MerimetsanAlchemy : alchemic research of fashion, photography and social therapy

16 Pages·2000·3.96 MB·English

by  Otto von Busch

MerimetsanAlchemy
MerimetsanAlchemy
MerimetsanAlchemy
– alchemic research of fashion, photography and social therapy
MerimetsanAlchemy
MerimetsanAlchemy by Otto von Busch, Sirja-Liisa Vahtra and Diana Lui and Merimetsa. | ISBN: 978-91-976431-1-5 | Printed in Tallinn, Estonia for exhibition at HOP gallery, Tallinn, 14.06.- 03.07 2007.
The project was generously supported by: French Cultural Center in Tallinn, Cultural Endowment of Estonia, Society of Arts and Craft of Gothenburg
Edited and published by Selfpassage (www.selfpassage.org) | Photos by Diana Lui (www.99medusas.com) | Project and exhibition organization by Sirja-Liisa Vahtra
MerimetsanAlchemy took place at the Me- promising with the aesthetics and modes of production To say that “fashion is to dress like everyone
rimetsa rehabilitation centre in Tallinn, Esto- from fashion this step aimed at deepening the social else, but before everyone else” might sound true from
nia in May 2006. As a participatory fashion and therapy work with fashion as an alchemic tool. a chronological perspective, but misses all magic of the
social therapy project it aimed at intersecting To understand both fashion and alchemy we vivid occasion and the passion of the moment.
value production from fashion with manifold must relate these practices to a concept with which they With its connection to the life of the passing
hands-on therapy work, replacing some of the are both deeply entwined; the concept of myth. Fashion instant, fashion is always deeply connected to change
sweatshop like production processes at the cen- and alchemy are both usually seen as unserious prac- and transformations. Not only the transformation of
tre. The endeavor was a reflection of both inner tices with neither the social value of the fine arts nor form/garment, what we usually regard as fashion, but
and outer change and the process took form in the accuracy of the exact sciences. But myth is neither the deeper change of our dreams, aims and behaviors
the shape of garments and photographs. the opposite of science, nor is it a deception or untrue – elements our identity is made of. Fashion is a myth of
image of the world. Myths are the powerful imagina- the moment, taking shape as our second skins through
Part one of MerimetsanAlchemy, the RE_TALLiation tive fabrics we weave our world with. Myth does not which we live in the world.
project, began in spring 2004 as an intervention prob- veil reality but makes it visible, and just like fashion we Alchemy is the practice engaging the transmu-
ing fashion as a tool for social work rehabilitation. The live our lives inside it. It wraps the world with a holis- tation of matter and should not be misunderstood as
one-month long collaborative work took place at the tic threadwork; not fragmenting the world into atom- a new age revival of healing, mysticism and astrology.
rehab center Merimetsa in Tallinn, Estonia. The aim ized and isolated data but weaving the narratives of the Instead it is the methodic search for inner change sym-
was to blend fashion production values with social work world into visible and tangible shapes. bolized by outer transformations. The medieval experi-
rehabilitation hence adding fashion value to the textiles Though generally regarded as shallow and ments of turning lead into gold were mere symbolic acts
sewn in the Merimetsa workshop. This shows how the ephemeral, fashion is one of the strongest myths in con- of a larger task; turning sinful soul to higher spirit. Un-
“shallow” values of fashion could socially enrich the temporary society. Fashion can be regarded as another derstanding alchemy as this deeper journey can make us
therapy work at Merimetsa. The project was an open layer of the world, relating to deeper transformations in see how fashion can act as a symbol of inner change.
