sreda, 06. november 2013

Gradivo za instalacijo v poklon čipkaricam / Material for installation in tribute to lace-makers

Te dni urejam gradivo, ki so mi ga klekljarice iz Slovenije in tujine poslale za instalacijo v poklon čipkaricam ob 250-letnici ustanovitve čipkarske šole v Ljubljani, prve čipkarske šole na Slovenskem. Menda sem ob tem videti kot skopuh, ki pregleduje svoje skrite zaklade. Ravno tako zaljubljeno bojda zrem v svoje nove pridobitve, ravno tako pohlepno se mi svetijo oči, ravno tako prežeče opazujem vsakogar, ki se preveč približa mojim kuvertam, rano tako dvomeče zavračam vsako ponudbo za pomoč… in Bog ne daj, da bi kdo hotel kakšen par vzeti v roke!
 
No ja, tako hudo v resnici ni, se pa med vso tisto množico klekljev, fotografij, čipk, besedil in drugih stvari resnično počutim kot bogataš. Obogatena z dogodki, spomini, mislimi in čustvi, ki ste jih podelili z mano. Čeprav si boste vse, kar je prispelo na moj naslov, lahko kmalu ogledali na razstavi v Mestnem muzeju Ljubljana, bi rada vsaj delček tega bogastva že zdaj podelila z vami. 


Velika, močna kleklja Slavice Guzelj iz Rovt in majhna, drobna klekeljčka Irene Jančič iz Trbovelj. Elegantno vitka kleklja Jožice Jurkovič iz Kostela in razkošno zaobljena kleklja Kati Jereb iz Žirov. Magda Starec Kocijančič iz Doline pri Trstu (Italija) je svoj par opremila s kvačkanim dodatkom, ki preprečuje, da bi se kleklji zamešali. / Big, strong Slavica Guzelj’s bobbins from Rovte and small, tiny Irena Jančič’s bobbins from Trbovlje. Elegantly thin Jožica Jurkovič’s bobbins from Kostel and luxurius curved Kati Jereb’s bobbins from Žiri. Magda Starec Kocjančič from San Dorligo near Trieste (Italy) fitted her pair with crocheted additive, which prevents bobbins from mix-up.

Kleklji, ki sem jih prejela, so zelo različnih velikosti in debelin: od majhnih in drobnih do velikih in močnih, od elegantno vitkih do razkošno zaobljenih. Da si boste lažje predstavljali razpon velikosti in debelin, sem fotografirala po dva različno velika oz. debela para skupaj. Izdelani so iz različnih vrst lesa, katerih barvni razpon sega od povsem svetlih tonov, preko različnih rumenkastih, oranžastih, rdečkastih, rjavkastih in sivkastih odtenkov do temnih, skoraj črnih klekljev, ki so jim patino dodala tudi leta in pogosta raba. Večina klekljev je navitih z belim ali bež sukancem, ki ju pri izdelavi čipk v Sloveniji tradicionalno najpogosteje uporabljamo. Nekaj parov je navitih z barvnimi sukanci: s sončno rumenim, makovo rdečim, zapeljivo vijoličnim, kraljevsko modrim, pomirjajoče zelenim, elegantno črnim … Na enega je klekljarica navila »cvirne« v svoji najljubši barvni kombinaciji, na sukanec drugega je nanizala perlice, ki jih pri izdelavi čipk rada uporablja. Tretji so opremljeni s kvačkanim dodatkom, ki preprečuje, da bi se kleklji med delom zamešali. Med prispelimi kleklji je par, star več kot 150 let in dva para stara okoli 80 let. Glavice enega od njiju so povsem obrabljene zaradi dolgotrajne in pogoste rabe. Težko si zamislim, koliko čipk moraš sklekljati, da se kleklji tako obrabijo ... Da klekljanje v Sloveniji ni izključna domena ženskih rok (čeprav je resnici na ljubo treba priznati, da so te vendarle v večini) dokazujejo tudi trije pari »moških« klekljev, ki jih uporabljajo moški treh generacij iste družine: oče, sin in vnuk.
 
Tatjana Trontelj iz Polhovega Gradca je poslala kleklja navita z rumenim, Nada Mak iz Trbovelj z rdečim, Mira Guzelj iz Rovt z vijoličnim, Anica Govekar iz Žirov z modrim, Sara Bertok iz Izole z zelenim in Julijana Štilec iz Smlednika s črnim sukancem. / Tatjana Trontelj from Polhov Gradec sent a pair of bobbins wound with yellow thread, Nada Mak from Trbovlje with red, Mira Guzelj from Rovte with vijolet, Anica Govekar from Žiri with blue, Sara Bertok from Izola with green and Julijana Štilec from Smlednik with black one.
 
Prejela sem tudi kleklje iz tujine, iz bližnjih in bolj oddaljenih krajev, celo z drugih celin: iz Italije, Hrvaške, Bolgarije, Argentine, Južnoafriške republike, Avstralije in z Japonske. Nekateri kleklji nosijo s seboj posebne zgodbe. Kot par, ki ga je svoji hčeri na začetku njene klekljarske poti pred več kot 50 leti »zdrakslal« oče. Ali par, ki ga je učenki podarila učiteljica klekljanja. Tretji nosijo v sebi spomine na babico – klekljarico. Četrti so bili nagrada za zmago na klekljarskem natečaju ...
 
