{"id":174535,"date":"2025-04-06T23:59:41","date_gmt":"2025-04-06T23:59:41","guid":{"rendered":"https:\/\/peraltafinancing.com\/entertainment\/art\/tenant-of-culture-skewers-fast-fashion-through-sculpture\/"},"modified":"2025-04-06T23:59:41","modified_gmt":"2025-04-06T23:59:41","slug":"tenant-of-culture-skewers-fast-fashion-through-sculpture","status":"publish","type":"post","link":"https:\/\/fivemor.com\/?p=174535","title":{"rendered":"Tenant of Culture Skewers Fast Fashion Through Sculpture"},"content":{"rendered":"


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In the mysterious and fragmented world of clothing production, \u201cIt\u2019s really difficult to track where something is made, how it\u2019s produced, and under which conditions,\u201d said the Amsterdam-based artist Hendrickje Schimmel. Operating under the name Tenant of Culture<\/a>, she essentially runs the production process in reverse, taking secondhand garments nearing the end of their life cycles and summarily \u201cunmaking\u201d them. Breaking down eBay or thrift store finds, she told Artsy, she examines their individual parts for clues: \u201cwhat type of glue is used, the intentions of the designer, how long they\u2019re supposed to last.\u201d From there, the artist reassembles the scraps according to her own formal and conceptual logic, mixing the materials and techniques of disparate eras, functions, and styles. <\/p>\n

The resulting works, on view now at her two concurrent, debut U.S. solo shows, offer a critique of industrial overconsumption and waste. Some pieces are deconstructed into total abstractions, while others remain legible as clothing\u2014albeit freakishly altered and radically reimagined. <\/p>\n

In her conceptual practice, Tenant of Culture is about extending fashion\u2019s notoriously short life cycle, recycling its essentially worthless debris into rigorously constructed sculpture. At \u201cHost: Tenant of Culture\u201d at The Contemporary Austin (on view through August 3rd), Puzzlecut Boot Brown <\/em>(2021) is a single Frankenstein heel, sutured with purse straps and belt buckles and stacked from the soles of other shoes. \u201cScience and Worms\u201d at Ehrlich Steinberg in Los Angeles (on view through April 5th) features a newer suite of similarly de- and reconstructed footwear, as well as Sabotage in Acrylic (series nr 3)<\/em> (2025), a piece made from a synthetic Zara sweater that once featured trendy, machine-made holes. Schimmel laboriously repaired them by hand to highlight the difference between \u201cindustrial time\u201d versus \u201ccraft time\u201d: \u201cSomething that was produced in probably less than half an hour took months and months to restore.\u201d Found secondhand with its tag intact, the sweater also embodied fast fashion\u2019s increasingly rapid cycle of replacement; it had been discarded before it was ever worn.<\/p>\n<\/div>\n

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For many years, Schimmel professionally designed outerwear for a mid-sized company, after training in garment-making at London\u2019s Royal College of Art and interning at Alexander McQueen<\/a>. Ultimately, she explained, she felt alienated by the industry\u2019s secretive production methods and wasteful culture of overconsumption: \u201cEverything that fashion produces is already on its way to be destroyed.\u201d <\/p>\n

The artist adopted the name Tenant of Culture as a reference to The Practice of Everyday Life, <\/em>a 1974 text by the late French scholar Michel de Certeau. He proposed the misuse and reinterpretation of mass-produced goods as a way for consumers to preserve their sense of individuality. The moniker \u201cTenant\u201d also acknowledges that Schimmel is not permanently tied to any fashion house. \u201cThe whole idea of Tenant of Culture is going against the constant material innovation and newness that fashion demands, and seeing how far and how differently you can go with the same materials.\u201d <\/p>\n<\/div>\n

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Textiles in contemporary art are often made or outsourced by artists approaching the medium from an outsider\u2019s perspective, essentially translating the grammar of image making into the language of fiber. By contrast, textile production is Tenant of Culture\u2019s first language; she has the fluency to experiment with the material on a structural level, exploring variations on the traditional stitch the way a painter explores new brushstrokes. \u201cI have my own methods of making that probably don\u2019t at all meet the standards of industrial technique,\u201d Schimmel said. This leaves her free from the practical constraints of making functional clothing. <\/p>\n

