https://tidsskrift.dk/passepartout da-DK redaktion@passepartout.co (Anna Østergaard Andersen) redaktion@passepartout.co (Passepartout) Fri, 06 Jun 2025 10:03:24 +0200 OJS 3.3.0.13 http://blogs.law.harvard.edu/tech/rss 60 https://tidsskrift.dk/passepartout/article/view/157483 <p>Med dette nummer af <em>Passepartout</em> ønsker vi at sætte fokus på de “tekstile tendenser”, der er så kendetegnende for tiden, vi befinder os i. Vi vil med nummerets forskellige bidrag tilbyde en række perspektiver på tendenserne og reflektere aktuelle interesser i tekstil som kunstnerisk medium samt kulturelt fænomen med vidtrækkende og kompleks betydning. Nummerets tema blev i udgangspunktet konciperet, fordi vi selv over en årrække havde fornemmet en stigende interesse både for materialet og for praksisformerne involveret i at fremstille det på tværs af de domæner, vi færdes i: Materialet var både blevet mere synligt i kunstinstitutionerne, men interessen for tekstil som (tværfagligt) forskningsemne var også stigende, og vi oplevede tilmed, at traditionelt håndarbejde som strik, hækling, syning, vævning, plantefarvning, etc. blev mere og mere populært i den bredere offentlighed. Vi var derfor nysgerrige efter at forstå denne tendens nærmere: Hvori består vor tids fascination af tekstil? Hvad kendetegner særligt de interaktioner med og anvendelser af materialet, der finder sted i disse år? Hvad karakteriserer de aktuelle måder at tilgå materialet på; hvad forsøger vi at forstå det gennem, og hvad forsøger vi at forstå gennem det? Med dette nummer har vi samlet en række perspektiver på spørgsmål som disse, og vi mener, at de – hver især og i forbindelse med hinanden – kan bidrage til at få tegnet et billede af tidens tekstile tendenser.</p> Ane Preisler Skovgaard Copyright (c) 2025 Passepartout https://tidsskrift.dk/passepartout/article/view/157483 Fri, 06 Jun 2025 00:00:00 +0200 https://tidsskrift.dk/passepartout/article/view/157485 <p>This article investigates how Trapholt Museum’s collaborative craft-based practice, and more specifically the embroidery project <em>Data Mirror</em>, engages with, explores, and revitalises textile craft as an ambiguous cultural practice by navigating between tradition and innovation, and individual and collective creativity. First, we analyse how <em>Data Mirror</em> draws on and unsettles cultural positions of textile tradition and renewal by both paying tribute to a traditional textile craft and combining it with contemporary societal issues and untraditional dogmas. Second, we show how the participatory design unsettles conventional contradictions between individual and collective practice by harnessing textile-making’s community-building affordances while at the same time allowing for individual expression.</p> <p>Accordingly, we argue that <em>Data Mirror</em> composes and brings the diachronic and synchronic cultural ambiguities of textile craft into play in interesting and often productive ways. These ambiguities unsettle conventional dichotomies and uncover new potentials in and between these. The participants may prefer either tradition or renewal in their embroideries, and either individuality or collectivity in the process, but they will necessarily relate to both in Trapholt’s projects. In line with Hartmut Rosa’s point that resonance requires not sameness but difference and sometimes contradictions, we argue that textile ambiguities like the ones in Trapholt’s projects can be a productive fuel for (re)connecting and resonating with the world.</p> Birgit Eriksson, Tina Louise Hove Sørensen Copyright (c) 2025 Passepartout https://tidsskrift.dk/passepartout/article/view/157485 Fri, 06 Jun 2025 00:00:00 +0200 https://tidsskrift.dk/passepartout/article/view/157499 <p style="font-weight: 400;">Vi forbinder ofte de europæiske kongehuse med spektakulære rober. Det er mindre kendt, at det danske kongehus også har en veludviklet tradition for at passe på og værne om tekstiler. I denne artikel bruger vi Maria Puig de la Bellacasas begreb <em>matters of care</em> afsæt for en analyse af Den Kongelige Dragtsamling og reflekterer i forlængelse heraf over, hvordan fortidens beklædningstraditioner kan lære os om en bæredygtig omgang med tekstiler og tøj.</p> Trine Brun Petersen, Marie Riegels Melchior Copyright (c) 2025 Passepartout https://tidsskrift.dk/passepartout/article/view/157499 Fri, 06 Jun 2025 00:00:00 +0200 https://tidsskrift.dk/passepartout/article/view/157501 <p>Teknologi er blevet et af vor tids mest centrale undersøgelsesemner, og en aktuel diskussion går på, hvorvidt nye teknologier begynder at kunne agere kreativt side om side med mennesker. Med afsæt i sådanne spørgsmål spørger denne artikel til, om kreativitet også kan spores i en ældgammel teknologi som væveteknologien. Som der argumenteres for i artiklen, viser meget nyere forskning i vævningens historie nemlig, at en række andre fænomener end bare tekstiler er blevet til som resultat af vævning.