call to suggestions and customization in all steps of pro- the lived experience. MerimetsanAlchemy was a project processing the
duction, from co-design and production to customer The world of fashion does not claim to access hope of inner and social change through highlighting
service improvements as well as fashion shootings at the an eternal truth, and does not exist in the same time a possible intersection of fashion and therapy. Alchemy
rehab center. The project’s garment collection went on frame as science. To better understand this we can ex- has always been a practice collecting curiosities, open-
sale in a local fashion store and was sold out immedi- amine the concept of time, which according to ancient ing viable passages into the unknown. But it has never
ately. Greeks was two-folded; Chronos and Kairos. Modern sci- been an aimless meandering. Instead it has been a vivid
The purpose of both these projects, Merimet- ence has emerged from the concept of Chronos, time as quest of spirituality through various means. As men-
sanAlchemy and RE_TALLiation, was to update the exist- sequential duration and linear cause and effect relation- tioned by French scholar of esoterism Antoine Faivre,
ing modus operandi of production into a new format, ships. The chronological time is a quantitative mode of alchemy is “both a way of life and an exercise of vi-
a new process of operation, and make it run in another measurement, and what we today have as a main con- sion.” In its dynamic quest for transmutation of matter
way. The idea was not a forced social experiment but a cept of time – the time we can measure. Suffering can and spirit, alchemy has through history been working
small-scale local gesture. These projects were a search be chronic, but passion can never be. Both passion and with the actualization of the possible. The possible in
for a magic intersection between social therapy, em- fashion lives within Kairos, the momentary and the un- this case is not a linear extrapolation from the actuality
powerment and fashion for both workers and garments determined special occasion, the passing instant of den- of here and now. The possible is also not “the shad-
at Merimetsa. sity and depth where opportunity and life is exposed. It ow of reality”, as Wittgenstein believes is philosophy’s
MerimetsanAlchemy, as part two of this project is the time of the “carpe diem”, the energy of the very greatest misunderstanding. Instead reality is a shadow
furthers the exploration of intersecting the polyphonic “now” and of being in the flow – in the zeitgeist. Fashion of the possible.
fashion system with rehab production. This time the is one with its zeitgeist, and cannot be visible outside it. This is a position of hope and of empower-
strategy was to widen the interface between production When brought to the world where Chronos is exposed, to ment. The possible is at hand, and we can form it and
situation and the consumer, not through a mimetic ap- science, the archive or museum, fashion is just a dead give it shape. It is a position where things are open for
proach to fashion photography, but by respectful docu- skin. Perhaps a well tailored piece of clothing, but with- change and where the imaginable is in fluid form, ready
mentation of the work in Merimetsa. Instead of com- out life and social form. to transform and crystallize into reality.
MerimetsanAlchemy
In a similar way we should not understand fash- question of how we relate to ourselves in time. Her The camera lens in this case becomes an eye of
ion as a question of adding symbolic labels and brands operative craftwork and thorough piercing research on mutual attention; a meeting of two intentions, wills and
to the social skin, but a spiritual passage in direct con- the subjects portrayed acts as a tool for revealing con- souls – witnessed by the photographic film. Summon-
nection to how we bring form to our identity. sonance and tension between the masks and roles we ing the model’s attention to the lens is one step in a mu-
Thus the matter of MerimetsanAlchemy was made enact in everyday life. tual attempt to transgress unintentional and habitual
of fashion and myth. But it is important to understand With the photographs as manifestations of the poses in front of a camera. As the two attentions meet
that fashion is not the garment itself, nor a piece of fab- fashion process and a window between two parallel sit- (photographer and model) during the long process of
ric with a label. It is not the image in a glossy magazine. uations of change, the portraits are used as a passage common understanding, a certain presence of being is
It is the projection of myth onto garments and the at- for mutual existence. The world of production mirrors created between the two partners. The portraits reflect
titude and relation to this myth at the same time. to the world of consumption, but it is in the mirror the this deep process of mutual exchange with the photo as
This brings us to the materialization of Me- transmutation takes form. The situation at Merimetsa materialized memory of a tacit agreement. It sums up
rimetsanAlchemy and the photographic images produced is revealed to the viewer by using a large format cam- an alchemic process of garment design and rehabili-
during the project. The fashion image is an icon. It is a era with negatives in 8 X 10 inches and an early 20th- tation creation/production witnessed by the alchemic
passage to a higher ideal, a divine but unattainable ide- century camera. The profound and intimate process of processes of photography.
