Thin Lines. Central European Lace between Tradition and Modernity

FILIPOVÁ, Marta. Thin Lines. Central European Lace between Tradition and Modernity. In guest lecture at Musee Horta, Brusel. 2025.

Základní údaje

Originální název

Thin Lines. Central European Lace between Tradition and Modernity

Autoři

FILIPOVÁ, Marta

Vydání

guest lecture at Musee Horta, Brusel, 2025

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Další údaje

Jazyk

angličtina

Typ výsledku

Vyžádané přednášky

Označené pro přenos do RIV

Ne

Klíčová slova anglicky

lace; tradition; modernity; folk art; Czechoslovakia

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Anotace

V originále

Lace is not very often considered a piece of modern art or design that adopts the language of Art Deco or abstraction. Instead, it is usually seen as a traditional, often handmade fabric crafted anonymously for decorative, occasionally practical purposes in the home and on dresses. Yet at the beginning of the 20th century, Central European lacemaking underwent an important transformation. Drawing on its links to home industries, it became much more than an economic activity. Lace was turned into a self-sufficient artform, a means of emancipation and a source of income and recognition for many designers. Artists of the Viennese Werkstätte, German Werkbund or its Czechoslovak equivalent turned lace into a modern medium that could successfully represent individuals, institutions and states. Leni Matthaei, Dagobert Peche, or Emilie Paličková Milde became recognised for the intricacy and modernity of their lace that abandoned decorativism in favour of abstraction and free expression. Paličková Milde, for instance, was a highly successful female artist who received many prizes at international exhibitions, including those in Paris (1925) and Brussels (1935). Apart from the modern aspects of lace, the lecture highlights somewhat hidden side of modern lacemaking as the artists behind the prized designer lace were not the makers. The many hands that actually turned their designs into the final pieces and often invested their own creativity in the production process went mostly unrecognised. The anonymous character of the making therefore survived from its origins in small lace-making communities. Focusing mainly on Central Europe of the modern period, the paper addresses the questions of labour, modernity and authorship also in other communities and other parts of the world, including Finnish Kale Roma and Native American women lacemakers. It therefore sheds light on global aspects of modern lacemaking in order to interrogate the meaning of agency, authorship and emancipation in these cases.

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Návaznosti

GA24-10997S, projekt VaV

Název: Z venkova do světa. Lidové umění a kultura jako aktéři modernity, 1918-1945 Investor: Grantová agentura ČR, Z venkova do světa. Lidové umění a kultura jako aktéři modernity, 1918-1945