</p> Ane Skovgaard Preisler Copyright (c) 2025 Passepartout https://tidsskrift.dk/passepartout/article/view/157501 Fri, 06 Jun 2025 00:00:00 +0200 https://tidsskrift.dk/passepartout/article/view/157507 <p>Tekstilkunst står markant på samtidskunstens internationale scene. Med udgangspunkt i en næranalyse af to soloudstillinger fra 2022 af de norske kunstnere Kari Steihaug og Hanne Friis bestemmer artiklen en særlig “hverdagslighed”, med et begreb hentet fra Henri Lefèbvre, og diskuterer, hvordan tekstilværkernes hverdagsrytme og repetitioner spiller op imod traditionelle køns- og kunstbegreber i kunstinstitutionen.</p> Malene Vest Hansen Copyright (c) 2025 Passepartout https://tidsskrift.dk/passepartout/article/view/157507 Fri, 06 Jun 2025 00:00:00 +0200 https://tidsskrift.dk/passepartout/article/view/157542 <p>The premise of the article is that textile art has been ignored as a contributor to art historical thinking. At the same time, in recent years, we have seen how textile - whether weaving, embroidery, appliqué, and more - has gained a foothold on the contemporary art scene. This schism has inspired the article, which first briefly presents its topic through a historical review of the status of textile works in the history of art, then introduces to the concepts of ‘relationscapes’ and ‘minor gesture’, developed by Erin Manning, to be applied on a discussion of current textile works by artists Anne-Sofie Overgaard, Kari Steihaug, and Anne Cathrin November Høibo. It is the article’s aim to demonstrate how the activation of spatial relations between the artworks and viewers should be included in art historical thinking as minor gestures questioning art historical judgements in which painting has hitherto been the dominant art form.</p> Bodil Marie Stavning Thomsen, Ulla Angkjær Jørgensen Copyright (c) 2025 Passepartout https://tidsskrift.dk/passepartout/article/view/157542 Fri, 06 Jun 2025 00:00:00 +0200 https://tidsskrift.dk/passepartout/article/view/157543 <p>The writer and artist Amalie Smith reflects on her experience with weaving as an artistic practice. Smith had no experience with weaving before she was commissioned to create a digital work of art, but she was fascinated by the complex connections between weaving and digitality and suggested that the commissioned work be a series of tapestries. During the conversation, she describes how the encounter with weaving technology both inspired and challenged her. She explains how weaving provided new perspectives on the digital technologies of today: Through the comparison of weaving and computer technology the material components and principles of the digital could be more easily detected, understood, and conveyed. In the interview, she further describes her experiences of interacting artistically with different technologies and emphasises how she and the technologies interlinked and how they, through this close connection, both influenced and made use of each other. Smith concludes that she is not sure if she will engage with weaving again. Although being an admirer of artists who master a craft, she prefers exploring new materials and practices and is greatly inspired by approaching things as a newcomer.</p> Ane Skovgaard-Preisler, Amalie Smith Copyright (c) 2025 Passepartout https://tidsskrift.dk/passepartout/article/view/157543 Fri, 06 Jun 2025 00:00:00 +0200 https://tidsskrift.dk/passepartout/article/view/157544 <p>Paying heed to the entanglement of the roles of host and guest, this article enquires into the large-scale curtain installation Host by Céline Condorelli at Kunsthal Aarhus (2019-20). The article argues that as Host takes on the role of host by wrapping around a film program and other events, the soft and pliable curtain walls unsettle the role of the white cube and change the conditions of perception in the gallery. With Host as host, visitors are no longer reduced to minds and eyes as per Brian O’Doherty’s characterization, bodies and ears are welcome too. The article further examines the double ontology of Host as both host and guest in the gallery in dialogue with Jacques Derrida’s concept of hospitality.</p> Trine Friis Sørensen Copyright (c) 2025 Passepartout https://tidsskrift.dk/passepartout/article/view/157544 Fri, 06 Jun 2025 00:00:00 +0200 https://tidsskrift.dk/passepartout/article/view/157541 <p>Carina Sabrina Hundsdahl:&nbsp;<em>Between Excess and Restraint</em></p> <p>Natascha Lundholm Søndermark Beringer:&nbsp;<em>Tekstile forbindelser –&nbsp;</em><em>Samtale med Sille Tabita Bregnehave Windum</em></p> <p>Sille Tabita Bregnehave Windum:&nbsp;<em>Et værk</em></p> <p>Joachim Aagaard Friis:&nbsp;<em>Vævningens metaforer i samtidskunsten</em></p> Carina Sabrina Hundsdahl, Natascha Lundholm Søndermark Beringer, Sille Tabita Bregnehave Windum, Joachim Aagaard Friis Copyright (c) 2025 Passepartout https://tidsskrift.dk/passepartout/article/view/157541 Fri, 06 Jun 2025 00:00:00 +0200