tag:blogger.com,1999:blog-87163235956734661522024-03-16T03:45:43.765-07:00VIL-S-BOLLanne vilsboellhttp://www.blogger.com/profile/14366440366846810932noreply@blogger.comBlogger12125tag:blogger.com,1999:blog-8716323595673466152.post-76237787687505428262024-02-25T05:37:00.000-08:002024-03-16T03:45:11.544-07:00<p> </p><p align="center" style="text-align: center;"><b><span face=""Calibri",sans-serif" lang="EN-GB" style="font-size: 16pt; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Reawakening
Paper in India<o:p></o:p></span></b></p>
<p align="center" class="MsoNormal" style="text-align: center;"><span lang="en-DK" style="mso-no-proof: yes;"><br /><!--[endif]--></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEYV3aUTeO73rfQJR23bd7jqLXX3wX61M8HoNScl1rwJIwN7CzMBnsQBwAutkw8t0agLHq0v70jkVuAtjg7sk_mnGQTsTB2cNKYU39BVrl1AKhzU2SPKGu9xB3l-8j39UQr3a-fZ-q4mgQSTDCd_87Lo1UwHZpCz82o1lBo71Gtz4iBZmT_AAwMUm9YTM/s640/Of%20Paper.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="336" data-original-width="640" height="168" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEYV3aUTeO73rfQJR23bd7jqLXX3wX61M8HoNScl1rwJIwN7CzMBnsQBwAutkw8t0agLHq0v70jkVuAtjg7sk_mnGQTsTB2cNKYU39BVrl1AKhzU2SPKGu9xB3l-8j39UQr3a-fZ-q4mgQSTDCd_87Lo1UwHZpCz82o1lBo71Gtz4iBZmT_AAwMUm9YTM/s320/Of%20Paper.jpg" width="320" /></a></div><br /><span lang="EN-US" style="font-size: 14pt; line-height: 107%; mso-ansi-language: EN-US;"><o:p></o:p></span><p></p>
<p class="MsoNormal"><span lang="EN-US" style="font-size: 14pt; line-height: 107%; mso-ansi-language: EN-US;">The exhibition <b>ONPAPEROFPAPER </b>was<b> </b>curated
by the architect and sculptor of paper folds Ankon Mitra and Apparao Gallery on
occasion of <b>INDIA ID – art – design – architecture</b>, February 15 – 18,
2024 at NSIC Grounds, Okhla, Delhi.<b><o:p></o:p></b></span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-size: 14pt; line-height: 107%; mso-ansi-language: EN-US;">75 exhibitors mainly from India showed their work with
paper in a C-shaped space surrounding the inner symposium hall at the venue.
One half of the C - shape was dedicated to white works, the other half to
colored work.<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-size: 14pt; line-height: 107%; mso-ansi-language: EN-US;">To understand the selection of work it is necessary to
investigate Ankon Mitra’s own work and his passion. <o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-size: 14pt; line-height: 107%; mso-ansi-language: EN-US;">Ankon Mitra is the director of “The Folded Universe”
and has taken up the old traditional Japanese technique of origami <i>(ori
meaning folding and kami meaning paper</i>) which originated in 17<sup>th</sup>
century <span style="mso-spacerun: yes;"> </span>in Japan and taken it to new
heights. He has named his branch Oritecture.<span style="mso-spacerun: yes;">
</span>Many architects start sketching their ideas on tracing paper and build
their models in paper, but Ankon’s ideas begin by folding and shaping paper,
dealing with three dimensionality and mathematics. He is obsessed with the
fold. His models mainly turn out in paper but can also be produced in metal or
other material. After Ankon has created his models, his studio staff will help
produce often very large constructions.<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-size: 14pt; line-height: 107%; mso-ansi-language: EN-US;">Ankon is passionate about paper in all its forms and
has taken on a tremendous amount of work to organize OnPaperOfPaper in
collaboration with Apparao Gallery and his staff. It is admirable to contribute
to the reawakening of paper in India, which is needed. One of his aims is to
make an Indian Paper Triennale. Several countries in the world have since 1986
set up one Paper Biennale after the other, so why not india? <o:p></o:p></span></p>
<p class="MsoNormal"><span lang="en-DK" style="font-family: "Times New Roman",serif; font-size: 14pt; line-height: 107%;">When the need for something begins to
vane, a society invests the material itself with cultural value. The use we
formerly made of paper changes, and we focus on paper as a medium – a medium
for artistic expression</span><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 14pt; line-height: 107%; mso-ansi-language: EN-US;">.</span><span lang="EN-US" style="font-size: 14pt; line-height: 107%; mso-ansi-language: EN-US;"><o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-size: 14pt; line-height: 107%; mso-ansi-language: EN-US;">The group of exhibitors, designers, architects and
artists, Ankon had invited were mainly from India, which gave a good
opportunity to observe how far the direction of expression in paper has moved
in India in relation to the tremendous amount of possibilities cellulose has to
offer. We were a handful from Europe and the USA.<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-size: 14pt; line-height: 107%; mso-ansi-language: EN-US;"><span style="mso-spacerun: yes;"> </span>In the
exhibition only approximately 10 out of 75 showed work made with handmade
paper. The rest of the participants were using industrial produced paper or
mould made paper, recycled paper, cardboard, or honeycomb. Many works were
diverse paper cuts, and origami, some stitched paper, rolled paper, or cut ups
in white or colored industrial paper. Some work was made of paper maché, crepe
paper, others were made with paper crochet, paper knitting, paper twine, macramé
or found paper It gave an overall variety of available paper, one can buy, but
I missed to see the many technical possibilities handmade paper can offer.
Handmade paper can express a soul in an artwork and the real fundamental knowledge
of what kind of paper <span style="mso-spacerun: yes;"> </span>material one uses
was not present in many of the works, although there was an incredible amount
of work. It somehow floated together in and out of the brownish box like
display. The bombardment had its impact as an overwhelming symphony of a need
to express in any paper most often in an architectural or design direction,
very often with an underline of craft more than art. Unfortunately, the
lightning was not good enough, which must be excused. It was not an easy task
to display so much work within the space and to adjust light depending on a
wood beam construction, covered with jute cloth.<o:p></o:p></span></p>
<p class="MsoNormal"><b><span lang="EN-US" style="font-size: 14pt; line-height: 107%; mso-ansi-language: EN-US;">Handmade paper</span></b><span lang="EN-US" style="font-size: 14pt; line-height: 107%; mso-ansi-language: EN-US;">.<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-size: 14pt; line-height: 107%; mso-ansi-language: EN-US;">Handmade paper is defined by dipping a mould with
deckle into a vat with fiber and water and lifting the mould, so the water can
drain. In a handmade paper the fiber is intertwined within the paper space,
which makes the handmade paper strong. Its capacities depend on beating time,
water quality and the fiber which has been used. Handmade paper can be made
very<span style="mso-spacerun: yes;"> </span>thin and take on an immense
variety. Pulp can be obtained from all plant cells. Cellulose must be extracted
from the plants: non wood pulp from linen, flax seed, kozo, gampi, mitsumata,
lokta bark, bamboo, wheat or rice straw, jute, esparto grass, elephant grass,
sunn hemp, kenaf, nettle – the possibilities are endless. Textile rags can be
used, which is most often the case in India and of course recycled paper, which
is not always sustainable. The floating pulp can of course be used as well and
cast on plaster or other material to obtain the final expression. <o:p></o:p></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span lang="en-DK" style="font-family: "Times New Roman",serif; font-size: 14pt; line-height: 107%; mso-bidi-font-weight: bold;">A characteristic
feature of </span><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 14pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;">handmade </span><span lang="en-DK" style="font-family: "Times New Roman",serif; font-size: 14pt; line-height: 107%; mso-bidi-font-weight: bold;">paper as a
material is that it has aspects belonging to history, geography, biology,
ecology, cultural history and aesthetics. It is a material meeting</span><span lang="en-DK" style="font-family: "Times New Roman",serif; font-size: 14pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;"> </span><span lang="en-DK" style="font-family: "Times New Roman",serif; font-size: 14pt; line-height: 107%; mso-bidi-font-weight: bold;">most of the requirements that artists may have for a
material for graphics, painting, sculpture, photo, installation,
interior/exterior design/architecture, fashion, furniture, lighting, books,
music, and performance. Work expressed in and with </span><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 14pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;">handmade </span><span lang="en-DK" style="font-family: "Times New Roman",serif; font-size: 14pt; line-height: 107%; mso-bidi-font-weight: bold;">paper has a clear and definable style.<o:p></o:p></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 14pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;">So how come most part of the exhibitors is not experimenting with
handmade paper? After talking with many of them, I realized that many do not
have an insight into the history of paper nor the Indian paper history or the
variety of possible materials and techniques that papermaking has to offer. <o:p></o:p></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 14pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;"><o:p> </o:p></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 14pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;">Each country has a history of paper which often reflects the history of
the country. So let us look shortly on India’s paper history.<o:p></o:p></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 14pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;"><o:p> </o:p></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 14pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;">In India textile ranks the highest within the arts and crafts, paper
ranks the lowest. There is no respect for paper and no knowledge about the
handmade paper process. Paper is sold with the label “handmade paper” even
though it is not. One of the exhibitors told me she had bought and used
handmade hemp paper even though it was clearly mould made. Mould made paper
simulates handmade paper. The mould is not held by the hands but replaced by a
rotating cylinder, which picks up the paper pulp from the vat in a mechanized
process. The paper has a length, which the stronger handmade paper does not
have.<o:p></o:p></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 14pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;"><o:p> </o:p></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 14pt; line-height: 107%; mso-ansi-language: EN-US;">Paper is not just paper but has to do with cultural
history and aesthetics</span></b><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 14pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;">.<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-size: 14pt; line-height: 107%; mso-ansi-language: EN-US;"><o:p> </o:p></span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-size: 14pt; line-height: 107%; mso-ansi-language: EN-US;">The art of creating handmade paper in India has a
“wounded” history. The more than 2000 -year-old craft, invented in China,
travelled via Korea and Japan towards the West. It took 1000 years before it
reached Europe and more than 1000 years to reach India. Some claims that paper
could have been invented in India in 250 B.C. (Chauhan and Meena). The general
opinion is that handmade paper was introduced to Northern India in the 13<sup>th</sup>
century by Arab merchants.<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-size: 14pt; line-height: 107%; mso-ansi-language: EN-US;">Before The Mughal Empire, 1526 – 1857, paper can only
have been used by very few for religious purpose in the very Northern part of
India. Coming from Central Asia the Mughal emperor Babur brought his craftsmen
to document mainly his life at the imperial court in writing and miniature
painting. He brought Kagzi families, who could produce handmade paper from hemp
and jute. It is interesting to compare the handmade paper history during the
Renaissance in Europe 14<sup>th</sup> – 17<sup>th</sup> century to the history
of handmade paper during the Mughal Empire. Never has more beautiful and
long-lasting handmade paper been produced. Mughals played a great role in the
flourishing of the Indu – Islamic civilization and were patrons of art, culture,
architecture and literature.<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-size: 14pt; line-height: 107%; mso-ansi-language: EN-US;">With The British Empire – British Raj, 1858 – 1947,
the Kagzi families began suffering as the British forced India to give
preferential treatment to foreign goods: industrial English paper. The Kagzi
families struggled to survive.<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-size: 14pt; line-height: 107%; mso-ansi-language: EN-US;">Gandhi, 1869 – 1948, urged the Indian population to
spin their own cotton, a movement named Khadi (derived from Khaddar”, a term
used for handspun Indian fabric), part of his Swadeshi movement, established
for social and economic reasons, as a protest of British goods. Gandhi is often
seen on posters and photos sitting in front of his spinning wheel, spinning his
own cotton. Implied in the movement is that everybody can spin and weave their
own cloth, and everybody can make handmade cotton paper out of rags! This
further put pressure on the Kagzi families, who for many generations had been
trained in the old craft. Implied is also a lack of respect for tradition,
skill, and generations’ knowledge about the art of papermaking. <o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-size: 14pt; line-height: 107%; mso-ansi-language: EN-US;">The above historical periods ruined the former
beautiful handmade paper quality; the art deteriorated and handmade Indian
paper turned into a production of cotton rag paper, waste material from textile
units which in the 21st century often is mixed with synthetic fibers that
create knots in the final handmade sheet. <o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-size: 14pt; line-height: 107%; mso-ansi-language: EN-US;">When I asked some of the exhibitors why they do not
use handmade paper, their reply was: it is too thick and not flexible enough.
This answer expresses a lack of knowledge of how fibers can be produced. It has
to do with fiber material, water quality and beating time. (Beating time takes
place in a stamper or a Hollaender beater). With that knowledge very strong and
very thin paper can be created – paper with a soul and expression that cannot
be replaced by industrial paper. Very few exhibitors had made their own paper
and few their own pulp.<o:p></o:p></span></p><p class="MsoNormal"><span style="font-size: 14pt;">Has the old art of papermaking survived in India?
There are very few places where the traditional method is in use. In Sanganer,
the Hussain family still uses the old method. In Kolkata Anupam Chakraborty
makes very fine handmade paper of plants and teaches as well, In Bangalore Blue
Cat produces mainly mould made paper. In Pune there are few places, but they do
not make paper as before. In the small village Kagzipura in Aurangabad, Maharashtra, they made handmade paper of cotton rags. INTACH - National Trust for Art and Cultural Heritage has held workshop here to train artisans and revive the craft.In Ahmedabad Kalamkhush Handmade Centre is about to be moved to another location, and in Udaipur their are two papermills producing mould made paper of cotton rags. Few artists hear and there are taking up the old craft and experiment with plants for example at bhasha.centre - Adivasi Academy. So, there is a handful, which is not much in such a
large country. And often paper producers claim that they make handmade paper,
which they do not.</span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-size: 14pt; line-height: 107%; mso-ansi-language: EN-US;">A panel discussion took place during the venue to
focus on an eventual Paper Triennale in India. In this context I find it is
important to define what one means when talking about paper. How does one
classify paper?<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-size: 14pt; line-height: 107%; mso-ansi-language: EN-US;">The very first paper biennale took place in Düren,
Germany, at the Leopold Hoesch Museum in 1986. The focus was on how handmade
paper could be used as an artistic means of expression. Then after a while this
original beginning began to spread into paper biennales in many more countries
All kinds of paper of industrial produced thin white or colored synthetic paper
sheets, made of synthetic resin, made to have properties like paper and a
multitude of many other qualities of paper appeared. The Italian Lucca biennale
is sponsored by the carboard industry, so the biennale shows an enormous number
of cardboard sculptures on every corner of the streets.<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-size: 14pt; line-height: 107%; mso-ansi-language: EN-US;">We live in the 21<sup>st</sup> century where we are
all threatened by climate change. We must think about sustainability and bio
production. In this context handmade paper is a good choice Further it speaks
to our 5 senses: handmade paper has a sound, it can be eaten (think about John
Cage’s Edible Papers), plant paper has a smell of nature, it has tactility and
visually it attracts the eye.<o:p></o:p></span></p>
<p class="MsoNormal" style="background: white; vertical-align: baseline;"><span lang="en-DK" style="background: white; color: black; font-size: 14pt; letter-spacing: -0.05pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-color-alt: windowtext;">Artists working with handmade paper are
experimenting with numerous plant fibres and have always for the most parts
worked sustainable and pointed towards the many possibilities of paper.
Parallel with the growth of technology and globality a plant/paper research and
innovation have and are taken place on all possible levels.</span><span lang="EN-US" style="background: white; color: black; font-size: 14pt; letter-spacing: -0.05pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-color-alt: windowtext;"> The
biodegradable mushroom mycelium has been taken up by designers and architects
to make new products.</span><span lang="EN-US" style="background: white; font-size: 14pt; letter-spacing: -0.05pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><o:p></o:p></span></p>
<p class="MsoNormal" style="background: white; vertical-align: baseline;"><span lang="en-DK" style="background: white; color: black; font-size: 14pt; letter-spacing: -0.05pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-color-alt: windowtext;">Scientists have experimented with
seaweed as insulation material and </span><span lang="en-DK" style="color: black; font-size: 14pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">plan to make the seaweed insulating material in sheet form.</span><span lang="en-DK" style="color: black; font-size: 14pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"> </span><span lang="en-DK" style="color: black; font-size: 14pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Now "balls of the
Neptune" are gathered </span><span lang="EN-US" style="color: black; font-size: 14pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">manually </span><span lang="en-DK" style="color: black; font-size: 14pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">on the coast</span><span lang="EN-US" style="color: black; font-size: 14pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"> of the
Mediterranean</span><span lang="en-DK" style="color: black; font-size: 14pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"> and
are imported to Germany from Tunisia and Albania. The insulating material from
seaweed under the name NeptuTherm is offered today </span><span lang="EN-US" style="color: black; font-size: 14pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">o</span><span lang="en-DK" style="color: black; font-size: 14pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">n the market by the German company
of the same name.</span><span lang="EN-US" style="background: white; font-size: 14pt; letter-spacing: -0.05pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><o:p></o:p></span></p>
<p style="background: white; line-height: 115%; margin-bottom: 11.25pt; margin-left: 0cm; margin-right: 0cm; margin-top: 0cm; margin: 0cm 0cm 11.25pt;"><span face=""Calibri",sans-serif" lang="EN-GB" style="background: white; color: black; font-size: 14pt; letter-spacing: -0.05pt; line-height: 115%; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-color-alt: windowtext; mso-hansi-theme-font: minor-latin;">On the
internet one can find numerous models how to build NASA spacecraft models in
paper</span><span face=""Calibri",sans-serif" lang="EN-GB" style="border: 1pt none windowtext; color: #404040; font-size: 14pt; line-height: 115%; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-border-alt: none windowtext 0cm; mso-hansi-theme-font: minor-latin; padding: 0cm;"> </span><span face=""Calibri",sans-serif" lang="EN-GB" style="border: 1pt none windowtext; color: black; font-size: 14pt; line-height: 115%; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-border-alt: none windowtext 0cm; mso-color-alt: windowtext; mso-hansi-theme-font: minor-latin; padding: 0cm;">inspired by paper cutting and</span><span face=""Calibri",sans-serif" lang="EN-GB" style="border: 1pt none windowtext; color: #404040; font-size: 14pt; line-height: 115%; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-border-alt: none windowtext 0cm; mso-hansi-theme-font: minor-latin; padding: 0cm;"> </span><span face=""Calibri",sans-serif" lang="EN-GB" style="border: 1pt none windowtext; color: black; font-size: 14pt; line-height: 115%; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-border-alt: none windowtext 0cm; mso-color-alt: windowtext; mso-hansi-theme-font: minor-latin; padding: 0cm;">Nasa</span><span face=""Calibri",sans-serif" lang="EN-GB" style="border: 1pt none windowtext; color: #404040; font-size: 14pt; line-height: 115%; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-border-alt: none windowtext 0cm; mso-hansi-theme-font: minor-latin; padding: 0cm;"> </span><span face=""Calibri",sans-serif" lang="EN-GB" style="color: black; font-size: 14pt; line-height: 115%; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">seeking novel
folding/origami-based patterns and concepts for packaging a large radiation
shield within a single launch vehicle that can be deployed around a Mars
vehicle in cis-Lunar space. This challenge seeks creative ideas that can be
shown using diagrams, graphics, 3D models, or animations that at a minimum show
the stowed and deployed configurations.<o:p></o:p></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span lang="en-DK" style="color: black; font-size: 14pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Within
the paper ar</span><span lang="EN-US" style="color: black; font-size: 14pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">t</span><span lang="en-DK" style="color: black; font-size: 14pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"> the
future goes hand in hand with technology, 3d paper printing, </span><span lang="en-DK" style="background: white; color: black; font-size: 14pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-color-alt: windowtext;">computational origami, innovative and renewable materials,
that all</span><span lang="en-DK" style="background: white; color: #333333; font-size: 14pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"> </span><span lang="en-DK" style="color: black; font-size: 14pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">offer
opportunities for increased use of paper, and other cause changes in demand for
different grades of paper.<o:p></o:p></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span lang="en-DK" style="color: black; font-size: 14pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"><o:p> </o:p></span></p>
<p class="MsoNormal" style="background: white; margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 6.0pt; margin: 6pt 0cm 12pt;"><span lang="en-DK" style="color: black; font-family: "Times New Roman",serif; font-size: 14pt; line-height: 107%; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">The traditional
Chinese and Japanese technique of paper-cutting, the art of cutting unique
designs in paper, may be the key to the development of lightweight, super
portable, and sustainable power sources for devices including remote controls,
watches, and temperature sensors.<o:p></o:p></span></p>
<p class="MsoNormal" style="background: white; margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 6.0pt; margin: 6pt 0cm 12pt;"><b><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; font-size: 14pt; line-height: 107%; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">An Indian Paper Triennale?<o:p></o:p></span></b></p>
<p class="MsoNormal"><span lang="EN-US" style="font-size: 14pt; line-height: 107%; mso-ansi-language: EN-US;">It is important to learn from the past if one wants to
look far ahead. We create our work now, but also for the future, we do not
know. To create it is important to know one’s material in depth. Paper is not
just a surface, it contains nature: plants contain cellulose. Nature is the
force responsible for the appearance and transformation of any object or idea
that will ever exist.<o:p></o:p></span></p>
<p class="MsoNormal" style="background: white; line-height: normal;"><span lang="EN-US" style="color: black; font-size: 14pt; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">An interesting aspect could
be that India could lead the way for showing innovations in paper. Creating a
Triennale that specifies what paper truly is in its inner core. It is important
to make references to India’ s history of paper and the original historical way
of making paper. Only in this way can paper obtain respect as an art form in
India.<o:p></o:p></span></p>
<p class="MsoNormal" style="background: white; line-height: normal;"><span lang="EN-US" style="color: black; font-size: 14pt; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"><span style="mso-spacerun: yes;"> </span>Some of the latest innovations of paper are </span><span lang="en-DK" style="color: #202124; font-size: 14pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: #0C00;">Nanotechnology</span><span lang="EN-US" style="color: #202124; font-size: 14pt; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: #0C00;">,</span><span lang="en-DK" style="color: #202124; font-size: 14pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: #0C00;">
Biodegradable Paper</span><span lang="EN-US" style="color: #202124; font-size: 14pt; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: #0C00;">,</span><span lang="en-DK" style="color: #202124; font-size: 14pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: #0C00;"> Sustainable Manufacturing</span><span lang="EN-US" style="color: #202124; font-size: 14pt; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: #0C00;">,</span><span lang="en-DK" style="color: #202124; font-size: 14pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: #0C00;">
Micro-Fibrillated Cellulose (MFC) 3D Paper Printing</span><span lang="EN-US" style="color: #202124; font-size: 14pt; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: #0C00;">, which could be shown parallel with the use of
methods of the past.<o:p></o:p></span></p>
<p class="MsoNormal" style="background: white; line-height: normal;"><span lang="EN-US" style="color: #202124; font-size: 14pt; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: #0C00;"><o:p> </o:p></span></p>
<p class="MsoNormal" style="background: white; line-height: normal;"><span style="color: #202124; font-size: 14pt;">The initiative by Ankon
Mitra is admirable. With OnPaperOfPaper he made sure that paper came in focus
in Delhi and the observers were excited. He raised awareness of an almost lost
art form. For a future Paper Triennale support is needed. All the exhibitors
supported with their work and many by their presence and the social interaction
between the participants were important and inspiring for many. But support
must also come from foundations.</span></p>
<p class="MsoNormal" style="background: white; line-height: normal;"><span lang="EN-US" style="color: #202124; font-size: 14pt; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: #0C00;">In 2022-23 I curated the
exhibition Paper – A Cross-Cultural Voice with 7 Indian selected artists and 6
from Europe and USA. The focus was on handmade paper as an artistic means of
expression. The exhibition was supported by Danish Foundations and shown at The
ArtCenter Silkeborg Bad, Denmark, from Oct. 1, 2022 – Jan.8, 2023 and at the
Kasthurbhai Lalbai Museum in Ahmedabad from Feb.18. – March 18. 2023.<span style="mso-spacerun: yes;"> </span>The most important in curating this
exhibition was to raise awareness of <b>handmade paper as an artform</b> especially
in India. Out of the 7 Indian invited artists 5 were also exhibiting at the
OnPaperOfPaper exhibition. So small seeds have been planted for yet many more
exhibitions to come in India with focus on paper. <o:p></o:p></span></p>
<p class="MsoNormal" style="background: white; line-height: normal; tab-stops: 95.5pt;"><i><span lang="EN-US" style="color: #202124; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: #0C00;">Anne Vilsboell<span style="mso-tab-count: 1;"> </span><o:p></o:p></span></i></p>
<p class="MsoNormal" style="background: white; line-height: normal; tab-stops: 95.5pt;"><i><span lang="EN-US" style="color: #202124; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: #0C00;"><o:p> </o:p></span></i></p>
<p class="MsoNormal"><b><span lang="EN-US" style="font-size: 14pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Litterature on Indian Papermaking: <o:p></o:p></span></b></p>
<p class="MsoNormal"><span lang="EN-US" style="font-size: 14pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">One of the exhibitors: Neeta Premchand: </span><em><b><span face=""Calibri",sans-serif" lang="en-DK" style="background: white; color: #5f6368; font-size: 14pt; line-height: 107%; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">OFF THE DECKLE EDGE</span></b></em><span lang="en-DK" style="background: white; color: #4d5156; font-size: 14pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">, A PAPERMAKING
JOURNEY THROUGH INDIA</span><span lang="EN-US" style="background: white; color: #4d5156; font-size: 14pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"> - 1995</span><span lang="EN-US" style="font-size: 14pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><u><span lang="en-DK" style="color: #4d5156; font-size: 14pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: #0C00;"><a href="http://annevilsboll.blogspot.com%0D/">http://annevilsboll.blogspot.com<o:p></o:p></a> : check also Kagzi article from 2014</span></u></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><u><br /></u></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><u> A Cavalcade of few of the exhibited works:</u></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><u><br /></u></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZN2GKEuMTdnvJrlxiAeq1-LB2wah74MTodpiyBqNL6TxG1OiQnXwPfYfy4JQFN_hnXGQ6NhsG7yz0xt8kGbVmaGE_ODzJa2jfIm_ikXlSl176CUfY9E90gG0erpcm9MUl6vDdQFNAfUoNfBtK51GrjgHTlbvHpeUk8VcV3SeIW9KNnkdBcjAoVkpBScA/s640/Of%20Paper%201.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="622" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZN2GKEuMTdnvJrlxiAeq1-LB2wah74MTodpiyBqNL6TxG1OiQnXwPfYfy4JQFN_hnXGQ6NhsG7yz0xt8kGbVmaGE_ODzJa2jfIm_ikXlSl176CUfY9E90gG0erpcm9MUl6vDdQFNAfUoNfBtK51GrjgHTlbvHpeUk8VcV3SeIW9KNnkdBcjAoVkpBScA/s320/Of%20Paper%201.jpg" width="311" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><p></p><p align="center" class="MsoNormal" style="text-align: center;"><span lang="en-DK"> Ashwini
Bahri x Vasanth Packirisamy <o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"></div><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"></p><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqDQKX5z0iXACehqw0eeWILdSltOTBVFuIwnn1cFKwEXxl3a-v7p4YEUC-41fBw_IG8F7AnPP3GMqtHmfc94hn4JBYlJ0P6e5G2t4qwJu7R-sdHztnWh1vqAJ0bXnnXQmPgKnda5eLaQqnHTMnx-0qPdR8bVS98wKC9QjsXl_2ew53AT9Mw9Yz4WGPibA/s640/IMG_7576.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="416" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqDQKX5z0iXACehqw0eeWILdSltOTBVFuIwnn1cFKwEXxl3a-v7p4YEUC-41fBw_IG8F7AnPP3GMqtHmfc94hn4JBYlJ0P6e5G2t4qwJu7R-sdHztnWh1vqAJ0bXnnXQmPgKnda5eLaQqnHTMnx-0qPdR8bVS98wKC9QjsXl_2ew53AT9Mw9Yz4WGPibA/s320/IMG_7576.jpg" width="208" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">andblack.com</div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxBSNr6cYieirF9UcWUOgLqf89pnv1l2cVTfAqEK3My3qroU-tp5_g2wwKGXK-u3hfcHwzCMIIvwtqbbgj9DI9riFIXILJ5nEA56ZICtNIAB-AHD3nonBf8kT94W-Xt-GXs0h6AFmacTbFJ6rveBejKVpr5rBhjnB0-X0I1pQeIjDr7mAwveYsqy3YUoo/s385/IMG_7749.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="385" data-original-width="297" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxBSNr6cYieirF9UcWUOgLqf89pnv1l2cVTfAqEK3My3qroU-tp5_g2wwKGXK-u3hfcHwzCMIIvwtqbbgj9DI9riFIXILJ5nEA56ZICtNIAB-AHD3nonBf8kT94W-Xt-GXs0h6AFmacTbFJ6rveBejKVpr5rBhjnB0-X0I1pQeIjDr7mAwveYsqy3YUoo/s320/IMG_7749.jpg" width="247" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><p></p><p><span lang="EN-GB"> Parth
Kothekar <o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"></div><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgj5BTyRz3q-Lgoej-UYb0BVqrAoxNb-Q-4iCuV-UAt1WMDc8D_urDN3Zj6ztpFyEAgQgSlA-i4c8DKm738IhPowDlTVg8ju1y_h6UwsENLTVg84oubUBJBB-E57vpolP8bKGLLSsCbmEqxzGxqE6kEMc4Gt4TCUlbHfUHNSVPQKlSzfemkIWzwYUWjxxg/s867/IMG_7821.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="867" data-original-width="659" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgj5BTyRz3q-Lgoej-UYb0BVqrAoxNb-Q-4iCuV-UAt1WMDc8D_urDN3Zj6ztpFyEAgQgSlA-i4c8DKm738IhPowDlTVg8ju1y_h6UwsENLTVg84oubUBJBB-E57vpolP8bKGLLSsCbmEqxzGxqE6kEMc4Gt4TCUlbHfUHNSVPQKlSzfemkIWzwYUWjxxg/s320/IMG_7821.jpg" width="243" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><p></p><p align="center" style="text-align: center;"><span lang="EN-GB">Pippa Dyrlaga<o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"></div><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzaZTWYJr_slm-4IXx_eTTZ9MXcvIxS2PnEIgBeS1ascR5RL2Tb82nuEYA4NqD-4mdNboiX4-aZW3VoUPfjRhnVkoe3vB9kpt49VF0Q5WGrTwcdxewB72bE4CZLiR3aCIr5QZhzMtkRdZjPgeFoAS-ZJ_XlrICOrPdnSIWAELwBXFYqeO4RAP5iNyeG3k/s1135/IMG_7831.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="862" data-original-width="1135" height="243" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzaZTWYJr_slm-4IXx_eTTZ9MXcvIxS2PnEIgBeS1ascR5RL2Tb82nuEYA4NqD-4mdNboiX4-aZW3VoUPfjRhnVkoe3vB9kpt49VF0Q5WGrTwcdxewB72bE4CZLiR3aCIr5QZhzMtkRdZjPgeFoAS-ZJ_XlrICOrPdnSIWAELwBXFYqeO4RAP5iNyeG3k/s320/IMG_7831.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">Pratul Dash</div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDVksin3OHgw-fXo_oUBSXcUcmfGoLdlwsN-vjYrRIO-arrpN5OfLUxQ1YWIbm5czj7A7tuG-UvkSW7DuZ7zD3Dt7mpD6Q4qvz9tVl-YNJuMukliT_RMyOTvqhxnq-e1oMDCSlzE5ukILcGreX85Ck7qkp-fvkffOqit84s9U3R431-4uHhVqFq8v2_wU/s962/IMG_7833.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="962" data-original-width="686" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDVksin3OHgw-fXo_oUBSXcUcmfGoLdlwsN-vjYrRIO-arrpN5OfLUxQ1YWIbm5czj7A7tuG-UvkSW7DuZ7zD3Dt7mpD6Q4qvz9tVl-YNJuMukliT_RMyOTvqhxnq-e1oMDCSlzE5ukILcGreX85Ck7qkp-fvkffOqit84s9U3R431-4uHhVqFq8v2_wU/s320/IMG_7833.jpg" width="228" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><p></p><p align="center" style="text-align: center;"><span lang="EN-GB">Abhimanyu Singh x
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Joshi <o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"></div><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdt5wp3qvsTSWTvKqeJ7g5zcZhbsb7YF1sNGGYuLodB1VQpqcdlfvB5_v46q6tOq_7AUfnx6YTzmkL5OhE-gg2qBMs4plB1MBFvEEI1rNnBcOgNBxUv7CfZDnGaGSi9Z3PNhodsDYEin8JE0a8Vmhau2EBrKm67ttE7i8tWq9n0Mdip-B_dY2MSr_en0c/s640/IMG_7656.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="480" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdt5wp3qvsTSWTvKqeJ7g5zcZhbsb7YF1sNGGYuLodB1VQpqcdlfvB5_v46q6tOq_7AUfnx6YTzmkL5OhE-gg2qBMs4plB1MBFvEEI1rNnBcOgNBxUv7CfZDnGaGSi9Z3PNhodsDYEin8JE0a8Vmhau2EBrKm67ttE7i8tWq9n0Mdip-B_dY2MSr_en0c/s320/IMG_7656.jpg" width="240" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><p></p><p align="center" style="text-align: center;"><span lang="EN-GB">Deepti Nair x Hari
Panicker<o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"></div><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9MwHtmbWn0XHRSQ67RtIudMVJmf4KdJzILATl-SOi_cLX_30goTUn1IQNjivE1w7_pkLYjBs_NSL8LpX4JI1Ii4QpnFB0moym5VCavC4L3eTCk-EXFdz2wFafHBlwxWfobpGiQS3E4z_yJgJomdYy1gP-y3ZcKMkAzjU-u7_fX3WWmMaDf_R71CTzYYM/s640/IMG_7658.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="402" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9MwHtmbWn0XHRSQ67RtIudMVJmf4KdJzILATl-SOi_cLX_30goTUn1IQNjivE1w7_pkLYjBs_NSL8LpX4JI1Ii4QpnFB0moym5VCavC4L3eTCk-EXFdz2wFafHBlwxWfobpGiQS3E4z_yJgJomdYy1gP-y3ZcKMkAzjU-u7_fX3WWmMaDf_R71CTzYYM/s320/IMG_7658.jpg" width="201" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><span face=""Calibri",sans-serif" lang="en-DK" style="font-size: 11pt; line-height: 107%; mso-ansi-language: #0C00; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"> Piyusha
Patwardhan </span></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSaBKzCfuihmZGJsoxTNVn-3Dv0T5_pDT-jMtNVgUbM5dFm_NT7iYzoikgypc9kIZ3-iGIuFVnotDDL1czEbncQrUBPdNoZzzSWHBUm1icVdnzQqJQnC2PSsBAbjJCzn0qWSxc6dW_7EZh-CmflXJzp54LERZY-3sdJ_UxN8opqYWduMrkJKrdbhOuO9U/s640/IMG_7670.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="480" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSaBKzCfuihmZGJsoxTNVn-3Dv0T5_pDT-jMtNVgUbM5dFm_NT7iYzoikgypc9kIZ3-iGIuFVnotDDL1czEbncQrUBPdNoZzzSWHBUm1icVdnzQqJQnC2PSsBAbjJCzn0qWSxc6dW_7EZh-CmflXJzp54LERZY-3sdJ_UxN8opqYWduMrkJKrdbhOuO9U/s320/IMG_7670.jpg" width="240" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><p></p><p align="center" style="text-align: center;"><span lang="EN-GB"> Olie/Amrita
Nambiar <o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"></div><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhatpzhbt1c8tioJUPo0PEllLWdnj76C5yiWKvaGScX7CoHfsOLOw1VNLWvwy0__Mzeeu2hh3Dd020G9S4vQD-SGBv6EvA1Pcetmn3oXJCY4gLq09AlPMo8Ax95kRatKyOJBIr5H0dgo0VmywCDMUequTAj6c8hMQPh8wRzcd5bvS9Zk0XUKeIhHSg2Xc/s640/IMG_7675.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="398" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhatpzhbt1c8tioJUPo0PEllLWdnj76C5yiWKvaGScX7CoHfsOLOw1VNLWvwy0__Mzeeu2hh3Dd020G9S4vQD-SGBv6EvA1Pcetmn3oXJCY4gLq09AlPMo8Ax95kRatKyOJBIr5H0dgo0VmywCDMUequTAj6c8hMQPh8wRzcd5bvS9Zk0XUKeIhHSg2Xc/s320/IMG_7675.jpg" width="199" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><p></p><p align="center" style="text-align: center;"><span lang="EN-GB">Abhishek Chakraborty<o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"></div><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrnReEdgLu8qmDHl6wffs-vptXIhRXKdRr35KP8ZGZatVQ1XJf-JIHmTJOLfB22OEWT0WHHI_H5xkHtyvh6t4z8YZze4O7ptouCpG1_8sSHxW8oJibzhin4rgoeXm1yllPVTK2PQf4FHjUbnSmp5HraaUah7mk9qnxthyphenhyphenSS3yLtJelsmjNsohjVT72tRE/s640/IMG_7681.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="480" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrnReEdgLu8qmDHl6wffs-vptXIhRXKdRr35KP8ZGZatVQ1XJf-JIHmTJOLfB22OEWT0WHHI_H5xkHtyvh6t4z8YZze4O7ptouCpG1_8sSHxW8oJibzhin4rgoeXm1yllPVTK2PQf4FHjUbnSmp5HraaUah7mk9qnxthyphenhyphenSS3yLtJelsmjNsohjVT72tRE/s320/IMG_7681.jpg" width="240" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Bandana Jain</span></div><div class="separator" style="clear: both; text-align: center;"><br /></div><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span lang="en-DK" style="font-family: "Times New Roman",serif; font-size: 14pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: #0C00;"><o:p> </o:p></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisfPPFrkkl4GrQfIPVk6GhOPq9nUTJssHQl1Xxhgk99DnybVS9Yp0GDNKPN6rdz3W36lz6_eHHYCkxykc0ZSkD8YfO3u_-jLUpOlZ0A49o4d3GwXM78hr4DO6u4QtnBOCp5M3hYfmAMVc4zBQ7SFCWaN80KEbqH4CZHb4blUKF1u3DSxozZuvnNzRYGTo/s640/IMG_7686.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="462" data-original-width="640" height="231" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisfPPFrkkl4GrQfIPVk6GhOPq9nUTJssHQl1Xxhgk99DnybVS9Yp0GDNKPN6rdz3W36lz6_eHHYCkxykc0ZSkD8YfO3u_-jLUpOlZ0A49o4d3GwXM78hr4DO6u4QtnBOCp5M3hYfmAMVc4zBQ7SFCWaN80KEbqH4CZHb4blUKF1u3DSxozZuvnNzRYGTo/s320/IMG_7686.jpg" width="320" /></a></div><br /><p></p>
<p class="MsoNormal"><span lang="EN-US" style="line-height: 107%;"><o:p><span style="font-size: 16pt;"> </span> Anne Vilsboell</o:p></span></p>anne vilsboellhttp://www.blogger.com/profile/14366440366846810932noreply@blogger.com0tag:blogger.com,1999:blog-8716323595673466152.post-32819245631554641882020-06-19T02:44:00.002-07:002020-06-19T02:44:49.387-07:00INDIAN ARTIST - handmade paper as an artistic means of expression/research/short version<div dir="ltr" style="text-align: left;" trbidi="on">
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<i style="mso-bidi-font-style: normal;"><span style="color: #222222; font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"><span style="mso-spacerun: yes;"> </span></span></i><b style="mso-bidi-font-weight: normal;"><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">INDIAN ARTIST - </span></b><i style="mso-bidi-font-style: normal;"><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">handmade paper as an
artistic means of expression<o:p></o:p></span></i></div>
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<span style="color: black; font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Visiting the Kochi Muziris Biennale and
the Delhi Art Fair 2018-19 I noticed a growing interest in using handmade paper
as an artistic means of expression among the exhibiting Indian artists.. Here
I’m not talking about artists buying handmade paper to draw and paint on, but
artists who use pulp, their own produced paper or manipulate pulp and paper in
untraditional ways as an artistic statement.<o:p></o:p></span></div>
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<span style="color: black; font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Since 2000 I have returned to India each
year, focusing on and following the development of its contemporary art scene
as well as tried to locate the remnants of the old papermaking tradition in
India during extensive travels.<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: 14.85pt; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<span style="color: black; font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">In an attempt to get an insight in the
development of handmade paper as an artistic means of expression in India, a
questionnaire was sent with to the following artists:<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Anupam Chakraborty, Jenny Pintu, Kulu Ojha, Neeta Premchand, Radha
Panday, Ravikumar Kashi, Shantamani Muddaiah and Sudipta Das. <o:p></o:p></span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixRaN5znI9_VLIALGhHtsNU4qZTFgxkVq1t-RUeYiVgIv0wdMLbU0UIzxNLIB5lwMpETRssWg6ro2q0v4z3gJkdq2reDHkvS5PXhZW9kPou61Ay3CUVJ647REIA99wDMmYDp8RBcxfxmw/s1600/Sudiptas+work+Soaring+to+Nowhere.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1334" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixRaN5znI9_VLIALGhHtsNU4qZTFgxkVq1t-RUeYiVgIv0wdMLbU0UIzxNLIB5lwMpETRssWg6ro2q0v4z3gJkdq2reDHkvS5PXhZW9kPou61Ay3CUVJ647REIA99wDMmYDp8RBcxfxmw/s320/Sudiptas+work+Soaring+to+Nowhere.jpg" width="266" /></a></div>
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<span style="color: black; font-family: "Times New Roman", serif; font-size: 12pt;"><o:p><b> </b><i>Sudipta Das, Soaring to Nowhere, Hanji paper and watercolour, 48 x 48 x 36 inches, 2018. Courtesy Lattitude Gallery </i></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"><o:p><i><br /></i></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"><o:p><br /></o:p></span></b></div>
<div class="MsoNormal" style="background: white; line-height: 14.85pt; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">The following is answers by the questioned artists to 13 questions: <o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">1</span></b><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">: <b style="mso-bidi-font-weight: normal;">Where and from whom did you
learn to make paper? <o:p></o:p></b></span></div>
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<span style="color: black; font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">When I compare the answers to question 1 the majority of the questioned
artists have learnt papermaking abroad: three from Jacki Parry at Glasgow
School of Art, </span><span style="background: white; font-family: "Times New Roman","serif"; font-size: 12.0pt;">an Australian born artist, printmaker, papermaker, former
lecturer at the Glasgow School of Art and a founding member of the Glasgow
Print Studio and the Paper Workshop,</span><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"> two in Korea by Chang Son and Seong
Woo and also Puli Paper Mill in Taiwan, one at the Paper Institute in Kochi,
Japan, from Hamada San, and one in USA by Catherine Nash and Timothy Barrett.
