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lounesdarbois · 1 year ago

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Pierre Fournier

Tradition: n. f. Transmission de faits historiques, de doctrines religieuses, de légendes, d'âge en âge par voie orale, sans preuve authentique écrite.

Le Littré

Le détaillant et modéliste de vêtement Pierre Fournier a dirigé les magasins Globe dans les années 1970, Hémisphères dans les années 1980, Anatomica depuis 1993. Toujours actif de nos jours il est âgé de 80 ans cette année.

La création de vêtement repose sur l'esthétique et le fonctionnel, deux critères qui renvoient respectivement aux métiers de styliste et de modéliste. Oiseau rare, monsieur Fournier additionne les deux compétences et a bâti le renom de ses magasins sur des vêtements "anatomiques" les mieux pensés possible, adaptés au corps, résistants à l'usure. Un sens du modélisme concentra dès l'époque de Globe son attention sur les vêtements de base, les "basiques" auxquels il conféra le plus de classicisme possible dans le but de les rendre indémodables, au-dessus des modes. La chemise d'ouvrier aura des coutures, des poches, des lignes les plus adaptées à la morphologie et aux mouvements requis par le travail, critères qui ne sont pas à chercher dans un "techwear" futuriste ni dans un "vintage" caduque mais dans la partie de la culture occidentale qui traverse les époques, la Tradition. Savons-nous combien de vêtements ont-été réellement inventés au 20ème siècle ? 4... Et combien de boissons? Une seule (le coca). Il n'y a pas de créateur de vêtement, tant mieux!

Pierre Fournier appliquera les principes traditionnels aussi en matière de chaussure, lorsqu'il fera faire par la firme Alden une gamme spécifique. Le critère étant ici le "chaussant", Fournier va au fond de questions que ni les artisans ni les clients ne se posent plus en matière de confort et de maintien, et ose prescrire aux clients un nouvel étalonnage des pointures appuyé par un argumentaire fruit de 30 ans de pratique du métier. Les clients chausseront désormais 2 à 3 pointures au-dessus de leur taille usuelle. Libérant de l'espace derrière le talon et devant les orteils la chaussure est conçue pour serrer davantage le cou-de-pied, notamment dans la largeur, et demeurer plus lâche sous les contreforts et trépointes. Cette manière de chausser supprime les frottements et soutient la voûte plantaire, et au plan esthétique elle donne une chaussure étroite et longue qui est l'idéal en la matière.

Produire une chaussure pensée pour s'adapter à la forme du pied, un vêtement pensé pour suivre les lignes du corps, aboutissent à une forme définitive à laquelle tout ajout devient un excédent et tout retranchement une amputation. La tradition populaire française s'est toujours tenue à équidistance de deux écueils : d'abord de la mode qui spécule sur une suspension du jugement des masses abruties par le prêt-à-porter (soumission par pression horizontale), ensuite du sartorialisme qui est au contraire l'expression tapageuse d'élites visant à se singulariser (snobisme par les musts).

La qualité suppose l'appelation d'origine contrôlée, qui elle même suppose un terroir protégeant une fabrication locale par un prolétariat choyé. Lorsque l'on comprend le modèle économique que suppose le Made in France on veut relire les théoriciens des modèles économiques durables, organisés au bénéfice des producteurs et des consommateurs compris comme un seul et même peuple.

Le sujet du vêtement de qualité ouvre tant de perspectives : esthétiques certes mais encore économiques et politiques. Quand nous comprenons la quête esthétique de Pierre Fournier nous percevons que ce standard de qualité renvoie, pour des raisons de coût de fabrication aux thèses de William Morris (L'art et l'artisanat, Comment nous vivons) et à celles de tous les syndicalistes français transcourant : George Sorel, Joseph Proudhon, Charles Maurras, Joseph Fourrier, Edouard Berth. C'est-à-dire le retour aux sujets sérieux, aux questions fondamentales : comment produire dans le pays, par le peuple du pays, pour le peuple du pays. Comment produire local, qualitatif, en circuit court, sans gaspillage, en rémunérant correctement les travailleurs locaux? Quelles sont les pré-requis qu'un Made in France généralisé suppose au plan de l'émission de monnaie, au plan fiscal, au plan des prix de l'immobilier ? Une ébauche de réponse tient dans le discours de George Marchais (PCF) à Montigny en 1981 : protection du prolétariat, arrêt de l'invasion migratoire et éviction des clandestins (xénélasie), hausse des salaires par une baisse des charges sur les entreprises. Mesures de bon sens pourtant déclaration de guerre à la Bourse qui a besoin d'un sous-prolétariat invasif pour abaisser les salaires et le niveau de conscience du prolétariat du pays… Mais mesures nécessaires pour que la veste en flanelle de chez Anatomica qui dure 20 ans vous coûte 80 euros et non pas 750 euros comme aujourd'hui.

