Poltische Haute Couture – STREETWARE X MIVUMBA im Bikini Berlin

Poltische Haute Couture – STREETWARE X MIVUMBA im Bikini Berlin

Poltische Haute Couture – STREETWARE X MIVUMBA im Bikini Berlin

Politische Haute Couture in der Box 12 der Galerie SLP i Bikini Berlin 19.11. -29.11.2021 © Astra Pentaxia

On September 12, STREETWARE invited to the catwalk of the socio-economic utopia at Tempelhofer Feld as part of the Berlin Fashion Week. Thirty models presented saved items from the Berlin asphalt and questioned the production methods of the fast fashion, but also the behavior of consumers. The canon of beauty ideals and aesthetics dictated by the fashion industry was put up for discussion by shiny people with bodies beyond the norm.

From November 19, some of their effigies were presented as large-format prints on canvas opposite photographs taken during a session in Kampala, the capital of Uganda, in July this year in collaboration between Ruth Faith Nalule, Eria Mutalwa, Rose Katusabe, Reagan Ahabwe, barbara caveng and photographer Jim Joël Nyakaana .

The images provided the aesthetic context for the presentation of the first pieces from Ruth Faith Nalule's collection of political haute couture. Behind bars, Box No12 of Galerie SLP at Bikini Berlin became the setting for an exploration of how much colonial continuity we wear on our skin and how much of the world we want to further destroy with fashion.

Die fashion designerin Ruth faith Nalule im ‚cage dress‘ an der Eröffnung am 19.11. im Bikini Berlin© Astra Pentaxia und  Purvi Dhranghadaryia

"There is no escape" - Ruth Faith Nalule's creations of 'political haute couture' describe the clash of European second-hand clothing exported to Africa and local manufactured fabric and garments: associations and images are connected, colonial continuity is interrupted:  The pin-up bunny is no longer grinning from the chest of a T-shirt by a Japanese Label, but sits fat on the bottom of a dress that fuses traditional Kitenge with an animal print dressing gown from Victoria's Secret, a lumberjack shirt from Germany and a Nike shirt: 'Blood the Body' lettering cut from a fast-fashion shirt, reminiscent of the Black Live Matters movement as underarm cuffs.. At the opening, the fashion designer and fashion activist wears the 'cage dress': her body, wrapped in a dress made again of kitenge, is caught in a mesh of strips of tire material, additionally knotted with sisal cord.

'The Congress on the Clothes Dump' described a series of events between September and November 2021 dedicated to an inclusive and participatory philosophizing about the meaning of clothes, their production, distribution and consumption. Invited guests and random attendees digged into textonic layers, searched for solutions, questioned the ethics of the second skin. Clothing protects and adorns. It represents basic aesthetic and existential needs, but its mode of production destroys the environment on a large scale and endangers the physical and psychological well-being of the people who cope with the manufacturing processes in socially intolerable conditions. How could sustainable production and economy look like - this is what we explored between November 16 and 28 together with author Beatrice Lamwaka, fashion designer Ruth Faith Nalule, photographer Jim Joel Nyakaana and Social Entrepreneur and environmental activist Kisitu Aloysius Musanyusa in a multi-perspective way. Venues for the public pondering were Bikini Berlin, the laundromat 115 in Torstraße and the Vestithek in the Helene Nathan Library.

EDIth – Zeitschrift für Kultur

EDIth – Zeitschrift für Kultur [magazine for culture]

EDIth – Zeitschrift für Kultur [magazine for culture]

 

The Galerie Walden 'organized and realized the>EDITh< series with wall and shop window newspapers, in order to remain able to act in times of a global catastrophe. The final print edition is, so to speak, the haptic result of the series.' STREETWARE saved item is honored with a contribution about the 'Dresserie', the flag ship pop up store in the gallery space, where we invited urban people and Homini Circularis to a fitting! From 5/30/2021 to 6/30/2021 was our slogan:  'How about borrowing something? It's the new marketing concept, the modern way of shopping!'  
The magazine can be ordered via e-mail to info[at]galerie-walden.de for 9 € + shipping costs.

Kulturpolitische Mitteilungen | 175

Kulturpolitische Mitteilungen | 175

Kulturpolitische Mitteilungen | 175

The Kulturpolitische Gesellschaft e.V. publishes in its magazine volume 175 'Kulturwandel zur Nachhaltigkeit' the essay 'Vom Fallen und vom Aufheben' by barbara caveng which was presented as a speech at the 'congress at the clothes heap'
Buy the journal for 8.5 €.