One is self-taught and has taken a workshop at Kumarappa Handmade Paper Inst.,
Sanganer, Jaipur.<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="background: white; color: #222222; font-family: "Times New Roman","serif"; font-size: 12.0pt;">2: Why did you choose to work with paper – what
is it you find interesting about paper?<o:p></o:p></span></b></div>
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<span style="background: white; color: #222222; font-family: "Times New Roman","serif"; font-size: 12.0pt;">Sudipta
Das answers: <i style="mso-bidi-font-style: normal;">My encounter with the
contextualised use of paper as a medium for my work started as a solution to
the technical difficulty I was facing during my education in Santiniketan. As I
started working with memories, personal histories and the layered presence of
history in our identity, I was collecting historical evidence and other
documents which have carried history through photography. It is from this
desire to use those photographic</i> <i style="mso-bidi-font-style: normal;">images
that I started working with paper. Soon I found that paper is one of the best
mediums for my expression as its fragility and its ability to absorb tints of
colours can be contextualised with the histories of fragmentation and the
layers of memory that I worked with. It is from this aspect that paper becomes
an important way for me to express and contextualise my personal histories of
migration and the anxieties of being an immigrant.</i><o:p></o:p></span></div>
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<span style="background: white; color: #222222; font-family: "Times New Roman","serif"; font-size: 12.0pt;">Anupam
Chakraborty, who has chosen to place paper in the centre of his artistic praxis
since 20 years cannot think of any other medium that can be equally
fascinating. He states: <i style="mso-bidi-font-style: normal;">only those who
have made paper themselves can get the experience of the versatility of
papermaking</i>. Ravikumar Kashi points out the tactile quality, the
malleability and organic nature with a long and ancient history, connected to
knowledge/books. He finds it a challenge to lift handmade paper out of its
stigma as belonging to craft. All the questioned artists find that pulp and
paper contain tactility, texture - ality, fragility, two - and three
dimensional possibilities and that the more you experiment with it the more
doors will open for manipulation.<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">3: Do you consider yourself a hand papermaker or a
paper artist, and do you feel there is a difference? </span></i></b><i style="mso-bidi-font-style: normal;"><span style="color: #222222; font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"><o:p></o:p></span></i></div>
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<i style="mso-bidi-font-style: normal;"><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">There is a widespread
agreement among the interviewed artists that there is a difference between a
hand papermaker and a paper artist.<o:p></o:p></span></i></div>
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<i style="mso-bidi-font-style: normal;"><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">None of them consider
themselves hand papermakers. Radha states: hand papermakers work with qualities
of the sheet that make it suitable for specific works. Jenny considers herself
a paper artist and that the difference is in vision, interpretation and output;
she says that one has to understand the material. Ravikumar considers himself a
paper artist, but he does not want to be labelled as one, as he also uses other
materials. He says that a hand papermaker makes paper for its own sake. Anupam
considers himself a paper artist and that refers to a creative individual,
involved with handmade paper as a means of artistic expression. Kulu says that
technically he might be a considered a paper artist; his actions are solutions
to a number of environmental issues. Shantamani is a sculptor and installation
artist, who explores fibres and pulp for architectural and sculptural forms,
and she states the same as Kulu that her actions are<b style="mso-bidi-font-weight: normal;"> </b>solutions to a number of environmental issues. Sudipta will rather
call herself a visual artist, but do not oppose to anyone calling her paper
artist, as she primarily work with paper. She writes that categorisation just
on the basis of mediums are shallow and constricting without the understanding
of how paper or papermaking becomes a medium of expression.<o:p></o:p></span></i></div>
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<span style="background: #FDFDFD; font-family: "Times New Roman","serif"; font-size: 12.0pt;">Jenny is right, that the more one knows one’s material the
choice of artistic output grows and becomes richer. It means a lot to commit
oneself to work professionally with paper and it will, if you give in to this
medium, absorb you profoundly as one will discover that it contains everything
and can be everything. As Kulu says: <i style="mso-bidi-font-style: normal;">the
language of paper surpasses the language of man. <o:p></o:p></i></span></div>
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<span style="background: #FDFDFD; font-family: "Times New Roman","serif"; font-size: 12.0pt;">Concerning categorization: society loves categorizations to
get things under control. The importance here is that an artist is proud of her
or his professional choice. I find a slight hesitation in the answers among the
questioned artists towards being labelled and I think it is due to the
ingrained Indian perception of craft versus art issue, which we will touch upon
in the following. Neeta has an interesting remark: during her studies she
wanted to know the difference between how paper was looked upon in India and
Japan. In Japan it is an art to make paper and there is respect for the craft
and the craftsman. She finds that there is a lack of respect for paper in
India.<o:p></o:p></span></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhJ_d7-T2LlSRnR85w8AMzY7XfLnqR5AMG9Cr0Jxi-BZnW_Iw2N9GJfZvwbjPEVybD-bX_B3jEw00vozR50sHJmxXjL6m_NeJjwc5X08QmaMzwleEx-bX2pQAIamZ0ZBNBUelfavzGsxg/s1600/Shantamanis+vaerk.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1067" data-original-width="1600" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhJ_d7-T2LlSRnR85w8AMzY7XfLnqR5AMG9Cr0Jxi-BZnW_Iw2N9GJfZvwbjPEVybD-bX_B3jEw00vozR50sHJmxXjL6m_NeJjwc5X08QmaMzwleEx-bX2pQAIamZ0ZBNBUelfavzGsxg/s320/Shantamanis+vaerk.JPG" width="320" /></a></div>
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<span style="background: #FDFDFD; font-family: "Times New Roman","serif"; font-size: 12.0pt;"><br /></span></div>
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<i style="mso-bidi-font-style: normal;"><span style="color: #222222; font-family: "Times New Roman","serif"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">“Life in Our hands" a community
project done with Settle Stories, Yorkshire, UK<o:p></o:p></span></i></div>
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<i style="mso-bidi-font-style: normal;"><span style="color: #222222; font-family: "Times New Roman","serif"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Video with Cotton rag pulp<o:p></o:p></span></i></div>
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<i style="mso-bidi-font-style: normal;"><span style="color: #222222; font-family: "Times New Roman","serif"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">4x3 meters, 2019<o:p></o:p></span></i></div>
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<i style="mso-bidi-font-style: normal;"><span style="color: #222222; font-family: "Times New Roman","serif"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Photo credit: Mallikarjun Katakol<o:p></o:p></span></i></div>
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<i style="mso-bidi-font-style: normal;"><span style="color: #222222; font-family: "Times New Roman","serif"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Shantamani<o:p></o:p></span></i></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"><o:p> </o:p></span></b><b><span style="font-family: "Times New Roman", serif; font-size: 12pt;"><o:p> </o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">4. Do you teach
others papermaking?<o:p></o:p></span></b></div>
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<span style="color: black; font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">All the inquired artists have given paper workshops in one way or
another<span style="mso-spacerun: yes;"> </span>apart from Kulu, who is”trending
“ people to use paper as their primary subject for art. Jenny teaches only
design interns and has given bookbinding workshops. Shantamani has guided a
rural woman sustainable project through paper products and given few workshops.
Sudipta teaches children now and then and organizations on invitation, Radha teaches
and give lectures in India and aboad and Neeta has given workshops in England,
Switzerland and India. Ravikumar have conducted workshops in his studio, at art
schools, architectural colleges and art museums.<o:p></o:p></span></div>
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<span style="color: black; font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Since 2005 Anupam, who has founded the Nirupama Academy of Handmade
Paper in Kolkata, is offering hands-on training/ workshops to individuals,
groups, students at academic institutions, government<b style="mso-bidi-font-weight: normal;"> </b>and non- government<span style="mso-spacerun: yes;">
</span>organizations employees at his Academy and elsewhere. He states that he
has taught more than thousand individuals.<o:p></o:p></span></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">5: Have you studied
the history of paper in India or abroad?<span style="mso-spacerun: yes;">
</span>If you have ever visited paper mills and paper artists in other
countries, what were your impressions?<o:p></o:p></span></b></div>
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<span style="background: white; color: #222222; font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Radha: <i style="mso-bidi-font-style: normal;">I
studied Japanese papermaking formally first with Catherine Nash at Haystack
Mountain School of Craft in Maine, US for three weeks (2005). Four years after
this I went to the Philippines to study with Asao Shimura for 2-3 weeks. I
learned how to make western style papers but using a su/geta( Japanes mould for
papermaking) <span style="mso-spacerun: yes;"> </span>with banana fibres, Kozo as
well as pineapple fibres. I also learned how to make shifu (Japanese paper
thread), and learned about growing and using konnyaku( Japanese impregnated
paper). It was a huge learning to see artiss in their own studios and spaces
and notice how their work space was made to fit their needs. Asao got a lot
done with very simple set ups and very simple machines. </i><o:p></o:p></span></div>
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<i style="mso-bidi-font-style: normal;"><span style="color: #222222; font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">The next
paper-related international travel was to the Friends of Dard Hunter conference
in 2010 where I met Timothy Barrett, Peter Thomas, David Reina, Jim Croft and
Catherine Nash again and others. Here I decided to apply to the University of
Iowa Center for the Book graduate program and started there in 2011. The
following year I visited the historic mill in Capellades, Spain. It was amazing
to see all the history we had been learning about in school come to life.
The year after that I went for the IAPMA* conference in Fabriano, Italy,
another eye opening experience to see historical examples of watermarking
technology and tools; as well as meeting others in the field and hear about
their work in paper. As for books along the way before I went to Iowa</span></i><span style="color: #222222; font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"> <i style="mso-bidi-font-style: normal;">- I read</i>: <i style="mso-bidi-font-style: normal;"><o:p></o:p></i></span></div>
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<span style="color: #222222; font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"><span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">A Papermakers Companion</i>, by Helen Heibert, <i style="mso-bidi-font-style: normal;">The Complete Book of Papermaking</i> by Josep Asunción, <i style="mso-bidi-font-style: normal;">Off the Deckle Edge</i> by Neeta Premchand<o:p></o:p></span></div>
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<span style="color: black; font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Ravikumar says in one of his answer: <i style="mso-bidi-font-style: normal;">People
find it (making paper) interesting, but not many continue the exploration.<o:p></o:p></i></span></div>
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<span style="color: black; font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Anupam has after his stay with Jacki Parri for half a year at Glasgow
School of Art in Scotland, where he got an insight in Western and Eastern
papermaking techniques, mostly done research via books and articles. He has
visited Dieu Donne Paper and Carriage House Paper in NY, Two American well known
places in the paper world with a very fine set up.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="color: black; font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Jenny has interned with Helen Hiebert in Portland, Oregon and met with
many US based paper artists. She has visited Dieu Donne,</span><i style="mso-bidi-font-style: normal;"><span style="color: #222222; font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"> </span></i><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">NY, <span style="color: black;">visited one IAPMA*
exhibition and done 3-4 workshops in book binding in the US. Apart from that
she has visited paper mills in Pune, India, a kagzi in Sanganer and
Pondicherry. Jenny writes that she was impressed with many of the artists’ work
in the West and she thinks Indian artists should be more exposed to
possibilities of the material.</span><span style="color: #222222;"><o:p></o:p></span></span></div>
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<span style="color: black; font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Kulu has never studied the handmade paper and Shantamani, Ravikumar and
Sudipta has mainly searched in India and in the East. Sudipta has received a Greenshield
award and is documenting various centres of papermaking such as Jungshi
handmade paper factory in Thimpu, banana fibre paper, Indian manufacturers in
Assam and Lokta manufacturers in Katmandu. Shanthamani has visited Khadi
Gramodyoga in South India, but she is still depending on paper produced in
Europe. Ravikumar has met other artists working with paper during a Hanji show
in Chennai. He has visited papermaking units </span><span style="background: white; color: black; font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-bidi-font-weight: bold;">in Bangalore, Pondichery, Ahmedabad, Sikkim, Jaipur
and Shantiniketan in India and in Mexico, South Korea, Glasgow and Nepal. He
finds the Jang Ji Bang studio,Seoul, South Korea,<span style="mso-spacerun: yes;"> </span>very professional and thorough in their
method - ology. </span><span style="background: white; color: black; font-family: "Times New Roman","serif"; font-size: 12.0pt;"> </span><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"><o:p></o:p></span></div>
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<span style="color: black; font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Neeta has done thorough historical research abroad as mentioned before
including the Silk Road, Xian and Samarkhand, but also in India. In the 90’s
she became interested in the study of paper used for old manuscripts and
discovered that from 1980’s – 1990’s most of the papermaking units she had seen
and photographed had been destroyed, but there was a lot of paper on the
market. The last mill she visited was Daulatabad, where they were famous for
making thin paper in the 17<sup>th</sup> century. When she visited the mill was
about to close down and spontaneously she bought it. She revived it and opened <i style="mso-bidi-font-style: normal;">The Bombay Paperie. <o:p></o:p></i></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">6: Do you use mainly local plants/fibres in your paper production or do
you import fibres from abroad?<o:p></o:p></span></b></div>
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<span style="color: black; font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Anupam only uses indigenous plants that
grow in West Bengal and in other parts of India. Shantamani uses recycled 100 %
cotton rag pulp from Tirupur textile industry and states that banana fibre and
jute fibre are easily available in the southern part of India. Sudipta has made
paper from banana fibre and waste material. She has bought Hanji paper from
South Korea – it depends on the need and the demand of the work she is making.
Jenny and Ravikumar use only Indian fibres. Radha imports fibres and is looking
for a good quality hemp in India. Kulu uses readymade paperboard for his
cuttings. Neeta uses her own paper from Daulatabad and old paper.<o:p></o:p></span></div>
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<span style="color: black; font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">I sense a lack of broader investigation
into what is possible with different plants and their bio based capacities.
India has such a huge potential – there is a lot to be done!<o:p></o:p></span></div>
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<i style="mso-bidi-font-style: normal;"><span style="background: white; color: #222222; font-family: "Times New Roman","serif"; font-size: 12.0pt;">White Memories, cast cotton rag pulp, 9" x 9", 2019</span></i><i style="mso-bidi-font-style: normal;"><span style="background: #FDFDFD; font-family: "Times New Roman","serif"; font-size: 12.0pt;"><o:p></o:p></span></i></div>
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<i style="mso-bidi-font-style: normal;"><span style="background: #FDFDFD; font-family: "Times New Roman","serif"; font-size: 12.0pt;">Ravikumar
Kashi<o:p></o:p></span></i></div>
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<b style="mso-bidi-font-weight: normal;"><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">7: What do you know
about the Kagzi tradition in India, and does it inform your paper making
practice?<o:p></o:p></span></b></div>
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<span style="color: black; font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Most artists express that the kagzi tradition as such has not and
doesn’t enlighten their paper practice. <o:p></o:p></span></div>
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<span style="color: black; font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Anupam, Neeta and Radha have studied the history of paper in India and
researched it on their own. Radha has written articles about it and is
currently working on a deeper research project, which is going towards a book.
She also teaches workshops on the subject. Neeta wrote about kagzis in her book
<i style="mso-bidi-font-style: normal;">Off the Deckle Edge </i>as mentioned
before<i style="mso-bidi-font-style: normal;">.<o:p></o:p></i></span></div>
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<span style="mso-ansi-language: EN-GB;">Sudipta
states: <i style="mso-bidi-font-style: normal;">for me the Kagzi tradition in
India speaks not only about traditional papermaking practice but also about
multi-culturalism and Indo-Islamic history.</i> She feels that the kagzi
tradition can show us pathways into making paper that is ecologically more
beneficial.<o:p></o:p></span></div>
<div style="line-height: 115%;">
<span style="mso-ansi-language: EN-GB;">I agree.
Today one can find a lot of historical writings about India and paper history
and there is inspiration to be found in these writings. Following FN’s 17 <span style="background: white; color: #222222; mso-bidi-font-weight: bold;">sustainable
development goals in order to transform our world, paper and its history
can open up knowledge and show one of the ways to go.<o:p></o:p></span></span></div>
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<b><span style="background: white; color: #222222; mso-ansi-language: EN-GB;">8: How is hand papermaking received in India today?<o:p></o:p></span></b></div>
<div style="line-height: 115%;">
<span style="background: white; color: #222222; mso-ansi-language: EN-GB; mso-bidi-font-weight: bold;">Here again the questioned
artists seem to agree that there is a very slow growing interest. Paper is seen
as eco-friendly, but there is a lack of awareness, lack of visibility, creative
intervention and lack of marketing strategy. Indian handmade paper industry
does not have a systematic and planned marketing for its promotion on a wider
spectrum according to Anupam. <i style="mso-bidi-font-style: normal;">You do not
see handmade paper in the market and even in art colleges you do not see much
of handmade paper and in the publication and design area, we see very few
efforts in adopting handmade paper</i>, Shantamani says. Jenny names it a niche
–market, but a growing market in the bottom of the list of materials compared
to other hand crafts, due to lack of knowledge and demand. Sudipta says that
through the consciousness and the practice of many contemporary artists it is
receiving more attention than before.<o:p></o:p></span></div>
<div style="line-height: 115%;">
<span style="background: white; color: #222222; mso-ansi-language: EN-GB; mso-bidi-font-weight: bold;">The conclusion as far as I
see it is: that paper eventually will reclaim its position. Cellulose is
beginning to win territory as research and experiments are taking place at
universities all around the world. India should follow up on this at their
universities.<o:p></o:p></span></div>
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<i><span style="color: #222222; font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Title: Trail-III<o:p></o:p></span></i></div>
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<i><span lang="EN-US" style="color: #222222; font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Medium: Handmade paper (linen yarn, banana &
ramie fibre) & back lit box, 2019<o:p></o:p></span></i></div>
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<i><span lang="EN-US" style="color: #222222; font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">59 x 31 x 3 in, Anupam Chakrabroty</span></i><i><span style="color: #222222; font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"><o:p></o:p></span></i></div>
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<b><span style="background: white; color: #222222; mso-ansi-language: EN-GB;">9: Why do you think papermaking and the scribal arts
in India have been less able to rise from their roots than the textile
tradition?<o:p></o:p></span></b></div>
<div style="line-height: 115%;">
<span style="background: white; color: #222222; mso-ansi-language: EN-GB; mso-bidi-font-weight: bold;">Sudipta writes that <i style="mso-bidi-font-style: normal;">earlier we have not understood and paid
attention to</i> the <i style="mso-bidi-font-style: normal;">amazing traditional
skills present around us, which has led to stagnation to the practices. Today
through research artistic approach scientific experiments and more global
awareness will make the former practices dynamic again.<o:p></o:p></i></span></div>
<div style="line-height: 115%;">
<span style="background: white; color: #222222; mso-ansi-language: EN-GB; mso-bidi-font-weight: bold;">Jenny <i style="mso-bidi-font-style: normal;">finds that textile was far more evolved in India from very early on and
that weaving was a developed craft all over the regions. Paper was from the
beginning for limited purpose for art with royal patronage.<o:p></o:p></i></span></div>
<div style="line-height: 115%;">
<span style="background: white; color: #222222; mso-ansi-language: EN-GB; mso-bidi-font-weight: bold;">Shantami agrees with Jenny
concerning textile and that <i style="mso-bidi-font-style: normal;">there are very
few good hand papermaking units producing good paper. India is a developing
country which thrives to acquire what is in the first –world market other than
looking inward in terms of developing a sustainable product within its
available practices. A lot of indigenous knowledge systems are surprisingly
still alive in India and there is a greater opportunity to develop them
further.<o:p></o:p></i></span></div>
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<span style="background: white; color: #222222; mso-ansi-language: EN-GB; mso-bidi-font-weight: bold;">Anupam states: <i style="mso-bidi-font-style: normal;">following areas can be considered for
negligible growth in hand papermaking and scribal art from their roots compared
to textile tradition: a) lack of professional skills among implementing
agencies, b) Poor quality measures, c) Inadequate research and development
programmes, d)<b> </b>Absence of aggressive marketing strategies, e) Lack of
involvement of artists and designers in the R&D ( Research &
Development) and production team.<o:p></o:p></i></span></div>
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<span style="background: white; color: #222222; mso-ansi-language: EN-GB; mso-bidi-font-weight: bold;">Ravikumar suspects<i style="mso-bidi-font-style: normal;"> that it is because of government polices </i>and
mentions<i style="mso-bidi-font-style: normal;"> Weavers Service Centre and Pupul
Jaykar, who was instrumental in the revival of textiles. No such effort has
been made for paper.<o:p></o:p></i></span></div>
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<span style="background: white; color: #222222; mso-ansi-language: EN-GB; mso-bidi-font-weight: bold;">Radha mentions <i style="mso-bidi-font-style: normal;">that at the time of independence, KVIC did
the wrong thing by introducing auto-vats and training the average person to
make paper and that this was the final blow to the kagzi tradition</i>. She
also mentions lack of government support and interest. In Neeta’s experience <i style="mso-bidi-font-style: normal;">the Khadi<b> </b>commission did the biggest
disservice to the paper craft by showing a total lack of interest in the
quality and never made any great effort to sell the paper or pay the
papermakers</i>. She also mentions that <i style="mso-bidi-font-style: normal;">the
quality of cotton available in India has a poor quality. With most of the waste
from GM cotton, the yarn is too loose and knots when made into pulp. This
leaves holes in the paper when it is produced thin.<o:p></o:p></i></span></div>
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<span style="background: white; color: #222222; mso-ansi-language: EN-GB; mso-bidi-font-weight: bold;">The conclusion is that
nobody really supports the revival of the ancient craft of papermaking.<o:p></o:p></span></div>
<span style="mso-ansi-language: EN-GB;">Today – in 2019 – I have the hope that
artists will revive this craft and art, which has been the case since 1950 in
the West and by their example push KVIC etc. to see the sustainable and bio
based quality of paper as a new way to go.<o:p></o:p></span><br />
<span style="mso-ansi-language: EN-GB;"><br /></span>
<span style="mso-ansi-language: EN-GB;"><br /></span>
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<i style="mso-bidi-font-style: normal;"><span style="color: #222222; font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">The city has layers
of expression, <span style="mso-spacerun: yes;"> </span>91cm x 60 cm, </span></i><span style="color: #222222; font-family: "Arial","sans-serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"><span style="mso-spacerun: yes;"> </span></span><i style="mso-bidi-font-style: normal;"><span style="background: white; color: #222222; mso-bidi-font-weight: bold;">Paper Board,
cutting</span></i><span style="color: #222222; font-family: "Arial","sans-serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"><o:p></o:p></span></div>
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<i style="mso-bidi-font-style: normal;"><span style="background: white; color: #222222; mso-ansi-language: EN-GB; mso-bidi-font-weight: bold;">Kulu Ojha<o:p></o:p></span></i></div>
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<b style="mso-bidi-font-weight: normal;"><span style="mso-ansi-language: EN-GB;">10: Do you think the Khadi and Village
Industries Commission change its approach as it sees the growing market for
exported paper?<o:p></o:p></span></b></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Shantamani writes, <i style="mso-bidi-font-style: normal;">that the approach should aim at innovation
within the field instead of still training basic industrial skills and nothing
else. </i>Ravikumar has given a proposal to the Khadi commission to do an
intervention project, but without response. He states <i style="mso-bidi-font-style: normal;">that paper made in the Khadi papermaking unit are unimaginative</i>.
Jenny finds <i style="mso-bidi-font-style: normal;">that KVIC does not understand
what needs to be done for handmade paper.</i> Sudipta writes that KVIC should
change their approach due to the growing market of exported paper: <i style="mso-bidi-font-style: normal;">It should not only encourage the traditional
process of papermaking but also inspire them to make a viable alternative to
chemically treated paper through collaboration with artists and researchers. It
could be India’s contribution to the solution of ecological distress by factory
made, chemically treated paper.</i> Anupam writes<b style="mso-bidi-font-weight: normal;">:</b></span><span style="background: white; color: #c00000; font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-weight: bold; mso-fareast-language: EN-GB;"> </span><i style="mso-bidi-font-style: normal;"><span style="background: white; font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-weight: bold; mso-fareast-language: EN-GB;">Some
major positive changes have been noticed in this regard since last few years.
It has been observed that KVIC </span></i><i style="mso-bidi-font-style: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">is
presently grappling with problems on the supply side, and not on the demand
side. <span style="background: white;">It is one of the reasons that KVIC has
been concentrating on its production facilities across the country through the
help of all its supply chain agencies. KVIC, which falls under the jurisdiction
of Ministry of MSME, is also thought of providing incentives and shops for
start ups in the MSME segment. KVIC also assists export of khadi and village
industry products through </span><span style="mso-bidi-font-weight: bold;">Export
Incentive Scheme. Besides these, KVIC also supports</span></span></i><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-weight: bold;"> </span><span class="MsoSubtleEmphasis"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">khadi
and village industry institutions as well as REGP units and state boards for
participation in international trade fairs abroad. The fairs not only provide
an opportunity to find new buyers but also expose the participating units to
the quality, packaging and standard of similar products from different
countries. The knowledge enables them to suitably reorient the production and
process to access foreign markets as well as prepare them to compete with the
foreign products coming to local markets in India.( Note: This info Anupam has
obtained<span style="mso-spacerun: yes;"> </span>from </span></span><i style="mso-bidi-font-style: normal;"><span style="color: #222222; font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">MSME & KVIC<span style="mso-spacerun: yes;"> </span>websites and from uploaded research papers
related to this area through Google search – the info is from 1990!)</span></i><span style="color: #222222; font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"><o:p></o:p></span></div>
<span class="MsoSubtleEmphasis"><span style="mso-ansi-language: EN-GB;">These
different answers tell me that KVIC is not doing enough in relation to FN’s 17
World Goals: </span></span><span style="background: white; color: #1a1a1a; mso-ansi-language: EN-GB;">In 2015, world leaders agreed to 17 goals for a better
world by 2030. These goals have the power to end poverty, fight inequality and
address the urgency of climate change. Guided by the goals, it is now up to all
of us, governments, businesses, civil society and the general public to work
together to build a better future for everyone. Here KVIC should direct paper
production towards the innate possibility of handmade paper production:
sustainability by setting up collaborative workshop with artists and designers
all over India. <o:p></o:p></span><br />
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<b><span style="color: #222222; font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">11: Do you think they (KVIC) could spearhead the
revival of more traditional paper production for use by conservators and
artists?<o:p></o:p></span></b></div>
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<span style="color: #222222; font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-bidi-font-weight: bold; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">The artists’ attitude to this question is not
reflecting a lot of expectations, but a tiny hope : Anupam writes<b>: </b></span><i style="mso-bidi-font-style: normal;"><span style="background: white; font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-bidi-font-weight: bold; mso-fareast-language: EN-GB;">They could if they can transfer their weakness into
strength</span></i><span style="background: white; font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-bidi-font-weight: bold; mso-fareast-language: EN-GB;"> and </span><span style="color: #222222; font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-language: EN-GB;">Shantami: <i style="mso-bidi-font-style: normal;">Awareness
and market opportunities will make a huge difference. </i>Sudipta finds<i style="mso-bidi-font-style: normal;"> that the revival already has started
through the hands of artists who are using handmade paper more and more, making
it themselves or searching for better qualities in India or abroad, and also
through curators, galleries and researchers, who have a growing interest in the
old techniques</i>. It is a slow process, but I think eventually India will get
there in 20 – 30 years acknowledging its wealth existing in production of
quality products and involving qualified engaging people!<o:p></o:p></span></div>
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<b><span style="color: #222222; font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">12: How do you envision the development of handmade
paper and paper art in India’s future?</span></b><span style="color: #222222; font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"><o:p></o:p></span></div>
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<span style="color: #222222; font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Shantamani: <i style="mso-bidi-font-style: normal;">There is a greater
possibility to develop the handmade paper into a sustainable system in India.