Klekljem so priložene različne stvari: fotografije klekljaric, klekljarskih skupin, izdelkov, stare fotografije, vzorci za klekljanje, delovni pripomočki, čipke in različne druge stvari. In potem so tu še različna besedila: zapisi spominov na prve nerodne začetke, na veselje ob odpetem izdelku, na strah, če so čipke dovolj dobro narejene in čiste, da jih bo trgovec odkupil in bo denarja dovolj za nove čevlje, na ponos ob zmagi na klekljarskem tekmovanju, natečaju ali ob odprtju razstave. Nekatere klekljarice so zapisale, da so se z izdelavo čipk srečale že v otroštvu, klekljanje je bilo del družinske tradicije, s katero so izboljševali njen ekonomski položaj. Druge so se z njim »spopadle« v zreli dobi, ko so po upokojitvi iskale nove izzive. Tretje so to znanje osvojile v  iskanju načinov za ustvarjalno izražanje ali celo na nagovarjanje prijateljic in sorodnic, ki so to spretnost že obvladale. Nekatere klekljajo vse leto, druge samo pozimi, ko so večeri daljši in je drugega dela, predvsem tistega na zemlji, ki umaže roke in jih naredi grobe, manj. Zelo zanimivo je prebirati, kaj klekljaricam klekljanje pomeni: sprostitev, meditacija, terapija, »odklop« od vsakdana, čas zase, način druženja, možnost za spoznavanje novih, zanimivih ljudi, kakovostno preživet prosti čas, način ustvarjalnega izražanja, pridobivanje novih znanj in spretnosti, možnost, da izdelaš nekaj lepega zase in za tiste, ki jih imaš rad…
 


Kleklji Julijane Tratnik iz Idrije, ki jih je poslala njena vnukinja Metka Fortuna, imajo glavice povsem obrabljene zaradi dolgotrajne in pogoste rabe. Fotografija učenk čipkarskega tečaja v Žireh leta 1929. / Julijana Tratnik’s bobbins from Idrija, sent by her granddaughter Metka Fortuna, had heads completelye worn out due to prolonged and frequent use. Photo of pupils of lace course in Žiri at 1929.
 
Priznam, da so me nekateri zapisi ganili do solz. Si je pa, tako kot pri izdelavi čipk, treba vzeti čas, da te bisere odkriješ. Počasi kot iz tankih niti nastaja čipkarska mojstrovina, so tudi tu potrebni potrpežljivost, občutek za lepo in ljubezen, da iz posameznih zgodb sestaviš razkošno podobo čipkarstva. Vzemite si čas in odkrijte to bogastvo na razstavi v Mestnem muzeju Ljubljana od 28. novembra do 16. decembra 2013. Odprtje razstave smo prestavili na četrtek, 28. novembra 2013, ura odprtja pa ostajata enaka, torej ob 18h. Prisrčno vabljeni na odprtje in ogled razstave!

In še nekaj: če vam je poletje prehitro minilo, da bi uspeli pripraviti in poslati svoj par klekljev za instalacijo, je še vedno čas, da to storite. In če se vam zdi, da ste kaj pozabili priložiti svojim klekljem, pošljite tudi to. Obljubljam, da bom v razstavo vključila vse, kar bo na moj naslov prispelo najkasneje do 21. novembra 2013.
 
 

Kleklji Jožefa, Jožeta in Simona Stanonika, očeta, sina in vnuka iz Žirov, ki vsi trije klekljajo. Fantovski klekljarski podmladek iz Čipkarske šole Žiri. / Bobbins of Jožef, Jože and Simon Stanonik, a father, a son and a grandson from Žiri, who all make lace. Boyish lace-making youth from Žiri Lace School.
 
These days I’m arranging material sent to me by lace makers from Slovenia and abroad for installation in tribute to lace-makers at occasion of 250th anniversary of establishment lace-making school in Ljubljana, the first lace-making school in Slovenia. Allegedly I'm looking like a miser examining his hidden treasures: staring enamoured into my new acquisitions, with eyes glowing greedily, watching distrustfully anyone who comes too close to my envelopes, doubtfully rejecting any offer to help ... and God forbid that anyone would like to take any pair in his or her hands!

Well, in fact it’s not so bad, but between all these bobbins, photos, lace, texts and other things I really feel like a rich man. Enriched with happenings, memories, thoughts and emotions that you have been shared with me. Although you’ll have a possibility to see everything arrived at my address at the exhibition at the City Museum of Ljubljana, I would like to share at least a part of this wealth with you already.
 
Aleksandra Frank Staniša iz Kostela s svojim klekljarskim pomočnikom Linom, Maria Rita Valentini iz Gradeža (Italija) in klekljarici iz Argentine. / Aleksandra Frank Staniša from Kostel with her lace assistant Lino, Maria Rita Valentini from Grado (Italy) and lace-makers from Argentina.