Vom Bordstein in den Kleiderschrank: Das wird noch gebraucht

Vom Bordstein in den Kleiderschrank: Das wird noch gebraucht

Vom Bordstein in den Kleiderschrank: Das wird noch gebraucht

Auf Lumpentour: Jim  Joel Nyakaana | barbara caveng | Miguel Aguigah | Beatrice Lamwaka © Lotti Seebeck

„Aus weggeworfener Kleidung vom Straßenrand macht die Schweizer Künstlerin Barbara Caveng wortwörtlich Streetware. Die kann man kaufen oder ausleihen.“, schreibt Manuel Aguigah in der TAZ vom 9.12.2021.
Der Journalist hat uns  am 19.11.2021 auf einer Tour begleitet und sich beim gemeinsamen Lumpensammeln  mit unseren Gäst:innen aus Uganda, die Autorin Beatrice Lamwaka und dem Fotografen Jim Joel Nyakaana unterhalten. Mit auf Tour war auch Lotti Seebeck, die nebenbei noch fotografierte.
Der Artikel aus der TAZ gibt es online hier nachzulesen…oder zum downloaden Vom Bordstein in den Kleiderschrank_ Das wird noch gebraucht – taz.de

fast fashion secondhand Africa – don’t waste what you wear

fast fashion secondhand Africa – don’t waste what you wear

fast fashion secondhand Africa – don’t waste what you wear

fast fashion secondhand africa: Kisitu Aloysius Musanyusa | KDindie©Paolo Gallo |26.11.2021

Das Wasser der Spree ist nicht süß - [The water of the Spree is neither sweet nor fresh] 

Days 10, 11 & 12 of the 'congress on the clothes heap'
Excerpt from the logbook of barbara caveng

 'I hope the tour was worthwhile for you ' - so it is friendly inquired in the email of 1.12.2021. Our friends are long since back in Uganda. In the morning of the 28th of November at 6:50 the plane had taken off punctually from Berlin in the direction Brussels and later in the morning left the continent behind, direction for Entebbe.

CUT
27.11.2021

I saw a tear run down Ruth's cheek. If pain burns, it must be hot. The warmth on that cold morning came from the pain. It was the 11th day of our sojourn, the last. We had set out to visit the African Quarter - where colonial history had inscribed itself in the street names. Mnyaka Sururu Mboro, who was to guide us, had suggested the Ugandan Street/African Street- junction, as a meeting point.

Viewpoints and insights at the corner of Uganda and African Street: Lotti Seebeck, Ruth Faith Naluke, Mnyaka Sururu Mboro, barbara caveng, Kisitu Aloysius Musanyusa, Jim Joel Nyakaana ©Jim Joel Nyakaana, Céline Iffli-Naumann.

CUT
25.11.2021

"If you need a lot of space to board, the pier at the Caprivi Bridge is best",Astrid had advised on the phone. 'Where?'- 'Caprivi Bridge,' the shipping manager repeated, 'in Charlottenburg.' -'Caprivi - with K or with C?'-'With C.'

CUT
27.11.

source:www.welt.de/geschichte/article111963581/Deutschlands-Exportgut-nach-Afrika-war-Schnaps.html

I recognized a map in the hands of Mboro, more precisely - a copy of a map from a book. Later on the web I find a similar one: The map is drawn with pen and ink and colorized. Togo, German Southwest Africa, German East Africa and Cameroon are watercolored reddish-brown - the shade of dried blood. The borders are depicted as red hemlines. The contours of German Southwest Africa resemble a skull with a strange slender, beak-like outgrowth. The tentacle is bulging into northeastern Namibia.

CUT
26.11.

From U-Bismarckstraße we had moved to Caprivibrücke in a procession of rag pickers. Our hybrid vehicles were loaded with clothes from our collection of 'Saved Items' from the last ten months: We had picked up a ton of clothing and textiles from the asphalt of the city.

The Caprivi Bridge, named after Leo von Caprivi, Imperial chancellor after Bismarck between 1890 and 1894 

Since 1927, the Zambezi has meandered parallel to the Uganda Road through the African Quarter. In 1890, German interests focused on Africa's fourth largest river - after all, it seemed that a direct connection between German Southwest Africa and German East Africa could be established via the water. Germany ceded Zanzibar to England and in return "received" Heligoland and the aforementioned strip of land.