We have an example of providing 20 women a decent salary in a rural area to
sustain their families. If this project is getting attached to microfinance
support system, it can revolutionize women’s economic independence. In 2004,
there were no handmade paper studios in Bangalore. But today we have three
artists working with the basic amenities. Things will surely change in coming
days. </i>Sudipta believes<i style="mso-bidi-font-style: normal;"> that handmade
paper will become an alternative to the environmentally harmful chemical
treated paper. It needs to be recognized by the administrative machinery in
India to make it happen.</i><o:p></o:p></span></div>
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<span style="color: #222222; font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Jenny<span style="mso-spacerun: yes;"> </span>and Anupam state that paper
has to be introduced in academic curriculum in government and private schools,
art and design schools.<span style="mso-spacerun: yes;"> </span>Ravikumar sees
a growing interest in artists’ communities. He also states that the influence
slowly has come from abroad – e.g. the students, who studied with Jacki Parri:
Anupam, Ravikumar and Shantami. Radha states that she hopes people will be
proud of their heritage.<o:p></o:p></span></div>
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<span style="color: #222222; font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Anupam mentions the Indian Bengali sculptor and printmaker Somnath Hore
( 1921 – 2006) as one of the first Indian artist who used handmade paper as an
artistic means of expression. Hore is considered a major pioneer of modern art
in India. He experimented with different printmaking techniques and materials,
culminating with his abstract paper pulp series “Wounds”, produced in 1970.<o:p></o:p></span></div>
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<span style="color: #222222; font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">An Indian artist I would have liked to include in this project is Priya
Ravish Mehra (1961 – 2018) who studied weaving and design at Santiniketan.
Priya had what I would call a holistic view on textile: the plant, which
becomes thread and is woven into cloth – a cloth that again can be transformed
into paper pulp and get a new life as paper pulp. In her later work she fused
paper pulp with cloth and looked upon this as a healing process. This concept
has been part of my practice for the past 40 years and I’m very sad that I
never got to meet Priya. She knew one of my teachers, Japanese Yosiko Wada,
based in San Francisco.<span style="mso-spacerun: yes;"> </span>With Yosiko,
Priya made a workshop: “Bearing Witness” in Delhi in March 2015, Habitat</span><span style="background: white; color: #333333; font-family: "Times New Roman","serif"; font-size: 12.0pt;">, </span><span style="color: #222222; font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">hosted by the Lila Foundation. <o:p></o:p></span></div>
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<span style="color: #222222; font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Another artist who is worth mentioning in this context is Zarina
(Hashmi) born in 1937 in India. Paper is her passion and central to her
practice as a surface to print on and as a material with its own properties in
history allied also with literary tradition. </span><span style="color: #2b292b; font-family: "Times New Roman","serif"; font-size: 12.0pt;">In the 1980s, she
literalized this interest by casting three-dimensional works with paper pulp,
creating forms that would become cast bronze sculptures. <o:p></o:p></span></div>
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<span style="color: #2b292b; font-family: "Times New Roman","serif"; font-size: 12.0pt;">Further the young artist Aniindita Bhattachary engages with tradition
in a dialogue with the contemporary world, claiming India’s heritage in her
beautiful hand cut jalis in wasli paper, painted with gouache and her own
colours from natural dyes, coffee stains and<span style="mso-spacerun: yes;">
</span>miniature paintings. (<i style="mso-bidi-font-style: normal;">Wasli paper
is created by gluing together several layers of handmade paper with archival
glue, polishing and smoothing the surface by hand to prepare the paper for
miniature painting.)<o:p></o:p></i></span></div>
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<span style="color: #222222; font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Anupam says:</span><span style="background: white; color: #c00000; font-family: "Times New Roman","serif"; font-size: 12.0pt;"> </span><i style="mso-bidi-font-style: normal;"><span style="background: white; font-family: "Times New Roman","serif"; font-size: 12.0pt;">more
artists, designers, papermakers and creative entrepreneurs must take initiative
to set up professional papermaking studios at different parts of the country.
Besides these, a body of dedicated paper artists must introduce interactive
sessions through hands-on training, slide presentation, seminar and exhibition
throughout the year to make this medium a viable one.<o:p></o:p></span></i></div>
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<i style="mso-bidi-font-style: normal;"><span style="background: white; font-family: "Times New Roman","serif"; font-size: 12.0pt;">Being
a dedicated papermaking unit, Nirupama Academy of Handmade Paper conducts
papermaking workshops, provides papermaking kits to academic institutes and
individuals and also involved in doing collaborative projects with artists and
designers, government and non-government organisations throughout the year.
Papers produced at Nirupama Academy have been used by many artists, designers
and private organisations in India and abroad. K.G. Subramanyan, Linda Benglis,
Amar Kanwar, Priya Ravish Mehra, Mithu Sen, Yardena Kurulkar, Natalie Vassil, </span></i><a href="https://aiora.gr/authors/?lang=it"><i style="mso-bidi-font-style: normal;"><span style="background: white; font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-bidi-font-weight: bold;">Marinos Vlessas & Maria Malakou</span></i></a><i style="mso-bidi-font-style: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">, Thinley Rhodes, Maku Textiles Pvt. Ltd., Philip
Qian, Jeannie McArthur Koga, <span style="background: white;">Hoang Tien Quyet,
Anne Vilsboell and many more are in our client list. By experiencing increasing
demand of our paper among artists, designers and in corporate houses, I am
quite optimistic that quality </span></span></i><i style="mso-bidi-font-style: normal;"><span style="background: white; font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-bidi-font-weight: bold; mso-fareast-language: EN-GB;">handmade
paper and paper art will play a formidable role in India’s future.</span></i><i style="mso-bidi-font-style: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"><o:p></o:p></span></i></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-language: EN-GB;">I personally met Anupam in 2009 in his studio in
Kolkata and felt very happy that someone was doing something for handmade
paper! I ordered paper from him and find that he ever since has come a long way
pursuing his passion and in spreading knowledge. More artists will follow, but
it means to choose paper as one’s medium and have good reasons to do so. It is
a rewarding journey.<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYXKATYpt7DrBcwtg6GW_DBDYPUnyDx8CE6E50wGo2nqqftc7t5nMkZJkclIxpGj3T1dPwjja4dZJyUIEhW4mR7JwJifNnoEpSfprcSYJIMyR846fSdo22iWky351KG7OB32kbOIvazKk/s1600/Forest_Light_RadhaPandey+%25282%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1066" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYXKATYpt7DrBcwtg6GW_DBDYPUnyDx8CE6E50wGo2nqqftc7t5nMkZJkclIxpGj3T1dPwjja4dZJyUIEhW4mR7JwJifNnoEpSfprcSYJIMyR846fSdo22iWky351KG7OB32kbOIvazKk/s320/Forest_Light_RadhaPandey+%25282%2529.jpg" width="213" /></a></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: "Times New Roman","serif"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Forest Light: <span style="border: none windowtext 1.0pt; mso-border-alt: none windowtext 0cm; padding: 0cm;">A forest of Fir in the middle
of a city transported me to a space in which only I existed along with <span style="mso-spacerun: yes;"> </span>the tall trees that surrounded me. The
diffused light that filtered through the canopies and made apparent the details
of each tree, had a special quality of quietude and tranquility that I had
never before experienced. I had found my place in the world, and it was here,
in the quiet and slowness of nature.</span> <span style="border: none windowtext 1.0pt; mso-bidi-font-style: italic; mso-border-alt: none windowtext 0cm; padding: 0cm;">Forest
Light</span><span style="border: none windowtext 1.0pt; mso-border-alt: none windowtext 0cm; padding: 0cm;"> is a tunnel book that is created using handmade Kozo and
hemp papers. The back panel is a sheet of waxed Kozo that diffuses the light
entering the tranquil forest scene. This book began as a dimensional
illustration that was used as a book cover for a classic Penguin publication of
a book of poem’s by the 16th century poet, Tahir Ghani.</span> </span></i><i style="mso-bidi-font-style: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-fareast-language: EN-GB;">Radha
Panday<o:p></o:p></span></i></div>
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<b><span style="color: #222222; font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">13: Are you in contact with the other paper makers or paper
artists in India or abroad?<o:p></o:p></span></b></div>
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<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="color: #222222; font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-bidi-font-weight: bold; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Radha is in touch with papermakers and paper
artists in the Western part of the world having studied at Iowa University with
Timothy Barrett, taken workshops, participating in paper conferences and giving
lectures and she is surely one, who has decided to transfer actions in paper
knowledge to a broader audience.<span style="mso-spacerun: yes;">
</span>Shanthami is familiar with a few artists in Southern India, Ravikumar is
in touch with Asian artists, he has met at biennials and triennials, Jenny with
very few and Sudipta knows Anupam and Ravikumar. Anupam is in touch with
Western and few Indian artists. Neeta has <i style="mso-bidi-font-style: normal;">Bombay
Paperie</i> and I can only encourage all artists who search good quality paper
to visit her shop. She sells handmade paper with 4 deckle edges, unlike the 2
of machine made “handmade paper.” She would be delighted for the paper to go to
people who knows the difference.<o:p></o:p></span></div>
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<span style="color: #222222; font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-bidi-font-weight: bold; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Unfortunately a lot of paper is on the market
as “handmade paper” without being so. This fact presses the market for real
handmade paper<o:p></o:p></span></div>
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<span style="color: #222222; font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-bidi-font-weight: bold; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">I think it is time now for Indian artists who
work with paper to meet and perhaps create an association and spread the news
of such an association to all art schools and design schools, to KVIC etc. – to
make yearly conferences, newsletters and exhibitions together. Study what
Friends of Dard Hunter did in USA and what IAPMA did in Europe. A community of
like minded people will grow and a group is always stronger than one person.<o:p></o:p></span></div>
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<span style="color: #222222; font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-bidi-font-weight: bold; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">My hope is that this article will create
awareness and make the 8 selected questioned Indian artists acquainted with
each other. I’m sure there must be many more following, so that India can build
up its own 21<sup>st</sup> century paper family.<o:p></o:p></span></div>
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<i style="mso-bidi-font-style: normal;"><span style="background: #F6F6F9; font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Anne Vilsbøll</span></i><i style="mso-bidi-font-style: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"> <o:p></o:p></span></i></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">*</span></i><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"> IAPMA: The International Association of Hand
Papermakers and Paper Artists.<i style="mso-bidi-font-style: normal;"><o:p></o:p></i></span></div>
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<span style="background: #F6F6F9; font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Anne Vilsbøll</span><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">
Danish artist, author and curator has been involved with handmade paper as an
artistic means of expression since the early 80'ties. From 1986 - 2000 she was
editor and president for IAPMA, The International Association of Hand
Papermakers and Paper Artists. She has curated exhibitions, written books,
numerous articles, taught at art academies and design schools many places in
the world, given lectures on the subject as well as showing her own art
internationally and nationally for the past 36 years. (</span><a href="http://www.paperacademy.dk/"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">www.paperacademy.dk</span></a><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"><span style="mso-spacerun: yes;"> </span>- </span><a href="http://www.annevilsboll.com/"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">www.annevilsboll.com</span></a><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"> – www.makanne.dk)<o:p></o:p></span></div>
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<i><span style="background: #F6F6F9; font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Anne Vilsbøll’s art is the
result of intense innovative and inspirational research into the hidden
potential of paper as a tool for modern means of expression. She has been
acclaimed as one of the pioneers among a number of remarkable artists who
during the past sixty years have searched to revive the lost form of the
ancient craft of papermaking as a contemporary art form.( <span style="mso-bidi-font-weight: bold;">Bogomila Welsh – Ovcharow in </span></span></i><i><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-bidi-font-weight: bold; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Anne
Vilsbøll-the language of Paper, Edition Heede &Moestrup, 2011).<o:p></o:p></span></i></div>
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anne vilsboellhttp://www.blogger.com/profile/14366440366846810932noreply@blogger.com0tag:blogger.com,1999:blog-8716323595673466152.post-14308456025084482042019-05-11T05:29:00.002-07:002019-05-11T05:29:13.531-07:00Papirvejen<div dir="ltr" style="text-align: left;" trbidi="on">
<br />
<br />
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<b style="mso-bidi-font-weight: normal;"><span lang="DA" style="font-size: 16.0pt; line-height: 150%;">Papirvejen<o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="DA" style="font-size: 16.0pt; line-height: 150%;"><br /></span></b></div>
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<span lang="DA">Ordet papir stammer fra det latinske<span style="mso-spacerun: yes;"> </span>og græske ord <i style="mso-bidi-font-style: normal;">papyrus</i>. Dette skabte en vis forvirring, for da papiret ankom til Europa,
troede man, at de Østasiatiske lande havde lært at fremtille papir af
ægypterne. I Ægypten forarbejdede<span style="mso-spacerun: yes;"> </span>man
papyrusplantens stængler til skriveunderlag fra omkring år 3000 f.kr.
Fremstillingsmetoden har ikke noget med papirets opfindelse at gøre. For at
blive kategoriseret som papir, skal dette fremstilles af forarbejdede, flydende
fibre i vand. Fibrene løftes op på dertil udførte forme, og et nyfødet ark
kommer til verden. </span></div>
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<span lang="DA">Der blev rettet op på denne misforståelse, da
forskning viste, at papirets ankomst til Europa<span style="mso-spacerun: yes;">
</span>skete via handelsruter, der forbandt Kina til Vestasien og
Middelhavslandene. En af disse handelsruter blev i 1877 - af den<span style="mso-spacerun: yes;"> </span>tyske geograf Ferdinand von Richthofen - kaldt Silkevejen.
<span style="mso-spacerun: yes;"> </span>Men silke var langt fra den <span style="mso-spacerun: yes;"> </span>eneste vare, der blev transporteret. Papirets
opfindelse blev bragt til Europa via de samme ruter, og det ville være mere
korrekt, at dette netværk blev kendt som Papirvejen, eftersom papir har haft en
ganske betydelig indflydelse på menneskets historie. Silkevejen er derfor i det
flg. døbt Papirvejen.</span></div>
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<span lang="DA">Papir var ukendt i Vestasien og
Middelhavslandene før Islam, hvor det traditionelle skriveundelag var papyrus
og pergament.. Papyrusplantens stængler blev skåret på langs og dernæst skåret
til strimler, der <span style="mso-spacerun: yes;"> </span>efter at have </span></div>
<div class="MsoNormal">
<span lang="DA">været lagt i blød i vand, blev anbragt
horisontalt og vertikalt og presset sammen.<span style="mso-spacerun: yes;">
</span>Analyser af, hvad der fik stænglerne til at hænge sammen, varierer,
men<span style="mso-spacerun: yes;"> </span>i korthed indikerer analyserne, at
50- 60 % er cellulose, som findes i plantestængler og 36-40 % er lignin, som
degraderer med tiden (og som skal fjernes ved papirfremstilling). </span></div>
<div class="MsoNormal">
<span lang="DA"><br /></span></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span lang="DA">Papirets
terminologi</span></b><span lang="DA">.</span></div>
<div class="MsoNormal">
<span lang="DA"><br /></span></div>
<div class="MsoNormal">
<span lang="DA">Grækerne kaldte <span style="mso-spacerun: yes;"> </span>papyrus for <i style="mso-bidi-font-style: normal;">khartes</i>, som kan forbindes med papirrelaterede termer i moderne sprog –
såsom italiensk <i style="mso-bidi-font-style: normal;">carta </i>for papir eller
vores eget ord for <i style="mso-bidi-font-style: normal;">kort</i> af papir.
Romerne kaldte planten ved dens latinske navn <i style="mso-bidi-font-style: normal;">papyrus</i>, som er blevet transformeret til <i style="mso-bidi-font-style: normal;">papir</i> på dansk, <i style="mso-bidi-font-style: normal;">paper</i> på
engelsk<i style="mso-bidi-font-style: normal;">, papel</i> på spansk og <i style="mso-bidi-font-style: normal;">papier</i> på fransk og tysk. Den græske
term for en papyrusrulle er <i style="mso-bidi-font-style: normal;">biblios</i>,
som afstedkom ord som <i style="mso-bidi-font-style: normal;">bibel </i>og <i style="mso-bidi-font-style: normal;">bibliografi, </i>og den latinske term for
papyrusrulle var volumen og volute p.gr.a. af dennes form. Den latinske term
for en kolonne af tekst på en papyrusrulle er blevet til <i style="mso-bidi-font-style: normal;">page </i>på engelsk og <i style="mso-bidi-font-style: normal;">liber</i>,
som oprindeligt var det latinske ord for <i style="mso-bidi-font-style: normal;">bark,</i>blev
til det latinske ord for <i style="mso-bidi-font-style: normal;">bog.</i> Da
bogen antog den form, vi kender, blev den kaldt <i style="mso-bidi-font-style: normal;">codex</i>, som er den latinske term for en <i style="mso-bidi-font-style: normal;">træblok</i>. </span><span lang="DA" style="color: #4e4e4e; font-family: "Trebuchet MS","sans-serif"; font-size: 9.0pt; line-height: 150%;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="DA">Vi kan således udlede, at papirets terminologi
kan forklare, hvorfor den ovenfor nævnte forvirring om papirets oprindelse
opstod.</span></div>
<div class="MsoNormal">
<span lang="DA"><br /></span></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span lang="DA">Papirets
opfindelse.<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span lang="DA"><br /></span></b></div>
<div class="MsoNormal">
<span lang="DA">Papiret blev opfundet i Kina for ca. 2000 år
siden, som den første af fire vigtige kinesiske opfindelser, nemlig kompasset,
krudt og trykteknik – opfindelser, der alle via Papirvejen bredte sig til den
vestlige del af verden ved arabernes mellemkomst.</span><span lang="DA" style="mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="DA" style="mso-fareast-language: EN-GB;">Legender og
optegnelser har mange forskellige versioner om, hvad der egentligt skete, men
den mest kendte og vedtagne er, at den person, der fik æren for opfindelsen, er
eunukken, opfinderen og politikeren Cai Lun (Ts´ai Lun),ansat ved kejserens hof
under Han – dynastiet. Han forelagde sin opfindelse for kejser He ( 88 – 106
e.kr.) <span style="mso-spacerun: yes;"> </span>i år 105 e.kr. <span style="mso-spacerun: yes;"> </span>Cai Lun er kendt af de fleste i Kina, som
papiret fader. Cai Lun Paper Culture Museum ligger i Longting by i Shannxi
provinsen ved siden af Cai Lun’s grav tempel. Her kan man studere papirets
historie, dets udvikling og anvendelse og endog prøve at fremstille papir, som
man gjorde det under Han dynastiet (ca. 200 f.kr. – 200 e.kr.)<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="DA" style="mso-fareast-language: EN-GB;">En historie
fortæller, at Cai Lun havde siddet og filoseret på en flodbred, mens han
iagttog kvinder vaske tøj. Åndsfraværende samlede Cai Lun fragmenter op af små
løsrevne tøjfragmenter, slået løs, når kvinderne bankede tøjet. Når Cai Lun
pressede stumper af fibrene sammen, opdagede han, at de hang sammen. En anden
historie fortæller, at Cai Lun studerede hvepseboer, <span style="mso-no-proof: yes;">opbygget af træ,<span style="mso-spacerun: yes;"> </span>tygget sammen med
hvepsespyt, hvilket giver et papiragtigt udseende</span></span><span lang="DA">.
E</span><span lang="DA" style="mso-fareast-language: EN-GB;">n tredje historie er,
at han en dag sammen med andre skulle transportere tunge dokumenter, skåret i
bambusstrimler, på oksedrevne vogne til kejserens palads. På vejen snublede
okserne, og vognen væltede, så alle bambusstrimlerne faldt af vognen. Mens de
ventede på en anden oksedreven vogn,der skulle komme dem til undsætning, havde
Cai Lun god tid til at tænke. Han konkluderede, at bambustrimlerne simpelthen
var for tunge og en byrde for de lærde. Der måtte findes et lettere materiale.
Da han gik, passerede han bunker af hampefibre og tænkte: måske kan disse være
nyttige. Han samlede lidt sammen, men hampen var rå og løs. Så tænkte han på
rester fra silkeproduktion, og så blev lyset tændt! Sammen med tjenere samlede
han bark, hamp, gamle silkekokoner, fiskenet og bomuldsklæde. De skar
ingredienserne i små stumper<span style="mso-spacerun: yes;"> </span>og stykker
og kogte dem. Dernæst blev det udkogte materiale hamret med trækøller i en
morter og opløst i vand, Da denne mikstur blev løftet op af vandet hang den
sammen som en flade, der efter tørring blev til ark papir. <span style="mso-spacerun: yes;"> </span>Cai Lun havde fundet frem til papirfremstillings
- processens hemmeligheder – han fik æren, men måske var det en fra en lavere
klasse, der viste ham vejen – det er ikke til at vide.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="DA" style="mso-fareast-language: EN-GB;">Der er
andre beviser på, at fibre blev anvendt til papirfremstilling endnu tidligere.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="DA" style="mso-fareast-language: EN-GB;">I Xian er
der blevet fundet papir, der kan dateres tilbage til omkring år 200 f.kr. Papiret
var påskrevet med <span style="mso-spacerun: yes;"> </span>nedfældede bønner og
blev fundet bag en mursten i et adobe hus. Papir er ligeledes blevet fundet
langs Papirvejen. Disse meget gamle papirer er fundet i ørkenklimaer, hvor
papiret har kunnet overleve. De tidligst fremstillede papirer blev anvendt til
at sprede Konfucianske og Daoistiske tanker. Buddhistiske ideer og ceremonier
blev nedskrevet på papir og formidlet<span style="mso-spacerun: yes;">
</span>til andre lande. Fra Kina rejste opfindelsen af papir over Korea til
Japan og dernæst mod vest<span style="mso-spacerun: yes;"> </span>langs Papirvejen
<span style="mso-spacerun: yes;"> </span>til de islamiske lande. Historien
fortæller, at kampen ved Talas i år 751 er en nøglebegivenhed i papirets
historie, nemlig videregivelse af papirfremstillingsprocessen. Slaget stod
mellem det arabiske Abbasid Kalifat sammen med deres allierede, det tibetanske
imperium, mod det kinesiske Tang Dynasti. Begge parter ønskede magt over Syr
Darya området i Centralasien. Det blev slutningen på Tangs udvidelser mod vest
og resulterede i muslimernes kontrol over Transoxiana i de næste 400 år. Dette
område var på Papirvejen. Efter kampene mener man, at erfarne kinesiske
krigsfanger blev beordret<span style="mso-spacerun: yes;"> </span>til at
fremstille papir i Samarkand <span style="mso-spacerun: yes;"> </span>og omkring
år 794 e.kr. i Baghdad<span style="mso-spacerun: yes;"> </span>i nutidens Irak.
Opfindelsen revolutionerede den islamiske verden, og det blev således araberne,
der bragte papiret til Europa.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="DA" style="mso-fareast-language: EN-GB;">Først til
Spanien og Italien omkring det 12.årh. Herfra bevægede opfindelsen sig nordpå.
Den første papirmølle i Danmark blev anlagt i 1573 ved Hvidøre <span style="mso-spacerun: yes;"> </span>og i USA i 1690<span style="mso-spacerun: yes;"> </span>lidt udenfor<span style="mso-spacerun: yes;">
</span>Philadelphia – over 1000 år efter papirets opfindelse.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="DA" style="mso-fareast-language: EN-GB;">Landes
vegetation var <span style="mso-spacerun: yes;"> </span>bestemmende for, hvilken
kvalitet papir, der kunne fremstilles. I Østen vokser bambus og risstrå og de
stærke bastfibre, såsom kozo, mitsumata og gampi, der alle har en høj
fleksibilitet og kan anvendes både 2-og 3-dimensionelt. Disse fibre var ikke
let tilgængelige i Vesten, hvorfor man her fremstillede papir af bomulds- og
hørklude, beregnet til 2-dimensionelle formål.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="DA" style="mso-fareast-language: EN-GB;">Det var
først i det 18.årh. at der blev udviklet industrielle metoder, der gjorde
træfibre til en attraktiv fiberkilde.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="DA" style="mso-fareast-language: EN-GB;"><br /></span></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span lang="DA" style="mso-fareast-language: EN-GB;">I papirets fædreland.<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span lang="DA" style="mso-fareast-language: EN-GB;"><br /></span></b></div>
<div class="MsoNormal">
<span lang="DA" style="mso-fareast-language: EN-GB;">Kina 1990, <i style="mso-bidi-font-style: normal;">uddrag af min dagbog:</i><o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="DA" style="mso-fareast-language: EN-GB;">Det er
november månede. Jeg sejler på en flod i Kina.Risstrå er stablet som<span style="mso-spacerun: yes;"> </span>wigwamlignende skulpturer inde på land.
Bambusbåden, ladet med papirballer, glider gennem det stille brunlig <span style="mso-spacerun: yes;"> </span>- grønne landskab og i den lette tåge
forvandles den til en silhouet i delikat broderi mod den bleggrå himmel. Vi
lægger til ved bredden,<span style="mso-spacerun: yes;"> </span>og børnene løber
os imøde. Store bunker af risstrå veksler med lave organisk udlagte bygninger.
Så langt øjet rækker er jorden belagt med gule rektangler. Alle horisontale og
vertikale planer er dækket af papir. Grise, kyllinger, hunde og geder løber
rundt på papiret. Landsbykvinderne er i færd med at sprede endnu flere ark ud
til tørring. Husene er bygget<span style="mso-spacerun: yes;"> </span>af ler,
risstrå, træ og metal. Gulvene er stampet ler. Maden tilberedes i wok. Bedstemoderen
sidder på en lav skammel ved<span style="mso-spacerun: yes;"> </span>ildstedet
og sørger for, at varmen holdes ved lige. <span style="mso-spacerun: yes;"> </span>I alle de små huse fremstilles papir.
Hovedsageligt til hjemmebrug: toiletpapir af risstå, papir til skolebrug,
papirmasse til isolering. Få fremstiller papir af bambus, som anvendes til
kalligrafi. Bag landsbyen er der kæmpe store cementbeholdere nedgravet i
jorden. Det er her riststå og bambus stilles ned til forrådnelse. At fremstille
bambus papir ( Tsu Chin) er en langsommelig proces. Bambus høstes i denne
landsby i juni. På dette tidpunkt vokser stængelen ikke, kun blade og grene.
Der er over 300 arter af bambus. Gammel bambus er gul, ung bambus er grøn som
jade. Bambus, der er over 6 år kan ikke anvendes til papirfremstilling. Høj
fugtighed giver den bedste kvalitet. 2 måneders vækst af bambus anvendes; blade
og skud skrælles væk, stængler i 2 meters længde bundtes og placeres i de store
cementgrave, hvor de dækkes med vand og stilles til nedbrydning. Vand tilsættes
med mellemrum via bambus rør for at sikre, at al bambus er dækket. Denne proces
tager 100 dage. Dernæst fjernes de grønne skaller, og de tilbageblivende fibre
stables i lag med vand og læsket kalk. Denne mikstur står endnu i 120 dage.
Bambusfibrene skylles med rent vand i 2 måneder for at fjerne kalkrester, og
dernæst skal bambusfibrene hamres i en fodstamper til papirmasse. Metoden
skifter en smule fra landsby til landsby, men det drejer sig om at nedbryde
fibrene, så plantens iboende cellulose frigives. Kinesiske støbekar er
temmeligt store. De er fyldt med vand op til 8 cm fra karrets kant. Papirmassen
hældes i karret med vand sammen med ekstrakt fra ferskenbambus. Ekstrakten
sørger for, at fibrene spreder sig blødere og mere jævnt. Støbeformen er af
bambus med vertikale paralle stænger, på hvilke bambusmåtten hviler.
Måtten<span style="mso-spacerun: yes;"> </span>er af tynde bambustrimler, syet
sammen med silke eller sener fra vandbøfler. Formen dyppes kun en gang, og ark
lægges ovenpå hinanden på en træplanke. Den sædvanlige størrelse er ca 200 x
100 cm. Arbejdsdagen er på 10 -12 timer og produktionen er på ca. 3000 ark om
dagen! Bunken af de nyfødte ark, i papirterminologi kaldet posten, presses i en
primitiv presse med stenvægte.Den endelige tørring foregår ved at pensle arkene
op på metalplader, placeret på hver sin side af en ca. 20 cm bred tunnel,
opvarmet af varmekilden,der strømmer igennem fra ildstedet for enden af
tunnelen. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="DA" style="mso-fareast-language: EN-GB;">Bambus
vokser op ad bjergene i det fjerne. I byerne anvendes bambus til
bygningsstilladser, på floderne flyder bambus som tømmerflåder eller både.Bambus
er tæt forbundet med Orientens mennesker og deres daglige liv. Den anvendes til
føde, til byggeri,konstruktion af broer,møbler, køkkenreskaber, spisepinde, redskaber,
rørføring, kurve, reb, paraplyer, vifter, pensler, kamme, lamper, hatte,
musikinstrumenter, medicin, sko, m.m. I Kina anses bambus som en af de fire noble
planter. De 3 andre er orkidé, blomme og krysantemum. I århundreder har bambus
været brugt som symbol på moral, grundet plantens vertikalt rejsende stængel.
Den repræsenterer også Buddha, glæde og held. I maleri, poesi, myter og
legender hyldes planten som ekstraordinær. Den blomstrer kun en gang på
hundrede år, og derefter dør den. Bambus vokser hurtigere end nogen anden
plante på jorden; man kan næsten se den gro!<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="DA" style="mso-fareast-language: EN-GB;">I Kina er
en landsby klassificeret som landsby på grund af sin fjerne beliggenhed, ikke
på grund af sin størrelse, da landsbyer spreder sig over meget store områder
for så at vokse sammen med endnu andre landsbyer, hvor der forefindes
andre<span style="mso-spacerun: yes;"> </span>erhverv. De landsbyer, jeg besøgte,
havde ikke nogen direkte forbindelse til større byer. I landsbyer, der
producerer det fine, hvide bambuspapir, tjener de flere penge end i landsbyer,
hvor de producerer<span style="mso-spacerun: yes;"> </span>gulligt risstråpapir.
I en rig landsby er det normalt, at en papirmager tjener 3.000 yan ( 3000 DKK)
om året. En regeringsansat ingeniør tjener 1.800 yan om året ( i 1990). I de
rige landsbyer er huse bygget af cement med gulve af cement. Statussymboler som
køleskab og TV står i hjørnet af opholdsstuen.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="DA" style="mso-fareast-language: EN-GB;">I Vesten
kaldes alt tyndt, hvidt papir fra Østen fejlagtigt for rispapir. Det er baseret
på en misforståelse, måske kommet ind i sproget, da de arabiske handelsfolk præsenterede
papir for første gang i Europa i det 12.årh. De har måske fortalt, at dette
papir var fremstillet af folk, der dyrkede og levede af ris! Der er intet
papir, der er fremstillet af ris på traditional vis. Kina er det eneste land,
der fremstiller papir af risstrå. Dette papir anvendes som husholdningspapir,
til såkaldt ”spirit – paper”, anvendt som papirpenge i religiøse riter som
ofringer til brug for livet efter døden. I vesten kan vi se det gule
risstråpapir anvendt på raketter og andet fyrværkeri.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="DA" style="mso-fareast-language: EN-GB;">Nedbrydning
af risstråpapir foregår ved en mere simpel proces end den proces, der blev
beskrevet ovenfor for bambus. Risstrå stables skiftevis med læsket kalk i store
cementkar. Den varme, der udvikles ved denne tætte stabling, hjælper med at
fjerne lignin, som binder fibrene sammen. Denne nedbrydning foregår om sommeren
i 14 dage eller om vinteren i 2 måneder. Når stråene er nedbrudt, skylles
massen i andre store cementkar, og derefter fodstampes de. Tidligere anvendte
man vandbøfler til at foretage denne stampning og findeling af fibrene.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="DA" style="mso-fareast-language: EN-GB;">Selvom
håndlavet papir i 2009 blev tilføjet listen af National Intagible Cultural
Heritage, har brugen af traditionelt<span style="mso-spacerun: yes;">
</span>fremstillet papir været faldende i Kina. Der eksisterer dog en
forståelse for vigtigheden af at formidle den traditionelle kinesiske kultur.
