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Presentation 2017 Presentation 2017 1 2 Untitled, Mathieu Mercier, 3rd Prize 2011, woven by Atelier Legoueix. © Éric Roger / Cité internationale de la tapisserie. CONTEMPORARY CREATION & ECONOMIC DEVELOPMENT The department of Creuse initiated the Cité inter- weaving (National Arts and Crafts Degree « Arts nationale de la tapisserie project with a significant and techniques of carpet and tapestry weaving ») support from the State. This project is inscribed in that will be a part of a larger competence cluster a process of valorisation of the craftsmanship of ex- including natural dying and textile restoration. cellence in weaving and thread in general. In connection with the Regional Council, the Cham- The implementation of a Regional Fund for the crea- ber of Commerce and Industry, the Community of tion of contemporary tapestries in 2010 interested Cities Creuse Grand Sud, the business incubator until the present day almost 1,200 creators. It led to 2Cube and the association Lainamac, the Cité works the production of astonishing pieces that are often to increase the excellency business network around requested for loans : they participate in writing a the wool production, the industries of carpets and new page of the Aubusson tapestry history. tapestries, high-warp tapestries, tufted rugs, digital The platform for contemporary creation within the weavings and jacquard carpets. Cité de la tapisserie strengthens the gathering of In this context, an outreach manager develops bu- this craftsmanship recognized as Intangible Cultu- siness relations with the United Arab Emirates, in ral Heritage of Humanity and creators of all kinds. cooperation with Aubusson manufacturers. The Cité de la tapisserie initiates projects with pri- The Cité also takes part in the prospection and ins- vate partners, such as the one developed with the tallation of innovative businesses in Aubusson, in Ymer & Malta gallery, in order to help the profes- the field of woven art and the valorisation of the sionals to get a true perception of clients expecta- heritage within the « Aubusson world ». tions and markets. The Cité also implemented a national degree for EMMANUEL GÉRARD Director, Cité internationale de la tapisserie 3 The Tapestry Nave in the Cité de la tapisserie. © Béatrice Hatala. A RENEWED SCIENTIFIC AND CULTURAL PROJECT The Cité internationale de la tapisserie opened in de la tapisserie is not only a museum. It is also a the former National School of Decorative Art, which place for professional training, creation, and a re- has been entirely rehabilitated. This is a strong sources centre. symbol : the valorisation of Aubusson tapestry is The museum is the base and all other functions assigned to the last building to house the National feed on each other. Following this principle, com- School of Decorative Art in Aubusson, one of the plementarity between spaces guided the rehabilita- first three of these Schools created with Paris and tion of the building the cité de la tapisserie settled Limoges. in. With a new museum comes a completely rede- Meanwhile, considerable efforts have been made signed scientific and cultural project. The inscrip- to upgrade the collection : checking and updating tion of Aubusson tapestry on UNESCO’s Repre- collection inventories (inventory database), defi- sentative List of the Intangible Cultural Heritage of nition of a reasoned enrichment plan to establish Humanity was a trigger to put the human back in a reference collection for Aubusson tapestry and the centre of the project. offer a complete panorama of the productions in The craftsmanship and its learning are in the heart Aubusson from the 15th century to the present day. of the new permanent exhibition itinerary, along with the question of the interpretation of the artist’s project by the craftsman (the weaver), as a guiding thread during the visit. It was also necessary to take into account the openness of the institution. The Cité internationale BRUNO YTHIER Curator, Cité internationale de la tapisserie 4 BUILDING THE CITÉ INTERNATIONALE DE LA TAPISSERIE The National School of Decorative Art in Aubusson and the Cité de la tapisserie was inaugurated by the was one of the first three schools of Decorative Art, President of the Republic on July 10th 2016. with Paris and Limoges, that opened in France by The restructuring project was carried out by Terre- the end of the XIXth century. The building has been neuve architecture studio, unanimously selected given a new skin to house the Cité internationale by a jury at the end of an architectural competition de la tapisserie. launched in 2012. The Terreneuve team, led by Nel- The Cité internationale de la tapisserie opened in ly Breton and Olivier Fraisse, was able to capitalise July 2016 in Aubusson (Creuse, France). on