The word 'Zipfel' unavoidably makes me think of sausage.

Kisitu wore a classic wool coat, of a straight cut with narrow lapels over his grayish trousers with flaed legs down to the ankle, vest and shirt of an Indian label. We had all coveted the piece, but the garment did not fit anyone or the coat didn’t suit the wearer - until Kisitu tried it on. Its label: United Colours of Benetton - fished out of the gutter on some corner of the city - saved by Streetware. .

While we hoisted our rolling clothes racks over the railing and affixed our banner to the top deck, the social entrepreneur and environmental activist stood on the jetty of the Caprivi Strip giving an interview. The stern of the MS Sylvia pointed toward Westhafen. They call the Zambezi River 'the Spree' at this spot.

The Imperial Chancellor Caprivi came up with the clever plan of connecting German Southwest Africa and German East Africa, which was supposed to boost trade in colonial goods. However, his bold dreams were dashed at the Victoria Falls and his economic visions were shattered on the cliffs of the waterfalls.  

We sailed our rag boat past the containers on the harbour site of Westhafen, boxes that symbolize the global and often enough post-colonial trade in goods - like the export of our last season's fashion preferences disposed of in the clothing containers towards Africa.

The proud clinker facade of the Behala building blocks the view to LaGeSo (Landesamt für Flüchtlinge und Soziales). The limbo of the buildings is haunted by people without papers. Perhaps they came by ship from the Libyan coast across the Mediterranean, wearing the second-hand clothes that once hung in our closets.

We pass the Humboldt Forum - a museum site with global aspirations, in which colonial continuities in thought and action are shamefully manifested. One of the alliance partners of the campaign No-Humboldt 21 is the association Berlin Postkolonial, whose founding member is Mnyaka Sururu Mboro.

CUT
29.11.

Reading up: The Caprivi Strip on Namibian land was renamed the 'Zambezi Region' in August 2013. Since then, the port city of Lüderitz is called „!Nami≠Nüs“ -'Hug' 

fastfashion – Second Hand Africa – Don‘t waste what you wear!

 Dressed as ragamuffins à la mode in rags of fast fashion, we cruised merrily along the Spree and chanted our slogan with verve to passers-by on the banks. Eye patches instead of rose-colored glasses.

On the walk of remembrance in the African Quarter of Berlin, we as white and black humans had to endure, see, read and hear about what the historical basis is on which we meet as fellow colleagues and friends.

Why, I wonder, did the Caprivi Bridge not get a new name at the same time as the area was renamed Namibia? For example in 'Privi_Lege Bridge'.
This would not be an embrace but perhaps a rapprochement and the riverside beer garden would then perhaps be called 'Pleasure Garden of Privileges' and not CapRivi.

'The Congress on the Clothes Dump' described a series of events between September and November 2021 dedicated to an inclusive and participatory philosophizing about the meaning of clothes, their production, distribution and consumption. Invited guests and random attendees digged into textonic layers, searched for solutions, questioned the ethics of the second skin. Clothing protects and adorns. It represents basic aesthetic and existential needs, but its mode of production destroys the environment on a large scale and endangers the physical and psychological well-being of the people who cope with the manufacturing processes in socially intolerable conditions. How could sustainable production and economy look like - this is what we explored with people from the global - as well as Berlin - North and South in a multi-perspective way.

Mnyaka Sururu Mboro, born and raised in Tanzania, came to study in Germany in 1978 and then settled in Berlin. He is a board member and co-founder of Berlin Postkolonial e.V., and for decades has been active in advocating for a critical confrontation of German colonialism. One of his main concerns is the restitution of human remains, which were stolen during the German colonial era and which to the present day are found in the collections of the “Stiftung Preußischer Kulturbesitz” (SPK), the “Berliner Gesellschaft für Anthropologie, Ethnologie und Urgeschichte” (BGAEU), as well as several other institutions all over Germany.
http://justlisten.berlin-postkolonial.de/en/mnyaka-sururu-mboro

Quelle Umbenennung der Stadt Lüderitz: www.dw.com/de/deutsche-ortsnamen-verschwinden/a-17009617#:~:text=Nami%E2%89%A0N%C3%BCs%22.,bis%201915%20eine%20deutsche%20Kolonie

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