WRONG(N)(proc)ESS

research journal by Maria Lima

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Skin Series, Sarah Moloney (2003)

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Art is a Guranty of Sanity (2000)

Moi Eugénie Grandet (2009)

I always had the fear of being separated and abandoned. The sewing is my attempt to keep things together and make things whole.

Louise Bourgeois

via @s_shikama

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Wheatfield - A Confrontation: Battery Park Landfill, Downtown Manhattan by Agnes Denes

Two acres of wheat planted and harvested by the artist on the Battery Park landfill, Manhattan, Summer 1982.

After months of preparations, in May 1982, a 2-acre wheat field was planted on a landfill in lower Manhattan, two blocks from Wall Street and the World Trade Center, facing the Statue of Liberty. Two hundred truckload of dirt were brought in and 285 furrows were dug by hand and cleared of rocks and garbage. The seeds were sown by hand adn the furrows covered with soil. the field was maintained for four months, cleared of wheat smut, weeded, fertilized and sprayed against mildew fungus, and an irrigation system set up. the crop was harvested on August 16 and yielded over 1000 pounds of healthy, golden wheat.

Planting and harvesting a field of wheat on land worth $4.5 billion created a powerful paradox. Wheatfield was a symbol, a universal concept; it represented food, energy, commerce, world trade, and economics. It referred to mismanagement, waste, world hunger and ecological concerns. It called attention to our misplaced priorities. The harvested grain traveled to twenty-eight cities around the world in an exhibition called "The International Art Show for the End of World Hunger", organized by the Minnesota Museum of Art (1987-90). The seeds were carried away by people who planted them in many parts of the globe.

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knitted metal shoes by Marisa Merz at the ‘The Sky Is a Great Space’ exhibition in Museu de Serralves, Porto, Portugal (2018).

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Una Escuela Sustentable 

words from Trendletter curated by Trendtablet

The first school made entirely by found and recycled materials is under construction in Latin America. This sustainability wave and the responsible reuse of resources are both educating and inspiring. This positive wave will hopefully continue in the right way teaching young adults and children the true cost of our over consuming society and to make them choose alternative methods in the future. This sustainable public school is the first school built in Latin America striving to combine practical courses with sustainability and human relations in mind.

The building is developed by the North American architect Michael Reynolds, who is specialized in building recycled buildings. (...) The majority of its construction is made out of recycled plastic, glass bottles, cans and cardboards mixed together with a few traditional building materials. Furthermore, to the highest extend possible he aims to channel the energy of the sun, water, wind, earth and other resources from the building’s surroundings to make the project even more sustainable.

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The Wartime Spies Who Used Knitting as an Espionage ToolGrandma was just making a sweater. Or was she?

by Natalie Zarrelli 

DURING WORLD WAR I, A grandmother in Belgium knitted at her window, watching the passing trains. As one train chugged by, she made a bumpy stitch in the fabric with her two needles. Another passed, and she dropped a stitch from the fabric, making an intentional hole. Later, she would risk her life by handing the fabric to a soldier—a fellow spy in the Belgian resistance, working to defeat the occupying German force.

(...)

When knitters used knitting to encode messages, the message was a form of steganography, a way to hide a message physically (which includes, for example, hiding morse code somewhere on a postcard, or digitally disguising one image within another). If the message must be low-tech, knitting is great for this; every knitted garment is made of different combinations of just two stitches: a knit stitch, which is smooth and looks like a “v”, and a purl stitch, which looks like a horizontal line or a little bump. By making a specific combination of knits and purls in a predetermined pattern, spies could pass on a custom piece of fabric and read the secret message, buried in the innocent warmth of a scarf or hat.

[in-restlessness-blog]

Currently, steady production growth is intrinsically linked to a decline in utilisation per item, leading to an incredible amount of waste. It is estimated that more than half of fast fashion production is disposed of in under a year, and one garbage truck full of textiles is landfilled or burnt every second. This factor combined with a very low rate of recycling - less than 1% of material used - leads to an ever-expanding pressure on resources. This ‘take-make-dispose’ system is not only extremely wasteful, but also very polluting. The use of substances of concern in textile production has an important impact on farmers’ and factory workers’ health as well as on the surrounding environment. During use, it has been recently estimated that, half a million tonnes of plastic microfibres shed during washing ends up in the ocean and ultimately enters the food chain.

https://www.ellenmacarthurfoundation.org/publications/a-new-textiles-economy-redesigning-fashions-future

in-RESTLESSNESS

(via in-restlessness)

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Fashion in the Age of Biofabrication

by Vikram Alexei Kansara, Business of Fashion 

Traditional leather supply chains can be long and difficult to manage. The irregular shape of animal hides, coupled with scars and insect bites, can mean 20 to 30 percent of animal skins regularly go to waste. Unpredictable weather can also lead to price volatility. They also involve the raising and slaughtering the billions of animals whose skins feed the leather supply chain each year in a process that is inefficient, cruel and comes with huge environmental impact.