the existing structure of the building, in particu- It was a highlight of the cultural season: 40 000 visi- lar by underpinning the building in order to create tors attended the exhibition of the Cité in six mon- an exhibition area with monumental dimensions. ths while they were expected in a year. Exhibition spaces treble regarding the former Ta- The building of the former National School of De- pestry Museum of Aubusson, whose management corative Art in Aubusson has been entirely reha- belongs to the Cité de la tapisserie since 2011. bilitated by Terreneuve architecture studio (Paris) with the main goal of making visitors understand the vitality of an age-old craftsmanship: Aubusson tapestry. The heritage collections are presented in an immer- sive museum exhibit. More than just a museum, the Cité de la tapisserie is a place of artistic creation, training, and supporting the tapestry economic sec- tor, which remains complete and preserved on the territory of Aubusson and South Creuse after six centuries of existence. before The UNESCO recognized its particularity by inscri- bing Aubusson tapestry on the Representative List of the Intangible Cultural Heritage of Humanity in 2009. The rehabilitation of the National School of Deco- rative Art ended with the hand-over of the building after in March 2016 by the Cité internationale de la tapis- Underspinning the Tapestry Nave : how to optimize the buiding structure serie. The interior layout took about four months and create an exhibition space with monumental dimensions. 5 AUBUSSON TAPESTRY, INTANGIBLE CULTURAL HERITAGE OF HUMANITY The process that led to the inscription of Aubusson September 2009, General Assembly of UNES- tapestry on the Representative List of the Intangible CO in Doha : Cultural Heritage of Humanity took place between Aubusson tapestry is officially added on the 2008 and 2009. It was led by Bernard Bonnelle, the Representative List of the Intangible Cultural sub-prefect of Aubusson, in connection with the de- Heritage of Humanity. partmental museum curator. The authorities had the will to face the fragility of the sector and ensure the transmission of a craftsmanship For public authorities, the Cité internationale that was in jeopardy. de la tapisserie with its various components (professional training, museum, contemporary The recognition of Aubusson tapestry’s craftsmanship creation, support of the tapestry sector) is an relies on two essential lines : appropriate response to this UNESCO label. - The presence of a professional community that This label seems to be a very positive factor for remains complete after more than five centuries of the successful outcome of the project. Indeed, it existence. drives strong ethics of working that give greater All necessary skills to produce an Aubusson tapestry responsibility to the actors involved in order to can be found on the territory. The professional com- build an unifying project. munity includes two spinning companies out of the four remaining in France, dyers, three manufactures, eight workshops, cartoons painters, restorers, etc. All this with a strong particularity : in a small territo- ry, the craftsmanship is enriched by the exchanges among the professionals who compare and test, accu- mulating a collective experience. - The interpretation / adaptation work done by the weavers starting from the artist’s model. Producing a tapestry is a « four-hand process », ari- sing from the exchanges between the creator, origina- tor of an artistic intent, and the weaver, who holds the expertise. Restorers and weavers. © Sophie Zénon, 2011. 86 AN UNPRECEDENTED EXHIBITION Echoing the inscription of Aubusson tapestry Exploring woven material : "Tapestries of the World" craftsmanship on the Representative List of the Intangible Cultural Heritage of Humanity, the new This fist area is dedicated to the textile expressions visitor's itinerary puts the human dimension of ta- from different areas of the world to highlight the pestry back the centre. universal dimension of this weaving technique. This 1,200 m2 exhibition is supplemented by a plat- The artworks come from the collections of presti- form for contemporary creation. Frédérique Pao- gious institutions in France (Quai Branly Museum, letti and Catherine Rouland were in charge of the National Museum of Asian Arts, Musée de Clu- scenography layout. ny-National Museum of the Middle Ages in Paris; The scenography consists of three areas : disco- Museum of Fabrics-Museum of Decorative Art in very, initiation, representation, as the three steps Lyon, Bargoin Museum in Clermont-Ferrand…). of the visitor’s intinerary. Through very different This exhibition section works as counterpoint of layouts in each area of the exhibition, the sceno- UNESCO Intangible Cultural
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