Paying close attention to trends, the artist incorporates them into different bodies of work, drawing out the historical references frequently forgotten by popular culture. \u201cEclogues (an apology for actors),\u201d her 2019 show at N\u0131COLETT\u0131 in London, framed the \u201cpastoral nostalgia\u201d surging through high street shops as a strange romanticization of the medieval milkmaid. \u201cLadder,\u201d her 2023 show at Soft Opening, also in London, was about fashion\u2019s appropriation of distressed fabrics as pure decoration. The 16th-century slashed sleeve trend among European nobility, for example, was inspired by the tattered clothing of soldiers returning from war. Bringing the look into the 21st-century world of e-commerce, Schimmel cut gashes into the packaging of online clothing orders to create \u201cHaul,\u201d a series of strangely beautiful, lumpy soft sculptures of contrasting colors and textures, some adorned with delicately feminine bows.<\/p>\n<\/div>\n

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Tenant of Culture is represented by Soft Opening in London as well as Galerie Fons Welters in Amsterdam, and has works in the permanent collections of the Het Fries and Stedelijk Museum<\/a> in the Netherlands. Her crossover from the fashion industry into the art world has provided interesting new angles to mine. During an early gallery show in 2017, viewers described her work as \u201ctrendy.\u201d \u201cI didn\u2019t realize that that was an insult,\u201d Schimmel recalled. In contrast to fashion\u2019s ephemerality, she eventually realized that \u201cthe status quo within the arts is that something should exceed a certain time period and last for eternity.\u201d <\/p>\n

Her current Ehrlich Steinberg show \u201cScience and Worms\u201d merges the contradictions in \u201cfashion time\u201d and \u201cmuseum time,\u201d abstracting institutional methods of conservation and applying them to shoes that already appear to be falling apart. In her research, Schimmel was surprised to learn \u201chow much effort is put into the preservation of materials that are not meant to be preserved,\u201d she said, as well as some conservators\u2019 desire to maintain the exact point of an object\u2019s existing decomposition. Among her new \u201cReceptacles\u201d sculptures of deconstructed shoes, some are fused at the sole to strange cushions inspired by those in the MFA Boston<\/a>\u2019s costume archives. Others, fittingly, are held together inside transparent \u201ctombs\u201d of plastic and rubber sleeves. The title refers to Baudrillard\u2019s idea that, in taking cultural artifacts out of their organic context, museum preservation is its own type of unnatural death. <\/p>\n

As an ardent critic of the fashion industry, Schimmel is still deeply invested in its artistry and the importance of personal style. She highlighted an important distinction within her practice: \u201cWhat I am critical of is fashion and its extractive methods as an industrial complex, not fashion as a joyful and important daily practice for so many,\u201d she said. Plus, \u201cI think criticism is much more interesting if you actually really like something.\u201d <\/p>\n<\/div>\n\n","protected":false},"excerpt":{"rendered":"

In the mysterious and fragmented world of clothing production, \u201cIt\u2019s really difficult to track where something is made, how it\u2019s produced, and under which conditions,\u201d said the Amsterdam-based artist Hendrickje Schimmel. Operating under the name Tenant of Culture, she essentially runs the production process in reverse, taking secondhand garments nearing the end of their life […]<\/p>\n","protected":false},"author":1,"featured_media":174536,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[100],"tags":[40734,3733,784,528,69686,3325,13972,13921,69685],"dealstore":[],"offerexpiration":[],"class_list":["post-174535","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-art","tag-artist-profiles","tag-culture","tag-fashion","tag-fast","tag-janelle-zara","tag-sculpture","tag-skewers","tag-tenant","tag-tenant-of-culture"],"yoast_head":"\nTenant of Culture Skewers Fast Fashion Through Sculpture - Som2ny Network<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/fivemor.com\/?p=174535\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Tenant of Culture Skewers Fast Fashion Through Sculpture - Som2ny Network\" \/>\n<meta property=\"og:description\" content=\"In the mysterious and fragmented world of clothing production, \u201cIt\u2019s really difficult to track where something is made, how it\u2019s produced, and under which conditions,\u201d said the Amsterdam-based artist Hendrickje Schimmel. 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