Materia is a relation and participatory art project promoted by Confezioni Grazia, created in 2020 by Mattia Varini, an artist that lives and works between Berlin and Castenedolo (Brescia). Materia invites contemporary artists, designers, curators, and theorists, with the aim of building a participatory dialogue and new relations between workspaces and the people who inhabit them.
Confezioni Grazia is a family-run sartorial business founded in 1976 by Giulia Pilotti and Orsola Bonini in Castenedolo (Brescia), now run by Giulia's daughter Elena. The company is made up of four sectors (patternmaking, prototyping and sample-making, cutting, and production chain and quality control of the finished product), 55 people work there and collaborate with world-famous brands, as well as several young designers.
Starting from conversations with Giulia Pilotti, Mattia Varini decided to give life to an artistic project that could also offer insights on the values of craftsmanship and authenticity of knowhow that run like a red thread through the history of Confezioni Grazia. On the strength of a family memory from which emerges, above all, the importance of learning a craft with passion and passing it on, Materia cannot ignore the context in which it was born.
Materia
...people can learn about themselves through the things they make (...) material culture is important...
Richard SennettRe-establishing the perception of things and reconnecting with their material dimension: this is the message that Materia intends to communicate. Inspiration is taken from American sociologist Richard Sennett in the prologue of his essay The Craftsman (The Craftsman, 2008), in which he examines the profound contradictions that come with the idea of progress, inviting us to recover direct contact with the physical reality of what surrounds us. This reappraisal of the material relates like a thread to what was stated in Art as Experience (1934) by another important American scholar, the philosopher and pedagogue John Dewey, when he notes that matter has become (...) a derogatory term, something to be justified or apologized for 2
Our aim is to contribute to the debate with new paths by choosing a context strongly linked to craftsmanship, such as a tailoring company, as our operational base. Again, in The Craftsman, in fact, Sennett writes that the tactile, the relational and the incomplete are part of the physical experience that is lived in the manual act of drawing. He goes on to specify that the difficult and the incomplete should be positive events of our intellectual activity3 . Enhancing the material, investigating its marginal, unresolved aspects, as well as questioning the stereotypes associated with it, are the actions that we consider necessary to realise our intent. Another of our major desires today is to demonstrate that operating in a productive context imbued with the daily rituals sanctioned by working-class life can offer a play area in which hypothesise new models of social participation, which draw their impetus from the more tangible, and thus material, dimension of the things they interact with.
The values
Where I was born and how I lived is irrelevant.
It is what I have made of the places and ways in which I have lived that should arouse interest.
Georgia O'KeeffeThese words by the American painter Georgia O'Keeffe (1887-1986) allow us to introduce one of our main values: the art promoted by Materia cannot disregard the space from which the project draws its origin, the perimeter of which is recalled right from our logo.
In fact, the Materia project was born within the Brescia-based sartorial company Confezioni Grazia, whose history is inextricably linked to two fundamental elements: on one hand, craftsmanship and the values it embodies and on the other, which is no less important, we find the winning link between the textile and female dimensions. Indeed, Confezioni Grazia's journey began thanks to the initiative of two female artisans in the 1970s and, even today, the clear majority of its operational forces are women. It is now necessary to place the case of Confezioni Grazia in a broader context in order to understand the relevance of these factors. Referring once again to Sennett, he identifies the first decisive questioning of the role of the craftsman and his specific skills in the western world in a much earlier period than one might think, more precisely during the transition between archaic and classical Greece5 . Despite the fact that weavers in antiquity were mostly women, the advent of the classical age and the technical progress that accompanied it led to the contrast between male ingenuity and female qualities, which were increasingly confined to reproduction and domestic life. From then on, the craftsman was the maledominated figure by definition6 . It is therefore evident how the fate of craftsmanship, particularly textile production, and that of the female condition have long been problematically intertwined. The tendency to relegate women's lives to more restricted dimensions, therefore intensified as they were increasingly directed towards activities such as sewing and embroidery, provided that they were preferably practised in private and in observance of specific social norms. This process, which intensified in the Middle Ages7 , became even more evident in the course of the 19th century, as punctually analysed by the English art historian and psychotherapist Roszika Parker in her well-known essay The Subversive Stitch. Embroidery and
5 R. Sennett, op. cit., p. 30
6 Ibid, pp. 29-32
7 Ibid, p. 63
the Making of the Feminine (1984)8. Even during the 20th century, despite the profound social changes taking place here in Italy as well, it was still common for women not only to work in the textile industry, but also to carry out their trade by working at home or in rather small-scale production facilities. The birth of Confezioni Grazia in 1976 thus shows us the fateful transition from a dimension of work that was mostly domestic and, for this reason, of lesser economic importance, to a type of structured entrepreneurship that had the possibility of expanding over time. Also, during the 1970s, not surprisingly, many women artists used the medium of textiles and techniques such as embroidery to overturn the stereotypes associated with them and reflect on the condition of women in Western society.
