEW Die Ausstellung "Global Intrigue 2" in Riga Kristine Scherer

The exhibition "Global Intrigue 2" in Riga ______________________ 13 I Medici: Eine Renaissance in Papier

I Medici: A Renaissance in Paper ______________________________ 14 Pap(i)er Fashion – Eine Ausstellung in Zürich

Pap(i)er Fashion – An exhibition in Zurich ______________________ 15 Messen/Märkte, Wettbewerbe, Treffen/Kurse

Fairs/Markets, Competitions, Meetings/Courses ________________ 16 TAPISSERIE TAPESTRY 2 Eine Kunstgattung im Gegenwind Thomas Cronenberg

Tapestry – Facing an Uphill Battle in 2010___________________________ 22 Das "European Tapestry Forum" (ETF)

The European Tapestry Forum ________________________________ 23 Tapisserie aus der Sicht einer Kunsthistorikerin Edit András

Tapestry from an Art Historian's Point of View ________________ 24 Die Toms-Tapisserie-Sammlung und das CITAM-Vermächtnis Anic Zanzi

The Toms Tapestry Collection and the CITAM Heritage __________ 26 A propos China: Die Biennalen "Von Lausanne nach Peking"

"From Lausanne to Beijing"____________________________________ 27 Die Int. Triennale von Lodz und die Zukunft der Tapisserie Th. Cronenberg

The Intl. Triennial in Lodz and the Future of Tapestry ____________ 28 Tapisseriekunst

Tapestry Art _________________________________________________ 30 Tapisserie in Nordamerika (USA & Kanada)

Tapestry in North America ____________________________________ 38 Tapisserie in Australien: Symposium & Victoria Tapestry Workshop

Tapestry Weaving in Australia, a.o. the Victorian Tapestry Workshop 36 SONDERBERICHTE SPECIAL REPORTS Römer-Kleidung als Mittel der Selbstdarstellung Annette Paetz Roman Clothing as a Means of Self-Expression __________________ 42 Eine bedeutende Sammlung antiker Textilien, Katoen Natie Dietmar Laue An Important Collection of Antique Textiles, Katoen Natie of Antwerp 43 BÜCHER Besprechungen BOOK REVIEWS __________________________________________ 44 VERANSTALTUNGSKALENDER International CALENDAR OF EVENTS __________________________________ 46 AUSBLICK TEXTILFORUM 3/2010 PREVIEW TEXTILE FORUM 3/2010 ____________________________ 57 TF issues 3 a. 4/1989 (top), 1 a. 2/1990 (below

Six Textile Forum issues a turning point marking

EDITORIAL

TF 3/90

In 1990, two years after the major tapestry symposium held in Melbourne for the Australian Bicentenary and in the midst of political restructuring in Europe, we devoted an entire issue of our magazine to TAPESTRY, a decision that is something of a mystery to us today. Perhaps we were motivated by our sudden confrontation with artists from Eastern Europe whose appreciation of art, and especially of gobelin weaving, was informed by premises quite different from those that prevailed in the western part of our hemisphere. At any rate, at the time we felt an urgent need to understand why the tapestry reformation movement instigated by Lurçat and the early Lausanne Tapestry Biennials had imperceptibly shifted to become general textile art events. The current Lodz Triennial still carries the word “tapestry” in its title, despite the fact that it shows few tapestries, just like Lausanne at the time.

The history of tapestry is ambivalent, too, as we noted all that time ago – the 11th century „Bayeux Tapestry“ is an embroidery! In the 1980s, tapestry reformers in the USA adhered to the credo of a covered warp and discontinuous weft as the defining features of “true” tapestry weaves. In doing so, they wished to distinguish themselves from the “hairy monsters” of textile art shown in the later Lausanne Biennials, which had long reduced to absurdity Lurçat’s idea of a renewed tapestry tradition.

Ever since Melbourne, the international tapestry discussion has become heavily loaded. In his contribution to this issue (see p. 22), Thomas Cronenberg recalls the genre’s more recent past.

As for ourselves, we had become entirely fatigued with contemporary events in tapestry at the turn of the millenium, when a group of Danish tapestry weavers suddenly appeared out of nowhere, founded a European Tapestry Forum

(ETF), and invited us to support their initiative. We asked ourselves where those people were at the time when coordination of the worldwide efforts by tapestry artists, financial backing for their publications and participation in their meetings and exhibitions were called for? Regrettably, artists acting in an individualistic fashion all too often display a lack of continuity and attention for events that take place in the international arena. This is also what so fatigues us, trying place emphasis on the continuity of the tradition. We do not wish to see every artist generation start from scratch and celebrate their achievements as if they had come out of nowhere.

When journalist and tapestry weaver Thomas Cronenberg encouraged us to revisit the theme of tapestry in our magazine, almost twenty years after that initial issue, we were inspired by his motivation rather than the subject, and especially by the fact that he intended to pick up the thread of tradition and link it to current initiatives. Thomas is a board member of ETF, the group established in Denmark that has endeavoured to provide a forum and exhibition opportunities for European tapestry for the past decade. This commands our respect, as does Thomas’ willingness to take on the editorial work for the theme section of this magazine. I welcome his motivation and drive to which we owe this issue. Beatrijs Sterk

Thomas Cronenberg,

tapestry artist,

journalist and editor of this issue on tapestry art

TF 4/90

ETN's 20th ANNIVERSARY

Our issues of Textile Forum magazine have become diaries of a history dating back almost 30 years, an anniversary we will celebrate in 2012. This year we are remembering the birth of the European Textile Network 20 years ago.

1989 was a year of retrospectives for us. We attempted to take stock of our achievements since the magazine’s beginnings in 1981/82, comparing them to the hopes that had prompted us to set up the Textilforum e.V. association and magazine. By 1989, we had become disappointed and fatigued – feelings we expressed in TF 3/89 (see pp. 44/45). It took us a long time to prepare TF 4/89, themed “Kunst & Industrie (Art & Industry)” and devoted to an eponymous embroidery workshop involving art professors from the USA and a UK embroidery artist. During the production phase, Central Europe experienced considerable political upheaval. The paralysis experienced by West Germans, brought home to us especially painfully by the processes of social and political change that took place in the east of our Continent, gave way to fresh hopes and worries about the future. The Berlin wall fell even before that magazine issue was published.

Over Christmas 1989/90, still agitated by political events, we began to ponder the future role of our profession. TF 1/90 reflected our deliberations on pages 30/31, “Gestaltung zwischen Ideal und Wirklichkeit (Design caught between ideals and reality)”. In TF 2/90, devoted to a flax product, LINEN, I wrote “Über unsere gemeinsame Zukunft (About our common future)” on pages 2/3, lamenting the aggressive behaviour displayed by western politicians and their simultaneous lack of ideas regarding the challenges of the time.

As early as February 1990, we wrote to all organisations we knew in the former Eastern Bloc that could act as multipliers (societies, schools, museums etc.), inviting them to join us in forming a European Textile Network. The first ETN Newsletter, published in June, contained a list of 76 contact addresses in 22 European countries.

During production of TF 3/90, our first magazine issue on TAPESTRY, we were already busy travelling to eastern Europe and organising the first ETN Conference, scheduled in Erfurt in June 1991. Issue 4/90 was devoted to an introduction of ETN members of the first hour.

It took us nearly a year to get from a low point in our motivation, caused by the situation in German textile art, to a fresh commitment to serve European co-operation. We owe TEXTILE FORUM’s continued existence to the opening of the borders with Eastern Europe and the fact that our Network became effective. Dietmar Laue