Bobbins that I have received are very different sizes and thicknesses: from small to big and strong ones, from tiny elegant to luxurious rounded. To give you an idea of ​​the range of sizes and thicknesses, I photographed two pairs of differently size and thickness together. They are made from different types of wood, the colour varies from very light tones through yellowish, salmon, reddish, brownish and grayish shades to dark, almost black bobbins with patina added by years and frequent use. Most of the bobbins are wounded with white or beige thread, which in the manufacturing of lace in Slovenia traditionally are the most commonly used. A few pairs are wounded with thread in different colour: solar yellow, poppy red, seductive purple, royal blue, soothing green, elegant black ... On one pair lace-maker wounded threads in her favourite colour combination, on the other one another added beads as she like to use them when working lace. The third pair is fitted with crocheted additive, which prevents bobbins from mix-up. Among others there is a pair of bobbins which is over 150 years old, and two pairs of around 80 years. Head of one of them are completely worn out by long-term and frequent use. It's hard to imagine, how many lace you had to make that bobbins look like that ... That lace-making in Slovenia is not the exclusive domain of women's hands (even it’s truth that they in the majority) show three pairs of "man" bobbins used by the men of three generations of the same family: father, son and grandson.
 
Katalog razstave Ples v maskah klekljaric Slovenskega kulturnega društva Bazovica (Italija), ki ga je poslala mentorica skupine Ivjana Štranj. Časopisni članek o razstavi Olwyn Scott iz Bictona (Avstralija), na kateri je predstavila zgodovino ženske emancipacije v čipkah. Čipkasti metulj Marijance Yartz iz Polhovega Gradca. / Catalog of exhibition Masked Ball prepared by lace-makers from Slovene Cultural Society Basovizza (Italy) was sent by mentor of the group Ivjana Štranj. Newspaper article about the exhibition of Olwyn Scott from Bicton (Australia), on which she represented the history of women's emancipation in lace. Lace butterfly made by Marijanca Yartz from Polhov Gradec.
 
I received bobbins from abroad also, from near and more distant places, even from other continents: from Italy, Croatia, Bulgaria, Argentina, South Africa, Australia and Japan. Some bobbins carry special stories with them, as a pair which father made for his daughter at the beginning of her lace-making route more than 50 years ago. Or a pair given to pupil by her lace teacher. Third pair content memories on grandmother – lace maker. The fourth was a reward for winning the lace-making contest ...

There were a lot of different things sent with bobbins: photos of lace-makers, their lace groups, lace works, old photos, lace patterns, working tools, laces and various other things. And there are various records also, like record of memories on the first clumpy beginnings, on the delight when the first lace was opened from lace pillow, on the fear if they lace is good and clean enough that lace dealer will bought it and if they’ll bring enough money for new shoes, on the pride because of victory at the lace contest or opening of the lace exhibition. Some of lace makers wrote that they started to make laces in their childhood already, lace making was part of family tradition, which have improved its economic situation. Others are »coping« with it in a mature age when they are looking for new challenges after retirement. Thirds captured this knowledge in searching ways for creative expression or even because of solicit of friends and relatives who have mastered this skill.
Some make lace all year round, the others only in winter time, when nights are longer and there are not so much other works, especially those on the field or in the garden, which make hands dirty and rough. It’s very interesting to read what lace-making means to lace-makers: relaxation, meditation, therapy, "uncoupling" of the everyday life, time for themselves, a way of socializing, the chance to meet new and interesting people, to spend quality leisure time, a way to express their creativity, acquiring new knowledge and skills, ability to work out something nice for themselves and those they love...
 
Kleklji Margherite Nobile iz San Antonia de Padua, Buenos Aires (Argentina), Christine Gaye Beswick iz Uraidle (Avstralija), Bistre Pisancheve iz Sofije (Bolgarija), Chieko Miyawaki iz Tokia (Japonska), Jeanette Fischer iz Mowbraya (Južna Afrika) in Katice Kaštelan iz Splita (Hrvaška). / Margherita Nobile’s bobbins from San Antonio de Padua, Buenos Aires (Argentina), Christine Gaye Beswick’s from Uraidla (Australia), Bistra Pisancheva’s from Sofia (Bulgaria), Chieko Miyawaki’s from Tokyo (Japan), Jeanette Fischer’s from Mowbray (South Afrika) and Katica Kaštelan’s from Split (Croatia).
I confess that I was moved to tears reading some records. But like in the manufacture of lace, one must take a time to find these gems. Slowly like lace masterpieces are creating from thin threads, it requires patience, a sense of beauty and love, to find and put together all individual stories in a lavish lace-making image. Take a time to discover that wealth on the exhibition at the City Museum of Ljubljana from 28th of November to 16th of December 2013. Opening of the exhibition has been postponed to Thursday 28th of November 2013, the time of opening remain the same, i.e. at 6 p.m. You are cordially invited to the opening and exhibition!

And another thing: if the summer passed too quickly for you to prepare and send a pair of your bobbins for installation, it is still time to do so. And if you find that you’ve forgotten to attach anything, send that too. I promise to include in the exhibition everything, what will arrive to my address no later than 21st November 2013.

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