However, decades later, a further stereotype continues to exist that we intend to explore, namely the frequent overlapping of textile, feminine and decorative as a derogatory factor that is still particularly ingrained in Western culture. This stereotype derives from the artistic hierarchies introduced during the Renaissance, which placed painting and sculpture above all other forms of creative expression, which were defined as decorative: it is certainly no coincidence that, again during the Renaissance, a profound social distinction began to be created between the professional figure of the artist and that of the craftsman9
In truth, as the French philosopher Jacques Soulillou reminds us, giving space to the decorative is not the same as dealing with superfluous issues, since the decorative has always contained an enormous subversive potential, giving voice for centuries to what is peripheral par excellence: the exotic, the primitive, the feminine and thus, in a broader sense, the other than oneself1011 In this regard, we may also recall when, in 1982, the art critic Francesca Alinovi wrote how, in spite of the dominant trends in art and design of her time, decorum was commonly considered false and artificial12 , a danger that leads away from the straight and narrow path of the noblest outcomes of human creativity.
Re-appropriating the material dimension of things, therefore, constitutes a revolutionary gesture as it forces us to reconsider all the other senses besides sight, whose role is still predominant in our perception of reality: it is a true subversive choice that, as the American art critic and historian Craig Owens stated, starts from feminist instances13 , but can involve multiple perspectives.
8 R. Parker, The Subversive Stitch. Embroidery and the Making of the Feminine, Bloomsbury Publishing, London 2019
9 R. Sennett, op. cit., pp. 70-78
10 J. Soulillou, Le décoratif, Éditions Klincksieck, Paris 2000. See also: G. Altea, Il fantasma del decorativo, Il Saggiatore, Milan
11 F. Alinovi, The return to decoration in art, architecture and 'design', in Francesca Alinovi, edited by M. Bergamini and V. Santi, Potmedia Books, Milan 2019, pp. 131-140
12 F. Alinovi, The return to decoration in art, architecture and 'design', in Francesca Alinovi, edited by M. Bergamini and V. Santi, Potmedia Books, Milan 2019, pp. 131-140
13 C. Owens, The Debate on the Other. Feminism and postmodernism, in The Anti-aesthetic. Essays on postmodern culture, Postmedia Books, Milan 2014, pp. 74-99
View of the production department of Confezioni Grazia
Intentions
Today it is important to recover our senses. We must learn to see more, hear more, perceive more.14
Susan SontagThis is the invitation posed by the well-known American intellectual Susan Sontag in the conclusion of one of her best-known essays, Against Interpretation (Against Interpretation, 1964): today Materia believes that these words have not lost their relevance and therefore we wish to re-contextualise their message within the objectives of the project.
It is evident, in fact, how in the contemporary age it is often difficult to get to know the world around us, utilising the full potential offered by our senses, thus having the opportunity to experience reality in a more multifaceted and, in all likelihood, more authentic way. Touch is undoubtedly one of the most undervalued senses, and it is certainly no coincidence that Sennett highlights the negative consequences of the split between the hand and the head 15 Even in the design culture itself, when manual skill is completely excluded from the creative act, there is a risk of not adequately considering the ways in which the final product can be experienced by its users and the types of interaction that may arise between it and the context in which it will be inserted16 . The art promoted by Materia should therefore not stray too far from the tangible nature of the materials and spaces with which it enters in contact with.
Sontag comes back to this point again when, in another essay shortly after Against Interpretation (On Style, 1965), he states that the primary purpose of the work of art should be to return us to the world more receptive17 and, therefore, more open to considering the world in its complexity. The aim of Materia is to contribute to a re-evaluation not only of what is tangible, but also of all the other components that characterise the craft process, focusing on the various steps that lead to the creation of a garment before the final product. The artists involved are therefore invited to treasure the gestures, sounds, times and dynamics that characterise Confezioni Grazia and, in so doing, rediscover themselves to be more perceptive
14 S. Sontag, Contro l'interpretazione, in Against Interpretation and Other Essays, Nottetempo, Rome 2022, p. 31
15 R. Sennett, op. cit., pp. 44-51
16 Ibid, p. 49
17 S. Sontag, Sullo stile, in Contro l'interpretazione e altri saggi, Nottetempo, Rome 2022, p. 50
The factory is not only to be understood as a place of production but as a living space that welcomes and determines the existence of its workers in their daily lives. Materia was therefore created with the aim of creating open contamination between the projects of the artists involved and the working space from which they originate. If art wants to reconfirm itself once again as a form of consciousness18, then it is necessary to avoid maintaining a clear distinction between the work and its context: for this reason, we strongly encourage those projects that envisage the active involvement of the workers who work inside Confezioni Grazia.
In fact, Materia believes that art should first and foremost be a state of encounter19, as the French art critic Nicolas Bourriaud states in his work Relational Aesthetics (1999): we, therefore, call for the construction of new forms of relationships between the works of art, the company and all the people who pass through and experience its spaces.