Her skal nævnes Gaoligong Museum of Handcraft Paper, placeret på en mark i
nærheden af landsbyen Xinzhuang i Yunnan provinsen. Et arkitektonisk forsøg på
at kombinere moderne kvalitet i en landlig kontekst. Her kan man blive oplyst
om papirets historie og lære at fremstille håndlavet papir, som traditionen
foreskriver.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="DA" style="mso-fareast-language: EN-GB;">Enkelte
unge 14. generations papirmagere kæmper for at holde arven ved lige. F.eks. <span style="mso-spacerun: yes;"> </span>Jiaijang handmade paper industry i Sichuan
provinsen, hvor den håndlavede papirindustri forsøges holdt ved lige. Tang
Shukun, direktør for Handmade Paper Institute ved University of Science and
Technology i Hefei, Anhui provinsen, samarbejder med papirmagere for at
genskabe forsvundne fremstillingsformer. Så snart en teknik uddør er den
vanskelig at genskabe. Tang Shukun har sammen med sit team igennem de sidste 10
år indsamlet, dokumenteret, skrevet artikler, udarbejdet videoer og udført
laboratorie- undersøgelsesdata, som vil udkomme i en bog, der fokuserer
paa<span style="mso-spacerun: yes;"> </span>det håndlavede papirs traditionelle <span style="mso-spacerun: yes;"> </span>produktionsproces. Selvom unge mennesker
foretrækker andre erhverv og papir fremstilles industrielt, skal det dog slås
fast, at håndlavet papir er af en langt bedre kvalitet end industrielt
fremstillet papir.Man må håbe, at de mennesker, der bruger deres energi på at
holde den gamle tradition ved lige, vil få mere fokus fremover.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span lang="DA" style="mso-fareast-language: EN-GB;">Papirklip- Jianzhi.<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span lang="DA" style="mso-fareast-language: EN-GB;"><br /></span></b></div>
<div class="MsoNormal">
<span lang="DA" style="mso-fareast-language: EN-GB;">Papir
indeholder mange af Kinas kulturelle erindringer og var engang og er mange
steder stadigt uadskilleligt fra menneskers dagligliv, hvilket bla. afspejles i
traditionen Jianzhi,som er kinesisk klip i papir. Jianzhi menes at<span style="mso-spacerun: yes;"> </span>være udviklet siden år 600: fra anvendelse i religiøse
sammenhænge, når man bad til sine guder og forfædre, til mønstre for broderier
og senere som en udbredt folkekunst, hvor det anvendes som dekoration og symbol
på lykke og et godt helbred, I dag fremtilles papirklip både kommercielt, som
kunsthåndværk, design og kunst. Jianzhi er en af de ældste, mest populære typer
folkekunst i Kina. Der findes en nordlig og en sydlig traditionel stil. Den
sydlige stil fra Jiangsu og Zheijang provinserne er udført smukt og omhyggeligt
med mange fine og interessante detaljer. Den nordlige stil fra Yuxian og
Fengning i Hebei provinsen og Shaanxi har overdrevne, voldsomme former og
livlige forskelligartede mønstre. Papirklip kan ses som dekorative vindues
papirklip med blomstermønstre i hjørnerne. Ofte er disse klip inspireret af
traditionel<span style="mso-spacerun: yes;"> </span>kinesisk opera. Da papirklip
tit købes af landbefolkningen er <span style="mso-spacerun: yes;"> </span>indholdet af vindues papirklip som regel
relaterest til landbrug, det at fiske og holde dyr eller spinde på spinderok.
Klippene er en æstetisk måde at udtrykke håb, taknemmelighed eller andre
følelser på. De ofte røde papirklip har forskellig mening. Nogle udtrykker
ønske om en god høst, ønsket om at ens dyr trives, ønske om held og et bedre
liv; dyr og planter, legendariske, mytiske kreaturer, en jadekanin eller en
karpe, der springer over en drages hale eller figurer fra myter og historier om
den gule kejser. Andre udtrykker taknemmelighed over livet – det smukke ved en
fisk, der svømmer mellem lotus blomster eller en pige, der fletter sit hår. De
mest populære klip handler om held og dobbelt lykke. Mennesker i Kina holder af
at hænge papirklip op på deres døre, der indeholder disse to karakterer: </span><span lang="DA">“</span><span lang="EN-US" style="font-family: "MS Gothic"; mso-ascii-font-family: "Times New Roman";">福</span><span lang="DA">” / <i>fú</i> = lykke, bruges ofte ved
nytårstide<span style="mso-spacerun: yes;"> </span>for ønsket om et godt år
og<span style="mso-spacerun: yes;"> </span>“</span><span lang="EN-US" style="font-family: "MS Gothic"; mso-ascii-font-family: "Times New Roman";">囍</span><span lang="DA">” /xǐ= dobbelt glæde, som ofte ses ophængt på nygiftes vinduer og døre
ved bryllupper. Vindues papirklip har nær forbindelse til forårets komme. Det
er en måde at byde foråret velkomment på og at vise glæde og gode intentioner. </span></div>
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<span lang="DA">Portrættering af de stiliserede silhouet
billeder er for de flestes vedkommende klippet med saks, andre skåret med en
skap kniv på en blødt underlag, f.eks voks. Det anbefales at<span style="mso-spacerun: yes;"> </span>holde saksen i en position og skubbe papiret
mod skæringspunktet. En saks med stort håndtag og korte skæreblade er at
foretrække. Det er vigtigt, at papiret har en vis stivhed og <span style="mso-spacerun: yes;"> </span>fleksibilitet, så man ikke ødelægger sit klip.
Egenskaben bestemmes af papirets nano-arkitektur,som betyder, at papiret har en
kombination af relativt stive krystallinske<span style="mso-spacerun: yes;">
</span>celluloseområder, forbundet af mere fleksible amorfe områder. Fibrene er
alle forbundne i 3-dimensionelle strukturer med hydrogen sammensathed som den
dominerende forbindelseskomponent, <span style="mso-spacerun: yes;"> </span>Fordi
en tynd udklippet papirlinie kan blive tyndere end fiberlængden er det vigtigt,
at papirfibrene er blevet skåret med en høj grad af finhed.</span></div>
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<span lang="DA">Som nævnt er farven rød den mest populære til
papirklip, men farven sort er også højt værdsat i Kina. I den vestlige verden
er sort ofte forbundet med alvor, tab, tristhed og uorden. Under Xia dynastiet
( 2070 – 1600 f.kr.) var sort en nobel farve. I Ching omkring år 9. årh. f.kr.
var sort et nøglekoncept i den kinesiske mytologi. Den sorte farve relaterede
til den øverste guddom, den himmelske kejser.Ordsproget <i style="mso-bidi-font-style: normal;">himlen er sort og jorden er gul</i> stammer fra det mytiske, stille
mørke, som det gamle Kina oplevede på den nordlige himmel. Man troede på, at
Nordstjernen pegede mod den himmelske kejser, og at sort derfor var kongen over
alle farver. I dag, 4 tusinde år senere i Shanzhou området, Henan provinsen,
lige der, hvor Xia dynastiet blomstrede engang, har folk stadig en ærbødighed
overfor farven sort, som en guddommelig farve, der kan holde al ondskab borte.
Denne tro har været holdt i hævd i generationer, ligesom det lokale, sorte
papirklip i en kombination af tro og dagligliv. Folk i landsbyen Nangou i
Shanzhou området klipper stadigt sorte papirklip for at vise guderne respekt,
sikre rig høst, bede for nyfødte, holde sygdomme, kaos og uheld borte samt i
andre rituelle sammenhænge.<span style="mso-spacerun: yes;"> </span>Under
forårsfestivalen sættes sorte papirklip op i vinduerne og på døre i hele Nangou
og anvendes også, når et par er blevet gift. Disse dekorationer i folks hjem er
ikke livløse stykker papir, men en udførelsesform af indbyggernes rene følelser
i forhold til naturen og repræsenterer deres mest oprindelige æstetiske ideer,
deres spiritualitet og et varsel om et bedre liv.</span></div>
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<span lang="DA">Nangou indbyggernes sorte papirklip blev vist
på Lucca biennalen i Italien 2018, hvor China Academy of Art’s udstillingsteam
Chen Huasha, Zhang Ting, Ma Chuan og Kong Quinpei, som en fortsættelse af
Kina’s rige papirhistorie og dens forbindelse til moderne kunst, præsenterede
installationen <i style="mso-bidi-font-style: normal;">The Warmth of Paper<span style="mso-spacerun: yes;"> </span>- </i>en lang <span style="mso-spacerun: yes;"> </span>ca. 1 m bred sti med Nangou indbyggernes sorte
papirklip. Installationen repræsentede, hvorledes menneskeheden har integreret
den kreative ånd med følelsesmæssig varme i en kold materiel kultur. En anden
af gruppens installationer var fremstillet med sort aske, der symboliserede,
hvorledes menneskets eksistens er bundet i en endeløs, næsten kaotisk cyclus og
fortsætter med at vende tilbage til natur og stilhed.</span></div>
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<span lang="DA"><span style="mso-spacerun: yes;"> </span></span><span style="mso-ansi-language: EN-GB; mso-fareast-language: EN-GB; mso-no-proof: yes;"><!--[endif]--></span></div>
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<span style="mso-ansi-language: EN-GB;">Sitting alone in the dark bamboo</span><span style="font-family: "Arial","sans-serif"; font-size: 10.5pt; mso-ansi-language: EN-GB;"><o:p></o:p></span><br />
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<span style="mso-ansi-language: EN-GB;">I play my lute and
sing out<o:p></o:p></span></div>
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<span style="mso-ansi-language: EN-GB;">Deep in the wood known
to no one<o:p></o:p></span></div>
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<span style="mso-ansi-language: EN-GB;">The bright moon is
shining on me.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="mso-ansi-language: EN-GB;">Hang Wie 701 -
761<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"><br /></span></span></div>
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<i style="mso-bidi-font-style: normal;"><span style="mso-ansi-language: EN-GB; mso-fareast-language: EN-GB;">Anne Vilsbøll<o:p></o:p></span></i></div>
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<i style="mso-bidi-font-style: normal;"><span style="mso-ansi-language: EN-GB; mso-fareast-language: EN-GB;"><br /></span></i></div>
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<i style="mso-bidi-font-style: normal;"><span style="mso-ansi-language: EN-GB; mso-fareast-language: EN-GB;">- skrevet i forbindelse med udstillingen Paper Dialogues, der afholdes p</span></i>å<i> Center for Papirkunst, Hune, Nordjylland fra 22. marts - september 2019</i></div>
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<span style="mso-ansi-language: EN-GB; mso-fareast-language: EN-GB;">-<o:p></o:p></span></div>
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anne vilsboellhttp://www.blogger.com/profile/14366440366846810932noreply@blogger.com0tag:blogger.com,1999:blog-8716323595673466152.post-64249258062119292018-08-30T12:59:00.001-07:002018-08-30T12:59:20.181-07:00Is Paper Art the next big Thing?<div dir="ltr" style="text-align: left;" trbidi="on">
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<b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-style: italic;">Lucca Paper Biennale, 9<sup>th</sup> Edition, Chaos
and Silence – Aug. 4 – Sep.27, 2018<o:p></o:p></span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGFvcg1el-n-P_7fPQEDTKegjR71gXhEore6yPb3sf2wccq0taG5cqxRUMYnK1iIURErfyMLjUrR7BL4UtuWcmxQGVcqyTVx9b2-8tKZ2dBywVPAofhgHx3URo724IBA_yQSwNSC3wUyA/s1600/The+Warmth+of+Paper+China+Academy+of+Art.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="706" data-original-width="402" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGFvcg1el-n-P_7fPQEDTKegjR71gXhEore6yPb3sf2wccq0taG5cqxRUMYnK1iIURErfyMLjUrR7BL4UtuWcmxQGVcqyTVx9b2-8tKZ2dBywVPAofhgHx3URo724IBA_yQSwNSC3wUyA/s320/The+Warmth+of+Paper+China+Academy+of+Art.JPG" width="182" /></a></div>
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<span style="font-family: "Times New Roman", serif; font-size: 12pt; line-height: 115%;"><i>The Warmth of Paper</i></span></div>
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<span style="font-family: "Times New Roman", serif; font-size: 12pt; line-height: 115%;"><i>China Academy of Art,</i></span></div>
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<span style="font-family: Times New Roman, serif;"><i>Il Mercato de Carmine</i></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-style: italic;">Apart from
indoor exhibitions in Palazzo Ducale and Il Mercato de Carmine and outdoor
exhibitions around town </span><span style="background: white; color: #222222; font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">the Lucca Paper
Biennale hosted "Network days"
Aug. 3<sup>rd</sup> – 4th, panels<i>, aimed
to experience networking and exchange with leading artists, curators and
international organizers of Paper Art events, with whom we should discuss the
issues of the world of Paper Art.</i></span><i><span style="color: #222222; font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"> <span style="background: white;">Discussions in an informal
format between speakers and the public, allowing the speakers to share their
expertise, their views and opinions.</span></span></i><i><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><o:p></o:p></span></i></div>
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<span style="background: white; color: #222222; font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Aug 4<sup>th</sup>
I was on the panel, moderated by </span><span style="background: white; color: #222222;"><span style="font-family: Times, Times New Roman, serif;">Sigi Beare</span></span><span style="background: white; color: #222222; font-size: 12pt; line-height: 115%;"><span style="font-family: Times, Times New Roman, serif;"> </span><span style="font-family: Times New Roman, serif;">together with the
general director of the Lucca Biennale Emiliano Galigani, with Iapma president
Nicole Donnelly, with Oskar Ho, President of Asia Pacific Designers Federation,
with Daniela Todorova, president of Amateras Foundation and Daniela’s husband. The
questions we had were the following:</span></span></div>
<span style="color: #222222; font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">
<!--[if !supportLineBreakNewLine]--><br />
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<b><i><span style="border: none windowtext 1.0pt; color: #222222; font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-border-alt: none windowtext 0cm; padding: 0cm;">"Is Paper art the next big thing?"</span></i></b><b><span style="color: #222222; font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><br />
<i><span style="border: none windowtext 1.0pt; mso-border-alt: none windowtext 0cm; padding: 0cm;">"What is Paper art and what's going on in the paper art
world? How can the art events make this movement stronger? What are the trends
in the future?"<o:p></o:p></span></i></span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_FRmbBI32o7Mb6zxVD5nv2PO2_2y1lRIMyy0x1tqvNY_9gRaJbu-Oiyh8kqYRRXfaAS22VrgL1vCFg_YVTJFEyCJU1JAxPG0bCuKB0XexRRsFRHtWpCiauHtLPXAsY07wxbmsiOpSGwg/s1600/Island+Korean+artist+Ho+Yoon+Shin.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="513" data-original-width="385" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_FRmbBI32o7Mb6zxVD5nv2PO2_2y1lRIMyy0x1tqvNY_9gRaJbu-Oiyh8kqYRRXfaAS22VrgL1vCFg_YVTJFEyCJU1JAxPG0bCuKB0XexRRsFRHtWpCiauHtLPXAsY07wxbmsiOpSGwg/s320/Island+Korean+artist+Ho+Yoon+Shin.JPG" width="240" /></a></div>
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<i><span style="border: none windowtext 1.0pt; color: #222222; font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-border-alt: none windowtext 0cm; padding: 0cm;">Island, Korean artist Ho Yoan Shin,</span></i></div>
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<i><span style="border: none windowtext 1.0pt; color: #222222; font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-border-alt: none windowtext 0cm; padding: 0cm;">Il Mercato de Carmine</span></i></div>
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<i><span style="border: none windowtext 1.0pt; color: #222222; font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-border-alt: none windowtext 0cm; padding: 0cm;"><br /></span></i></div>
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<span style="border: none windowtext 1.0pt; color: #222222; font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-style: italic; mso-border-alt: none windowtext 0cm; padding: 0cm;">As
one could assume that part of the audience would not know much about paper art,
I had prepared a few notes, which I would like to share with you in the
following. <o:p></o:p></span></div>
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<b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-style: italic;">Paper Art in the Future.<o:p></o:p></span></b></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-style: italic;">Well, paper art
has been the next big thing for me personally since 35 years and for others
even longer and it seems to be an ongoing next big thing!<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-style: italic;">The handmade
paper as an artistic means of expression got its renaissance in USA in the
1950’s </span><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">as
a symbiosis between handmade paper and graphic expression, a development that spread to Europe
in the 70s and the 80s. Jim Dine had his lithography “White Teeth” printed on
specially made Fabriano sheets in the mid-1960s. In 1973 Robert Rauschenberg
worked at the old paper mill Richard de Bas in the Puy de Dôme area of France
to manufacture special paper for his series named “Pages and Fuses”.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">One of the most important experimental
centers for the paper/print symbiosis was Tyler Graphics Ltd. in Bedford
Village, New York, USA. Here David Hockney, Elsworth </span><span style="font-family: "Times New Roman", serif; font-size: 12pt;">Kelly, Kenneth Noland, Robert
Motherwell, Claes Oldenburg, James Rosenquist, Frank Stella and others had unique
works made which demonstrate the complete unity between </span><span style="font-family: "Times New Roman", serif; font-size: 12pt;">paper and print at its very best.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Inspired by this conglomerate of paper
and print, an entirely new industry sprang up to construct the machinery and
equipment necessary for manufacturing the driving force.</span><span style="font-family: "Times New Roman", serif; font-size: 12pt;">for </span><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> </span><span style="font-family: "Times New Roman", serif; font-size: 12pt;">artists to do their work. Parallel to the
ecological development, this special art form started to spread, and paper
studios appeared in most parts of the world, giving rise to both two- and
three-dimensional work. Paper biennales, paper periodicals and paper stores
flourish like never before. The past almost 70 years of experimenting provide an
opportunity to look back on a development that demonstrates some very special
chains of events.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">When the need for something begins to
vane, a society invests the material itself with cultural value. The use we
formerly made of paper changes and we focus on paper as a medium – a medium for
artistic expression – the special attributes of paper. Paper is made of natural
fibres and the result is a new product of nature. Paper exists because of
water. The origins of the material can be formulated: plant/water/paper/new
life. Paper symbolizes the ecological cycle and has a history that gives us an
opportunity of understanding our own history.<o:p></o:p></span></div>
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<b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">A
characteristic feature of paper as a material is that it has aspects belonging
to history, geography, biology, ecology, cultural history and aesthetics. It is
a material meeting<o:p></o:p></span></b></div>
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<b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">most
of the requirements that artists may have for a material for graphics,
painting, sculpture, photo, installation, interior/exterior
design/architecture, fashion, furniture, lighting, books, music and
performance.</span></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"> Work expressed in and with paper has a
clear and definable style.<b><o:p></o:p></b></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">In the work process within this field
there will always be particular techniques that the artist need to master in
order to utilize the medium, which in its very basic form consists of <b>destruction and reconstruction</b>. The
material must be collected, boiled, cleaned, pounded, cut, cast and surface
treated or collected, dissected and re-combined in relation to the desired two-
or three-dimensional result. The artistic expressions follow lines that
demonstrate shared features. When studying art history we inevitably come
across “isms”. Designations like impressionism, cubism, symbolism etc. do not
change the content of art itself. These isms: chains of events - are
constructed in retrospect and provide insight into the history of art in
relation to the surrounding society. Personally I do not find divisions and
differences we as humans continuously define ourselves and our surroundings
with important and do not find that the ism-categories do justice to all art,
but to follow up on this idea one might talk about an ism named <b>paperism</b>. An ism is <b>a line of action</b> invented by art historians
in order to put art into boxes and to handle what happened within a certain
period of time according to the similarities of the art work produced during
that specific period. Observing what is happening in the paper art world, there
are certain categories that continuously are repeated: paper/ print – ecology –
earth’s strength/ the potential of fiber – earth’s layers/sheet – recycling –
constructions, where paper is combined with other materials- paper as skin –
paper as fashion – paper/photo – watermarks – historic potential – biological
potential – furniture – music – performances – walls - painting......<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">In
the 21st century <span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #333333;">society focuses
more and more on <b>sustainability,
re-/up-cycle responsibility, ecological behavior and environmental attitude</b>,
bringing even more focus on paper as a creative vehicle. Already in the 90’ties
we could read that paper would disappear parallel with digitalisation, which
has been proved wrong.</span><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; letter-spacing: -0.05pt;"> We might be using less paper in offices and buying fewer news papers
reading these online. But we’re ordering more online. What we buy on the
internet has to be transported home, and it’s sent in packaging made out of
wood fiber. This is one of the reasons why the pulp and paper is a growing
industry. Most pulp come from </span><span style="letter-spacing: -.05pt;">plantations.
Millions of trees would not exist if not for the pulp and paper industry,
because no one would be planting millions of trees for fun.<strong> </strong>Without
the paper industry, the environment might look worse than it does today. <o:p></o:p></span></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; letter-spacing: -.05pt; line-height: 115%;"><i>(The Lucca Biennale’s 9<sup>th</sup> edition focuses on
cardboard. All outdoor sculptures were made by cardboard).</i><o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; letter-spacing: -.05pt; line-height: 115%;"><br /></span></div>
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<span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: "Times New Roman", serif; font-size: 12pt; letter-spacing: -0.05pt; line-height: 115%;">With changing needs for paper we <b>delve deeper into the environmental impact
of opting for plastics over wood-based materials.</b></span><b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; letter-spacing: -.05pt; line-height: 115%;"> </span></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; letter-spacing: -.05pt; line-height: 115%;">Experiments with <span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">carbon fiber
made out of tree fibers/lignin</span> are taking place, which will be <span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">a completely sustainable product. It will be much
cheaper than carbon fibers made out of oil. Hopefully the raw material will be
available beyond the next ten, twenty, thirty years.<o:p></o:p></span></span></div>
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Paper plays an
increasingly large role as a high-performance material in ultra –modern
technology in the fields of electronics, energy, medical treatment and in
environmental contexts, where the original production process based on
cellulose fibres is being superceded by the use of synthetic fibres; metal
fibres, ceramic fibres; and by paper which has undergone a second and third
process of treatment, in order that such characteristics as resistance to heat
and chemical substances, filtering capabilities, acoustic and magnetic
attributes – in conjunction with traditional methods of production – can
further develop fiber technology<o:p></o:p></div>
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<span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: "Times New Roman", serif; font-size: 12pt; letter-spacing: -0.05pt; line-height: 115%;">Artists working with handmade paper are
experimenting with numerous plant fibers and have always for the most parts
worked sustainable and pointed towards the many possibilities of paper.
Parallel with the growth of technology and globality a plant/paper research and
innovation have and are taken place on all possible levels.<o:p></o:p></span></div>
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<span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: "Times New Roman", serif; font-size: 12pt; letter-spacing: -0.05pt; line-height: 115%;">Experiments with bamboo and straw as
building materials – not really a renewal - as the Eastern part of the world have used paper/pulp as building material for centuries! The access to
information has evidently functioned as a wake-up call. Scientists have
experimented with seaweed as insulation material and </span><span style="font-family: "Times New Roman", serif; font-size: 12pt; line-height: 115%;">plan to make the seaweed insulating material in sheet form.<br />
Now "balls of the Neptune" gather on the coast manually and are
imported to Germany from Tunisia and Albania. The insulating material from
seaweed under the name NeptuTherm is offered today in the market by the German
company with the name of the same name.</span><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #222222; font-family: "Times New Roman", serif; font-size: 12pt; line-height: 115%;"><o:p></o:p></span></div>
<div style="background: white; line-height: 115%; margin-bottom: 11.25pt; margin-left: 0cm; margin-right: 0cm; margin-top: 0cm;">
<span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; letter-spacing: -0.05pt;">On the internet one can find numerous models how to build
NASA spacecraft models in paper</span><span style="border: none windowtext 1.0pt; color: #404040; mso-border-alt: none windowtext 0cm; padding: 0cm;"> </span><span style="border: none windowtext 1.0pt; mso-border-alt: none windowtext 0cm; padding: 0cm;">inspired
by paper cutting and<span style="color: #404040;"> </span>Nasa<span style="color: #404040;"> </span></span>seeking novel
folding/origami-based patterns and concepts for packaging a large radiation
shield within a single launch vehicle that can be deployed around a Mars
vehicle in cis-Lunar space. This challenge seeks creative ideas that can be
shown using diagrams, graphics, 3D models, or animations that at a minimum show
the stowed and deployed configurations.<o:p></o:p></div>
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<span style="font-family: "Times New Roman", serif; font-size: 12pt; line-height: 115%;">Within the paper art – the future goes
hand in hand with technology, 3d paper printing, </span><span style="background: white; font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">computational
origami, innovative and renewable materials, that all<span style="color: #333333;">
</span></span><span style="font-family: "Times New Roman", serif; font-size: 12pt; line-height: 115%;">offer opportunities for increased use of paper, and other cause changes
in demand for different grades of paper.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: "Times New Roman", serif; font-size: 12pt; line-height: 115%;">The traditional Chinese and Japanese
technique of paper-cutting, the art of cutting unique designs in paper, may be
the key to the development of lightweight, super portable, and sustainable
power sources for devices including remote controls, watches, and temperature
sensors.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; letter-spacing: -.05pt; line-height: 115%;"><i>(The Lucca Biennale’s 9<sup>th</sup> edition exhibits a
couple of indoor works, where artists
have used the paper cut technique in various ways as the two illustrated works in this context)</i><o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif; font-size: 12pt; line-height: 115%;">Paper also has a lot to offer within
physical and psychological matters: the following is an extract from my article
(1) and lecture (2): A Metaphysical Approach to Paper<o:p></o:p></span></div>
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<i><span style="font-family: "Times New Roman", serif; font-size: 12pt; line-height: 115%;">A handmade sheet of paper is called an ark in Danish<o:p></o:p></span></i></div>
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<br /></div>
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<i><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">We
all have pictures in the mind shimmering around the edges. Pictures we do not
always act upon; they are just shimmering in the midst of our inner flow. To
create an ark the mind has to be focused from within – the mind translates the
past, the present and the future in the ark, whereas an ark comes to symbolize
time and mind. <b>Ark is about the mind.<o:p></o:p></b></span></i></div>
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<i><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">We
are born with 5 senses, meant to be developed. If we relate these 5 senses to
ark: Ark contains sound – think about the German Joseph Anton Riedl, who made
Paper Music concerts ….. Ark contains taste – think about the American John
Cage and his Edible Drawings based on his macrobiotic diet…..Ark is tactile
- each ark asks to be touched….. Ark is
visible, we have to see ark, not only to look at it……Ark contains smell of
plant and water, nature ……Feeling our senses is more important than thoughts.<o:p></o:p></span></i></div>
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<i><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">The
professional maker of ark has his own personal stroke. If the maker is in
balance within himself, he will create a perfect ark. If the maker is not in
balance within himself, he loses control over his stroke. The act, the stroke
and the ark reflect the maker’s contact with his mind and his senses – his
inner balance. Making ark has the possibilities of enlarging both psychological
and physical knowledge about.( extract </span></i><span style="background: white; color: #222222; font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">:- please see below)<o:p></o:p></span></div>
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<span style="background: white; color: #222222; font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">The goal of a
contemporary artist who is choosing to create art with new technologies should
not be to "extract" meaning from the technological platform, but to
use it as a base for new bold directions. It has been and still is the art that
pushes the limits and defines new meanings that will change how we think and
feel - today and in the future.<o:p></o:p></span></div>
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<!--[if !supportLists]--><span style="color: #333333; font-family: "Times New Roman","serif"; font-size: 12.0pt; letter-spacing: .15pt; line-height: 115%; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">-<span style="font-family: "Times New Roman"; font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;"> </span></span><b><span style="color: #111111; font-family: "Times New Roman","serif"; font-size: 12.0pt; letter-spacing: .15pt; line-height: 115%; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">International biennale events have become a trend
and we see more and more coming. A biennale
shall be much more that just exhibitions/showcases. Talks, conferences, round -tables, workshops, performance, films a.o. in connection with these events are
very important for re-thinking and development. As paper art is a meta art
form, I find that scientists, architects, biologists, geologists, historians,
technologists, psychologist a.o. should be invited as well in order to open up
for new contexts. I believe that this should be an aim for future biennales. The
trend for the future of paper is to collaborate with science and technology –
crossing borders/categories. The base for all this is paper history and I find
it very important to link to the historical development of paper art to
underline the importance of the art form in the future.<o:p></o:p></span></b></div>
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<b><span style="color: #111111; font-family: "Times New Roman","serif"; font-size: 12.0pt; letter-spacing: .15pt; line-height: 115%; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">--------------------------------------------------------------------------------------------------<o:p></o:p></span></b></div>
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<b><span style="color: #111111; font-family: "Times New Roman","serif"; font-size: 12.0pt; letter-spacing: .15pt; line-height: 115%; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">The historical development of handmade paper in
Pescia, 18 km from Lucca:<o:p></o:p></span></b></div>
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<b><span style="color: #111111; font-family: "Times New Roman","serif"; font-size: 12.0pt; letter-spacing: .15pt; line-height: 115%; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">In 1984 I visited the Italian paper mills:
Fabriano, Amatruda/Amalfi and the Cartiera Magnani, situated just 18 km from
Lucca in Pescia and I brought back a small collection of beautiful watermark
paper and have fond memories of this very special mill, that carried an air of
elegance and high quality. Surprised that nothing was mentioned about this
historic place during the Lucca biennale, I asked around and the message was:
it is not working anymore. I wanted to know that for myself, rented a car and
went to Pescia and I’m happy I did. There are things happening in Pescia! The
non for profit Associazione Museo della Carta di Pescia began restoring the
Cartiera Magnani in 2010.( Handmade paper was made until 1992). The first wing
housing the Magnani historical archive opened in 2016. Hopefully the entire restoration of Cartiera Magnani will be
finished in 2 years time. Educational programs are taking place and the history
is and will be carried forward. For more information: www.magnanipescia.it<o:p></o:p></span></b></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Concerning paper art
I’m not interested in nostalgia. But the idea of tradition – to know the
history of paper - is to carry forward. We all have potentials to leave
something behind that enables a culture we do not even know yet. To leave
something that can be nourished, contained and held.<o:p></o:p></span></div>
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<i><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Anne
Vilsboell<o:p></o:p></span></i></div>
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1)<a href="http://dkod.dk/metafysisk-tilgang-papir/" target="_blank"><span style="background: white; color: #1155cc; font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">http://dkod.dk/metafysisk-tilgang-papir/</span></a><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><o:p></o:p></span></div>
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2)<span style="background: white; font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><a href="http://www.paperhistory.org/Archive/iph2-2014.pdf">www.paperhistory.org/Archive/iph2-2014.pdf</a></span></div>
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<br /></div>
<span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">More about the Lucca biennale: check </span><span style="color: #006d21; font-family: Arial, Helvetica, sans-serif; font-size: 13px;">https://www.</span><span style="color: #006d21; font-family: Arial, Helvetica, sans-serif; font-size: 13px; font-weight: 700;">luccabiennale</span><span style="color: #006d21; font-family: Arial, Helvetica, sans-serif; font-size: 13px;">.com/en</span><br />
<span style="font-family: Calibri, sans-serif;"><span style="font-size: 14.6667px;"><br /></span></span>
<span style="font-family: Calibri, sans-serif;"><span style="font-size: 14.6667px;"><br /></span></span>
<span style="font-family: Calibri, sans-serif;"><span style="font-size: 14.6667px;"><br /></span></span>
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<i>Liminal Space, Swiss artist Manuela Granzio,outdoor</i></div>
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<i>Danish artist Anne Vilsboell, Leap and La Famiglia,Palazzo Ducale</i></div>
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anne vilsboellhttp://www.blogger.com/profile/14366440366846810932noreply@blogger.com0tag:blogger.com,1999:blog-8716323595673466152.post-46977933200664958712018-05-06T07:45:00.000-07:002018-05-06T07:45:35.924-07:00AMATE<div dir="ltr" style="text-align: left;" trbidi="on">
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<span lang="DA" style="mso-ansi-language: DA;"><b>AMATE</b><o:p></o:p></span></div>
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<span lang="DA" style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%; mso-ansi-language: DA;">Ordet <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">amate</i></b>
er spansk: <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">papel amate</i></b> og stammer fra <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Nahuatl amatl</i></b>, historisk kendt som
Aztekernes sprog, en forkortelse af <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">amacuahuitl</i></b>, papirtræ, fra <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">amatl,</i></b><i style="mso-bidi-font-style: normal;"> </i>papir og <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">cuahuitl</i></b> , træ. Variationer
af Nahuatl tales i dag af omkring 1,5 mill. Nahua folk, som for det meste lever
i det centrale Mexico. Sproget <span style="mso-spacerun: yes;"> </span>er blevet
talt<span style="mso-spacerun: yes;"> </span>og skrevet siden år 700.</span></div>
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<span lang="DA" style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%; mso-ansi-language: DA;">Fotos sat sammen, taget på det
antropologiske museum i Mexico City. Eksempler fra den <span style="mso-spacerun: yes;"> </span>21 -22 sider lange ”harmonikabog”, <b style="mso-bidi-font-weight: normal;">Codex Boturni</b>, også kaldet <b style="mso-bidi-font-weight: normal;">Tira de <span style="color: #222222;">Peregrinación</span></b><span style="color: #222222;">, fortælling om den lange rejse, hvilket er Azterkernes
rejse.</span> Bogen blev malet som piktogrammer med sort blæk på amate papir
omkring 1530’erne efter den spanske besættelse af Mexico. Vi så flere eksempler
på codex bøger som er den primære kilde til den Aztekiske kultur.<o:p></o:p></span></div>
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<span lang="DA" style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%; mso-ansi-language: DA;">Endelig<span style="mso-spacerun: yes;"> </span>Mexico. Mine mange papir research rejser over
det meste af verden har fokuseret<span style="mso-spacerun: yes;"> </span>på forskellige
kulturers<span style="mso-spacerun: yes;"> </span>håndlavede papirtraditioner. I
Mexico er den håndlavede papirtradition af en lidt speciel karakter. Traditionen
hører under benævnelsen pseudo papir<span style="mso-spacerun: yes;">
</span>ligesom Ægyptens papyrus og Samoas tapa. For at blive karakteriseret som
håndlavet papir skal fibre løftes på forme fra kar fyldt med vand og fibre.