Dans un Made in France bien pensé, l'ouvrier a les moyens d'acheter pour lui-même les produits de qualité qu'il fabrique par son savoir-faire et c'est justice: voiture, maison, vêtement, sont à lui non parce qu'il est un consommateur interchangeable mais parce qu'il en est le producteur exclusif.

Voila l'un des fruits de l'idéal syndical, ou chrétien, ou corporatiste, ou libertarien, ou fasciste, ou socialiste, appelez le comme vous voudrez: vêtir le peuple avec intelligence, avec des pièces sobres, élégantes, fonctionnelles, vêtir un peuple mis en mesure de discerner le vrai du faux, ayant recouvré sa propre tradition que les marchands de drouille lui avaient confisqué, et lui offrir des garde-robes réduites en quantité mais haussées en qualité donc en durabilité. Opposer au trop-plein des armoires, au côté malsain de l'accumulation, la saine épure de quelques pièces très pensées que l'on portera 30 ans, rapées jusqu'à la doublure. Charme d'une patine qui raconte une histoire, la nôtre.

(écriteau de porte d'entrée du magasin Anatomica)

La création de vêtement est un sujet propice aux transpositions et analogies: stylisme morphologique, modélisme anatomique, sont la recherche non d'une forme éternelle, mais de l'esprit éternel d'une forme idéale, la plus exacte, la plus fonctionnelle, la mieux ajustée, une forme adaptée tant au mouvement qu'à l'immobilité. "Il n'existe pas de voiture éternelle, le mythe de la 2 CV n'est pas intemporel du tout" me dit un jour Pierre Fournier. Il existe toutefois selon l'usage et le mode de production disponible, une voiture la plus fonctionnelle possible à un moment donné. La différence entre Anatomica et The Kooples par exemple, est la même distance qui a séparé Gabriel Voisin d'André Citroën au début du 20ème siècle: d'un côté l'aristocratie ouvrière où chaque travailleur maîtrise la totalité du travail à accomplir, de l'autre côté l'assembleur de pièces précalibrées dont le modèle industriel repose sur la division des tâches, la parcellisation, le contrôle panoptique, qui aboutira au Fordisme.

Enfin Pierre Fournier a fait montre d'une certaine attitude devant la vie. Nous aimons ces paris tenus, ces investissements risqués, l'insolence d'ouvrir Avenue de la Grande-Armée en 1980 un magnifique magasin racheté à un monsieur de 1900. Nous aimons le goût très sûr pour le vêtement français ancien vendu aux "branchés" de l'époque, pour cette manière de chercher dans le passé les meilleures pièces et de les replacer dans le sens du temps présent. Nous aimons que Fournier n'ait jamais fait de marketing mais que le seul bouche à oreille l'ait placé comme la référence du style français à l'étranger, notamment en Angleterre et surtout au Japon où il est aujourd'hui abondamment distribué (3 magasins là-bas contre 1 seul en France).

Un vrai tailleur étudie l'anatomie puis le modélisme aussi sûrement qu'un séminariste étudie la philosophie puis la théologie. L'un s'occupe du corps, l'autre prend soin de l'âme. Mais si la philosophie est la servante de la théologie, c'est bien le vêtement qui est au service du corps... Dans un temps où le monde inverti proclame l'exact contraire, Pierre Fournier est l'un des seuls détaillants à avoir cru en la Tradition et à l'avoir mise en pratique. Merci monsieur Fournier!

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c0rpsedemon · 3 months ago

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you might be seeing me say that i'm not actually attracted to 2d characters and remembering all the times i've made posts abt such and such being hot or wanting to rail char aznable and i would like to clarify that 1) there are other factors like voice and demeanor at play . if ppl can call book characters attractive i can call anime girls attractive 2) when i saw it i'm indicating a specific kind of aesthetic attraction which makes me think 'yeah they'd be hot irl' and 3) if is say i want to rail char aznable or any other random example like quattro bajeena or casval rem daikun or edouard mass or whoever maybe i'm thinking abt the narrative implications of this hypothetical character getting railed . maybe i'm thinking abt how (random example) the events of an entire movie released in 1988 were caused by the character and another random example character amuro ray's dead bedroom and ik damn well he likes brunette boys who are shorter than him and ik damn well amuro doesn't bottom and the insufferably smug way he acts it'd be fascinating to see him pinned down put in his goddamn place to see if she shuts up and

#am NOT beating the charfucker allegations tonight i fear #romeo.txt

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theredqueenandthebloodwyrm · 1 year ago

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Episode 7 Castlevania Nocturne

Spoilerssss ahead

Mostly me talking about how everyone is some form of gay and how that's fun.