Instead, buoyed by a revolution in biotechnology, which has enabled scientists to synthesise new organisms faster and at lower cost than ever before, Modern Meadow has bio-engineered a strain of yeast that, when fed sugar, produces a fibrous structural protein called collagen, which is then purified, assembled and tanned to create a material that is biologically — and perceptibly — almost indistinguishable from animal leather.

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ZOA is so fucking exciting! a future without animal suffering, pollution and of quality! can’t this spread like now?

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A New Textiles Economy: Redesigning fashion’s future

by Ellen MacArthur Foundation 

In other words, we may end up eating our own clothes. If nothing is done, these severe weaknesses are expected to grow exponentially with dramatic environmental, societal, and economic consequences, ultimately putting industry profitability at risk.

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THE SPEECH OF THINGS / THE NEW INQUIRY (2014) by Léopold Lambert

Forensis doesn’t address the trial of George Zimmerman (July 2013) for the murder of Trayvon Martin on February 26, 2012 in Sanford, Florida. Nevertheless, the non-human’s prosopopeia also intervened in it, since the hoodie worn by Martin when he was shot had been produced as exhibit by the prosecutors. The forum proposed by this exhibit determined the legitimacy of Zimmerman’s interpretation of Martin’s intentions based on the way he was dressed. The political debate is evident here, since it involves a normative interpretation based on race and clothing, as well as a specific conception of legitimate defense. The problem in this case, is that the very intervention of the non-human’s prosopopeia is contradictory to the legislative framework. In other words, there is something fundamentally problematic in the debate that determines whether or not a piece of cloth can indicate an intention to begin with. The idea that a hoodie could communicate a future criminal behavior by the one wearing it does not correspond to any component of the legislation itself.

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Weizman writes, “a building is not a static thing.” This observation is rarely fathomed by architects, who usually conceive buildings for a suspended time.

Leopold Lambert 

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Hair Brush by BLESS

Sometimes, an object's association is so strong as to almost cancel the artefact out. The images or feelings that it stimulates inveigle their way into the meaning of the object, its appearance even, making it hard to reach an authentic, objective experience of the piece. In the case of the BLESS hair brush, it is Meret Oppenheim's Object (Breakfast in Fur) of 1936 that immediately hijacks the mind. It is as if the iconic Surrealist teacup, with its simultaneously appalling and delicious fur surface, becomes the only way to begin to understand something as curious as a hairbrush sprouting with blonde hair.

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One Strange Rock by Bordalo II

Portugal, 2018

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Farming cotton in India

We visit a local Indian farmer who is going organic to improve the livelihood and health of his family.

“Alexandra Cousteau, National Geographic Emerging Explorer, filmmaker and globally recognized advocate on water issues, travels the world to present a picture of the cotton industry, with a focus on its history and the modern-day challenges and innovations.  She will discover the threats and the solutions facing our fashion industry.”

in-RESTLESSNESS

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Raisa Kabir

“The body is a site of production”

(2017)

“Weaving as a methodology, as a tool to use ‘un-weaving’ as a strategy to undo models of production/productivity, and re-situate the disabled body, and the racialised body so bound up with labours it cannot remove itself from. To spend 10hours weaving, building a loom, using the body as a loom, only to not produce cloth for any purpose or function. What does it mean to exist in this world and feel like your gender is unfunction, how trauma disables the body; the same body is a living archive, a geography of pain and trigger points. The body is a site of production. Resist resist resist.”

in-RESTLESSNESS

If you want to see more about Raisa Kabir´s fascinating work, please visit: http://lids-sewn-shut.typepad.com/blog/

[in-restlessness-blog]

ALIGHIERO BOETTI

“Mappa”

(1983-1984)

“Conceptual artist Alighiero e Boetti was associated with the Arte Povera movement. Heavily influenced by his travels to Afghanistan, in his “Mappa” series (1971-92), Boetti directed Afghan craftswomen to embroider maps with geopolitical entities represented by their flags. His 1993 work Alternating 1 to 100 and Vice Versa, a kilim (woven tapestry), similarly recruited others for the design and execution. Boetti was preoccupied with the tension between order and disorder or chance, as seen in his recurring grid structures. Viewing himself as a dual being, he introduced the “e” (meaning “and”) into his name to signify a twinned nature.”

in-RESTLESSNESS

To see more of the amazing work of Alighiero Boetti, please visit: https://www.moma.org/artists/630

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Soft Shells by Libby Oliver

“Libby Oliver is a Canada based artist behind an ongoing fascinating portrait series called Soft Shells. Each photo captures a different person with their entire wardrobe wrapped around them.The human body disappears behind the clothing carefully selected to define an individuality. For Oliver: « Fashion is interesting because it does have so much cultural and social and environmental and self-identity tied up into it. Clothing grounds us to our notions of self and works to cue others to our chosen identity narrative. What we wear is thus both an exercise in our creative individual autonomy and a system of social surveillance and categorization.”

words by Cecile Poignant on TrendTablet