Pseudopapir <span style="mso-spacerun: yes;"> </span>er fremstillet ved at
placere barkfibre vertikalt og horisontalt og derefter hamre <span style="mso-spacerun: yes;"> </span>eller presse barkstrimlerne sammen til en
ensartet flade. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span lang="DA" style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%; mso-ansi-language: DA;">Siden jeg så min
japanske ven Asao Shimuras smukke lille bog <i style="mso-bidi-font-style: normal;">San
Pablito – Amate Paper</i> i 1987 har det ligget et sted derude, at jeg en dag ville
besøge landsbyen San Pablito i bjergene i Mexico. På papirkonferencer rundt om
i verden, havde jeg haft amate mellem hænderne og mødt kunstnere fra især
Mexico, som anvender amate i deres værker. Jeg omtaler i min bog Papirmageri
II – kunst og teknik ( Borgens Forlag 1996) <span style="mso-spacerun: yes;"> </span>s.128 – 29 <span style="mso-spacerun: yes;"> </span>pseudopapiret: <span style="mso-spacerun: yes;"> </span>amate, papyrus og tapa.<o:p></o:p></span></div>
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<span lang="DA" style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%; mso-ansi-language: DA;">Asao Shimura havde
besøgt landsbyen første gang i 1976 , og jeg kunne forstå, at det havde været
en strabadserende rejse til fods eller på hest ad en stejl sti i et par timer fra Pahuatlan, den<span style="mso-spacerun: yes;"> </span>nærmest -liggende lidt større by. En grusvej
blev lavet i 1978 og først i midten af 90’erne blev den asfalteret Den blev
ødelagt igen i 90’erne af en storm, men i dag kan man køre i bil op til San
Pablito. Det er meget besværligt at komme dertil med offentlige transportmidler,
men det er muligt med mange busskift til Pahuatlan.<o:p></o:p></span></div>
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<span lang="DA" style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%; mso-ansi-language: DA;">Jeg undersøgte
gennem venner, hvorledes situationen så ud anno 2018 og kom ved hjælp af min
spanske veninde,Victoria Rabal , og mexicaneren Brenda Garcia i kontakt med to
mexicanske arkitekter <span style="background: white; color: #222222;">Antonio
Carro og Emmanuel Arteaga. Efter mange emails frem og tilbage blev aftalen, at
Antonio og Emmanuelle ville hente os kl.5. om morgenen i byen Puebla, syd for
Mexico City. Sammen med dem kunne vi køre 5 timer til byen Pahuatlan og derfra
til San Pablito for at besøge efterkommere af Otomi indianerne. Ydermere kunne
de være vores tolke, hvilke jo var et fantastisk tilbud.</span> <o:p></o:p></span></div>
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<span lang="DA" style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%; mso-ansi-language: DA;">Antonio og
Emmanuelle hentede os: min datter Emilie, som havde været på art residency i San Pancho og undertegnede, på Hotel Frida i Puebla, hvortil vi var ankommet dagen
før. Det var et specielt møde i det tidlige morgenmørke, men snart gik samtalen
livligt. Venners venner kan man vel have tillid til! De takkede os efter vores
udflugt for, at vi havde haft tillid til dem. <o:p></o:p></span></div>
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<span lang="DA" style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%; mso-ansi-language: DA;">Langsomt lysnede
det, og de mange bump på vejen blev mere synlige! Det grønne. langstrakte landskab
blev mere bjergrigt jo længere, vi bevægede os nordøst for Puebla.Vi gjorde
holdt og drak kaffe <span style="mso-spacerun: yes;"> </span>på en yderst fin
cafe med alverdens mexicanske tørrede frugter, søde sager og chips . Under bjergkørslen
, lige før vi ankom til Pahuatlan, kunne vi ind imellem skimte San Pablito i
det fjerne. Landsbyen breder sig ud over Guajalote bjergene i Sierra Norte de
Puebla i ca. 1200 m’s højde. Vi kørte først til Hotel Carlos i Pahuatlan ,hvor
vi spiste <span style="mso-spacerun: yes;"> </span>dejlig morgenmad<span style="mso-spacerun: yes;"> </span>- en hob af guacamole og nachos! Derefter
bevægede vi os <span style="mso-spacerun: yes;"> </span>langsomt op til San
Pablito landsbyen, som hører under Pahuatlan kommune i staten Puebla. Solen
skinnede fra en skyfri himmel , og vi var rigtig heldige, fordi landsbyen meget
ofte henligger i tåge, forårsaget af varme luftmasser, der når herop fra den
mexicanske golf. Klimaet er varmt og vådt.<o:p></o:p></span></div>
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<span lang="DA" style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%; mso-ansi-language: DA;">Vi fik at vide, at
der ikke blev lavet amate, hvis vejret er dårligt. Maj til juli er de tørreste
måneder og de mest anvendelige til amatefremstilling Der fremstilles mindre
amate fra december til februar. Når vejret er godt arbejdes der fra solopgang
til solnedgang.<o:p></o:p></span></div>
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<span lang="DA" style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%; mso-ansi-language: DA;">Vi parkede bilen, og det første syn var en ældre kvinde i
en smuk hvid, broderet kjole, sat sammen af mange slags hvide stoffer med et
broderet bælte, i færd med at vaske på bare tæer.</span></div>
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<span lang="DA" style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%; mso-ansi-language: DA;">Husene så rå og ufærdige
ud – de stod i rå cementblokke eller let pudsede – gråt i gråt: ind imellem
lyste en farvet facade op, men for det meste forekom landsbyen meget forsømt. Vi
skulle besøge familien Rosendo, som Antonio og Emmanuelle havde besøgt før, og
vi nærmest kravlede op ad uregelmæssige stier, der så ud som om stenene <span style="mso-spacerun: yes;"> </span>var faldet tilfældigt ned fra bjergmassivet og
lagt sig til rette i et uoverskueligt virvar.<o:p></o:p></span></div>
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<span lang="DA" style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%; mso-ansi-language: DA;">Endelig var vi på
en platform, hvor familien ventede os.<span style="mso-spacerun: yes;">
</span>Don Rosendo, hans kone, søn og svigerdatter og et væld af yngre små
piger. Vi blev præsenteret og efter en længere indføring, besluttede hr.
Rosendo sig for at afbarke et jonote træ, der stod i et ufremkommenligt hjørne
af bebyggelsen bag et skur op ad et hegn, så vi ikke skulle ud og lede efter et
jonote <span style="mso-spacerun: yes;"> </span>træ i bjergene. Jeg havde ellers
læst, at det var bark fra figentræer, der anvendtes til brun amate papir<span style="mso-spacerun: yes;"> </span>eller morbærtræer til hvidt, men jonote bark
er i dag den hyppigst anvendte, fik vi at vide. <o:p></o:p></span></div>
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<span lang="DA" style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%; mso-ansi-language: DA;">Jonote er den mexicanske
benævnelse for nældetræ,( <i style="mso-bidi-font-style: normal;"><span style="background: white;">Trema micrantha</span></i><span style="background: white;">) . Et hurtigtvoksende træ, som kaffebønder anvender som skyggeplanter i
deres kaffeplantager. Når de vokser for højt, <span style="mso-spacerun: yes;"> </span>skal de beskæres, og barksamlere betaler en
lille sum til kaffefarmere for retten til at høste barken.<o:p></o:p></span></span></div>
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<span lang="DA" style="background: white; font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%; mso-ansi-language: DA;">Hr.
Rosendo tog en machete, kravlede om bag ved skuret og gik igang med at lave
snit ind i træet forneden, og han stod snart med flere meter lange barkstrimler
i hænderne. Afbarkningen skader ikke træet, der bagefter bliver beskåret ned
til ca. 30 cm og hurtigt vokser igen, sagde han.<o:p></o:p></span></div>
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<span style="background-color: white; font-family: "Times New Roman", serif; font-size: 14pt;">Jonoto
barkstrimlerne koges derefter ud i ca. 6 timer med en blanding af askelud og
lime. Jeg forsøgte at få svar på, hvad der derefter blev af udkogningsvandet,
men fik at vide, at de udvandt farvestof af dette, som de brugte til at male
med eller til at indfarve med.. En forklaring, jeg ikke var helt tilfreds med,
for lime skader naturen, og vi så ikke denne proces, da familien havde
forberedt fibre til udhamring, for at vi ikke skulle vendte på udkogningen. Jeg
fornemmede, at jeg ikke skulle spørge for meget ind til dette emne.</span></div>
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<span lang="DA" style="background: white; font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%; mso-ansi-language: DA;">De
udkogte, skyllede barkstrimler blev anbragt på en glat træplanke i et vertikalt
og horisontalt mønster, og ægteparret gik derefter igang med at hamre på netmønstret
med en rektangulær<span style="mso-spacerun: yes;"> </span>vulkansk lignende
sten. Da barkstrimlerne var<span style="mso-spacerun: yes;"> </span>hamret godt
sammen, foldedes kanterne, og hamringen fortsatte, indtil arket var helt lige i
kanterne. <o:p></o:p></span></div>
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<i><span lang="DA" style="background: white; font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%; mso-ansi-language: DA;">De to nederste fotos er eksempler på en
avanceret brug af barkstrimlerne.</span></i></div>
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<span lang="DA" style="background: white; font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%; mso-ansi-language: DA;">Efter
udhamring placeredes træplanken op ad væggen, så amate arkene kunne tørre i
solen, og sådan fortsættes processen igen og igen. Når vejret er dårligt bliver
der arbejdet med broderi, perlearbejde til smykker og dekoration af beklædning,
kaldet <i>chaquira,</i> bemaling af arkene eller design af lamper mm. Svigerdatteren
var igang med at lave perlesmykker, og sønnen fremstiller bemalede lampeskærme.
Der var ligeledes eksempler på mange bemalede ark i stærke farver, fyldt med
planter og guder. Eksempler man kan finde på museer og i butikker mange steder
i Mexico. Mange mexicanske malere og kunstnere fra udlandet anvender
amatepapir, som er blevet stærkt kommercialiseret.<o:p></o:p></span></div>
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<i style="mso-bidi-font-style: normal;"><span lang="DA" style="background: white; font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%; mso-ansi-language: DA;">Eksempel på
perlesmykke, Rosendo familien<o:p></o:p></span></i></div>
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<span lang="DA" style="background: white; font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%; mso-ansi-language: DA;">Der
bor ca. 3500 mennesker i San Pablito, hvoraf ca. 60 % er beskæftiget med amate
fremstilling, som er landsbyens hovederhverv. Flere yngre mænd fra landsbyen
tager til USA for at arbejde og kunne forsørge familien. Mellemhandlere opkøber
for det meste amatepapiret, og de mange handelsled bevirker, at familien ikke
får meget for sit produkt, der sælges videre verden over. Den bedste handel, en
amateproduktions -familie kan have, er direkte til besøgende eller på markeder,
hvor de sælger direkte. Familien var glade, da jeg købte pænt ind og hr.
Rosendo malede en chiligud til mig på et af sine amateark.</span></div>
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<span lang="DA" style="background: white; font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%; mso-ansi-language: DA;">De
har deres eget sprog – som jeg mener må være Nahuatl, kort beskrevet ovenfor.
Det var en stor hjælp at have Antonio og Emmanuelle som tolke, men selv de
havde ind imellem svært ved at forstå helt, hvad der blev sagt.<o:p></o:p></span></div>
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<span lang="DA" style="background: white; font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%; mso-ansi-language: DA;">Befolkningen
i San Pablito er Otomi indianere, som man mener bosatte sig her omkring år 800
fordrevet fra Toluca dalen. Aztekerne besatte området sidst i det 15.årh. men
alligevel lykkedes det otomierne at bevare deres uafhængighed, velsagtens
p.gr.a. San Pablitos fjerne beliggenhed i et isoleret, ufremkommeligt terræn.
Spanierne bosatte sig ikke her og havde ikke held med at påføre de indfødte den
spanske kultur. Mange af de fortidige<span style="mso-spacerun: yes;">
</span>trosforestillinger er således bevaret indtil idag, hvilket afspejles i Otomiernes
ceremonier, hvor amate spille en stor rolle. Deres religion er en blanding af
katolicisme og deres oprindelige religiøse tro, animisme, hvor de hylder
guderne i bjergene, månen, solen, jorden og ilden, kilder og frø, som
livgivende. Samtidig med at de dyrker katolske figurer som f.eks. Jomfruen fra
Guadalupe, tror de også på onde onder. De har en shaman, som fungerer som
kommunikator mellem højere eksistenser og mennesket. Det har givet<span style="color: #545454;"> </span>Otomierne et ry for hekseri og magi blandt deres
naboer. De fleste ritualer i dag handler om helbreddet, renselse og rejser. Der
er gode og onde sygdomme – de gode kureres med planter<span style="mso-spacerun: yes;"> </span>eller moderne medicin og de onde<span style="mso-spacerun: yes;"> </span>med shamanistiske ritualer for at skabe
balance mellem den syge og universet.<o:p></o:p></span></div>
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<span lang="DA" style="color: #222222; font-family: "Times New Roman","serif"; font-size: 14.0pt; mso-ansi-language: DA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Shamanen
anvender papirklip, klippet ud i form af gode og onde ånder som offergaver
sammen med mad og tobak. At klippe figurerne giver shamanen en forbindelse med
altet. Onde ånder har sko på, som europæerne har, og de gode ånder, som
Otomierne, er barfodede! Amate anses som en neutral flade, der får magt, når den
bliver klippet ud. Hvidt papir er positivt, mørkt papir er negativt. Amate
papir fremstillet i San Pablito anses som det mest magtfulde middel. Idag er
det ikke kun shamanen, der klipper figurer. Vi besøgte Pedro Laja, som boede et
par huse fra Rosendo familien.<span style="mso-spacerun: yes;"> </span>Han klippede
<span style="mso-spacerun: yes;"> </span>fermt en chili gud til os.<o:p></o:p></span></div>
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<span lang="DA" style="color: #222222; font-family: "Times New Roman","serif"; font-size: 14.0pt; mso-ansi-language: DA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Som
over hele Mexico er Dødens Dag d.2. november en vigtig dag, ligesom nytåret,
der anses som en fornyelse af kosmos – papirklip ritualer anvendes ved alle
festlige lejligheder mange steder i Mexico. Amate blev oprindeligt produceret
til ceremoniel brug forbeholdt shamaner og blev derfor kaldt ”papel de brujos /
sort magi papir. Grundet kommercialiseringen er papirklip idag ikke kun
forbeholdt shamaner, som nævnt ovenfor, men i San Pablito er det stadig
shamanen, der overvåger ofringer. Store figentræer afmærkes som hellige med lys
og papir klip.<o:p></o:p></span></div>
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<span lang="DA" style="color: #222222; font-family: "Times New Roman","serif"; font-size: 14.0pt; mso-ansi-language: DA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Vi
havde rigtig mange ting at tale om, da vi efter 5 timers besøg forlod familien
Rosendo. Deres liv er amate. De var venlige og smilende, men alligevel med
en<span style="mso-spacerun: yes;"> </span>vis forbeholdenhed, som jeg tror
kommer af, at de gerne vil bevare deres mange generationers hemmeligheder
samtidig med, at de er nødsagede til at være imødekommende overfor gæster for
at kunne overleve i det moderne samfund. De følger ikke med i designudvikling,
hvilket Antonio og Emmanuelle gerne vil hjælpe dem med. Det er er svær balance
at skabe nyt i så indgroet en tradition.<o:p></o:p></span></div>
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<span style="color: #222222; font-family: "Times New Roman", serif; font-size: 14pt;">Salget
af amate har forbundet denne lille by med den ydre verden. Amate - fremstillerne
er ikke støttet af de lokale regerende kræfter, men byens indbyggere har
kontakter med staten og andre autoriteter. Amatefremstillingen påvirker landsbyens
økonomi og de mennesker rundt om byen, der forsyner dem med bark og brændsel.
Turister og opkøbere fra forskellige stater og udlandet kommer på besøg, men
amate fremstillerne vogter over deres metier og detaljer om, hvordan de laver
amate. Der er historier om, at besøgende er blevet smidt ud af byen og om, at
japanske forskere er blevet afvist.</span></div>
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<span lang="DA" style="color: #222222; font-family: "Times New Roman","serif"; font-size: 14.0pt; mso-ansi-language: DA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Som mange andre steder i verden er San Pablito også stillet over for miljømæssige emner.
Det er blevet sværere at skaffe bark p.gr.a. overafbarkning af træer og tab af
skov er et vigtig emne. Brugen af kaustisk soda og industrielle farver har
forårsaget forureningsproblemer i San Marcos floden, hvis vand igen forurener
Cazones floden. Krav til at få løst disse problemer vil i fremtiden ikke blive
mindre.<o:p></o:p></span></div>
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<span lang="DA" style="color: #222222; font-family: "Times New Roman","serif"; font-size: 14.0pt; mso-ansi-language: DA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Det
var en meget spændende og informativ tur med Antonio og Emmanuelle, som gerne
vil have at jeg samarbejder med dem.</span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="DA" style="color: #222222; font-family: "Times New Roman","serif"; font-size: 14.0pt; mso-ansi-language: DA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Papirklip.<o:p></o:p></span></b></div>
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<span lang="DA" style="color: #222222; font-family: "Times New Roman","serif"; font-size: 14.0pt; mso-ansi-language: DA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Flere
steder i parker, offentlige og private bygninger så vi papirklip i stærke
farver i tyndt silkepapir med f.eks. blomster – fugle – kranier – og sole -
designs hænge i træer, lofter, <span style="mso-spacerun: yes;"> </span>hylder
o.m.a. Papirklip kaldes i Mexico for <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">papel picado</i></b> , som betyder
perforeret papir. Der anvendes som regel specialbyggede skæreforme, hammer
og<span style="mso-spacerun: yes;"> </span>mejsel,, så der kan skæres igennem
mange ark: 50 - 100 ark papirer på en gang. Eller der anvendes færre ark og saks. Papirklippene
anvendes ved<span style="mso-spacerun: yes;"> </span>specielle lejligheder og
religiøse fester: dødens dag, påske, jul, dåb, bryllupper m.fl.<o:p></o:p></span></div>
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<span lang="DA" style="color: #222222; font-family: "Times New Roman","serif"; font-size: 14.0pt; mso-ansi-language: DA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">På
Aztekernes tid anvendte man amate til papirkip, men i midten af det 19.årh.,
hvor folk var tvunget til at købe ind i det spanske imperiums større såkaldte
hacienda butikker, blev det meget tynde silkepapir opdaget.<o:p></o:p></span></div>
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tegnes ens design på papiret og derefter lægges et stykke transparent plastik
over for at beskytte den originale tegning. Derefter stables 50 – 100 ark
sammen og flere mejsler<span style="mso-spacerun: yes;"> </span>med forskellige
formede spidser anvendes derefter for at udhamre formerne i papirerne. På
denne måde kan der skæres mange kopier af den oprindelige tegning på en gang.
De færdige papel picado sættes på snore og danner <span style="mso-spacerun: yes;"> </span>såkaldte <i>banderitas</i>, som hænges op, hvor man
ønsker.<o:p></o:p></span></div>
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<span lang="DA" style="color: #222222; font-family: "Times New Roman","serif"; font-size: 14.0pt; mso-ansi-language: DA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"><span style="font-family: "Times New Roman", serif; font-size: 18.6667px;">I staten Puebla erklærede guvernøren i 1998 papel picado i San Salvador Huixcolota som </span><i style="font-family: "Times New Roman", serif; font-size: 18.6667px;">Cultural Heritage of the State of Puebla.</i></span></div>
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<span style="color: #222222; font-family: "Times New Roman", serif; font-size: 14pt; text-align: center;"> <i> Eksempler på papirklip til salg i museumsbutikker –
nedenfor udstanset gummi</i></span></div>
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<span lang="DA" style="color: #222222; font-family: "Times New Roman","serif"; font-size: 14.0pt; mso-ansi-language: DA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"><i>til dækkeserviet:</i><o:p></o:p></span></div>
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<span lang="DA" style="color: #222222; font-family: "Times New Roman","serif"; font-size: 14.0pt; mso-ansi-language: DA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">I
parken i centrum af Puebla så vi denne skulptur af den hollandsk fødte kunstner
Jan Hendrix, som har levet og arbejdet i Mexico siden 1978. Skulpturen har
titlen <i style="mso-bidi-font-style: normal;">Kiosko</i> og <span style="mso-spacerun: yes;"> </span>er udført i 2009 som<span style="mso-spacerun: yes;"> </span>aluminiumscylindre, bemalet med hvid,keramisk
maling. Den ser ud, som om den er inspireret af papirklip eller af koralers fint
forgrenede netværk.<o:p></o:p></span></div>
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<span lang="DA" style="color: #222222; font-family: "Times New Roman","serif"; font-size: 14.0pt; mso-ansi-language: DA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"><o:p> </o:p></span><i><span lang="DA" style="color: #222222; font-family: "Times New Roman","serif"; font-size: 14.0pt; mso-ansi-language: DA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Anne Vilsbøll.</span></i></div>
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anne vilsboellhttp://www.blogger.com/profile/14366440366846810932noreply@blogger.com0tag:blogger.com,1999:blog-8716323595673466152.post-82388149549997845452016-03-22T06:06:00.000-07:002016-03-22T06:13:35.285-07:00<div dir="ltr" style="text-align: left;" trbidi="on">
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Spinning Tops</div>
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A selection of small videos made in reference to a world spinning outwardly - not recalling its own origin.</div>
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Working with the paper space in which fibers cling together in spiralling forms, the way the paper space absorbs paint from one spot and runs in and among the fibers, I experience the continuing round dancing of the spinning top as having a lot common with our life.</div>
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sketch:</div>
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<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/5FRrqeqx6uM/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/5FRrqeqx6uM?feature=player_embedded" width="320"></iframe></div>
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SPINSPINSPIN</div>
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A Hunter Simpson and Anne Vilsboell production, at the Sweat Shop, NY, 2014</div>
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DRIFTING TIP</div>
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A Hunter Simpson and Anne Vilsboell production, DK, 2014</div>
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ROUND CROWN</div>
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A Hunter Simpson and Anne Vilsboell production, DK 2014</div>
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BULLIE BULl</div>
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A Hunter Simpson and Anne Vilsboell production, DK, 2014</div>
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RING GROWTH</div>
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An Anne Vilsboell production, France, 2014</div>
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anne vilsboellhttp://www.blogger.com/profile/14366440366846810932noreply@blogger.com0tag:blogger.com,1999:blog-8716323595673466152.post-79063113269171100922016-03-16T07:29:00.004-07:002016-03-17T01:47:28.649-07:00Hands + a source of intelligence<div dir="ltr" style="text-align: left;" trbidi="on">
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<b> HANDS<i> </i> - a source of intelligence</b></div>
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As early humans became upright and walked on two legs, their hands became tools to work, to hunt, gather food and make primitive weapons. All changes in human being’s environment were brought about by his hands.</div>
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Children learn their environment through instinctive grasping of objects, holding objects and examining these and their hands. The hands grasp selected items, pick them up and slowly the hand moves towards purposeful work. The hand is used to express one’s thoughts, emotions and intellect.<o:p></o:p></div>
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In the 21<sup>st</sup>. century cultures are becoming anti – hand. It seems everybody wants to go to university and not work with their hands. But hands are a source of intelligence. So “anti- hands” divorce themselves from a part of their intelligence. The harmony between eye/brain, hand and heart/spirit become lost and as a result we become half humans and the beauty of humanity will be gone.<o:p></o:p></div>
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Today<span style="font-family: "roboto slab";"> human hands are merely put through the motions of making in a modern, semi-mechanized industry – the heart in the making is lost. An awareness of the difference between artisanal hand-making and the larger contemporary business of the so-called ‘handmade’ and ‘handcrafted’ is needed, without been sentimental. </span><span lang="EN-US" style="font-family: "roboto slab";">H</span><span style="font-family: "roboto slab";">andmade’ and ‘handcrafted’ are not always accurate terms.<o:p></o:p></span></div>
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<span style="font-family: "roboto slab";">When a need for something begins to vane, a society invests the material itself with cultural value and the focus is turned to mediating. It is worth noticing, that art exhibitions in the 21<sup>st</sup> century often implies the word <i>hand</i> in titles for exhibitions and thus the <i>hand</i> is highlighted. It is mentioned as remarkable in itself that hands have been involved in the creation. In the 80</span><span lang="EN-US">’</span><span style="font-family: "roboto slab";">ties artwork was not supposed to be too crafty looking, Now it has evidently become trendy that a work of art is produced by the hand! </span></div>
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<span style="font-family: "times new roman" , serif;">In older cultures arts and crafts were perceived as a single
continuum. The inward focus, the centring of the body, the economy of purpose
and action, the artless unselfconscious dedication and surrender with physical
ease, finely tuned senses and expressiveness were the essentials. In India the
term <b>abhyas</b> covers all that. Abhyas,
meaning practice, includes aayas: action, the effort, and abhi the transcending
effect. Abhyas involves repeated effort in order to transcend the initial action
to achieve perfection. To reach one’s ultimate goals include detachment and
spirited practice. A true ahhyas never gives up – life is in itself a never
ending abhyas. The signature of the sensitive human body and an intimate
process free from the stress of productivity and standardization contain a
beauty which seems to be more and more rare.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">Remembering the Japanese brushmaker Ozai Kaory, who told that he
was the only person left </span><span style="font-family: "times new roman" , serif;">in
Japan who made home-made drying brushes used by papermakers. He had 3 sons. One of them had been learning this art:
making brushes for paper for 10 years and would continue the tradition. Mr. Kaoru had produced brushes for 60
years. He was the 5<sup>th</sup>
generation of brush-makers. Horsehair
and sheep hair yield the best brushes for drying brushes; goat hair and sheep
hair are used for gluing brushes. While Mr. Kaorus son, with hands moving like
a whirlwind, put down first, a layer of sheep hair, then horsehair, after which
the hairs were rolled together, the father was roaring with laughter and
mockingly exclaimed: my son still has a lot to learn. It takes at least 25
years before you can do it right! H</span><span style="font-family: "times new roman" , serif;">ope the son has continued his craft.</span></div>
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<span style="font-family: "times new roman" , "serif";">To master a craft seems to be an enemy to artists in
the West, where old classical craftsmanship almost has disappeared. Observing
the drastic changes in India within the past 15 years one invariable starts
thinking that the same scenario will take place. In India a blacksmith still sits on the floor
in his tiny shop, hammering metal, but this will not last long, if nothing is
done to preserve the crafts that make it so fascinating to be in India. The son
of the blacksmith wants to become a computer engineer like many of the other
small boys. He does not want to do th</span><span style="font-family: "times new roman" , "serif"; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">e same
work a</span><span style="font-family: "times new roman" , "serif";">s his father
and his grandfather. But the blacksmith should be encouraged to teach his craft
skills to others - an effort should be made to make it attractive to become a
blacksmith, a potter, a weaver etc.</span> In 2007 I
wrote about the excitement I found observing the traditional crafts in India : <i><span style="font-family: "times new roman" , "serif"; font-size: 10.0pt;">THE GODS WHO LEFT US
THOUSANDS OF YEARS AGO ARE STILL IN INDIA, </span></i><a href="http://www.indiskkunst.dk/"><i><span style="font-family: "times new roman" , "serif"; font-size: 10.0pt;">www.indiskkunst.dk</span></i></a><i><span style="font-family: "times new roman" , "serif"; font-size: 10.0pt;"> / Mewar Magazine, Udaipur Dec. 2007 and Guderne er stadig i Indien,Magasinet
Kunst 5/2007. </span></i>Now 9 years later I observe
a drastic decline in the way craft is done.<i><span style="font-family: "times new roman" , "serif"; font-size: 10.0pt;"><o:p></o:p></span></i></div>
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<span style="font-family: "roboto slab";">What has
survived in much of modern Indian hand-making is a more or less superficial, if
continuing, impression of a historical tradition, as materials, processes, and
even skills have irreversibly changed. Modern India has hugely undervalued its
traditional craftsmanship and seriously underpaid its craftspeople. <b>My pitch is
to recognize artisanship and attempt to nurture it, perhaps even generate ‘new
traditions’ of artisanship, within a fresh, contemporary framework. The new
Indian artisan, whether of traditional lineage or not, may need to be nurtured,
promoted and treasured in an altogether new landscape of making and using.<o:p></o:p></b></span></div>
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<span style="font-family: "times new roman" , "serif";">In
today’s art world historic categories of material and form have become
irrelevant and we place importance of the act of <i>making</i>. The making can be
conceived of as a meta-action, an art in itself of making the invisible
visible, physical and tangible. The exploration of a material becomes art. It is
important to direct creative energy into the origin of things more now than
ever.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">The
root word Man - means hand. </span><span style="font-family: "times new roman" , serif;">The definition of making is the process of creating, forming or putting
together. The origin of <i>make</i> from
Middle English <i>maken</i>, from Old
English <i>macian</i>.</span></div>
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<span style="font-family: "times new roman" , "serif";">The Japanese
word <i>ma</i> is that what takes place in the imagination of the person,
who experiences a simultaneous awareness of form and non-form – a vision. The
vision in collaboration with the hand creates development.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif";">In and
around Udaipur, India, it is a pleasure to discover, that among the younger generations
– there are some who is working on promoting and evolving traditional crafts,
with the aim of empowering low income craftspeople. Through education and
income generation programs they attempt to enable rural, indigenous artisan communities
becoming economically self reliable as well as ensure the sustainability of
traditional craft, techniques and skills that they practice. Aavaran is an
example. It was started by Alka Sharma, a textile graduate from Indian
Institute of Crafts and Design, Jaipur. Aavaran’s attempt is to evolve the
traditional Dabu mud resist techniques of printing, specially the indigo dyed
Phentiya print, while consistently innovation on design and quality and Aavaran
does it beautifully.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif";">In and around
Udaipur it is still possible to study
the craft of:<b><o:p></o:p></b></span></div>
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<b><span style="font-family: "times new roman" , "serif";"><i>Clay/Paper, Textile, Dying
techniques, Book art, Miniature painting, Furniture making, Glass – and Silverwork,
Marble sculpturing, Puppet theatre / Doll making.</i><o:p></o:p></span></b></div>
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<b><span style="font-family: "times new roman" , "serif";"><i>In November 2016 we are proposing a workshop:</i></span></b></div>
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<b><span style="font-family: "times new roman" , "serif"; font-size: 14.0pt; line-height: 115%;">Workshop:
Art & Craft, Udaipur, India<o:p></o:p></span></b></div>
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<i><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Hands
– a source of intelligence<o:p></o:p></span></i></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"> </span><span style="font-family: "times new roman" , serif; font-size: 12pt; text-align: center;">Nov. 4</span><sup style="font-family: 'Times New Roman', serif; text-align: center;">th</sup><span style="font-family: "times new roman" , serif; font-size: 12pt; text-align: center;">-14</span><sup style="font-family: 'Times New Roman', serif; text-align: center;">th</sup><span style="font-family: "times new roman" , serif; font-size: 12pt; text-align: center;">,
2016 you have the chance to participate in a workshop in India studying the
Indian Arts and Crafts.</span><span style="font-family: "times new roman" , serif; font-size: 12pt; text-align: center;">The workshop
takes place in Udaipur, also named the Venice of the East, in the Danish artist
Anne Vilsbølls house Makanne.</span><span style="font-family: "times new roman" , serif; font-size: 12pt; text-align: center;">She has stayed
in India 3-5 months a year for the past 15 years collaborating with talented
Indian artists and craftsmen.</span><span style="font-family: "times new roman" , serif; font-size: 12pt; text-align: center;">The day begins
with a morning walk around the Fateh Sagar lake or with yoga on the terrace.
We’ll make excursions during the day,</span><span style="font-family: "times new roman" , serif; font-size: 12pt; text-align: center;">visiting people
still keeping the old arts-and crafts traditions a.o. miniature painters,
colouring and the use of textiles, paper mill, </span><span style="font-family: "times new roman" , serif; font-size: 12pt; text-align: center;">book arts,
furniture workshops, potters and doll maker. These visits will be followed up
with discussions and theoretical point of views,</span><span style="font-family: "times new roman" , serif; font-size: 12pt; text-align: center;">that Marie Koch
will take care of in collaboration with Anne Vilsboell. Marie Koch is educated
picture weaver, holds a MA in gender</span><span style="font-family: "times new roman" , serif; font-size: 12pt; text-align: center;">and culture and
a Ph.d. in pedagogical theory. She is the former head of the Seminarium of Art
and Crafts and is currently doing research </span><span style="font-family: "times new roman" , serif; font-size: 12pt; text-align: center;">in learning
processes and identity within the aesthetic area.</span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">The speciality
of Anne Vilsboell is handmade paper as an artistic means of expression. For
more than 3 decades she has done research at. </span><span style="font-family: "times new roman" , serif; font-size: 12pt;">Paper mills
throughout the world, taught at art academies and design school in Scandinavia,
written books and several articles on the subject.</span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">She has been the
editor and president of IAPMA, International Association of Hand Papermakers
and Paper Artists. For further information:<o:p></o:p></span></div>
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<a href="http://www.annevilsboll.com/"><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">www.annevilsboll.com</span></a><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">Price for the
workshop: accommodation in double rooms, food, excursions and workshop for 10
days: 9.000 DKK – app. 1.200 Eur +
travel and visa.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">Minimum 8 persons.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">If you are
interested: please write to</span></div>
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<span style="font-family: "times new roman" , serif;">annevilsboll@gmail.com<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"> www.makanne.dk<o:p></o:p></span></div>
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anne vilsboellhttp://www.blogger.com/profile/14366440366846810932noreply@blogger.com0tag:blogger.com,1999:blog-8716323595673466152.post-29548334309618459762015-01-19T02:15:00.001-08:002015-01-19T02:15:42.424-08:00Kochi - Muziris Biennale - presentation in Danish.<div dir="ltr" style="text-align: left;" trbidi="on">
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<b><span lang="EN-US" style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"></span></b> </div>
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<b><span lang="EN-US" style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Kochi-Muziris Biennale 2014</span></b><span lang="EN-US" style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"><o:p></o:p></span></div>
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<span lang="EN-US" style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">12. December, 2014 – 29. Marts, 2015<o:p></o:p></span></div>
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<span lang="EN-US" style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Byen Kochi i Kerala, Syd - Indien har for anden
gang<span style="mso-spacerun: yes;"> </span>aabnet doerene for Indiens foerste
internationale<span style="mso-spacerun: yes;"> </span>contemporary art
biennale. Foerste gang var d.12.12.2012, i aar fra d.12.12. 2014 frem til d.29.3.2015
med overskriften <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Whorled Explorations</i>.</b> 94 internationale kunstnere fra 30 lande
udstiller paa 8 historiske steder i Kochi. Ordet Muziris henviser efter graesk
romerske kilder<span style="mso-spacerun: yes;"> </span>til <i style="mso-bidi-font-style: normal;">Muciri</i> paa Tamilsk og <i style="mso-bidi-font-style: normal;">Muyirikkottu</i>
paa Malayalam, det sprog, der tales i Kerala, og refererer til en antik havn og
bebyggelse i Kerala, som eksisterede<span style="mso-spacerun: yes;"> </span>saa
langt tilbage som til 1 aarh. B.C eller maaske foer. Biennalen begyndte som et
regeringsinitiativ, da afdelingen for kultur i Kerala kontaktede to kunstnere:
Bose Krishnamarhari og Riyas Komu, begge foedt i Kerala, og bad dem om at
hjaelpe med at organisere en international platform for kunst i Indien.