Finally, Materia aims to be a laboratory according to Sennett's conception of the term20 , a constantly evolving space where the production of art can go hand in hand with the elaboration of a company product: a square for different points of view, where the values of craftsmanship and interdisciplinarity can take center stage.
18 S. Sontag, La coscienza imbrigliata al corpo. Diaries and Notebooks 1964-1980, Nottetempo, Rome 2019, p. 61
19 N. Bourriaud, Relational Aesthetics, Postmedia Books, Milan 2010, p. 19
20 R. Sennett, op. cit., pp. 59-84
What happens inside (and outside) Materia: resources and project modalities
Thanks to the support of Confezioni Grazia, materials, space, and machinery that are part of the factory will be provided. The artists will have the opportunity to draw on production waste materials, consisting of valuable fabrics (cashmere, wools, silks, cottons, velvets, synthetic furs), as well as to use specific machineries such as adhesive machines and automatic cutters, and design programs. All of this will take place under the supervision of experienced workers and in agreement with our team, thus gaining a deeper understanding of the dynamics of tailoring production. In addition, Confezioni Grazia offers Materia artists a 100-square-meter studio and studio accommodation consisting of a kitchen, bathroom, and sleeping area.
What Materia asks:
How can one or more artists, through specific research, relate the different elements of a company to each other in ways that are not exclusively productive?
Can communication zones and models of social participation be created with art, considering the work process and the active presence of the microcommunity to be encountered in the company?
Before starting the project, always in agreement with our team, it is possible to visit Confezioni Grazia's premises, get to know the people who live there, and taste Nonna Giulia's risotto alla Milanese
The research period must be agreed upon in advance: its duration may vary depending on the project to be carried out and the different needs of the participants. At the end of this period, we also offer the opportunity to do an exhibition in the spaces provided by Confezioni Grazia
Once the project has been completed, we ask the artists to leave a work in the company. The work will remain in Confezioni Grazia's workspaces for a year and after that, if the artist requests it, will be returned.
In the end, Materia’s activities originate with the aim of creating connections with external stakeholders on the Italian and international scene like Galleries, Businesses, Hairdressers, Studios, Institutions, Printers, Municipalities, Foundations, Associations, Museums, Residences, Grandmothers, Artists, Bathers, Curators, Professors, Mechanics, Fishermen, Engineers, Designers, Architects, Writers, Bricklayers, Philosophers, Musicians, Cooks, Sculptors, Blacksmiths, Footballers, Welders,
Houseworkers, Dancers, Tailors, Theatre Companies, Actors, Photographers, Schools, Ex-Enel workers, Directors, Puppeteers, Mothers, Screen printers, Winemakers, Psychologists, Postmen, Electricians, Models, Shopkeepers, DJs, Journalists... The list is constantly being updated.
Previous projects
2020 project with Lucia Veronesi.
2021 project with All for Two and Mattia Bertolo.
2022 project with Giuseppe Fontana
Calendar 2023
Project by Jan Grombirik curated by Michal Štochl.
Project by Rachele Maistrello.
Project by Enej Gala.
Project by Aris Mac Adden and Paolo Cavotta.
All necessary information will be posted on the Instagram profile: file_materia
Questions, requests, and proposals: materia.tailoringconnection@gmail.com
Thank you for listening, Materia
Text by Eleonora Ghedini, Federico Ferrari and Mattia Varini
Bibliography
F.Alinovi, Il ritorno alla decorazione nell'arte, nell'architettura e nel "design", in Francesca Alinovi, edited by M.
Bergamini and V. Santi, Postmedia Books, Milan 2019
F.Altea, Il fantasma del decorativo, Il Saggiatore, Milan 2012
N. Bourriaud, Relational Aesthetics, Postmedia Books, Milan 2010
J. Dewey, Art as Experience, Aesthetica Edizioni, Sesto San Giovanni 2020
G. O'Keeffe, Memoirs, edited by A. Salvini, Abscondita, Milan 2003
C. Owens, The Debate on the Other. Feminism and postmodernism, in The Anti-aesthetic. Essays on postmodern culture, Postmedia Books, Milan 2014
R. Parker, The Subversive Stitch. Embroidery and the Making of the Feminine, Bloomsbury Publishing, London 2019
R.Sennett, The Craftsman, Feltrinelli, Milan 2008
R.Sontag, Contro l'interpretazione, in Against Interpretation and Other Essays, Nottetempo, Rome 2022
S. Sontag, Sullo stile, in Contro l'interpretazione e altri saggi, Nottetempo, Rome 2022
S. Sontag, La coscienza imbrigliata al corpo. Diaries and Notebooks 1964-1980, Nottetempo, Rome 2019
J. Soulillou, Le décoratif, Éditions Klincksieck, Paris 2000 .