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Frida Parmeggiani. Textile Artefacts
Frida Parmeggiani. Textile Artefacts

Frida Parmeggiani. Textile Artefacts


136 Pages, 9.5 x 11.75

Formats: Trade Paper

Trade Paper, $44.95 (US $44.95) (CA $60.95)

Publication Date: June 2017

ISBN 9783902833945

Rights: US & CA

Schlebrügge Editor (Jun 2017)
Schlebrugge Editor

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In the three decades from 1978 to 2008, Frida Parmeggiani was Europe's most sought-after costume designer. She has worked for and with Hans Hollmann, Götz Friedrich, Rainer Werner Fassbinder, Samuel Beckett, and Robert Wilson, among many others. On the occasion of her 70th birthday in the summer of 2016, the Mozarteum University of Salzburg in cooperation with Merano Arte presents an exhibition that is dedicated entirely to new designs. In conjunction, Schlebruegge.Editor published the first comprehensive book about the Meran-born artist's work. Frida Parmeggiani. Textile Artefacts shows a series of multipart costume abstractions which explore the complex relationship between nature, space, volume and textiles. For the first time in her career, Parmeggiani is working without storyline or actors and is thus able to use her minimalistic forms in a static, sculptural way. Fine fabrics in combination with metal elements or objects culled from nature produce stylistically rigorous, aesthetic costume installations. In this volume, Silke Geppert explores Parmeggiani's current works from a textile history standpoint; her longtime work partner Robert Wilson outlines the special aspect of their symbiotic collaboration; Bernd Sucher provides a recent journalistic portrait, and Elfriede Jelinek publishes a prose piece, written specifically for this book, about their mutual devotion to textile material. Frida Parmiggiani built her reputation from 1976 on, with her successful work on plays by Samuel Beckett, Rainer Werner Fassbinder, and Wilfried Minks, and designed the costumes for Wagner's Lohengrin as early as 1979 and the entire four-part Ring Cycle at the Bayreuth Festival in 1987. Collaborations with David Byrne, Lou Reed, Tom Waits, and William S. Burroughs ensued. She created highly stylized and fantastical costumes for Expectation, Bluebeard's Castle, Mitridate, and Danton's Death. From 1987 on, Parmeggiani has worked almost exclusively for Robert Wilson. Today, Frida Parmeggiani has largely withdrawn from public life and lives in Merano.


"She is uncompromising and always very clear in knowing what she wants. Her sensibility is steel velvet. We had a great dialogue without ever speaking a word." Robert Wilson about Frida Parmeggiani

Author Biography

Silke Geppert, born in Lübeck, is a fashion and costume historian and curator. She received her doctorate degree at the University of Vienna with a dissertation about fifteenth-century fashion and taught at the University of Paderborn, the Mozarteum University of Salzburg, and the Pforzheim University of Applied Science. She was the director of the museum at Schloss Ahrensburg from 2000 to 2004. Elfriede Jelinek, born in Mürzzuschlag, received a musical education at an early age and studied composition at the Conservatory of Vienna and theater and art history at the University of Vienna. She graduated as an organist from the Conservatory in 1971. In 1970 she published her first novel, wir sind lockvögel baby!. Other novels include Die Liebhaberinnen, Die Ausgesperrten, and Die Klavierspielerin (film adaptation by Michael Haneke). Ursula Schnitzer, born in Merano, Italy, studied art history at the University of Innsbruck. She was the director of the Tiroler Landesinstitut in Bolzano and the project manager of the regional exhibition Michael Pacher and His Circle at the Monastery of Neustift for the Südtiroler Kulturinstitut. C. Bernd Sucher, born in Bitterfeld, studied in Hamburg, Ann Arbor, and Munich. From 1978 to 1980, he was the senior cultural editor of the Schwäbische Zeitung in Ulm; from 1980 to 2003, the executive editor for spoken-word theater and theater critic at the Süddeutsche Zeitung in Munich. Robert Wilson, born in Waco, Texas, was educated at the University of Texas and Brooklyn's Pratt Institute. In the 1960s, he founded the New York-based performance collective The Byrd Hoffman School of Byrds and developed his first signature works.