Udstillinger af dette format havde indtil da kun eksisteret paa et konceptuelt
plan, da der ikke tidligere havde vaeret institutioner og bygninger til at huse
et saadant projekt. Men med hjaelp fra regeringeren, private patrons, lokale
forretningsfolk og stoette fra internationale kunstinstitutioner<span style="mso-spacerun: yes;"> </span>lykkedes det at skabe en platform, hvor
kunstnere blev talsmaend og aktivister for en biennale af globalt format.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="background: white; line-height: 12pt; margin: 0cm 0cm 10.5pt;">
<span lang="EN-US" style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Biennalen har til formaal at forbinde Muziris myten
med den moderne Kochi metropol, hvor foerkoloniale<span style="mso-spacerun: yes;"> </span>kulturelle <span style="mso-spacerun: yes;"> </span>pluralistiske traditioner er fortsat med at
blomstre. Dette aars biennale har to historiske forloeb fra det 14. og 17. aarh.
som udgangspunkt; tiden for<span style="mso-spacerun: yes;"> </span>de maritime
opdagelsesrejsende og de astrologiske forslag, fremfoert af Kerala School of
Astronomy and Mathematics. Udstillingerne traekker paa en bred vifte af tegn
fra denne legendariske maritime gateway. Projektet overdriver metaforisk de
fagter, vi udfoerer, naar vi forsoeger at se og forstaa noget. Enten gaar vi
taet paa eller vi bevaeger os langt vaek .Vi reflekterer frem og tilbage i tid
for at forstaa nutiden.</span><span class="Heading2Char"><span lang="EN-US" style="color: #222222; font-size: 12pt; mso-ansi-language: DA; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><strong> </strong></span></span><span class="hps"><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="DA" style="color: #222222; font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: DA;">Whorled</span></i></b></span><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="DA" style="color: #222222; font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: DA;"> <span class="hps">Explorations</span></span></i></b><span lang="DA" style="color: #222222; font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: DA;"> <span class="hps">trækker på</span> <span class="hps">disse bevægelser</span> <span class="hps">for</span> <span class="hps">overvejelser</span>
<span class="hps">på tværs af</span> <span class="hps">akserne for</span> <span class="hps">rum og tid</span> <span class="hps">for at præsentere</span> <span class="hps">kunstværker,</span> <span class="hps">der forbinder det</span> <span class="hps">svundne</span> <span class="hps">med</span> <span class="hps">den nært
forestående</span> <span class="hps">og</span> <span class="hps">det jordiske</span>
<span class="hps">med</span> <span class="hps">det himmelske.<o:p></o:p></span></span></div>
<br />
<div class="MsoNormal" style="background: white; line-height: 12pt; margin: 0cm 0cm 10.5pt;">
<span class="hps"><span lang="DA" style="color: #222222; font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: DA;">Overskriften <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">W</i></b><i style="mso-bidi-font-style: normal;">(h)<b style="mso-bidi-font-weight: normal;">orl</b>(e)<b style="mso-bidi-font-weight: normal;">d</b> exploration</i> spiller paa det
fonetiske slaegtskab mellem <i style="mso-bidi-font-style: normal;">world</i>,
verden, og <i style="mso-bidi-font-style: normal;">whorled</i>, hvirvlede, snoede
udforskninger. Associationer til billeder af verden som vortex motivet, en
indikation af livskraft, verdenshavet og galakserne, der snurrer rundt og ligeledes
den kreative akts proces, hvor der skiftes mening, udviskes og omdannes.<o:p></o:p></span></span></div>
<br />
<div class="MsoNormal" style="background: white; line-height: 12pt; margin: 0cm 0cm 10.5pt;">
<span class="hps"><span lang="DA" style="color: #222222; font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: DA;">Handel, rejser, koloniale erobringer og
kosmologiske undersoegelser og deres historier er ledetraade i kunstnernes
produktioner. <o:p></o:p></span></span></div>
<br />
<div class="MsoNormal" style="background: white; line-height: 12pt; margin: 0cm 0cm 10.5pt;">
<span class="hps"><span lang="DA" style="color: #222222; font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: DA;">Der er i alt 8 udstillingsbygninger, som
rummer de<span style="mso-spacerun: yes;"> </span>94 kunstneres kunst fra 30
lande. Bygningerne er fra 17-18.aarhundrede og er mere eller mindre
istandsatte; de danner en charmerende, raa ramme for biennaken og vidner om
forgangne tider. Den stoeste af bygningerme er <b style="mso-bidi-font-weight: normal;">Aspinwall House</b> fra omkring 1867, konstrueret af den engelske
handelsmand John Aspinwall - et meget stort smukt pakhus beliggende ud til
havet. Det husede dengang handel med kokosolie, peber, ingefaer, huder og
kokosreb, kaffe, te og gummi. Komplekset bestaar af flere bygninger og her
udstilles 69 kunstneres vaerker ligesom der er planlagt adskillige events og
projekter.<o:p></o:p></span></span></div>
<br />
<div style="border-color: currentColor currentColor rgb(79, 129, 189); border-style: none none solid; border-width: medium medium 1pt; mso-border-bottom-themecolor: accent1; mso-element: para-border-div; padding: 0cm 0cm 4pt;">
<div class="MsoTitle" style="margin: 0cm 0cm 15pt;">
<span class="hps"><span lang="DA" style="color: #222222; font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: DA;">En
anden bygning er <b style="mso-bidi-font-weight: normal;">David Hall</b>, en
hollandsk bungalow fra omkring 1659, bygget af Dutch East India Company.
Bygningen er beliggende ud til Parade Ground, som i dag anvendes til festivals,
ceremonier og tjener som fodbold – og cricket bane. Tidligere<span style="mso-spacerun: yes;"> </span>blev den store plads anvendt af portugiserne
til opbevaring af deres vaaben og af hollaenderne og englaenderne til militaere
oevelser og parader. Under den hollandske besaettelse blev David Hall brugt som
bolig for militaerfolk. Hallen er opkaldt efter en joedisk forretningmand David
Koder, som boede her med sin familie. Siden 2007 er bygningen udlejet til CGH Earth
, en oekologisk bevidst hotelkaede.Det tredje stoerre 2 etagers udstillingssted
er <b style="mso-bidi-font-weight: normal;">Pepper House</b>, et <span style="mso-spacerun: yes;"> </span>istandsat tidligere pakhus i hollandsk stil
med lertag, beliggende ud til vandet med en indre gaard, der tidligere blev
brugt til opbevaring af varer, der skulle fragtes paa skibe i havnen.Huset
rummer i dag cafe, galleri,studier til residencies og event steder. Stedet
planlaegges anvendt til at huse kunstneriske events hele aaret. Af andre steder
i Fort Kochi er <b style="mso-bidi-font-weight: normal;">Kasha Art Gallery</b> –
et byhus, hvor de tidligere eksisterende rum er bevarede; disse skifter karakter,
hver gang en ny gruppe udstiller. Paa pladsen <b style="mso-bidi-font-weight: normal;">Vasco da Gama Square</b> er opstillet en skulptur af Gulammohammed
Sheikh. <b style="mso-bidi-font-weight: normal;">Cabral</b> <b style="mso-bidi-font-weight: normal;">Yard</b> er en form for park/have, som bruges til eksperimenter med
jord og sten og <b style="mso-bidi-font-weight: normal;">CSI Bungalow</b> en lidt
forfalden, charmerende aeldre bygning i en stor have. Fra Kochi kan man paa den
anden side af vandet se over til den urbane kommercielle hovedstad i Kerala;
Ernakulam,</span></span><span lang="DA" style="color: black; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"><span style="font-family: Cambria;"> </span></span><span lang="EN-US" style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">som er Kochis tvillingeby. Man kan tage faerge
derover for at besoege <b style="mso-bidi-font-weight: normal;">Durbar Hall</b>,
som ogsaa huser biennalevaerker. Durbar Hall blev bygget i 1850 af Maharajaen i
Kochi for at huse det kongelige hof og har siden tjent mange formaal, indtil
det blev sat i stand af Kochi Biennale Foundation som moderne internationalt
museum. <o:p></o:p></span></div>
</div>
<br />
<div class="body" style="margin: 1em 0cm;">
<span lang="EN-US" style="color: black; mso-ansi-language: EN-US;">Hele
layoutet for denne biennale er et godt bud paa, hvorledes fremtidens museer
burde struktureres, saa de bliver inkorporeret paa et naervaerende plan i
bybilledet. Naar man besoeger Kochi’s biennale fornemmer man, at hele byen
bakker op om biennalen, og som udstillingskomiteen med kunstneren og kuratoren
Jitish Kallat som kunstnerisk leder har erklaeret; det er folkets biennale.
Flere parallelle events som <b style="mso-bidi-font-weight: normal;">Artist’s
Cinema</b>, et 100 dages offentligt event, der viser film, dokumentar og
videokunst</span><span lang="EN-US" style="color: black; font-family: "Georgia","serif"; font-size: 10.5pt; mso-ansi-language: EN-US;">, </span><span lang="EN-US" style="color: black; mso-ansi-language: EN-US;"><span style="mso-spacerun: yes;"> </span><b style="mso-bidi-font-weight: normal;">Student’s
Biennale</b>, et pilot projekt, der praesenterer studerendes vaerker fra 35
regeringsledede art colleges i 19 stater i Indien, <b style="mso-bidi-font-weight: normal;">Children’s Biennale</b> med workshops og guidede ture, <span style="mso-spacerun: yes;"> </span><b style="mso-bidi-font-weight: normal;">History
Now</b></span><span lang="EN-US" style="color: black; font-family: "Georgia","serif"; font-size: 10.5pt; mso-ansi-language: EN-US;">, loebende <span style="mso-spacerun: yes;"> </span>seminar, der fokuserer paa kuratorens rolle i
omraader med vanskeligheder. Historikere, politikere, kulturelle teoretikere og
skribenter er inviterede</span><span lang="EN-US" style="color: black; mso-ansi-language: EN-US;">. Endvidere afholdes en raekke af kulturelle programmer med koncerter,
teater og performances og Keralas traditionelle kunstformer, partner projekter,
som Foreningen <i style="mso-bidi-font-style: normal;">Dada 100 Zurich 2016</i>,
der er ansvarlig for planlaegning af Dada’s jubilaeum og er involverede med
bla. seminarer. Der er ligeledes et stort antal andre <span style="mso-spacerun: yes;"> </span>kunstudstillinger i byen, som loeber parallelt
med biennalen. I 2012 beklagede folk sig over, at kunstrojekterne ikke var
faerdige. Det goer de ikke denne gang, fordi folk er en del af forloebet. Det
er et privilegium, at se kunst udvikle sig og blive til, og det er det, der
goer denne biennale enestaaende. Biennalen handler ikke om, hvad der er til
salg og om galleriers power, men om kunsten, energien og folks glaede ved at
udfoere kunst. Den indiske kunstners rolle har en<span style="mso-spacerun: yes;"> </span>interessant elastiscitet i og med at
kunstneren har flere roller som researcher, skribent, kurator og publisher. De
markedsfoerer, saelger og koeber. Endvidere broed Indien forskellen mellem
kunst og haandvaerk allerede i 40’erne og 50’erne, hvor dette ikke skete foerend
i det 19. aarh. i Vesten. Contemporary art indeholder og imiterer andre
discipliner – arkitektur, sociologi, urbanisme, interior design og antropologi.
. Tilblivelsesprocesser skal aldrig slutte </span><span lang="EN-US"><span style="mso-spacerun: yes;"> </span></span><span lang="EN-US" style="color: black; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<br />
<div style="border-color: currentColor currentColor rgb(79, 129, 189); border-style: none none solid; border-width: medium medium 1pt; mso-border-bottom-themecolor: accent1; mso-element: para-border-div; padding: 0cm 0cm 4pt;">
<div class="MsoTitle" style="margin: 0cm 0cm 15pt;">
<span lang="EN-US" style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"><span style="mso-spacerun: yes;"> </span>Kochi
Muziris biennalen med sin saeregne organiske struktur, placerer Indien<span style="mso-spacerun: yes;"> </span>staerkt paa kunstens landkort og er absolut
et besoeg vaerd.</span><span lang="EN-US" style="color: black; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"><o:p></o:p></span></div>
</div>
<br />
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<span class="hps"><b style="mso-bidi-font-weight: normal;"><span lang="DA" style="color: #222222; font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: DA;">Praesentation af et udvalg af de udstillende kunstneres
vaerker:<o:p></o:p></span></b></span></div>
<br />
<div class="MsoNormal" style="background: white; line-height: 12pt; margin: 0cm 0cm 10.5pt;">
<span class="hps"><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="DA" style="color: #222222; font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: DA;">(Alle
fotos; Anne Vilsboell)<o:p></o:p></span></i></b></span></div>
<br />
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<span lang="EN-US" style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"><o:p> </o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZyEYRY5GDnsVRSS2oJW13qicOYLuNNjmKNd2A-M5ZRV6zAkdV-dhEXR49-TD9FEqHWrUIrkk1fKlTdyuVMGMI231HD_xThCeYrx95Ym1p4IoNjCia_8golVQSSbApzea4dlg_HLz0taQ/s1600/1-IMG_2729.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZyEYRY5GDnsVRSS2oJW13qicOYLuNNjmKNd2A-M5ZRV6zAkdV-dhEXR49-TD9FEqHWrUIrkk1fKlTdyuVMGMI231HD_xThCeYrx95Ym1p4IoNjCia_8golVQSSbApzea4dlg_HLz0taQ/s1600/1-IMG_2729.JPG" height="320" width="309" /></a></div>
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<!--[if gte vml 1]><v:shape id="_x0000_i1057"
type="#_x0000_t75" style='width:451.5pt;height:467.25pt;visibility:visible;
mso-wrap-style:square'>
<v:imagedata src="file:///C:\Users\PORTABLE\AppData\Local\Temp\msohtmlclip1\01\clip_image004.jpg"
o:title="1-IMG_2729"/>
</v:shape><![endif]--><!--[if !vml]--><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Jitish Kallat</span></b><span lang="EN-US" style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">, kurator af
biennalen 2014 foran <b style="mso-bidi-font-weight: normal;">Gigi Scaria’s</b>
(1973, Kothanalloor, Indien) klokke, som er blevet omdannet til en fontaene,
som sproejter vand fra </span><span style="color: #333333; font-family: "Times New Roman","serif"; font-size: 12pt;">Periyar River</span><span lang="EN-US" style="color: black; font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"> bag Pepper
House.<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhf5uN5funf675AZXpqWkvo66BGED0YNQ_0zgqXdNWCJc9Q8XW6NrOM419ekyv4qxBn9otkNNkIxQLZBCTYiJlnyt3IsMm6M7dpFeJw2nDW_QLpyQRx4OiT1V12aDJY_O3YvLGK4Vwz2I8/s1600/1-IMG_2542.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhf5uN5funf675AZXpqWkvo66BGED0YNQ_0zgqXdNWCJc9Q8XW6NrOM419ekyv4qxBn9otkNNkIxQLZBCTYiJlnyt3IsMm6M7dpFeJw2nDW_QLpyQRx4OiT1V12aDJY_O3YvLGK4Vwz2I8/s1600/1-IMG_2542.JPG" height="320" width="240" /></a></div>
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</v:shape><![endif]--><!--[if !vml]--><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: black; font-family: "Georgia","serif"; font-size: 10.5pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Sahej Rahal</span></b><span lang="EN-US" style="color: black; font-family: "Georgia","serif"; font-size: 10.5pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">, (1988), Mumbai: <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Harbinger</i></b><i style="mso-bidi-font-style: normal;">, 2014</i>, ler, hoe, polyurethane, fundne
objekter. Shahej tilbragte flere maaneder i dette laboratium I Aspinwall House,
Kochi for at lede efter objekter og ideer til sin installation af
skibsredskaber, astronomiske rekvisitter, ceremoniell masker arkitektonisk elementer,
videoer og performance. De forrevne objekter peger baade bagud og fremad i tid.
Et moede mellem historie og fiction.<o:p></o:p></span></div>
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<b><span style="color: #141823; font-family: "Times New Roman","serif"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">NS Harsha </span></b><span style="color: #141823; font-family: "Times New Roman","serif"; mso-bidi-font-weight: bold; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">( 1969, Mysuru, Indien) <b>Matter</b>, 2014,
bronce. En enlig visdoms abe peger paa himlen for at vise os noget eller maaske
advare os. Harsha: <i style="mso-bidi-font-style: normal;">Dette arbejde er
formet af dybden af det mundlamme.<o:p></o:p></i></span></div>
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<span style="color: #141823; font-family: "Times New Roman","serif"; mso-bidi-font-weight: bold; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"><o:p> </o:p></span></div>
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<span lang="EN-US" style="color: black; font-family: "Georgia","serif"; font-size: 10.5pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"><o:p> </o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVSGV1Ey03XuelWRe-e551PzBcyj_071OfLMEXU4wUoA0VUA4-qScc4F-J7ZRz8vQKIZvCnnc4dwqfJPHRovqs6izBeb6FB9IzSNzSrtn5iBNfJ9BYGh-l7ADX6y-qVLTRQCm0C1X2B8U/s1600/1-IMG_2626.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVSGV1Ey03XuelWRe-e551PzBcyj_071OfLMEXU4wUoA0VUA4-qScc4F-J7ZRz8vQKIZvCnnc4dwqfJPHRovqs6izBeb6FB9IzSNzSrtn5iBNfJ9BYGh-l7ADX6y-qVLTRQCm0C1X2B8U/s1600/1-IMG_2626.JPG" height="320" width="247" /></a></div>
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type="#_x0000_t75" style='width:150.75pt;height:194.25pt;visibility:visible;
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<v:imagedata src="file:///C:\Users\PORTABLE\AppData\Local\Temp\msohtmlclip1\01\clip_image018.jpg"
o:title="1-IMG_2626"/>
</v:shape><![endif]--><!--[if !vml]--><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: black; font-family: "Georgia","serif"; font-size: 10.5pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Francesco Clemente</span></b><span lang="EN-US" style="color: black; font-family: "Georgia","serif"; font-size: 10.5pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"> (1952, Napoli, Italien) <b style="mso-bidi-font-weight: normal;">Pepper Tent</b>, 2014, tempera paa bomuld,
broderi, bambus staenger. (Detalje fra teltets indre th). Teltet er fremstillet
i Rajasthan, malerierne i Brooklyn. Teltets form staar som et symbol paa
Clementes kunstneriske rejse, defineret som hans soegen efter inspiration og
selvet. Siden 1970’erne er Clemente ofte<span style="mso-spacerun: yes;">
</span>vendt tilbage til Indien, har fordybet sig i indisk mystik og
samarbejdet med lokale haandvaerkere.<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUhcyzmueSH2FJm79pOpQundUSGRj1JJ_Ibrtum6n0BYe_Yj52oZqsWdTH4OOrCbJ0XqbySWeZTmxu7FBGanD1NpXJ0FcT-G1p_2YxpOSw7jU8kFhvja2mrMiGOs3bhzeq4MxxpArKLbE/s1600/1-IMG_2617.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUhcyzmueSH2FJm79pOpQundUSGRj1JJ_Ibrtum6n0BYe_Yj52oZqsWdTH4OOrCbJ0XqbySWeZTmxu7FBGanD1NpXJ0FcT-G1p_2YxpOSw7jU8kFhvja2mrMiGOs3bhzeq4MxxpArKLbE/s1600/1-IMG_2617.JPG" height="219" width="320" /></a></div>
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Forfra</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYP2eQHM_SJMBF6lAh4hp229eTHhHy3MXVdpsNZKIwc3-U_Qn-4ARhfGfI3OW3eqpDyuTuiajqnpeSFd3bggxPwUS6PSJee3ErQyJg_5aSoVwKFpBa56K1eSlOkfpl0XOgMHNIo8itMkg/s1600/1-IMG_2619.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYP2eQHM_SJMBF6lAh4hp229eTHhHy3MXVdpsNZKIwc3-U_Qn-4ARhfGfI3OW3eqpDyuTuiajqnpeSFd3bggxPwUS6PSJee3ErQyJg_5aSoVwKFpBa56K1eSlOkfpl0XOgMHNIo8itMkg/s1600/1-IMG_2619.JPG" height="268" width="320" /></a></div>
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Bagfra</div>
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</div>
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<!--[if gte vml 1]><v:shape id="_x0000_i1049"
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o:title="1-IMG_2618"/>
</v:shape><![endif]--><!--[if !vml]--><!--[endif]--><span style="color: black; font-family: "Georgia","serif"; font-size: 10.5pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US">Xu Bing</span></b><span lang="EN-US"> (1955 , Chongqing, Kina) <b style="mso-bidi-font-weight: normal;">Background
Story:<span style="mso-spacerun: yes;"> </span>Endless Xishan Mountain Scenery,</b>
2014.Xu Bing bruger lys og skygge for at skabe vaerker som minder om klassiske
kinesiske malerier. Hans billeder er bygget op af blade, fibre og
affaldsmateriale. Han saetter disse materialer op paa en side af en
gennemsigtig skaerm, som set mod lys skaber en silhuet, der ligner maleriet.
Metoden bygger paa den kinesiske traditionelle kunstuddannelse, som laegger
vaegt paa at kopiere vaerker af aeldre mestre. Her har Bing genskabt et billede
af den kinesiske kunstner XU Ben (1368 – 1644) som levede underMing dynastiet.
Den kinesiske muslimske eunuk general Zheng He blev sendt afsted med armadaen <i style="mso-bidi-font-style: normal;">Treasure Ships</i> for at udvide Kinas
indflydelse og handel. Zheng He kom til den indiske vestkyst i 1405 – 07 – et
aarhundrede foer Vasco da Gama.<o:p></o:p></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgm4nuDSxQHZCDYp43G2TTJuDEjh9gtHyzS5sN6tLlnYmPpNTRu4Xriji1-Cz1oYkF45Sv5SXW6io10REtAlqsvtb40ANNG5ewlfnE92eeucyrhY5DaVQX5WKRx4aBrBGxYINZlNFin_C0/s1600/1-IMG_2509.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgm4nuDSxQHZCDYp43G2TTJuDEjh9gtHyzS5sN6tLlnYmPpNTRu4Xriji1-Cz1oYkF45Sv5SXW6io10REtAlqsvtb40ANNG5ewlfnE92eeucyrhY5DaVQX5WKRx4aBrBGxYINZlNFin_C0/s1600/1-IMG_2509.JPG" height="320" width="228" /></a><b><span style="color: #141823; font-family: "Times New Roman","serif"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"></span></b></div>
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<b><span style="color: #141823; font-family: "Times New Roman","serif"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"></span></b> </div>
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<b><span style="color: #141823; font-family: "Times New Roman","serif"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Lavanya Mani</span></b><span style="color: #141823; font-family: "Times New Roman","serif"; mso-bidi-font-weight: bold; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"> (1977, Hyderabad, India) <b>Travellers tales
– Blueprints</b>, 2014, naturlige farver, cyanotype, maling paa bomuldsstof,
variable dimensioner.<o:p></o:p></span></div>
</div>
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<span style="color: #141823; font-family: "Times New Roman","serif"; mso-bidi-font-weight: bold; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Lavanya Mani arbejder med textiler og disses
traditioner i Indien. Hun er optaget af sammenhaengen mellem tekstiler og tekst
– saasom - <i style="mso-bidi-font-style: normal;">at spinde garn</i>, - <i style="mso-bidi-font-style: normal;">at vaeve et eventyr</i>, - <i style="mso-bidi-font-style: normal;">at fabrikere</i> - og deres forbindelse til Oestens
<span style="mso-spacerun: yes;"> </span>orientalske fortaellinger og deres<span style="mso-spacerun: yes;"> </span>konstruktion. Hendes biennaleinstallation <span style="mso-spacerun: yes;"> </span>er sejl paa skibe og refererer til Indiens
kolonitid. Samtidig henleder de vores opmaerksomhed paa de historiske processer,
som foerte til <i style="mso-bidi-font-style: normal;">high art</i> og <i style="mso-bidi-font-style: normal;">craft</i>, som kategoerier, der blev
defineret i opposition til hinanden.<o:p></o:p></span></div>
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<span style="color: #141823; font-family: "Times New Roman","serif"; mso-bidi-font-weight: bold; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"><o:p> </o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhW00295n4viU-zUjMB_zEthmfPDBn9WK68PMKwfQSsZI2HED_9jQzfTGukDou8Qks6chP3SaexugS2mwmb4CXSXwn4rFALvt1oEvmsAM2UrACGk74qb19Kqs2-GRgHkNW_WbOZeZQHYAg/s1600/1-IMG_2540.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhW00295n4viU-zUjMB_zEthmfPDBn9WK68PMKwfQSsZI2HED_9jQzfTGukDou8Qks6chP3SaexugS2mwmb4CXSXwn4rFALvt1oEvmsAM2UrACGk74qb19Kqs2-GRgHkNW_WbOZeZQHYAg/s1600/1-IMG_2540.JPG" height="320" width="240" /></a></div>
<b style="mso-bidi-font-weight: normal;"><span style="color: #141823; font-family: "Times New Roman","serif"; font-size: 10pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-no-proof: yes;"><!--[if gte vml 1]><v:shape id="_x0000_i1044" type="#_x0000_t75"
style='width:225pt;height:255.75pt;visibility:visible;mso-wrap-style:square'>
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o:title="1-IMG_2538"/>
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type="#_x0000_t75" style='width:192pt;height:255.75pt;visibility:visible;
mso-wrap-style:square'>
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</v:shape><![endif]--><!--[if !vml]--><!--[endif]--></span></b><b><span style="color: #141823; font-family: "Times New Roman","serif"; font-size: 10pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"><o:p></o:p></span></b><br /></div>
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<b><span style="color: #141823; font-family: "Times New Roman","serif"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Pors & Rao</span></b><span style="color: #141823; font-family: "Times New Roman","serif"; mso-bidi-font-weight: bold; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"> ( Aparna Rao 1978, Indien), Soeren Pors (
1974, Denmark) bor og arbejder i Bangalore, Indien.<o:p></o:p></span></div>
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<b><span style="color: #141823; font-family: "Times New Roman","serif"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Sun Shadow</span></b><span style="color: #141823; font-family: "Times New Roman","serif"; mso-bidi-font-weight: bold; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">, 2009 – 11, plastik, metal, gummi, elektro
mekaniske komponenter. (tv)<o:p></o:p></span></div>
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<b><span style="color: #141823; font-family: "Times New Roman","serif"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Teddy Universe</span></b><span style="color: #141823; font-family: "Times New Roman","serif"; mso-bidi-font-weight: bold; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">, 2009 – 11, falsk pels, fiber optik, metal.
Plastik, elektriske komponenter. (th)<o:p></o:p></span></div>
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<span style="color: #141823; font-family: "Times New Roman","serif"; mso-bidi-font-weight: bold; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Samarbejdet mellem Rao og Pors er praeget af
lange perioders eksperimenteren med tekniske kompleksiteter og sort hunor. <i style="mso-bidi-font-style: normal;">Sun Shadow</i>: solen vaagner ind imellem op
og forsoeger at stige, for derefter at kollapse paa gulvet, udmattet af
anstrengelser. <i style="mso-bidi-font-style: normal;">Teddy Universe</i>:<span style="mso-spacerun: yes;"> </span>i et moerkere rum blinker figuren som stjerner
i kosmos.<o:p></o:p></span></div>
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<b><span style="color: #141823; font-family: "Times New Roman","serif"; font-size: 10pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"><o:p> </o:p></span></b></div>
<b><span style="color: #141823; font-family: "Times New Roman","serif"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Anish Kapoor</span></b><span style="color: #141823; font-family: "Times New Roman","serif"; mso-bidi-font-weight: bold; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"> (1954, Mumbai, Indien, bor og arbejder i
London).<o:p></o:p></span><br />
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<b><span style="color: #141823; font-family: "Times New Roman","serif"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Descension</span></b><span style="color: #141823; font-family: "Times New Roman","serif"; mso-bidi-font-weight: bold; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">, 2014, en vand – vortex, der<span style="mso-spacerun: yes;"> </span>konfronterer os med den evige styrke og traek
ned i det uendelige indre. Kapoors skulpturer forvirrer graenserne mellem
objektets rum og beskuerens rum. Han undersoeger formens og formloeshedens
sprog.<o:p></o:p></span></div>
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<span style="mso-spacerun: yes;"><strong> </strong>
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<b><span style="color: #141823; font-family: "Times New Roman","serif"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Shanthamani Muddaiah</span></b><span style="color: #141823; font-family: "Times New Roman","serif"; mso-bidi-font-weight: bold; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"> ( 1967, Mysoru, Indien). <b>Backbone</b>,
2014, cement og braendt kul. En skulpturel installation i form af en en stor
rygradssoejle. Backbone er en metafor for den styrke, der holder civilisationen
sammen, fra floder til ideologier. Fremkalder associationer af arkaeologiske
fund. En kystlinie med efterladenskaber af <span style="mso-spacerun: yes;"> </span>rigt historisk format, af <span style="mso-spacerun: yes;"> </span>udveksling over vandene.<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXQcvZmWP3hkcL4DUaRIcVNm5PUN3WKBrBtm2t-GflYsRGy3JpVTiNhmCE7EWtOWZpIp3FJN35gI8p8QB4l1ZxbrlM20SCCsxMOtaSDPdjRDYK6ymUSPOUugkI1uYrCouD9h-Qeq4vHdg/s1600/1-IMG_2735.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXQcvZmWP3hkcL4DUaRIcVNm5PUN3WKBrBtm2t-GflYsRGy3JpVTiNhmCE7EWtOWZpIp3FJN35gI8p8QB4l1ZxbrlM20SCCsxMOtaSDPdjRDYK6ymUSPOUugkI1uYrCouD9h-Qeq4vHdg/s1600/1-IMG_2735.JPG" height="284" width="320" /></a></div>
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<!--[if gte vml 1]><v:shape id="_x0000_i1039" type="#_x0000_t75"
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</v:shape><![endif]--><!--[if !vml]--><b><span style="color: #141823; font-family: "Times New Roman","serif"; font-size: 10pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Benitha Perciya</span></b><span style="color: #141823; font-family: "Times New Roman","serif"; font-size: 10pt; mso-bidi-font-weight: bold; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">l (1978, Vellore, Indien). <b>The Fires of Earth</b>, 2014, bark pulver,
inscense, myrra, kanel, citrongraes, cedertrae, kul, laeder, parfume og
essenstielle olieflasker og fundne objekter. En rejse tilbage i tiden til den
betydningsfulde periode i Malabarernes kulturhistorie, hvor fabler beretter om
helgen St. Thomas, der bragte Kristus’ meddelelse til Kerala i aar 52, kun kort
tid efter <span style="mso-spacerun: yes;"> </span>Jesus’korsfaestelse. Thomas
betragtes som den, der grundlagde de foerste kristne kirker i Kerala foer han
rejste til Mylapre og Chennai, hvor han doede. Reciyals skulpturer er
arrangeret som i en koebmandsforretning og rummet dufter skoent. Inscense er et
skroebeligt materiale, og skulpturerne vil aendre sig i udstillingsperioeden –
de vil krakelere, og tiden vil efterlade sine spor<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: black; font-family: "Georgia","serif"; font-size: 10.5pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">NS Harsha </span></b><span lang="EN-US" style="color: black; font-family: "Georgia","serif"; font-size: 10.5pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">(1969, Mysuru, Indien) <b style="mso-bidi-font-weight: normal;">Punarapi Jananam Punarapi Maranam ( Again
Birth, Again Death),</b> 2013, akryl paa laerrede og<span style="mso-spacerun: yes;"> </span>pressening, 3,6 x 24,3 m. Harsha arbejder med
panoramiske fugleperspektiver af steder og mennesker. Dette maleri er et
panorama af universet som en uendelig loop. Titlen er fra en Sanskrit hymne om
den endeloese cyclus af foedsel og doed. Denne loop er fyldt med smaa lysende
galakser.<o:p></o:p></span></div>
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<div class="MsoNormal" style="background: white; line-height: normal; margin: 0cm 0cm 0pt; mso-outline-level: 2;">
<span style="color: #141823; font-family: "Times New Roman","serif"; mso-bidi-font-weight: bold; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"><o:p> </o:p></span><br />
<span style="color: #141823; font-family: "Times New Roman","serif"; mso-bidi-font-weight: bold; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"><o:p></o:p></span><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: black; font-family: "Times New Roman","serif"; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Rags Media
Collective</span></b><span lang="EN-US" style="color: black; font-family: "Times New Roman","serif"; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"> ( Jeepesh Bagchi, 1965, New Delhi,<span style="mso-spacerun: yes;"> </span>Monica Narula, 1969, New Delhi, Shuddhabrata
Sengupta, 1968, New Delhi). <b style="mso-bidi-font-weight: normal;">Log Book Entry
Before Storm</b>, 2014, akryl, video, foto, dykkerhjelme, glasfliser, offset
film, negativer. Rags Media Collective blev grundlagt i 1992. Rags = kunstnere,
kuratorere og filosofiske provokatoerere. Med installationer, film,
performances og andet som udvider sig i en spirallignende form, arbejder Rags
Media Collective med tid, hvordan tiden flyder og livscyklus af ting og
ideer.<span style="mso-spacerun: yes;"> </span>I </span><span style="font-family: "Times New Roman","serif";">Kashi Art Gallery</span><span lang="EN-US" style="color: black; font-family: "Times New Roman","serif"; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"> er opstillet
en monitor, hvorfra man hoerer lyden af en morsekode, normalt anvendt af
fyrtaarne som kommunikation. Man bevaeger sig igennem et tidligere familiehus; det
ydre er forbundet med det indre med ophaengt blaat cellofan. Man fornemmer at
lys, luft, lyd, dybde og ideer cirkulerer i rummene. En mystisk dykker traeder
frem og og </span><span style="font-family: "Times New Roman","serif";">man
befinder sig i oceanet.<o:p></o:p></span></div>
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Detalje Boyd</div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif";">Daniel
Boyd</span></b><span style="font-family: "Times New Roman","serif";"> (1982,
Cairns, Australien).<span style="mso-spacerun: yes;"> </span>I en suite af
arbejder med titlen <b style="mso-bidi-font-weight: normal;">History is made at
Night</b> <b style="mso-bidi-font-weight: normal;">(Kochi),</b> 2014, refererer
Boyd til Opdagelses Tiden. Billedet th. Er baseret paa en indgravering af et
portugisisk maleri, der viser vasco d Gama’s moede med Zamorin af Calicut.
