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-(0)511/817007; Fax: /813108 E-mail: tfs@ETN-net.org Website: http://www.ETN-net.org/TFS/ 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 11,– plus postage/zzgl. Versandkosten Subscription/Abonnement International (calendar year only): Euro 46,– (or reduced price of Euro 41,– if payment is made by postal order or Diners Club/Eurocard/ Visa) Abonnement/Deutschland (Kalenderjahr!): Euro 41,– (Reduktion um Euro 5,– = Euro 36,– 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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Costume 'Poet' (detail) stage-play 'Dark Lady' by costume designer Rien Bekkers, 1999 Photo: Rik Klein Gotink see page 28/29

Kostüm 'Dichter' (Detail) aus 'Dark Lady' von Kostümbildner Rien Bekkers, 1999 Foto: Rik Klein Gotink siehe Seite 28/29

TEXTILFORUM 4/2006 TEXTILE FORUM 4/2006 BERICHTE REPORTS

SEITE PAGE

Informationen aus deutschsprachigen Ländern (Kalender s. S. 3)

Information from German-speaking countries __________________ 4 Das 12. Patchworktreffen im Elsaß u. a. D. Wood

The 12th Patchwork Gathering in Alsace ________________________ 7 Modeausstellungen: Fashion DNA/A'dam, Schnittpunkt Kunst & Kleid/St. Gallen

Fashion exhibitions: Fashion DNA and Intersection Art & Clothes ____ 8 Die 4. Internationale WTA-Textilkunstbiennale in Costa Rica Yosi Anaya

The 4th Intl. WTA Biennial of Textile Art and Design in Costa Rica 10 "in_rete" Miniaturtextil 2006 in Como Heidi Bedenknecht-De Felice

"in_rete" Miniartextil 2006 Como ________________________________ 14 VORSCHAU PREVIEW Messen/Märkte, Wettbewerbe, Treffen/Kurse

Fairs/Markets, Competitions, Meetings/Courses ________________ 16 Mehr als nur Material Monika Auch Beyond Material _____________________________________________ 20 Schwarze Kunst – Afrikanische Textilien in Krefeld Vera Bendt

"Black Art" – African Textiles at the Krefeld Textile Museum ____ 21 BÜHNENKOSTÜME STAGE COSTUMES Hundert Jahre Unternehmen 'Theaterkunst' Heike Stange A Hundred Years of 'Theaterkunst' ____________________________ 22 Berliner Bühnenkostümsammlungen Collections of Stage Costumes in Berlin _______________________ 25 Die Anprobe – Ballerinas Schuh und Kleid, Ausstellung in München

The Fitting – A Ballerina's Shoes and Dress, exhibition in Munich __ 27 Der Kostümbildner Rien Bekkers im Amsterdamer Theatermuseum Costume Designer Rien Bekkers at the Amsterdam Theatre Museum 28 Der Beruf des Kostümbildners Dietmar Laue Costume Design as a Profession _______________________________ 30 Ein Zentrum für die lebenden Künste – Das Londoner Theatermuseum A Centre for the Living Arts – The Fate of London Theatre Museum 34 Der Sonnenzirkus 2006: 13 Schauen des 'Cirque du Soleil'

The Sun Circus 2006: 13 Shows around the World by 'Cirque du Soleil' 36 Das Weltfestival des Puppentheaters im Norden Frankreichs

The World Festival of Puppet Theatre in Northern France _______ 38 Expressionistischer Maskentanz Dietmar Laue

Expressionist Masked Dance ___________________________________ 43 BÜCHER Besprechungen BOOK REVIEWS __________________________________________ 40 VERANSTALTUNGSKALENDER International CALENDAR OF EVENTS __________________________________ 44 AUSBLICK TEXTILFORUM 3/2006 PREVIEW TEXTILE FORUM 3/2006 ____________________________ 57 EDITORIAL

View at the stores of the Berlin stage costume providers company "Theaterkunst GmbH", March 2006

As we so often do, we approached the theme of this issue naively When working on TF 1/06 – our issue featuring Berlin – we came to hear of Theaterkunst, a costume hire company, and were amazed to learn that its stores hold nearly ten million costumes Then we also learnt that the company will celebrate its centenary in 2007, and is planning to stage an exhibition at the Berlin Film žuseum early next year This news prompted us to devote the 2006 winter issue of our magazine to stage costumes Our decision was partly motivated by feelings of guilt for having neglected this subject, without good reason, for the past quarter of a century Only when we began preparing this issue did we realise that the field we were embarking on was huge, and that by necessity, we would only be able to throw light on a small selection Thus we essentially chose to limit ourselves to contributions that had currency in Europe, and to focus on several Western European events