Everyone in Castlevania Nocturne is so gay, I love it. (Gay as in like umbrella term). Edouard, Olrox, Drolta is definitely a lesbian or maybe bi. The Messiah Queen is incredibly gay with her new Bram Stoker style vampire wife / consort / whatever you wanna call it in episode 6? Gayest dance ever. The Messiah gives the vibes of Book Carmilla--evil lesbian vampire basically.

Drolta's dress is so fine. And I'm loving Olrox's earrings.

And then Olrox is like "Drolta, I don't give a fuck about your Vampire Messiah Queen." In the middle of Drolta's longass speech and like 50 titles. Olrox fucking hates that queen-of-hearts bitch and you can tell lmao. Olrox does not want to serve her at alll.

Blue is Richter's color 100% and his flames also being blue are a good touch (also because blue flames are hotter than orange / red ones).

Holy shit gasp Olrox is actually straight up helping Richter and Company? I think I love Olrox other than him being super hot.

Damnnn Drolta got a glowup? Which I didn't think was possible given how beautiful she already was, digging the horns and pink fire hair though. The mass of vampires in the sky was a terrifying sequence, good and visually great but also holy shit that's terrifying.

THAT BASTARD. BASTARD Abbott. He deserves a slow and painful death. Maria poured her heart out and he fucking grabs her to use as a sacrifice to a fucking Vampire Queen?? Mizrak coming in clutch to save Maria?

#castlevania #castlevania nocturne #netflix #ep7

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slowlysointernet · 2 months ago

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Happy birthday Casval aka Char, Edouard, Quattro.

Look at how innocent he looks 😭

#Gundam #Mobile Suit Gundam #Gundam 0079 #Gundam The Origin #Casval Rem Deikun #Edouard Mass #Char Aznable #Quattro Bajeena #Artesia Som Deikun #Sayla Maas #Astraia Tor Deikun #Charposting

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unpopularshipbracket · 2 years ago

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Round 1b Match 13

Kyoko/Ayaka (Re:Mind)

fic count: 2

"They have 2 stories on AO3. Re:mind features the members of the Jpop girl group Hinatazaka46 and the characters have the same names as the members who play them. I’m nominating the fictional characters from the show, not the RPF ship."

Char Aznable/Amuro Ray (Universal Century Gundam)

fic count: 178

"They're still a ship even if they have a whole movie about their metaphorical divorce that ends in mutual death just trust me bro. if anything the destruction of their relationship is the main appeal. Interpreting the followup conclusion movie in a gay way strengthens it really because its mostly driven by chars emotional state. And his metaphorical divorce certainly affects his emotional state. These two fought both on opposite sides and the same sides of wars, so they understand eachother better than anyone else could, but the only intimacy they know is violence because this is a setting plagued by conflict, and such conflict has shaped who they are, so of course their relationship starts and ends with them fighting on opposite sides. They do experience some happiness together, though. For a while, while theyre both on the same side, they end up mentoring this one kid together, it's almost like they're his gay dads."

"Also this isn't relevant to anything but I want to impart onto you knowledge about chars name. It isn't his original name, but it is his real name in the sense that if you successfully steal a dudes identity after killing him for atleast a decade Its Just Yours Now. Char is actually his third name. His parents named him casval rem daikun and he was forced to go into hiding under the name edouard mass. His fourth name, that he uses when he and amuro are on the same side, is quattro bajeena. You know, like four vagina. He named himself that. When he stops using the quattro identity he goes back to being char, and like I know the whole killing a dude to get the name thing is technically a retcon, but it's hilarious to me that he took over this guys life so effectively that a) no one noticed and b) its became his default name."

I'm putting this in as well bc the gundam I watched was Gundam Wing/AC and I can't believe that I'm only just now finding out that Quatre Raberba Winner isn't just a bad name, but a bad name this is I guess a reference to an older bad name???? They also reused parts of this backstory for Trowa lmao

#charmuro #re:mind #ayaka takamoto #kyoko saito #ayakyo #kyoaya #hinatazaka46 #gundam #universal century gundam #char aznable #amuro ray #poll

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exhibit-of-the-century · 3 months ago

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Lecture Notes MON 18th MARCH

Masterlist

BUY ME A COFFEE

Globalisation and Art Today

Further Reading: Rasheed Araeen (b. 1935) 'Why Third Text?'