Andre billder i suiten refererer til et traditionelt polynesisk stjernekort og
et fotografi fra 1906 af Sydkorset. Boyd anvender olie, kul lim paa hoer for at
opnaa den pixelerede virkning.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif";"><strong>Mithu Sen</strong> (1971, West Bengal, Indien). <b style="mso-bidi-font-weight: normal;">I</b> <b style="mso-bidi-font-weight: normal;">have only one language; it is not mine</b>, 2014. Videoinstallation, baseret paa performance. Mithu Sen tilbragte flere dage paa et hjem for foraeldreloese og sexuelt misbrugte piger i Kerala og aegerede med boernene under identiteten <i style="mso-bidi-font-style: normal;">Mago</i> – en hjemloes person som taler sort og ikke kan forstaa tiden. Sen mener, at sprog<span style="mso-spacerun: yes;"> </span>paalaegger os en fremmed logik, som forhindrer os i at lugte poesi, hoere skygger og smage paa lyset. Videonstallationen sigter mod, at vi skal forestille os en anden form for dialog, som ikke kan laeses, hoeres eller forstaas.</span></div>
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<span style="font-family: "Times New Roman","serif";">.<o:p></o:p></span></div>
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif";">Billy
Jain</span></b><span style="font-family: "Times New Roman","serif";"> ( 1965,
Mumbai, Indien) <b style="mso-bidi-font-weight: normal;">Brick Landscape</b>,
2014, smaa mursten og kul. Billy Jain er arkitekt og kendt for bygninger, der
indgaar naturligt i omgivelserne.Han arbejder i Mumbai med et team af kunsthaandvaerkere,
teknikere og tegnere og udfoerer designs, der traekker paa taditionelle og lokale
materialer. <i style="mso-bidi-font-style: normal;">Brick Landscape</i> er en
serie af meditationer om murstenens historie, et medium, der har vaeret anvendt
siden antikken. For Jain er murstenen et naesten legemligt link mellem
mennesket og jorden. De udstillede minimurstenslandskaber minder om
arkaeologiske ruinformer, udgravede underjordiske byer, og landskaberne
udfolder sig som en rejse gennem tid.<o:p></o:p></span><br />
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif";"> </span></b></div>
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif";">Prashant Pandey</span></b><span style="font-family: "Times New Roman","serif";"> ( 1984, Jaipur, Rajasthan,
Indien), <b style="mso-bidi-font-weight: normal;">Artha</b>, 2014, kasserede blodtest
<span style="mso-spacerun: yes;"> </span>glas, rustfrit staal og traad). Sanskrit
ordet <i style="mso-bidi-font-style: normal;">Artha</i> refererer til
forfoelgelse af materiel velstand og soegen efter mening. Pandey’s vaerk soeger
at genkalde de ofringer, der er foretaget gennem kolonisering og soegen efter
land, magt og rigdom. Han stiller spoergsmaal ved forholdet mellem jordisk
ejendom og<span style="mso-spacerun: yes;"> </span>formaalet med livet.<o:p></o:p></span><br /></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif";">Kochi
– Muziris Biennalen 2014 vises indtil d. 29. Marts, 2015. <o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: black; font-family: "Georgia","serif"; font-size: 10.5pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Deltagende kunstnere, 2014:</span></b><span lang="EN-US" style="color: black; font-family: "Georgia","serif"; font-size: 10.5pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"><br />
Adrian Paci / Aji V N / Akbar Padamsee / Andrew Ananda Voogel / Anish Kapoor /
Annie Lai Kuen Wan / Aram Saroyan / Arun K S / Benitha Perciyal / Bharti Kher /
Bijoy Jain / Biju Joze / Charles and Ray Eames / Chen Chieh-jen / Christian
Waldvogel / Daniel Boyd / David Horvitz / Dayanita Singh / D</span><span lang="EN-US" style="color: black; font-family: "Times New Roman","serif"; font-size: 10.5pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"></span><span lang="EN-US" style="color: black; font-family: "Georgia","serif"; font-size: 10.5pt; mso-ansi-language: EN-US; mso-bidi-font-family: Georgia; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">inh Q Lê / Fiona Hall / Fran</span><span lang="EN-US" style="color: black; font-family: "Georgia","serif"; font-size: 10.5pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">cesco Clemente / Gigi Scaria / Guido van der Werve
/ Gulammohammed Sheikh / Hamra Abbas / Hans Op de Beeck / Hema Upadhyay / Hew
Locke / Ho Rui An / Ho Tzu Nyen / Iqra Tanveer / Janine Antoni / Julian
Charrière / K G Subramanyan / K M Vasudevan Namboodiri / Kader Attia / Katie
Paterson / Khalil Rabah / Kwan Sheung Chi / Laurent Grasso / Lavanya Mani /
Lindy Lee / Madhusudhanan / Manish Nai / Marie Velardi / Mark Formanek / Mark
Wallinger / Martin Creed / Menika van der Poorten / Michael Najjar / Michael
Stevens / Mithu Sen / Mona Hatoum / Muhanned Cader / N S Harsha / Naeem
Mohaiemen / Nataraj Sharma / Navin Thomas / Navjot Altaf / Neha</span><span lang="EN-US" style="color: black; font-family: "Times New Roman","serif"; font-size: 10.5pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"></span><span lang="EN-US" style="color: black; font-family: "Georgia","serif"; font-size: 10.5pt; mso-ansi-language: EN-US; mso-bidi-font-family: Georgia; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"> </span><span lang="EN-US" style="color: black; font-family: "Times New Roman","serif"; font-size: 10.5pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"></span><span lang="EN-US" style="color: black; font-family: "Georgia","serif"; font-size: 10.5pt; mso-ansi-language: EN-US; mso-bidi-font-family: Georgia; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Choksi / Nikhil Chopra / Parvathi Nayar / Peter Rösel / Pors & Rao /
Prajakta Potnis / Prashant Pandey / Pushpamala N / R</span><span lang="EN-US" style="color: black; font-family: "Georgia","serif"; font-size: 10.5pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">afael Lozano-Hemmer / Rajan
Punalur / Raqs Media Collective / Rivane Neuenschwander / Ryota Kuwakubo /
Sachin George Sebastian / Sahej Rahal / Sarnath Banerjee / Shahpour Pouyan /
Shantamani Muddaiah / Shumon Ahmed / Sissel Tolaas / Sudhir Patwardhan /
Sumakshi Singh / Sunoj D / Surendran Nair / Susanta Mandal / Tara Kelton / Theo
Eshetu / Unnikrishnan C / Valsan Koorma Kolleri / Wendelien van Oldenborgh /
William Kentridge / Wim Delvoye / Xu Bing / Yang Zhenzhong / Yoko Ono<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-family: "Times New Roman","serif";">Anne Vilsboell,
billedkunstner og forfatter, har siden aar 2000 opholdt sig i Indien<span style="mso-spacerun: yes;"> </span>3 – 5 mdr. om aaret med base i Udaipur,
Rajasthan. <o:p></o:p></span></i></b></div>
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<a href="http://www.annevilsboll.com/"><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-family: "Times New Roman","serif";"><span style="color: blue;">www.annevilsboll.com</span></span></i></b></a><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-family: "Times New Roman","serif";"><o:p></o:p></span></i></b></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-family: "Times New Roman","serif";">www.makanne.dk<o:p></o:p></span></i></b></div>
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anne vilsboellhttp://www.blogger.com/profile/14366440366846810932noreply@blogger.com0tag:blogger.com,1999:blog-8716323595673466152.post-88268427583488928252014-08-01T12:09:00.000-07:002014-08-01T12:10:35.130-07:00A Metaphysical Approach to Paper<div dir="ltr" style="text-align: left;" trbidi="on">
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<strong>The intention with this blog is to create paper's geo-story as well as pointing at paper as a medium in the 21st century</strong>.</div>
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<strong><em>A Metaphysical Approach to Paper</em></strong> indicates a hypothetical, mental, ethereal, imperceptible, spiritual approach. It is not about <em>how to make............</em> but raising the questions: <em>what are they doing</em> the people bending over vats with water and pulp and why are they doing this? Imagine someone viewing ark making for the first time. The viewer would see the maker bending over a vat, holding a mould and deckle with two hands, dipping the mould into a vat of water and floating fibres, water running through a mesh like a small cascade, seeing an organic flat substance appear on the surface of the mould. Our viewer might ask: what is this person doing and why is she doing it?<br />
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The maker circles in water, doing circular movements, folding and unfolding nature. The repetition of circling is mirrored in nature, in plant life, think about tree rings, in wave formations, in prayers and in meditation. The answer my be: the maker lifts new surfaces of earth, the maker is creating a web.<br />
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In Danish, Norwegian and Swedish, a surface produced in the above described way is named <em><strong>an ark</strong></em>. In Finnish an arkki, in English a sheet, in French a feuille, in German a blatt, in Spanish a hoja, in Dutch a vel. Only in the Scandinavian language is the word <strong>ark</strong> used to describe the created surface.<br />
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The definition of an ark is a boat or a ship resembling that in which Noah and his family were saved from the flood. It is something that offers protection and safety, including the sacred chest which represents the presence of God to the Hebrews, a repository traditionally in or against the wall of a synagogue where the scrolls of the Torah are held ( Torah consists of the foundational narrative of the Jewish people). the Hebrew word for ark is <em>teba</em>, that has a connection with salvation from waters ark ( In this context ark = paper).<br />
The story of the flood is connected with the story of creation - a continuous cycle of creation, destruction and recreation, similar to the act of creating ark. The universe as envisioned by the ancient Hebrews was made up of a flat disk with the heavens above and the underworld below - the three were surrounded by a watery ocean protected by a transparent dome which ringed the earth. The earth was a flat disk as an ark.<br />
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Noah's ark represents the 3 level cosmos in miniature - the heavens, the earth and the waters. In Genesis I it says, that <em>God created the 3-level world as a space in the midst of waters for mankind. </em>Making an ark goes from air through water to lift the flat earth. In Genesis 6 - 8 it says:<em> he fills that space with waters again, saving only Noah, his family and the animals with him in the ark</em>. In creating an ark one saves earth from water in a round movement.<br />
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<em><strong>Round </strong></em>is a calm word, as Gaston Bachelard calls it in his book the <em>Poetics of Space</em>. Being is round. the world is round around the round being. Bachelard refers to Rilke's <em>Poemes Francais, </em>where a lone<br />
tree is at the center of the world feasting upon the dome:<br />
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Tree always in the center</div>
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Of all that surround it</div>
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Tree feasting upon</div>
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Heaven's great dome</div>
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Bachelard writes that he<em> shall never find a better document for a phenomenology of a being, which is at once established in its roundness and developing it</em> and that<em> Rilke's tree would open an important chapter in my album of concrete metaphysics. </em>What<em> </em>Rilke's tree opens for Bachelard's reflections, the making of an ark opens as well.</div>
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Together with textile and ceramics, making ark (paper) is commonly associated with craft. But paper and the woven canvas lie behind many of the world's most acclaimed works of art. Entire cultures are held together by this fibrous web, which is now endangered in digital culture, but it still remains an elemental substance in civilisation.</div>
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Fibre, the textual - we wear a text in the clothes that wrap around us, are we conscious of this? Fibres have their own secret text inside an ark.</div>
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Before becoming an ark, fibres have gone through a treatment of maceration, almost similar to digestion, to set free the cellulose from the stem of plants to be turned into pulp. Fibres have become small spirals intertwining and making strong bonds inside the ark space. The way in which organic and synthetic fibres weave and interweave are the basic inspiration for our texnological culture, reflected in <strong>technological terminology</strong> as e.g.<em> Weaving a New Web: Education and Parenting in an Era of Technological Change/The weaving models themselves are subject to model transformation</em>...</div>
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Ark making has a historical tradition implied in the way of the <em>making</em>. A physical living plant is transformed into an organic surface able to absorb as human skin. the strength of a handmade ark depends on how nature's plants have been processed - the possibilities are multitudes. The act of making ark anchors the artist to her work in a natural organic way and enlarge the spirit of the maker.</div>
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In the 21st century art world historic categories of material and form have become irrelevant and we place importance of the act of <em>making</em>. The making can rather be conceived of as a meta-action, an art in itself of making the invisible visible, physical and tangible. this exploration of a material is art. It is important to direct creative energy into the origin of things more now than ever.</div>
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The American author and art critic for the New Yorker, Calvin Tomkins writes in his book <em>Lives of the Artist </em>that the limitless freedom of the modern artist has been an unending burden and for the contemporary artist, art is, among other things, <strong>an approach to the problem of living.</strong></div>
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Approaching the problem of living through handmade paper touches on biological, geographical, ecological, chemical, historical, cultural and aesthetical aspects.</div>
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A new born ark is a white space - an area with potential for improvement - a pause to let it sink in.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXGZhUXVTLibZuDoypzh5P_llIgw-fQ-kIlCtBYhmIrVFwKn5i-NHPCshDiHQ9MOWOmueAofuUg8QJnfJmQMv6utX_Bv7RR34cFjgi7Wm7J7W5YZYk0SgOn_VpjuE1Yc64RIeMQ3d30eE/s1600/3+AV+paper+space.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXGZhUXVTLibZuDoypzh5P_llIgw-fQ-kIlCtBYhmIrVFwKn5i-NHPCshDiHQ9MOWOmueAofuUg8QJnfJmQMv6utX_Bv7RR34cFjgi7Wm7J7W5YZYk0SgOn_VpjuE1Yc64RIeMQ3d30eE/s1600/3+AV+paper+space.jpg" height="249" width="320" /></a></div>
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I make an ark</div>
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a new space emerges</div>
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possibilities expand</div>
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the action is repeated</div>
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the new born space has no memory</div>
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of a more fulfilled state</div>
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it is</div>
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it exists because of an undefined presence</div>
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it has a functional invisibility</div>
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it absorbs</div>
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it is alive</div>
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it has an ability to expand</div>
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it demands nothing</div>
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it is measured against itself</div>
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it is presence</div>
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An ark is the beginning of a myriad of things. It is <strong>dao</strong> = accumulating space; it is <strong>zen </strong>emphasising</div>
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from as emptiness.</div>
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Emptiness as form: Lao Zi, chapter 28: - <em>knowing the white, retaining the black, it is the form of the world.</em></div>
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Chinese <strong>qi</strong> (<strong>chi</strong>) = formless empty space, bestowing life. <strong>Qi </strong>is a metaphysical concept of the cosmic power and empty space is where <strong>qi</strong> dwells, flows, tranquil or full of life. Japanese <strong>ma </strong>is that what takes place in the imagination of the person, who experiences a simultaneous awareness of form and non - form - a vision.</div>
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We all have pictures in the mind shimmering around the edges. Pictures we do not always act upon; they are just shimmering in the midst of out inner flow. To create an ark the mind has to be focused from within - the mind translates the past, the present and the future into the ark, whereas an ark comes to symbolize time and mind. <strong>Ark is about the mind.</strong></div>
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<span style="font-family: "Times New Roman","serif"; line-height: 115%;">We are born with 5 senses, meant to be developed. If we
relate these 5 senses to ark:<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; line-height: 115%;">Ark contains sound - think about the German Joseph
Anton Riedl, who made Paper Music concerts.......... <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; line-height: 115%;">Ark contains taste – think about American John Cage
and his Edible Drawings based on his macrobiotic diet<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; line-height: 115%;">Ark is tactile – each ark asks to be touched<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; line-height: 115%;">Ark is visible, we have to see ark, not only to look
at it<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; line-height: 115%;">Ark contains smell of plant and water, nature <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; line-height: 115%;">Feeling our senses is more important than thoughts. </span></div>
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<span style="font-family: "Times New Roman","serif"; line-height: 115%;"> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjelfs3c2DJgBOfle-vVRh81bypCAc8wGas8LbCUGbOGY8FQ2LGjwJ3Vz2NeX8eAsYOTFH4x01x_tEZBnvJj3cX1OLjLHKUFIGv4JzDiKY8FvjOMYJfhZ_zY6wEgGspYfgr2MGY267d-pw/s1600/9+AV+Web+1+MY.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjelfs3c2DJgBOfle-vVRh81bypCAc8wGas8LbCUGbOGY8FQ2LGjwJ3Vz2NeX8eAsYOTFH4x01x_tEZBnvJj3cX1OLjLHKUFIGv4JzDiKY8FvjOMYJfhZ_zY6wEgGspYfgr2MGY267d-pw/s1600/9+AV+Web+1+MY.jpg" height="204" width="320" /></a></span></div>
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<span style="font-family: "Times New Roman","serif"; line-height: 115%;"> An ark enlarged 1 MY, looks like a river as seen</span></div>
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<span style="font-family: "Times New Roman","serif"; line-height: 115%;"> from above.</span></div>
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<span style="font-family: "Times New Roman","serif"; line-height: 115%;">Ark as artefact has an own duration and occupy a different
system of time intervals and periods than lives of men and animals. Ark has the
possibility of telling its own geo – story. Geo – story is storytelling, interactive stories, combining pictures, videos and narrative.
Geography literally means<i style="mso-bidi-font-style: normal;"> writing about
the Earth. </i>A typical dictionary definition will be<i style="mso-bidi-font-style: normal;"> <span class="ssens">a science that deals with the description,
distribution, and interaction of the diverse physical, biological, and cultural
features of the earth's surface.</span></i></span><span class="ssens"><span style="font-family: "Arial","sans-serif"; line-height: 115%;"> </span></span></div>
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<span class="ssens"><span style="font-family: "Arial","sans-serif"; line-height: 115%;"></span></span><span style="font-family: "Times New Roman","serif"; line-height: 115%;">Imagine
giving the physicality of ark its own story. This means to write stories on
ark’s geographies, which would enables us to rediscover our territory in a new
and shared way, which could be done as digital storytelling.<o:p></o:p></span></div>
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<span style="color: #231f20; font-family: "Times New Roman","serif"; line-height: 115%; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Informing about ark’s own stories would take ark
into the technological development and would highlight its importance as a nature
itself.</span><i style="mso-bidi-font-style: normal;"><span style="font-family: "Times New Roman","serif"; line-height: 115%;"><o:p></o:p></span></i></div>
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<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/5FRrqeqx6uM?feature=player_embedded' frameborder='0'></iframe></div>
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<em>www.<b>youtube</b>.com/watch?v=5FRrqeqx6uM</em></div>
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<em>Being is round. the world is round around the round being.</em> </div>
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anne vilsboellhttp://www.blogger.com/profile/14366440366846810932noreply@blogger.com0tag:blogger.com,1999:blog-8716323595673466152.post-33544397358880326702014-07-17T14:10:00.002-07:002014-07-17T14:10:47.178-07:00<div dir="ltr" style="text-align: left;" trbidi="on">
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<span lang="EN-US" style="font-family: "Times New Roman","serif";"><br /><span style="font-size: small;"><b style="mso-bidi-font-weight: normal;"><span lang="FR" style="font-size: large;">Miniatures - collaboration in India</span></b></span></span></div>
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<span lang="EN-US" style="font-family: "Times New Roman","serif";"><br /><span style="font-size: small;"><b style="mso-bidi-font-weight: normal;"><span lang="FR" style="font-size: large;">Bienvenue au Water Palace</span></b> </span></span></div>
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Welcome to the Water Palace</h2>
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<span lang="EN-US" style="font-family: "Times New Roman","serif";"><em>“Without stories, mankind would have languished and dried out, it would have perished without water.” </em><em>Cardinal Salviati in “The Cardinal’s first story“ by Karen Blixen.</em><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Times New Roman","serif";">In connection with the project “Papir set Påny/ Paper Revisioned” for The Art Centre Silkeborg Spa I </span><span lang="EN-US" style="font-family: "Times New Roman","serif";">collaborated with Indian miniature painters in Udaipur,Rajasthan, India. In a dual role of both curator and </span><span lang="EN-US" style="font-family: "Times New Roman","serif";">exhibitor, I decided to involve other artists in my own project.<o:p></o:p></span></div>
<span lang="EN-US" style="font-family: "Times New Roman","serif";">The original function of the Art Centre SilkeborgSpa as a hydra-sanatorium was used as the point of departure for the </span><span lang="EN-US" style="font-family: "Times New Roman","serif";">project “<strong><em>Welcome to the Water Palace</em></strong>”, which revolves around the images and associations that water may conjure</span><span lang="EN-US" style="font-family: "Times New Roman","serif";">up. Everything consists of water - water ties the globe and living beings together. Water brings life - without water, we could not exist.<o:p></o:p></span><br />
<span lang="EN-US" style="font-family: "Times New Roman","serif";">Good stories, folk tales, fantastic epics have always fascinated me. Fairy tales inhabit a world of their own and the life that unfolds in them is governed by the supernatural and poetic laws of nature.</span><br />
<span lang="EN-US" style="font-family: "Times New Roman","serif";">Throughout India's cultural history, there has been an ongoing interaction between various religious, linguistic and social groups and this has resulted in a rich, material mythology that can rival European cultural history both with regard to breadth and diversity. A huge amount of tales have been preserved in regional Indian languages, but the more popular myths have reached larger circulation by entering the superregional language Sanskrit and by compilation into epic tales dating back as far as to the 4th century. Basic to the rich diversity of myths is the central theme of tension between creation and destruction. characteristic to the Indian way of thinking is the process during which order is established in chaos and the universe is dissolved into chaos, all a part of an immense cyclical pattern. Another basic theme is that things are not what they appear to be. Therefore any reality is illusory. Working with paintings in which paper casting as a material is in itself a symbol of establishing order in chaos - a constant change between destruction and creation. I experienced my own fundamental work process reflected in the Indian thought of cyclical patterns.</span><br />
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<span lang="EN-US" style="font-family: "Times New Roman","serif";">Painting is about joy. The more you master the technical aspects of painting, the less surprises you encounter. I want </span><span lang="EN-US" style="font-family: "Times New Roman","serif";">to preserve mysteries rather than resolving them. There is unique inspiration in the sense that painting activity doesn't</span><span lang="EN-US" style="font-family: "Times New Roman","serif";"> need to be restricted to one’s own self, but that it can in fact extend beyond one’s own control and consciousness.<o:p></o:p></span><br />
<span lang="EN-US" style="font-family: "Times New Roman","serif";">My own view of the world had to be united with someone else’s expression. I have always found my voice - my artistic expression - in the clashes between different geographical cultures and histories. When you work with someone else, a world of surprises and wonders emerges.</span><br />
<span lang="EN-US" style="font-family: "Times New Roman","serif";">I regard myself as a body through which relations between things, cultures, people and thoughts can be filtered. India still has a recollection of very refined expressions that we in the western world have lost. By encountering the sensitivity of an Eastern mind, it is possible to counter-act the western craving for fixed identities, copyright, signatures and dissection down to the smallest brush - stroke. My task as an artist is to examine needs and desires that create metaphors and to provoke situations that can further new metaphors. By filtering the decision-making processes through those of others, and by following paths I would not otherwise never have trodden. I have come to realize how important cooperation is to me.</span><br />
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<span lang="EN-US" style="font-family: "Times New Roman","serif";">The idea of co-operating with Indian miniature painters began to take shape in January 2000, when I decided to travel to Udaipur, Rajasthan, in October that year to make plans for a working process. The idea or intention was that my stories about water and the images that I associate with water should be passed on to a group of artists who would then make sketches for miniature paintings on the basis of these stories. The paintings were to form an ornament-like process stretching across two large friezes. The friezes were to be assembled making associations to tile-clad bathing rooms that would be created by small rectangular canvasses with vacuum pressed elements attached to them. Since one of the characteristics of miniature paintings is a delicately detailed border around the paintings, the two friezes were to have similar borders made of vacuum pressed saris mounted on canvas. The miniatures were to form part of a huge landscape constructed from vacuum pressed, handmade paper made, alternately, from Indian saris and Daphne fibres as well as paper found in old Indian account books - kagzi paper. Elements from the saris would be floating in the landscape like particles in water.</span><br />
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Without exaggerating Udaipur is one of the most beautiful cities I have ever visited. in stark contrast to the surrounding desert, Udaipur with its marble white palaces, its lakes, gardens, temples and encircling mountains and hills, presents itself as an oasis in a powerful and barren area. The stories of the maharajahs of former days still provide subject matter for the miniature painters whose stories unfold themselves in a web of mythology and genre.<br />
During a pilot study trip I made the necessary contacts for a collaboration. detailed plans were discussed and the process agreed upon. Discussions and tests regarding the correct paper were parts of the start - up work. Various types were purchased and tested. We agreed on approximately 60 - year -old handmade paper, that we purchased 10 km from Udaipur from an old man selling account books.<br />
As one of the miniature painters - Anwar Khan - put it, my stories and paintings required a different mind - a way of thinking that was demanding because it was different! <br />
Since the essence of Indian miniature paintings has always been a symbolic language where painters expressed their relations to nature and what lies beyond the primary functions of lines and pigments, it was not too difficult to explain my stories to the Indian painters from the outset. their readiness and willingness to enter my symbol world was unrivalled. Their professional skills were impeccable. The motifs these artists normally work with are their own compositions in a history - related style - mostly copying former depictions made in earlier time.<br />
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<span lang="EN-US" style="font-family: "Times New Roman","serif";">A long and ancient tradition was to be used in a contemporary manner, thus being adapted to its inherent image-related aspects: the architectural composition of the image plane, a diverse iconography that may both be read and viewed, a rhythmical grammar of ornaments that will sometimes be enforced with strict simplicity and other times with decorated splendour. It was my intention to depict a world in which all things created are animated, woven into a fabric of personal metaphors, some fable-like, involving creatures, others depicting Bosch-like achievements in a world of odd enjoyments, hazy tales and strange references, focused details, built as either vertical or horizontal landscapes. </span><br />
For around 250 years - from the middle of the 16th and way into the 19th century, India was the scene of some of the world's most bedazzling paintings. circumstances for these paintings were immensely different from painting in the western world. Painters were humble men working in small workshops, and their names have mostly gone into oblivion. their paintings were small. They were born as illustrations for manuscripts, and they were not originally intended as wall decorations. some artists were very original, and even more were talented copiers. No one will ever know whose the work is that has been carried out. Their production was amazing, much of it was very trivial, but sufficient amounts were so exquisite that Indian museums and private collectors were provided with a plethora of works. Some of the best works still exist, thanks to a large extent to the heirs of patrons of the arts.. Some paintings have hardly seen the light of the day for centuries. in other regards, however, Indian painters shared the traditional fate of all artists: work flourished whenever generous and sensible patrons were around.<br />
In India, reality resemble a folk tale. Folk tales are about fate. The oral tradition of the folk tale has sincerity that appeals much to me.<br />
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In what was possibly the first thesis on Hindi painting, Vastusutra Upanishad form the 16th century, you can read that images of deities were originally revealed to wise men in their most intelligent form: the mantra. in other words, the image was derived from sound. The auditive dimension of knowledge links my thought to painting. Painting - or forming any image in general - is a way of listening. I believe in the voice of the place in the self. I like being a part of a pattern in tune with the spirit of the past.<br />
In earlier times paper was the most commonly used painting surface. 2-3 thin sheets of paper, often made from bamboo: Gosundi paper - were glued together to a hard cardboard - like surface that was durable enough to receive paint. The painter sketched the basic composition. he would sit on the ground, resting his paper cardboard on his knees. sometimes the sketch was transferred to the painting surface by perforating the lines with a pin and then strewing powdered charcoal over the holes. When the raw contours were ready, a thin layer of lead-white mixed gum was added. Using the sketched lines that were visible through the white layer, the painter would manage to cover almost all of the drawing with almost all of its details. In between the carefully added layers of paint, the paper was polished to ensure that the pigment particles would set compactly and that they were pressed into the paper. this gave an enamel - like shine and created an even surface that was ideal for further processing.. the sketches were drawn with charred tamarind twigs. brushes were made by attaching squirrel hair to the pen feathers - about 20 - 30 of which only a few separate ones were used for the painting process. The traditional binding agent for the pigment was gum. the pigments were mineral or plant based. The white colour, imported from Persia to the Mughal studios was probably lead - white, and later zinc - white was also used along with white from crushed clamshells. Black from lamp-black, red from ferrous oxides and red rock, orange from saffron and Sinduri rocks. Lapis lazuli and indigo were traditionally used for blue colours. Indian lemon yellow was usually a fine residue, separated from the urine of cows that had been fed mango leaves. Other shades of yellow were made from roots, leaves of Piyawari - rocks. Green soil was a colour of choice of Mughal - painters in the 17th and 18th century. They used ample layers of it to cover the background in portraits. A light grass green was made from pulverised malachite, and other green shades from copper sulphite - the iridescent gold paint was made with gold leaf mixed with camel grease, honey or gum.<br />
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The painters still sit on the ground, resting their painting surface on their knees. Today most paintings are made on silk. it is easier to come by and also a lot easier to paint on. Old paper is hard to get.<br />
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Today, painters still grind their own pigments using mortar and pestle and mix them with gum, but they also use chemical colours purchased prefabricated. Gold leaf is still mixed with camel grease, and the surface is still polished with agate. They still use squirrel brushed, but also goat and horse hair brushes.<br />
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There are approximately 10 Art Schools in Udaipur and many more Art Shops and Art Centres. There are around 1000 artists making miniature paintings. Of those only 50 - 60 are professional - the rest are copying. Most Art Schools and the like make a living selling copies of work painted 300 - 500 years ago. A group of artists sit on the floor in small rooms and make copies, others provide work from other places to be sold at the above mentioned places. the artists learn the craft from an older artist. Ususally, they start painting at the age of 14 - 15. If there is a painting tradition in the family, the family will bring on the craft to the next generation. a skilful manager takes care of tourists-demonstrations and displays are made from the available collection. if you so desire, works can be commissioned. It is not necessarily the same painter who creates the entire painting. One might make the sketch, another may make the animals, a third the people, the fourth the buildings and so on - it all depends who does what better. The objective is to create a perfect product.<br />
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Indian miniature paintings are like musical chambers. they should be enjoyed slowly and intensely. <br />
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Part of some of the stories:</div>
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<i><span lang="EN-US" style="font-family: "Times New Roman","serif";">A woman and a man stand facing each other. They are naked. Their bodies are<o:p></o:p></span></i></div>
<i><span lang="EN-US" style="font-family: "Times New Roman","serif";">filled with water. From each hole in the body water spurts as from fountains<o:p></o:p></span></i><br />
<i><span lang="EN-US" style="font-family: "Times New Roman","serif";">Water is rising and flooding the land. It reaches to the point, where branches grow out from<o:p></o:p></span></i><br />
<i><span lang="EN-US" style="font-family: "Times New Roman","serif";">the trunk. Instead of leaves you see squirrels.<o:p></o:p></span></i><br />
<i><span lang="EN-US" style="font-family: "Times New Roman","serif";">You see a hand that rises from water. From the finger tips water is bursting.<o:p></o:p></span></i><br />
<i><span lang="EN-US" style="font-family: "Times New Roman","serif";">You see a mountain as if through water. On the mountain top are two eagles with<o:p></o:p></span></i><br />
<i><span lang="EN-US" style="font-family: "Times New Roman","serif";">human faces.<o:p></o:p></span></i><br />
<i><span lang="EN-US" style="font-family: "Times New Roman","serif";">Everything is in uproar - the planet is ablaze - water boils over and everything flees in<o:p></o:p></span></i><br />
<i><span lang="EN-US" style="font-family: "Times New Roman","serif";">the form of bird-like shapes.<o:p></o:p></span></i><br />
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<i><span lang="EN-US" style="font-family: "Times New Roman","serif";"><o:p> </o:p></span></i><i><span lang="EN-US" style="font-family: "Times New Roman","serif";">24 stories were told to 2 Indian miniature painters. The collaboration took 3 months. Two large friezes were created – one 240 x 1200 cm – the other 240 x 600cm. The friezes were exhibited and sold and are today hanging at Silkeborg Music and Theatre House. Silkeborg, Denmark.</span></i><br />
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<em>I want to thank the Chelawat family, Udaipur for their insight and help teaching me through the years about Indian miniatures and Indian folk art traditions.</em></div>
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<i><span lang="EN-US" style="font-family: "Times New Roman","serif";"><o:p> </o:p></span></i><i><span lang="EN-US" style="font-family: "Times New Roman","serif";">The collaboration with Indian miniature painters have continued during the years, other stories have been told. Each time I’m surprised how the encounter between and Eastern and Western mindsets operate and evolve.</span></i></div>
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<i><span lang="EN-US" style="font-family: "Times New Roman","serif";">French version:</span></i><br />
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<span lang="EN-US" style="font-family: "Times New Roman","serif";"><b style="mso-bidi-font-weight: normal;"><span lang="FR">Bienvenue au Water Palace</span></b></span><br />
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<span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 9pt;"><span style="font-size: small;"><span lang="FR"><o:p> </o:p></span><span lang="FR">« Sans histoires, l'humanité se serait alanguie et desséchée, comme elle aurait dépéri faute d'eau ». Cardinal Salviati dans « La première histoire du Cardinal » (de Karen Blixen).</span></span></span></div>
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<span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 9pt;"><span style="font-size: small;"><span lang="FR"><o:p> </o:p></span><b style="mso-bidi-font-weight: normal;"><span lang="FR">Scènes et sources</span></b></span></span></div>
