band essay №1

an ongoing research dialogue by artist-designer Aliki van der Kruijs and curator Lenn Cox

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STUDIO VISIT|TALK Kees Goudzwaard

On March 17th we visited the studio of Kees Goudzwaard, a silent place in a twin peaks part in the south of The Netherlands. Kees was our tutor BEELDGRAMMATICA (image grammar) during our study Fashion Design at ArtEZ University of the Arts in Arnhem. We had a fascinating talk about image, life, work, silence, focus, play, rituals, models, represent, present, space & time

‘Acetates, translucent adhesive tape and various types of paper are superimposed to create an extremely fragile, separate space for a temporary and at the same time lasting composition using a technique that makes the image permanent, sculpting it in time like a painting. This paradox recurs throughout Goudzwaard's art, which juxtaposes Modernism with seventeenth-century still-life painting by combining the fragility of collage with the stability of oil painting.’ Lorenzo Benedetti - The Narrow Gap Between Abstraction and Reality. This text was first published in Between Red and a Transparent Plane, De Vleeshal, Middelburg / Roma Publications, Amsterdam 2014.

Kees Goudzwaard is reprensented by gallery ZENO X GALLERY in Antwerp -  Find out more about his work here: http://www.keesgoudzwaard.org

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Band Essay №1

An ongoing research dialogue by artist-designer Aliki van der Kruijs and curator Lenn Cox.  We know each other from the bachelor Fashion Design at ArtEZ University of the Arts. Since then, we explore our own attitude and rhythms for alternative (fashion) systems to shape the future. Aliki by making, Lenn by curating (curare, taking care). Sharing a fascination for the ritualised behaviour of people, their body, space and environment. With Band Essay №1 we investigate through material, words and images our personal connection with the Japanese cultural and natural environment, an interest that we share together and implement in our daily life.

Band Essay №1 conceptualised when Lenn proposed Aliki to ping pong about the research during her study trip to Kyushu to work with local textile professionals.* In Japan, Aliki learned about the traditional Kurume-Kasuri technique and chose rope as a framework to implement her new knowledge. This resulted in the collection NAWA: a series of ropes, cords and objects. In collaboration with photographer Lonneke van der Palen we made an essayistic collection images that is based on our research and dialogue. Enjoy diving within!!! A desktop shows you the best perspective.

Aliki + Lenn * The study trip was on invitation of the Dutch Crafts Council in the context of the knowledge exchange Indigo: Sharing Blue

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KURUME-KASURI On invitation of the Dutch Crafts Council Aliki made a three and a half week travel to Yame on Kyushu, Japan and learned about the weaving technique Kurume-kasuri and indigo dyeing. Aliki chose rope as a framework to implement her new knowledge. This resulted in the collection NAWA: a series of ropes, cords and objects.  source Aliki van der Kruijs set-up Dutch Design Week

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KASURI  Kasuri (絣) is a Japanese word for fabric that has been woven with fibers dyed specifically to create patterns and images in the fabric. It is an ikat (resist-dyeing) technique. The patterns are characterized by a blurred or brushed appearance. The warp and weft threads are resist-dyed in specific patterns. Prior to dyeing, sections of the warp and weft yarns are tightly wrapped with thread to protect them from the dye. When woven together, the undyed areas interlace to form patterns. 'The word “kasuri” originated from a Malay: “bind” or “tie.”Kasuri-textile is a technique to twine and dye vertical threads and horizontal ones together so as to weave up a design. The representative types of kasuri made in Japan are Hingo-kasuri in Hiroshima, Iyo-kasuri in Ehime, and Kurume-kasuri in Fukuoka. Kurume-kasuri was born from the daily life – people worked their loom and wove clothes for their family. source Kasuri from the Mr. Shimogawa collection and factory, photos made by Aliki during study trip to Japan on invitation of the Crafts Council NL for the project Indigo: Sharing Blue to work with local textile professionals. 