Edouard Glissant (1928 - 2011) 'Creolisation and the Americas'

Chin-Tao Wu 'Biennials Without Borders?'

Geeta Kapur (b. 1943) 'Contemporary Cultural Practice: Some Polemical Categories'

Terry Smith (b. 1944) from 'What Is Contemporary Art?'

More and Other

Globalisation: the process by which businesses or other organizations develop international influence or start operating on an international scale. When talking about globalisation it an refer to borders and territory in most cases, or the process of going/coming somewhere. Looking at artists that delt/are dealing with the crisis of mass migration from the last decade to now. This is partially what the first case study looks towards. Specifically, the sea.

Beginning with tension in time, exploring the sea and boats going on conquests, which leads to the debate on migration and global worth.

Territory 1: The Sea

“It is mainly to die that, for a long time, one would go down to the shores of the Mediterranean” - Françoise Cachin, 2000

Part of a 2000’s exhibition, that looked back. The quote itself has links to drowning, mass graves due to mass migration. In this exhibit there was a work by an Impressionist painter, as at the time (mainly French) impressionist artists travelled to the Mediterranean to recover from illness.

William Kentridge, “Refugees (You Will Find No Other Seas)” (2017) lift ground aquatint etching on 100% sisal and cotton Phumani handmade paper mounted on raw cotton cloth with a sewn seam down the middle and folded as a map book, 67 x 94 inches (163,8×238,1 cm)

Kentridge was south African and had a background in theatre. Thid work contains dramatic, dynamic silhouettes on culture. We also understand what this particularly unclear and messy work is portraying as we are accustomed to seeing such sights due to immigrating.

Robert Longo, Untitled (Raft at Sea), 2017 Charcoal on mounted paper

Longo creates hyper realistic, photorealistic. This work is made with charcoal, a quite primitive material to work with, coming from earth and dust.

“What I'm trying to do is select from the enormous onslaught of images that we see on a daily basis and slow them down. Artwork requires more time than news and television do. The viewer must focus. My work is an attempt to slow things down and look at them through the arduous process of charcoal drawing. […] Each drawing has a different strategy. The images that I make can never be photographs because they've been so manipulated by how I change them. I amplify the drama in them and make them hyperreal; they're not photorealistic at all.”

[for Untitled (Raft at Sea)] I saw a photo of refugees on a raft in the Mediterranean. It was in a brochure for Doctors Without Borders, an organization with which I work. I contacted the photographer, Will Rose, and purchased the image from him, and I combined it with a photo I took at my beach house on Long Island, adding ten feet of water to the original image to make the audience feel as if they were in the water too.

I learned that normally it cost $2,000 to go on the raft, but if you were willing to go out when the seas were particularly rough (as in this image), you only paid $1,500. And the life preservers were stuffed with newspapers.” - Robert Longo

Critics compared this particular work to that of the raft of medusa.

Calvo chooses a frame. Art is permeated by the way we see the world and understand visual language.

Olmo Calvo (AP), Migrant boat drifting near the port of Al Khoms, Libya, during a rescue operation by the NGO Open Arms, 2018

Ben Stansall (AFP), Dover, August 2020

This photograph was published in Paris Match with the caption: “Abandoned by migrants who arrived in England, these fragile skiffs line the port, like a contemporary art installation.”

[Another work of note: Ai Wei Wei, Reframe, 2016. A street piece built using 22 rubber boats presented on the façade of Palazzo Strozzi in Florence, Italy]

Bouchra Khalili, The Mapping Journey Project, 2008-2011

Mapping journey project: 8 videos of illegal migrants who survived their respective journeys, showing their travels on a map while telling their stories. There is a distinct lack of face to also protect the potentially illegal migrants. Use of testimony.

“This series of eight videos, presented on separate screens hung discreetly around the same room, comprises individual portraits sans the portrait’s most recognizable feature: the face. Instead of using the visage as the projected map of meaning and locating affect, as in so much documentary and cinematic practice, Khalili focuses her camera—and thus the audience’s gaze and attention—on an actual map and the hand of each of her subjects

With precision and subtlety, The Mapping Journey Project challenges hegemonic narratives about migration and statelessness, as well as the violence they engender and normalize, while also pressing contemporary documentary practice forward, both ethically and aesthetically. She subverts the ways in which her subjects are most often represented; instead of seen and voiceless, her subjects are articulate and decisively heard, but not seen (visibility being linked to surveillance, not agency). Finally, by being exhibited in museums around the world, the project forms a counterhegemonic cartography of transnational forms of movement and resistance, one that reflects the realities and necessities of our patently unjust global order.”