What are “stage” costumes? In a sense, anyone entering a public space goes on stage This is the belief of many fashion designers, and the outfits they create seem intended for a show After all, street theatre performances are seen in urban areas

It can be said that dressing “up” falls in the same category as stage costumes Thus, masked dances, carnivals, and similar fancy dress events are theatrical in nature In addition to the classic locations where we expect to see stage costumes – the theatre, opera, ballet, film and television – there are also the worlds of the circus and the puppet theatre

We also have to take into account the great tradition and cultural history of the various performing arts, as well as their places of remembrance – the special theatre, film, circus and puppet museums žoreover, each professional group in this field has its own educational institutions, interest groups, and international networks

Although we attempted to list sources for some of those fields (especially, references to websites), we realise that this issue will only give an inkling of the fascination we felt when visiting the domains of some costume designers

As it turned out, we were unlucky as regards our main feature, Theaterkunst of Berlin For a long time we were told that the exhibition would begin in January 2007, and that catalogue photos would be completed and available to us by early October 2006 Then, in early October we discovered that the exhibition date had been postponed to žarch 2007, and that photos would not be ready until November of this year – too late for this issue! All we can offer our readers is an emergency supply of pictures obtained from the Berlin Film žuseum Nor are bibliographical data available for the catalogue yet Those wishing to visit the centenary exhibition should consult the museum’s website We can no longer vouch for the validity of the dates given on page 22

Theaterkunst GmbH provides the context for two themes that we have attempted to portray in snapshots: 1) the Berlin collections of stage costumes; and 2) costume production and rental In this context, we began to focus on London, the venue of the 2007 ETN Conference, and took a decision to feature that city in depth in the near future We had the opportunity to sneak a look at the costume depot of the Victoria & Albert žuseum, which is affiliated to the London Theatre žuseum Regrettably, due to lack of time, we were unable to visit the world’s largest costume trading company in the world, Angel of London, and quite irreverently, we only acknowledge it in two references to websites Dietmar„Laue

A RENUNCIATION OF EUROPE Europe is growing closer, say the politicians Next year two new members will join the European Union, Bulgaria and Romania The larger the Union becomes, the more its citizens seem to renounce it This is quite obvious in our everyday work

Nowadays, if we wish to review events in Europe at all, we are obliged to embark on research that is becoming increasingly involved Fewer and fewer press releases are published outside national borders, and if so, often enough they are only available in the national language

Exhibitions that drew much attention in the past, now only come to our notice after the event An example is the Textile Biennials held in the Hungarian town of Szombathely, now continued on a triennial basis, for which we did not find the slighest trace of any mention in worldwide periodicals The organisers say they now write to artists directly The same applies to the Norwegian Textile Triennial whose organisers know us well Are they not interested in supplying information? žajor organisers, like those of the International Lace Biennial of Brussels or the International Triennial of Lodz, do not give details about their events on their websites until the last minute We enquired about the Brussels biennial six months ago, but only recently (21st October 2006) did we finally find a few meagre references on its website; the dates for the event have still not been published, obliging me to extract it from the municipal calendar At least the Lodz organisers have finally begun to provide information on their website in English as well as Polish

Other regular events involving international participants are held in Krosno/Poland (Linen Biennial) and Bucharest/Romania (Triennial of Textile Art); in the one case, we did not hear about the event for a long time, and in the other, we still have not received any information Heaven knows how many other European textile events of international significance we miss because they are not publicised in supra-regional printed media due to the organisers’ inability to see beyond the church spire of their own community

After the fall of the wall in 1989/90, every one of those organisers was eager to present their achievements in the international limelight, and gave out international invitations In those days we even received unsolicited announcements of events for which we now almost have to beg for information „Europe“ appears to be dead as a dodo these days Our gaze is firmly fixed on our own navels However, organisers still greatly appreciate an international flair, even if it only serves to show them in a good light before the mayor of their community, and possibly the sponsors

Naturally there are exceptions One of these is certainly žiniartextil of Como, which used to be overshadowed by similar shows held in Angers and Szombathely Now it has surpassed them in all respects, not only in terms of public relations, but also as regards documenting events in catalogues, and above all, in international response and local public presence

However, my impression is that the dominant trend is to ignore Europe, at least in the world of textile culture, with a detrimental effect on the latter Beatrijs„Sterk