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title TRITON project Nawa photography in collaboration with Lonneke van der Palen

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TSUNA The Japanese word tsuna means rope, but acquired a whole new dimension in the context of the shinto religion, and therefore in that of sumo. In fact, the tsuna as we know it in sumo has its origins in the shimenawa, a sacred rope hanging across the torii (the gate at the entrance of a shinto shrine) or sometimes wrapped around a tree also at the shrine entrance. Very often it features hanging goheis, zigzag-folded paper strips that signify the presence of a kami, i.e., a shinto divinity, god or spirit. source http://www.lemondedusumo.com/english/MDS14_tsuna.php?mag=mds&num=14

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ROPE IN CONTEXT source photo made by Aliki during study trip to Japan on invitation of the Dutch Crafts Council in the context of the knowledge exchange Indigo: Sharing Blue

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OBI Obi (帯?, おび) is a sash for traditional Japanese dress, keikogi (uniforms for Japanese martial arts), and part of kimono outfits.The obi for men's kimono is rather narrow, 10 centimetres (3.9 in) wide at most, but a woman's formal obi can be 30 centimetres (12 in) wide and more than 4 metres (13 ft) long. Nowadays, a woman's wide and decorative obi does not keep the kimono closed; this is done by different undersashes and ribbons worn underneath the obi. The obi itself often requires the use of stiffeners and ribbons for definition of shape and decoration.There are many types of obi, most for women: wide obi made of brocade and narrower, simpler obi for everyday wear. The fanciest and most colourful obi are for young unmarried women.[1][2] The contemporary women's obi is a very conspicuous accessory, sometimes even more so than the kimono robe itself. A fine formal obi might cost more than the rest of the entire outfit. Obi are categorised by their design, formality, material, and use. Informal obi are narrower and shorter. source https://en.wikipedia.org/wiki/Obi_(sash)

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title KONPASU project Nawa photography in collaboration with Lonneke van der Palen

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HOW TO TIE A KARATE BELT source https://www.google.nl/search?client=safari&rls=en&q=How+to+tie+an+belt&ie=UTF-8&oe=UTF-8&gfe_rd=cr&ei=CuUEWIaaMo_38Afuya-4CQ#q=How+to+tie+a+belt+karate

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title TSUNA project Nawa photography in collaboration with Lonneke van der Palen

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title BRIDGE project Nawa photography in collaboration with Lonneke van der Palen 

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ZUIHITSU

Zuihitsu (随筆 ?) is a genre of Japanese literature consisting of loosely connected personal essays and fragmented ideas that typically respond to the author's surroundings. The name is derived from two Kanji meaning "at will" and "pen.” source https://en.wikipedia.org/wiki/Zuihitsu

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TOME ISHI - SEKIMORI ISHI a tome ishi (stop stone) or, to use its more descriptive name, a sekimori ishi (boundary-guard stone). It is a device used in Japanese gardens, particularly those with tea houses, to guide visitors along a prescribed route. You occasionally see them elsewhere, such as outside a traditional restaurant to indicate it’s closed, but these whimsical wrong-way markers are most strongly associated with tea gardens. source http://www.japantimes.co.jp/news/2009/02/19/reference/tome-ishi/#.V8bBUT595bU

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HOJōJUTSU Hojōjutsu (捕縄術), or Torinawajutsu (捕縄術), or just Nawajutsu (縄術), is the traditional Japanese martial art of restraining a person using cord or rope (said nawa 縄 in Japanese).

NAWAPEDIA online encyclopedia of Japanese bondage and related kinky activities source http://www.nawapedia.com/index.php?title=Main_Page

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project Nawa the materials prepared in Japan by Aliki are in The Netherlands fabricated, collaboration with passementerie specialist Thea Veel at TextielLab Textielmuseum Tilburg NL

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TIM INGOLD - THE KNOWING BODY Tim Ingold’s wide-ranging studies encourage us to re-appreciate alternative knowledge or, put differently, things our bodies know but we do not always act upon, such as acquired skills, sudden reflexes and marked intuition. With a focus on alternative ways to find knowledge, Ingold offers imaginative workshop tutorials that include weaving baskets and flying kites with students. Tim Ingold’s writings cover themes as far apart as humans and animals, sensing, education, skill, perception, making, materials and becoming. His most recent book, The Life of Lines, is a wonderful example of his achievements and a poetic narrative that interlaces bodies, minds, landscapes, topographies and perceptions through a correspondence of lines.  source start at min.17 to hear Tim Ingold talking about ROPE during his lecture at Van Eyck Academy Maastricht NL May 2016 https://www.youtube.com/watch?v=OCCOkQMHTG4#notes 'Not a totally that is finished, but a movement that is carrying on. 'Correspondence of parts in an ongoing process of life' 'Mixture of agreement & tension' (ancient greek vision on hARMony) source photos by Lenn from Metropolis M Nr 4-2016