Quinn Latimer (for MoMA, 2016)

Goldsmiths University have a project that is continuously running and exploring different aspects of investigate state/corporate violence, Forensic Architecture.

A team of interdisciplinary students, who collect holistic detail on different projects and fight for human rights. Won the Turner Prize for their work.

This specific project is called: Death by Rescue: The Lethal Effects of Non-Assistance at Sea

Forensic Oceanography report:

“In addition to the different remote sensing means described above, patrol vessels are also equipped with cameras — those of border guards or of ‘embedded journalists’— which are used to document the moment of encounter between illegalized migrants and those seeking to police their movement. This results in a highly controlled and ambivalent spectacularization of borders, incisively analyzed by Nicholas de Genova. In the countless images of intercepted / rescued boats that are circulated by state agencies and the press, the threat of illegalized migration and the securitization work of border control are simultaneously made visible and naturalized, following a circular logic. If migrants are being intercepted through militarized means, it is because they are a threat. If they are a threat, then they must be policed by all means.

The sense of migration as threat is only exacerbated by the profusion of similar images, which suggest an invasion of European space by those who have been constructed as radically other — racialized and impoverished migrants from the global South.

These racialized representations of migration at Europe’s external maritime borders, which produce “a dominant associative notion of irregular migration to non-whites bodies,” shape in turn racialized border control within Europe, as “any non-white body on the move” is perceived as a potential ‘illegal’ traveller that must be checked. What emerges then is a fundamental link between the three distinct dimensions of migrants’ exposure emphasized by Georges Didi-Huberman: the visual exposure of illegalized migrants, their being “ex-posed” (rendered outside and excluded from a given community), and the exposure of their bodies to conditions of precarity and death. The exposure operated by state actors is however highly selective. While focusing on the scene of border enforcement, the conditions that lie before and after — the multiple forms of violence migrants sought to escape in the first place, the illegalization of their movement through policies of exclusion, the future exploitation of illegalized migrant labor in European economies — remain hidden as obscene supplements.”

Territory 2: The Land

Claudia Andujar, ‘Marcados’ series (1981-83; 2009)

Born to a swizz mother and a Jewish father, she was from Transylvania (Hungary/Romania). A moving border region.

When she was 7 years old, Nazi’s took control of that region, her family was killed in concentration camps. However, she managed to escape to Switzerland. And moved to the USA in 1955 to live with her uncle.

Later she moved to Brazil when she was an aspiring artist, her medium was photography. During the dictatorship in Brazil, she travelled there as a newspaper representative. Where she took photos of indigenous people and established relationships with them by staying with them for months at a time before returning home to the USA.

While there, the dictatorship concluded (1970’s).

In this time, the amazon rainforest was desecrated, roads were established, mines as well, which bought disease and pollution which killed the indigenous people.

The photos she took, were for the people to use as health cards and identifiers, she even worked on setting up a campaign for them.

In 2009 she started exhibiting and reinvented her own archive: Horizontal 2, Tate Modern

Yanomami Park was established in 1992 as a protected land. Forensic Architecture also explored the Gold Mining and Violence in the Amazon Rainforest:

Territory 3: The Air

Another political space is that of the air, especially the recent discourses in art surrounding global warming.

In the Air, Wellcome Collection, 2022

With works by Tacita Dean, David Rickard, Dryden Goodwin, Forensic Architecture, Choked Up, Anna Atkins, Black and Brown Films, Irene Kopelman, Ernst Haeckel, John Evelyn and Matterlurgy.

‘Throughout the show, the curators endeavor to make air and its constituent parts visible, opening with David Rickard’s powerful site-specific work “A Roomful of Air” (2022). This stack of concrete blocks equals the exact weight of the air in the gallery, taking into consideration factors such as altitude, humidity, and temperature. Many of us perceive air as synonymous with “nothing”; we imagine, for example, things vanishing “into thin air.” Rickard’s piece emphasizes the material existence of air, which is composed of molecules with physical presence and heft.’

A political air, of recent history for us and around the time of this exhibition, can be considered George Floyd. “I can’t breathe”, a universal right to breathe.

‘These drawings are from a selection of over 1,000 studies Dryden Goodwin has produced of six Lewisham residents and activists for Breathe:2022. The drawings capture each person in the act of breathing. They will be enlarged and installed as posters on railway bridges, streetside hoardings and buildings alongside the heavily polluted South Circular Road in Lewisham and made into a large-scale animation.’

Forensic Architecture can be considered a documentary art, what are the limits between journalism and contemporary art?

A potential short answer can be that of the museum. Or the figure of the curator takes on a different role in the institution of power.

Forensic Architecture, Cloud Studies, 2020

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