<span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 9pt;"><span style="font-size: small;"><span lang="FR">J'ai utilisé un arrière-plan du Centre Artistique de Silkeborg-Spa représentant un hydro-sanatorium comme point de départ pour mon projet « Welcome to the Water Palace », qui tourne autour des sensations que l'eau peut exprimer. Tout est eau – l'eau relie le monde aux êtres vivants. L'eau apporte la vie – sans eau nous n'existerions pas.</span><br /><span lang="FR">Une belle histoire, un conte populaire, des épopées fantastiques m'ont toujours fascinée. La substance d'un conte apparaît au premier abord comme le produit d'une imagination débridée. Mais,<span style="mso-spacerun: yes;"> </span>à les étudier de plus près, on découvre qu'ils vivent au sein des croyances de leur époque et que leur étrangeté intègre les conceptions religieuses de l'humanité et son interprétation de la nature.</span><br /><span lang="FR">Un conte est un monde en soi, avec une vie propre qui obéit à des lois surnaturelles et poétiques.</span><br /><span lang="FR">Tout au long de l'histoire de la culture de l'Inde, on observe des interactions continuelles entre divers groupes religieux, linguistiques et sociaux, d'où il a résulté une riche et substantielle mythologie, qui, par son ampleur et sa diversité, rivalise avec l'histoire culturelle européenne. Une énorme quantité de contes a été préservée dans les idiomes régionaux indiens, mais les mythes les plus populaires ont accédé à une plus grande diffusion par l'usage du sanskrit - langue suprarégionale – et en étant réuni à des récits épiques aussi anciens que le 4eme siècle. </span> <span lang="FR">A la racine de la riche diversité des mythes, on trouve le thème central de la tension entre création et destruction. Un trait caractéristique de la pensée indienne est la manière dont l'ordre est issu du chaos<span style="mso-spacerun: yes;"> </span>et dont l'univers se dissout dans le chaos, selon un immense modèle cyclique. Un autre thème central est que les choses ne sont pas ce qu'elles paraissent être. Toute réalité est donc illusion. Travailler sur des peintures où le moulage du papier est partie intégrante de l'oeuvre, est en soi une image de la création d'ordre au milieu du chaos- un échange constant entre destruction et construction. Ma façon essentielle de travailler, que j'ai pratiquée pendant les 20 dernières années, je l'ai vue, dès ma première rencontre avec l'Inde, comme un reflet de la vision indienne d'un univers cyclique.</span> <span lang="FR"></span><br /><span lang="FR">La peinture traite de la joie. Plus l'on maîtrise les aspects techniques de la peinture, moins l'on rencontre de surprises. Je préfère préserver les mystères et non les dévoiler. C'est une source extraordinaire d'inspiration<span style="mso-spacerun: yes;"> </span>que de ressentir que l'action de peindre ne s'arrête pas à soi même, mais dépasse votre contrôle et de votre propre émotion. Ma propre vision du monde doit s'accorder avec l'expression d'un autre. C'est dans la confrontation entre des cultures et des histoires géographiquement différentes que j'ai toujours trouvé ma voix – mon expression. Mon œuvre fait écho aux parfums des autres cultures. </span><br /></span></span><br />
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<span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 9pt;"><span lang="FR" style="font-size: small;">Lorsque vous travaillez avec quelqu'un d'autre, un monde se crée, fait de surprises et de merveilles.</span></span></div>
<span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 9pt;"><br /><br /><span style="font-size: small;"><span lang="FR">La collaboration avec des peintres miniaturistes indiens se devait d'ajouter de l'authenticité à mon travail.</span><br /><br /><span lang="FR">Je me considère comme un corps, à travers lequel des relations entre choses, cultures, êtres humains et idées sont filtrées. En Inde, on trouve encore des réminiscences d'expressions très raffinées, que nous, dans le monde occidental, avons perdues. En se servant de la sensibilité de quelqu'un d'autre comme d'un outil, on contrecarre l'étroitesse d'esprit de l'Occident pour les identités stables, le copyright, les signatures et le « pinaillage » jusqu'au plus subtil coup de pinceau. Mon devoir en tant qu'artiste est de rechercher les besoins et les désirs qui créent les métaphores, et aussi de provoquer des situations qui suscitent de nouvelles métaphores. En passant mes processus de décisions au filtre de ceux des autres, et en suivant des voies que je n'aurais autrement jamais suivies, j'ai réalisé combien la collaboration est importante pour mon travail.<br /><br /><br /></span></span></span><br />
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<span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 9pt;"><span style="font-size: small;"><span lang="FR"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVmOKJzlgjBE-YlDG8Wc5fwYLtNv63MIix4Kuzr3FchMv1wqfGJ5zdEe-1Vk5-HzRZ3ecbC4pJ17AzemyjvK6Bwo-r4qqdex8GESQZHdmLmg54E6N2nwgnbgMofnkyT-pKjWIczNOO860/s1600/208.4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVmOKJzlgjBE-YlDG8Wc5fwYLtNv63MIix4Kuzr3FchMv1wqfGJ5zdEe-1Vk5-HzRZ3ecbC4pJ17AzemyjvK6Bwo-r4qqdex8GESQZHdmLmg54E6N2nwgnbgMofnkyT-pKjWIczNOO860/s1600/208.4.jpg" height="259" width="320" /></a></span></span></span></div>
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<span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 9pt;"><span style="font-size: small;"><span lang="FR"><o:p> </o:p></span><b style="mso-bidi-font-weight: normal;"><span lang="FR">Les débuts de la collaboration avec des peintres miniaturistes indiens</span></b></span></span></div>
<span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 9pt;"><span style="font-size: small;"><span lang="FR">Les projets de collaboration avec des miniaturistes indiens a commencé à prendre forme en Janvier 2000, quand je décidais de me rendre à Udaipur, en Inde, en octobre de cette même année pour organiser mon programme de travail. L'idée était que mes histoires et mes conceptions concernant l'eau serait communiquées à un groupe d'artistes qui en tireraient des croquis pour des miniatures. Les miniatures constitueraient une ornementation formée de 2 grandes frises. Les frises seraient disposées de façon à créer une association avec une salle de bain carrelée – association établie à l'aide de petits rectangles de tissus sur lesquels des éléments auraient été pressés sous vide. Sachant que l'une des caractéristiques de la miniature est une délicate frange qui entoure le motif principal, les 2 frises devaient avoir la même frange réalisée avec des saris pressés sous vide sur la toile. Les miniatures seraient incluses dans un vaste paysage confectionné à l'aide de papier artisanal comprimé sous vide, papier lui même fabriqué à partir de saris indiens et de fibres Daphné. Pendant ma première visite où mes idées reçurent un accueil très positif de la part des miniaturistes et de mes contacts, je choisissais 10 saris que je rapportais chez moi pour y faire des essais, afin d'obtenir l'effet recherché. Les morceaux de saris devaient flotter dans le paysage comme des particules dans l'eau.<span style="mso-spacerun: yes;"> </span>Je préparais des histoires sur l'eau et retournais en Inde<span style="mso-spacerun: yes;"> </span>pour y travailler 2 à 3 mois.</span><br /><span lang="FR">Udaipur est, sans exagération, une des plus belles et plus fascinantes villes que j'ai visitées. Contrastant avec le désert qui l'entoure, Udaipur apparaît, avec ses palais de marbre blanc, ses lacs, jardins, temples, et les montagnes et les collines tout autour, comme un oasis de couleur dans un environnement dur et aride. Les histoires des maharanis de jadis dans la ville, procurent encore aux miniaturistes d'aujourd'hui des sujets dont les histoires se déroulent dans des entrelacs de mythes et de thèmes.</span></span><br /></span><br />
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<span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 9pt;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCAdBQqwyzS45SroakMhUAv1d_u4PfgGsusZxptQ3913xTVmqbjF94fbBHh62DlNK7QuJxP78lkBEdhIDnSD42PuNsAiVxqQ7o4K9cBVXQlVL4BSrMovjY8YtnwqTay88N4tZW9WkBeYg/s1600/208.2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCAdBQqwyzS45SroakMhUAv1d_u4PfgGsusZxptQ3913xTVmqbjF94fbBHh62DlNK7QuJxP78lkBEdhIDnSD42PuNsAiVxqQ7o4K9cBVXQlVL4BSrMovjY8YtnwqTay88N4tZW9WkBeYg/s1600/208.2.jpg" height="259" width="320" /></a></span></div>
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<span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 9pt;"><span style="font-size: small;"><span lang="FR"><o:p> </o:p></span><span lang="FR">Durant mon séjour exploratoire en Octobre-Novembre, j'avais pris les contacts nécessaires pour une collaboration. Grâce à mon cher ami Shanu Khan, j'avais été présentée aux peintres Anwar Khan et Anil Kumar Sharma. Nous nous sommes rencontrés dès mon arrivée dans l'atelier d'Anwar pour discuter de tous les détails de mon projet. Chaque jour nous examinions le travail de la journée et nous mettions d'accord sur son déroulement. Les manoeuvres préliminaires consistèrent en discussions et tests sur le papier le plus approprié. Nous achetâmes différents types de papier. Le choix se fixa sur un papier artisanal vieux d'environ 60 ans, que l'on trouva à 10 km d'Udaipur chez un vieil homme qui vendait des registres de comptes.</span></span></span></div>
<span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 9pt;"><span style="font-size: small;"><span lang="FR">Un autre groupe d'artistes fut contacté par l'intermédiaire du très sympathique Gopal Arora, qui dirige le Centre d'Art Kanhalya Soni, créé en 1975. Gopal contacta Yugalkishore Sharma et Mahendra Soni, qu'il pensait excellents pour une collaboration, i.e. s'adapter à mon iconographie.</span><br /><span lang="FR">Là aussi, le travail se déroulait de la même façon : croquis, discussions et peinture.</span><br /><span lang="FR">Selon l'expression de Anwar , mes œuvres demandaient un tout autre « esprit », une façon de penser très exigeante, parce que différente !</span> <br /><span lang="FR">Parce que l'essence même des miniatures indiennes a toujours été un langage symbolique, par lequel<span style="mso-spacerun: yes;"> </span>les peintres expriment leur relation à la nature et ce qui se cache derrière la fonction première des lignes et des pigments, il ne fut pas trop difficile d'amener les peintres indiens à comprendre mes histoires. Leur ouverture et leur volonté de pénétrer dans mon univers symbolique furent sans égal. Leur talent professionnel fut irréprochable. Les motifs sur lesquels ces artistes travaillent sont normalement leur propre composition dans un style narratif, ou leur environnement immédiat.</span> </span></span><br />
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<span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 9pt;"><span lang="FR" style="font-size: small;">Avec moi dans leurs mains, nous avons pu accéder à une autre forme de monde fabuleux. Nous discutions et corrigions en permanence des croquis, de sorte que le résultat final était aussi proche que possible de mes attentes.</span></span></div>
<span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 9pt;"><span style="font-size: small;"><span lang="FR">Je travaillais avec deux groupes, parce que je voulais obtenir deux frises différentes, chacune avec son résultat ornemental particulier.</span> </span><br /><span style="font-size: small;"></span></span><br />
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<span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 9pt;"><span style="font-size: small;"><span lang="FR"><o:p> </o:p></span><b style="mso-bidi-font-weight: normal;"><span lang="FR">La rencontre de deux traditions</span></b> </span></span></div>
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<span style="font-size: small;"><span lang="FR"><o:p> </o:p></span><span lang="FR">Il s'agissait d'utiliser de façon moderne une longue et ancienne tradition et d'adapter les aspects iconographiques qu'elle contient : la construction architectonique de l'image plane, une iconographie abondante qui puisse être lue et vue, une grammaire rythmique d'éléments ornementaux, qui sont quelques fois intégrés avec une stricte simplicité, d'autres fois dans un décor somptueux. Je voulais représenter un monde où toutes les créatures sont animées, tissées en un réseau de métaphores personnelles, certaines comme des animaux fabuleux, d'autres ressemblant à des créatures de Bosch, dans un monde de joie étrange, de récits camouflés et de références<span style="mso-spacerun: yes;"> </span>singulières, de détails précis, dans des paysages disposés verticalement ou horizontalement.</span> </span></div>
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<span lang="FR" style="font-size: small;">Les transformations sont une activité où une forme se change en une autre.</span></div>
<span style="font-size: small;"><br /><span lang="FR">Pendant environ 250 ans – du milieu du 16éme jusqu'au 19ème siècle, l'Inde a été la scène des peintures les plus exquises au monde. Les circonstances, pour ces peintures, étaient totalement différentes de celles de la peinture occidentale. Les peintres étaient des hommes humbles, travaillant dans de petits ateliers, et leurs noms sont, pour la plupart, tombés dans l'oubli. Les œuvres qu'ils peignaient étaient petites. Elles étaient conçues comme illustrations de manuscrits et ne servaient pas à orner les murs. Quelques artistes étaient originaux, mais beaucoup plus n'étaient que de talentueux copistes. Personne ne saurait dire de qui provient telle œuvre. Leur production étaient incroyable, la plupart banale, mais suffisamment d'entre elle assez remarquable pour enrichir les musées et les collections privées indiens d'un grand nombre d'oeuvres. Quelques unes des meilleures œuvres existent toujours, grâce aux mécènes et à leurs héritiers. Certaines miniatures n'ont jamais été exposées à la lumière depuis des siècles. Mais, à maints égards, les peintres indiens n'ont fait que partager le sort de tout artiste : le travail est florissant quand il existe des mécènes généreux et sensibles.</span> </span><br />
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<span lang="FR" style="font-size: small;">En Inde, la réalité ressemble à un conte populaire. Un conte populaire traite du destin, on quitte sa maison pour être à l'épreuve des vicissitudes d'un destin singulier. La tradition orale des contes populaires possède une spontanéité qui me plaît.</span></div>
<span style="font-size: small;"><span lang="FR">Dans la mythologie de la création, la première représentation de Dieu est un mantra. Dans ce qui est peut être le premier traité sur la peinture Hindi, le Vastusutra Upanishad du 16ème siècle, on peut lire que les images des divinités étaient à l'origine révélées aux sages sous leur forme la plus subtile : le mantra. En d'autres termes, l'image était dérivée d'un son. La dimension auditive de la révélation, relie ma pensée à la peinture. Peindre – ou créer une image en général – est une forme d'écoute. <i style="mso-bidi-font-style: normal;"><span style="color: #ff3333;">Je pense que l'on porte en soi la voix du lieu</span></i>. J'aime faire partie d'un paysage en accord avec l'esprit du passé. Cela me manque parfois dans le monde artistique du 21ème siècle, ou chacun peut faire ce qu'il veut !</span> </span><br />
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<span style="font-size: small;"><span lang="FR"><o:p> </o:p></span><b style="mso-bidi-font-weight: normal;"><span lang="FR">A propos du papier et des couleurs</span></b> </span></div>
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<span style="font-size: small;"><span lang="FR"><o:p> </o:p></span><span lang="FR">Autrefois, le papier était la surface la plus utilisée pour peindre. Deux ou 3 feuilles de papier fin, souvent confectionné à partir de bambou -<span style="mso-spacerun: yes;"> </span>papier Gosundi - étaient collées ensemble pour faire une sorte de carton suffisamment fort pour être peint. Le peintre esquissait une composition initiale. Il était assis par terre, son carton étalé sur ses genoux. Quelques fois l'esquisse était transférée sur la surface en perforant les lignes du dessin à l'aide d'une épingle et en saupoudrant les trous de poudre de charbon. Quand les contours grossiers étaient terminés, le peintre appliquait une fine couche de blanc-de-plomb mélangé à de la gomme arabique. Aidé par les lignes du croquis, qui transparaissaient sous la couche blanche, le peintre parvenaient à recouvrir tout le dessin de presque tous ses détails. Entre les couches successives de peinture, le papier était poli, pour s'assurait que les particules de pigments ne se dispersaient pas et s'incrustaient dans le papier. Cela donnait un brillant comme un émail et créait une surface lisse, idéale pour poursuivre le travail. On se servait de brindilles charbonnées de tamarin pour réaliser les croquis. Les pinceaux étaient faits de poils d'écureuil attachés à la tige d'une plume – environ 20-30 – dont seulement quelques uns isolés servaient à peindre. La gomme arabique était le médium traditionnel pour les pigments. Les pigments étaient d'origine minérale ou végétale . La couleur blanche, importée de Perse à destination des ateliers Mogholes était vraisemblablement du blanc-de-plomb ;<span style="mso-spacerun: yes;"> </span>plus tard du blanc-de-zinc a été aussi utilisé, en même temps que le blanc de coquillages concassés. Noir du noir-de-lampe – rouge de l'oxyde de fer ou de pierres rouges – orange du safran et de pierre Sinduri. Le lapis lazuli et l'indigo étaient traditionnellement utilisés pour le bleu. Le jaune citron indien était habituellement un résidu fin, extrait de l'urine de vaches nourries de feuilles de manguier, les autres tons de jaune provenant soit de racines, de feuilles ou de pierre Piyawari. La terre-verte était une couleur préférée de Moghols aux 17ème et 18ème siècle. Ils en utilisaient de larges couches pour remplir l'arrière plan des portraits. On utilisait aussi un vert clair de malachite pulvérisée, d'autres verts de sulfure de cuivre – la peinture d'or lumineuse était réalisée à partir de feuilles d'or, mélangées à de la graisse de chameau, du miel ou de la gomme arabique. Les peintres restaient toujours assis par terre, leur carton reposant sur les genoux. Aujourd'hui, la plupart d'entre eux peint sur soie. C'est plus facile à se procurer et plus facile à peindre. Le vieux papier est plus difficile à trouver, mais nous nous sommes débrouillés.</span> </span></div>
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<span lang="FR" style="font-size: small;">Aujourd'hui, on broie encore ses pigments dans un mortier et on les mélange à la gomme arabique, mais on utilise également des couleurs chimiques que l'on achète toutes prêtes. La feuille d'or est toujours mélangée avec de la graisse de chameau et la surface est toujours polie avec de l'agate. On utilise encore les pinceaux en poils d'écureuil, mais également d'autres en poils de chèvre ou de cheval.</span></div>
<span style="font-size: small;"><br /><b style="mso-bidi-font-weight: normal;"><span lang="FR">Les miniatures de nos jours</span></b> </span><br />
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<span style="font-size: small;"><span lang="FR"><o:p> </o:p></span><span lang="FR">Il y a environ 10 Ecoles d'Art à Udaipur et beaucoup plus de Galeries ou de Centres d'Art. Il y a environ 1000 artistes qui peignent des miniatures. Dont seulement 50-60 professionnels, le reste étant des copistes. La plupart de ces Ecoles ou leurs semblables vivent de la vente de copies d'oeuvres créées il y a 300-500 ans . Un groupe d'artiste est assis par terre dans une petite pièce et font des copies, d'autres emportent des œuvres au dehors pour les vendre. Les peintres sont formés par un artiste plus vieux. En règle générale, il commencent à peindre à l'âge de 14-15 ans, ou bien, s'il s'agit d'une tradition familiale, c'est la famille qui perpétue l'artisanat de génération en génération. Un administrateur efficace sait tenir compte des touristes – démonstrations et expositions des œuvres de la collection dont il dispose. On peut, si on le souhaite, commander l'exécution d'une œuvre choisie.</span> </span></div>
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<span lang="FR" style="font-size: small;">Ce n'est pas nécessairement le même peintre qui peint toute la miniature. L'un peut réaliser le croquis, un autre peindre les animaux, un troisième les personnages, un quatrième les bâtiments, et ainsi de suite – selon qui est pour quoi le meilleur. Le but est de créer une œuvre parfaite !</span></div>
<span style="font-size: small;"><b style="mso-bidi-font-weight: normal;"><span lang="FR"></span></b></span><br /><span style="font-size: small;"><b style="mso-bidi-font-weight: normal;"><span lang="FR">Bienvenue au Water Palace</span></b> </span><br />
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<span style="font-size: small;"><span lang="FR"><o:p> </o:p></span><span lang="FR">La révolte est partout – la planète est en feu – l'eau est en ébullition et tous les êtres vivants s'enfuient en prenant des formes d'oiseaux... Un homme flotte dans l'espace, le corps rempli de poissons... Des éléphants stationnent sur les sommets de montagnes – l'eau gicle de leur trompe....</span> <br /><span lang="FR">Les miniatures indiennes sont comme une musique de chambre. On doit les savourer lentement, intensément et pour soi.</span> <br /><span lang="FR">Anne Vilsbøll.</span> </span></div>
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anne vilsboellhttp://www.blogger.com/profile/14366440366846810932noreply@blogger.com0tag:blogger.com,1999:blog-8716323595673466152.post-86475566618003685372014-06-25T13:16:00.004-07:002014-06-25T23:29:52.539-07:00KAGZI<div dir="ltr" style="text-align: left;" trbidi="on">
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<b style="mso-bidi-font-weight: normal;"><span style="mso-ansi-language: EN-GB;">KAGZI </span></b><span style="mso-ansi-language: EN-GB;">( <i>kagzi derived from hagid, the Persian word for paper)</i><o:p></o:p></span></div>
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<i><span style="mso-ansi-language: EN-GB;"> </span></i><b style="mso-bidi-font-weight: normal;"><span style="mso-ansi-language: EN-GB;">INDIAN HANDMADE PAPER<o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="mso-ansi-language: EN-GB;"> </span></b><span style="mso-ansi-language: EN-GB;">In all
cultures papermaking is reflecting the history of that particular country.<o:p></o:p></span></div>
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<span style="mso-ansi-language: EN-GB;">After
studying different culture’s way of making paper for more than 30 years and</span><span style="mso-ansi-language: EN-GB;">visiting India frequently since 2000, collaborating with a few paper mills, painting and
printing on their different handmade papers, without really finding, what I
wanted, I decided to begin updating the situation of handmade paper in India in
April 2009. </span><br />
<span style="mso-ansi-language: EN-GB;"><o:p></o:p></span> </div>
<span style="mso-ansi-language: EN-GB;">We – my
daughter Emilie and I - sat out from Udaipur, Rajasthan and our first stop was
Gosunda.<o:p></o:p></span><br />
<span style="mso-ansi-language: EN-GB;">I had heard
that Mirza Munir Beg’s family left Tashkent for Narol to Haryana 400 years ago
to Udaipur to make paper for the royal family, ending up in Gosunda in 1632. At
one time 300 people were making paper here, mostly blotting paper. In 1995
Mirza Munir Beg had told, he was the only one left making paper. </span><br />
<span style="mso-ansi-language: EN-GB;">We arrived by
dirt roads to a tiny square in the village, where in a few seconds we found
ourselves surrounded by what seemed to be all the children from the village. We
asked about the Beg family and walked a small path, where the house was
situated. Lukman Beg, Mirza Beg’s son, was resting upstairs on his Indian bed
among garlic and onion on the floor. He quickly organized himself, smiled and
welcomed us. His father died January 12<sup>th</sup>, 2009, 90 years old! No –
Lukman did not made paper anymore, but he was fishing! Together with his wife,
he opened a locker and from a small room filled with handmade paper, he pulled
out several sheets and gave them to us –old account book paper. His wife took
us by the hand, leading us to the place, down the pathway, where they used to
work. She opened the big gate and in the small overgrown courtyard, we saw,
what once had been a paper mill without a roof. Ruins of the big Hollaender
beater, big concrete vats, half parts of the moulds – the chapris (grass mats)
missing, were hanging on the wall in a tiny shed. A sad view, but the family
had not received help from the government to continue and couldn’t make their
living from paper anymore.<o:p></o:p></span><br />
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<span style="mso-ansi-language: EN-GB;">The destiny
of the old kagzi families all over India.<o:p></o:p></span></div>
<span style="mso-ansi-language: EN-GB;">Next paper
stop was Sawai Madhopur, near the tiger-populated ruins of Ranthambhor, in
order to find Abdul Haleem, once unable to survive by making paper, he had
instead sold Lipton tea and glucose biscuits for years, saving every rupee
possible for building a hand papermaking “factory”.</span><br />
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Abdul Haleem standing on a post of paper.</div>
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<span style="mso-ansi-language: EN-GB;"><o:p></o:p></span> </div>
<span style="mso-ansi-language: EN-GB;">Haleem's ancestors
were all kagzis and on his father’s deathbed, Abdul promised to return to the
family’s way of working. He was 72 years
old with a long white beard and a very good spirit, smiling eyes and a quick
mind. We had chai, seated around a huge table, surrounded by all the family
members, studying us curiously. As many other kagzi families, Abdul’s family
also came to India 400 years ago to make paper for the emperors. Originally
they came from Tashkent, but finally settled in Sawai Madhopur after having
moved around. Abdul has been fighting to get support from KVIC ( Khadi and
Village Industries Commissions), but has never received anything and is very
angry. He won’t give up. Also in India, you have to have your
connections to receive goodwill.</span><br />
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<span style="mso-ansi-language: EN-GB;">Abdul Haleem
showed us his paper mill and took us to the kagzi place, where each and every
house used to make paper. Now there is only Haleem’s paper place left. Finished
cotton paper sheets were drying on line outside the mill. Inside women were
sorting out the cotton rags, and a young man was standing at the paper machine,
dividing the continuous roll of paper into sheets with his fingers. The
papermaking machine was like a Fourdrinier, one of the first machines to
produce paper on cylinders. So Abdul’s paper is not always made by hand. He
uses mainly cotton rags and recycled paper today. One by one the sheets were
piled on top of each other, hung to dry and later smoothed in a calender.
Earlier on sheets were dried on lime walls, which gave the sheet recognizable marks from the drying
brushes and a smooth feeling and the paper got a crisp sound. We saw the old moulds, which he
told, they use for special orders – the Hollaender beater was running – and it functioned!
Outside the paper mill we looked down into a deep big well with good water. We
saw the pits, where they used to foot stamp the plants into pulp and we visited the
small houses situated around the mills, where beds now were placed on top of the former stone
vats. We visited Abduls home, in which he had been born and still live with all
his 8 brothers! An interesting meeting, full of life. Abdul’s 3 sons are
all working in the paper mill. I look forward to see them again.</span></div>
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<span style="mso-ansi-language: EN-GB;">Next stop was
Sanganer, south of Jaipur, which today is the main centre for handmade paper in Rajasthan with around 50 paper mills operating. Sanganer is also known for
textile printing.</span></div>
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<span style="mso-ansi-language: EN-GB;"><o:p></o:p></span> </div>
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<span style="mso-ansi-language: EN-GB;">We visited
Salim’s Paper, Handmade Paper & Board Industries – a 40 year old paper
factory, where they produce handmade and machine made cotton paper. The owner
was not there. He is involved with KVIC and in politics. They had a big
showroom with all kinds of bags, envelopes etc. The biggest sheets they can
produce are 70 x 200 cm. </span><br />
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Red pulp in Hollaender beater<br />
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<span style="mso-ansi-language: EN-GB;">We visited
the A.L Paper House, where the youngest of 5 sons, Imran Khan, is taking care
of marketing and sales. He is travelling all over the world. Among many other
products, they sell paper boxes to Ikea! They had a very beautiful showroom and
a fine variety of many different paper sheets and products – all produced of
cotton and recycled paper. They do not make paper from plant pulp, but they add
small plant bits and pieces as effect to the cotton pulp, so the sheet of paper
gets a rough look! We saw a video about this paper family, where all family
members are participating. They are also descendants of kagzi, but have
survived in a splendid way.<o:p></o:p></span></div>
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<span style="mso-ansi-language: EN-GB;">After
visiting several smaller paper units, I had a meeting with the director, Mr.
Sharma, of Kumarappa National Handmade Paper Institute. Here they experiment
with many different fibres, and this is the place for formal training, but to
make industrial paper and export is their focus, not to make paper in the old
traditional way: of plants.<span style="mso-spacerun: yes;"> </span>Mr. Sharma
explained me about<span style="mso-spacerun: yes;"> </span>AIVIA and KVIC:<o:p></o:p></span></div>
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<span style="mso-ansi-language: EN-GB;">AIVIA ( All
India Spinner’s Association and All India Village Industries) founded in 1934,
was taken over by the Khadi and Villlage Industries Commissions in 1956 (
supporters of the Craft) = KVIC – who does not support the old way of making
paper. AIVIA has evolved into a research centre. The question of what might be
required to save the traditional kagzi must be explored in detail. (KVIC seems to not
take care of that, which is more than sad = my remark! )<o:p></o:p></span><br />
<br />
<span style="mso-ansi-language: EN-GB;">KVIC provides
formal training in a Poona paper school and at this above mentioned centre
inaugurated in Sanganer in 1994, in Ahmedabad and Hariana. KVIC has been
instrumental to the creation of uniformity and modernisation – Westernisation
in the majority of paper ventures. Now almost all of India’s paper, other than
recycled is made from KVIC-recommended cotton cuttings from garment industry ( which often contains a certain percentage of synthetic fibres). Traditionally –
hemp or jute fibres were used to make paper.. <o:p></o:p></span><br />
<span style="mso-ansi-language: EN-GB;"></span><br />
<span style="mso-ansi-language: EN-GB;">I told Mr.
Sharma that I belong to the ones lamenting the passing of the craft’s
traditional methods. He gave me an address, and I went to:</span><br />
<span style="mso-ansi-language: EN-GB;"></span><br />
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<span style="mso-ansi-language: EN-GB;">Zakir
Hussain, Hussain Hand Made Paper Udhyog, House nr.175, Maszid ke Pass, Kagazi
Mohalla. Through a narrow lane, where numerous paper factories were making grey
cardboard paper, we finally found the place, where they still make paper as
before: of good strong quality – of plants – hemp and jute - paper that has a sound and marks
from the drying brushes. On the roof of the house, a long white lime wall is
used as drying wall. Papers dried this way become flat and smooth and are
peeled free, when the water has evaporated. Brushes used to feather stroke
sheets onto drying walls are called kunchi or bowara. Sometimes they are made
from a soft date palm. Hussain’s wife is still making chapris (grass mat for
making paper – made by either chade grass,ravari grass or amaranth and
andropogan micranthus, and Zakir Hussain is still sitting down, making paper in the vat
enforced in the floor. His family originally came from Bukhara to make paper
for the emperors. </span></div>
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Hussains grandchild is demonstrating polishing the surface of paper with an Agate stone.</div>
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Polished paper</div>
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Hussein's paper is strong!</div>
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<span style="mso-ansi-language: EN-GB;">I purchased
paper from Hussain and I will continue to do so. Among others the Indian artist
Nilima Sheikh is buying paper from him, and he works for many others on orders.
</span></div>
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Old lime walls for drying paper</div>
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<span style="mso-ansi-language: EN-GB;"><o:p></o:p></span> </div>
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<span style="mso-ansi-language: EN-GB;">South west of
Sanganar is Kishangar, founded in 1611 and recognized for its distinctive
school of miniature painting. It was a refuge for artists escaping from the emperor
Aurangzeb’s restrictive court. We were shown ruins of papermaking buildings
along the shore of the lake by the grandfather Krishna Lal of my friend Mukesh
from Udaipur! Mr. Lal also showed us his fine miniature paintings.<o:p></o:p></span></div>
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<span style="mso-ansi-language: EN-GB;"> </span></div>
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<span style="mso-ansi-language: EN-GB;">Krishna Lal </span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="mso-ansi-language: EN-GB;"></span></b> </div>
<div style="line-height: 150%;">
<b style="mso-bidi-font-weight: normal;"><span style="mso-ansi-language: EN-GB;">AFTER THOUGHTS</span></b><span style="mso-ansi-language: EN-GB;">:<o:p></o:p></span></div>
<span style="mso-ansi-language: EN-GB;">India had very fine papers we simply have not seen much of since the British Invasion where production of industrial paper took over. <o:p></o:p></span><br />
<br />
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<span style="mso-ansi-language: EN-GB;"><o:p> </o:p></span><span style="mso-ansi-language: EN-GB;">The Muslim
invaders brought their culture, religion, art and the art of papermaking to
northern India with Mahmud of Ghazni ( 997-1030 C.E.). The Muslim religion
relied on paper to record the Prophet’s teachings, just as Buddhism in China,
Korea and Japan fostered papermaking in order to preserve the Buddha’s words. India’s
indigenous Hindu religion, valuing oral and written transmission, had not
created the same need. This is why it took almost 1000 years before paper was
produced in India after its invention in China.<o:p></o:p></span></div>
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<span style="mso-ansi-language: EN-GB;"><o:p> </o:p></span><span style="mso-ansi-language: EN-GB;">Today the
traditional kagzi struggles in a questionable battle to continue. While some
lament the passing of the craft’s strictly traditional method, the Indian paper
maker has escaped the fate of artisans in other countries, where traditional
papermaking rests as museum exhibitions. India, with the undefeatable
resilience of centuries of effort, truly possesses a “living craft.” Change and
defeat are constantly recycled. The craft adjusts and readjusts and the process
of dipping a mould to make a sheet by hand repeats itself for the billionth
time by hundreds of artisans.<o:p></o:p></span></div>
<span style="mso-ansi-language: EN-GB;"></span><br />
<span style="mso-ansi-language: EN-GB;">Accountants
and bookkeepers are almost single-handedly responsible for the endurance of the
craft during the first part of the 20<sup>th</sup> century. They provided a
market so a few kagzi around the country could limp along doing what they knew
best. It was generally thought that handmade paper lasted longer than commercial
paper and therefore accounts, ledgers, deeds, religious texts and important
records were more secure on handmade paper. Numerous horizontal, red cloth or
leather bound account books are the paper legacy from those days, which one still
finds in the darkness of several shops in India.<o:p></o:p></span><br />
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<div style="line-height: 150%;">
<strong><span style="mso-ansi-language: EN-GB;"><o:p> </o:p></span><span style="mso-ansi-language: EN-GB;">Over many
centuries Indian art and craft have set standards for the world. Before the last
of the traditional papermakers is lost, I hope a few mills will make paper
again comparable to the old kagzi paper. Like fine paper in Japan, this paper
would find a market among conservators, painters of miniatures, and people
deeply interested in Indian culture within India and outside, even if it were
more expensive than the "new industrial cotton paper."</span></strong><br />
<strong></strong><br />
<strong>One paper maker and paper artist in Kolkata, who learnt to make paper at Glasgow School of Art by Jacki Parry years ago, has set up a very fine paper studio with the necessary equipment.</strong><br />
<strong>His name is Anupam Chakraborty: <a href="mailto:anupam.paper@gmail.com">anupam.paper@gmail.com</a></strong><br />
<strong>Anupam teaches papermaking classes in India and make paper from plants as well as his own art work.</strong><br />
<strong></strong><br />
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Anupan Chakraborty</div>
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In Udaipur my good friend since 2000 Rakesh Paliwal has been running Cellulosic Waste Recycling Project, where I have had persmission to work. Paliwal is now working on a project including women's empowerment, rural handicraft and a better living for rural people. This project also involves papermaking.</div>
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Blue sarees being processed to paper pulp for a project.</div>
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<b><span style="mso-ansi-language: EN-GB;">What is
life like for the new Hindu papermakers who do not come from the kagzi
tradition? Is papermaking becoming a cultural identity for them as it has been
for the kagzis, or is it merely a job?</span></b><span style="mso-ansi-language: EN-GB;"><o:p></o:p></span></div>
<b><span style="mso-ansi-language: EN-GB;">Why have
papermaking and the scribal arts been less able to rise from their own roots
than the traditional textile tradition? Might the Khadi and Village Industries
Commission change its approach as it sees the growing market for export paper?
Might they spearhead the revival of more traditional paper for use by
conservators and artists??</span></b><span style="mso-ansi-language: EN-GB;"><o:p></o:p></span><br />
<b><span style="mso-ansi-language: EN-GB;">How did
paper function in past Indian society and with the changes, that have occurred in
this century, what is its place in the future?</span></b><br />
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Rags waiting to be processed on paper mill in Sanganer.</div>
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<span style="mso-ansi-language: EN-GB;">Anne Vilsbøll<o:p></o:p></span><br />
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<span style="mso-ansi-language: EN-GB;"> </span><i><span style="mso-ansi-language: EN-GB;">Hollaender
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<span style="mso-ansi-language: EN-GB;">Neeta
Premchand: Off the Deckle Edge, <i>a papermaking journey through India, 1995</i><o:p></o:p></span></div>
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<span style="mso-ansi-language: EN-GB;">Alexandra
Soteriou: Gift of Conquerors, Hand Papermaking in India,<o:p></o:p></span></div>
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<img height="96" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2oZrSZfNDzA_GGJR5niHuam24VAvdyZ0_Q-LecLaOllnYyK-tpJs22JVcXOIRsuDws6tpjBA4sEwiAxpNeais7g3Iec0Kd2tJicvlPLHeTKTvFGbPRzTag3XTWL_FY65YRtCUzgUyF1U/s1600/A1+paper.jpg" style="left: 863px; opacity: 0.3; position: absolute; top: 3960px;" width="72" /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj08HHCsz0YcBhF9LkBg_4VDLjDHvM9pd3npmTUsQRQDiylmF7l-hIr3YxXk9UD_VwuoJO_nZ2RK72G4iD7NvIOyAfwgthWNd9MCL3q8Q-UCbdFgzTowlm3Hgda06YgKI1uxntczLG-OmY/s1600/lifting+earth150.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj08HHCsz0YcBhF9LkBg_4VDLjDHvM9pd3npmTUsQRQDiylmF7l-hIr3YxXk9UD_VwuoJO_nZ2RK72G4iD7NvIOyAfwgthWNd9MCL3q8Q-UCbdFgzTowlm3Hgda06YgKI1uxntczLG-OmY/s1600/lifting+earth150.jpg" height="204" width="320" /></a></div>
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<span style="font-family: Times, "Times New Roman", serif;">What am I doing? I'm lifting a new surface of the earth.</span></div>
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<span style="font-family: Times;">Why am I doing this?</span><br />
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<strong>The intention with this blog is to create paper's geo-story as well as pointing at paper as a medium in the 21st century</strong>.</div>
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To be continued in the following chapters.</div>
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anne vilsboellhttp://www.blogger.com/profile/14366440366846810932noreply@blogger.com0