al, the quintessential beauty. We relate to it, as through these portraits is a time-consuming procedure, creating The exhibition at Gallery HOP is made to
a passage. We adore it because we aspire to look and be a connection between two contexts, Merimetsa Reha- reflect the alchemic process developed through the
like it. Contrary to portrait photography, fashion pho- bilitation Center and Fashion as an alchemic tool. project. The visitors are encouraged to become partici-
tography dictates acting, not looking. These large format portraits act as a direct win- pants, to witness and reflect a process of inner change,
Portrait photography is a passage to the soul dow between situations of hope and focus the work on and to relate to it by trying on and wearing the garments
of others. We perceive the same light through the im- the process of intersubjective change between these ac- produced at Merimetsa. Perhaps these garments can
age that once hit the iris of the photographed subject. tors in two different settings. Not seeing them as two be a passage to self-engagement and become personal
We have a relation of reflection, a deeper connection separate entities in each end of a production line, but sewing activities. Perhaps they can be portals through
between two subjects and souls. The photographs of instead as two interconnected existences bridged by the which we can proceed with inner transmutation.
MerimetsanAlchemy are an amalgam between fashion and garment and with the photograph as an honest witness. So let’s try it on and step onto the stage. Say
portrait photography. Focusing on this connection might bring a better under- goodbye to shyness, passivity and gloominess and en-
The material of the project was thus both gar- standing and exchange of mutual hope in situations of gage instead in forming our own attitude and relation
ments and images, closely entwined through the proc- similar inner work. to the second skin. Raise your consciousness to seize
ess. The garments produced were an apron and a ki- This connection between both contexts is the moment and live passionately through the original
mono-style jacket in rough canvas working fabric and the manifestation of alchemy in the MerimetsanAlche- beautiful myth of fashion!
very light linen. They were adjustable in size and easy my project – bridging the inner and the outer world.
to change into, and as such combined two functions: as Bound by trust the process is sensitively developed on by Otto von Busch, Sirja-Liisa Vahtra, Diana Lui
work garments as well as elegant leisurewear. On one each side of the camera, creating a situation similar to and the fantastic people at Merimetsa.
hand a sturdy garment for the cultivation of matter, on an interface. Not the passive consumption of a glossy
the other a thin veil of draped dreams. The transforma- fashion dream image, but a gesture towards a deeper
tion of both apron and kimono can be seen as a cook- understanding of the relation between Merimetsa and
ing process of turning raw ingredients into refined food the photographer. It acts as a complement and contains
as well as an interplay of roles and identities, combining a wider field of action as opposed to photography’s im-
Literature:
domestic utility with understated elegance. manent tendency of single-sided communication (the
Antoine Faivre: “Esotericism”
The garments and their creators were docu- photographer as operational master of the situation) – in Hidden Truths: Magic, Alchemy, and the Occult,
mented by the photographer Diana Lui who has for leaving more room for the model and photographer on (edited by L. E. Sullivan)
a long time consciously worked with the photographic both sides to create the photographic image. A deep Karen-Claire Voss: “Spiritual Alchemy”
in Gnosis and Hermeticism from Antiquity to Modern Times,
image as an honest portrait interface. The images she surface of mutual transmutation.
(edited by R. van den Broek and W.J. Hanegraaff)
produces show a sincere commitment exploring the
Ludwig Wittgenstein: Notes on Philosophy
MerimetsanAlchemy
Nationality: Estonian
Personal History:
Occupation: Seamstress
Location: Merimetsa Rehabilitation Center, Tallinn, Estonia
MerimetsanAlchemy
Nationality: Estonian
Personal History:
Occupation: Embroiderer and weaver
Location: Merimetsa Rehabilitation Center, Tallinn, Estonia
MerimetsanAlchemy