Writings

Conversation about dress between Poul Gernes and Jane Pedersen

I believe that clothing actually matters a lot. The most basic example is those young people who wear hippie clothes to demonstrate their independence from their families and the like. In that case, clothing is used directly as a means of demonstration. That’s quite obvious. But the majority of people dress fashionably, which is just as ridiculous, because it’s something that the average person has very little awareness of. Personally, I always wear work clothes, and I couldn’t care less about where I’m going or what I’m attending. Such a statement can, of course, be misunderstood. It could be seen as a kind of affectation, but I tend to stick to wearing work clothes.


When I try to explain why, it probably has to do with the idea that one aligns oneself with something. Whether it’s hippie clothes, bourgeois clothing, or work clothes, it’s always an expression of solidarity – or at least an attempt at solidarity – with the people who wear the same style. I don’t know if I’m work-obsessed, but I like keeping busy. I don’t need to be paid for what I do, so there’s likely some connection there in some way. And I should mention that I’ve preferred white painter’s trousers, which are enormously impractical from a cleaning perspective, but I’ve learned to wear them slightly mottled.


Why do you prefer white painter’s trousers?


Well, it’s not some intellectual effort that led me to white painter’s trousers.


Is it their fit?


Well, I don’t really think so. Although now that you mention it, maybe. The alternative would somehow be those jeans, but for one thing, they belong to a uniform I don’t want to align myself with, and for another, the fit of those jeans isn’t very accommodating.


When you talk about art, you have a concept you call the beautiful. Does that also apply to clothing?


Well, yes, it does extend to these trousers, because even though they’re not pretty and they’re quite filthy, they’re somehow more right. They make a statement in life. You can always spot them.

Anthology:

Jane Pedersen: Der er dejligt i Danmark – viser Poul Gernes. Copenhagen 1971 p. 9-11. Translation by Klara Karolines Fond.

The writing and the wall – conversation with Poul Gernes and Georg Jansen
1993
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Colours contain "abilities"
1990
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Museums are not only for happiness
1988
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There are many kinds of art in the world (Art as a way of life)
1988
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Art that is not applied art is not art – interview with Poul Gernes by Anneli Fuchs and Kirsten Ortved
1986
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Boats
1983
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Isn’t it about time to change course?
1983
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About my painting
1980
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Which colour is best in a room? Poul Gernes in conversation with Jane Pedersen
1971
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A collective environment where artists accelerated each other. Poul Gernes in conversation with Jane Pedersen
1971
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Sketch for a manifesto September 8th 1971
1971
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Conversation about dress between Poul Gernes and Jane Pedersen
1971
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Pouls paper happening
1968
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31 pictures in 2 variations
1968
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The Experiment City – a meta-project
1967
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Game systems or simply systems
1967
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Selfportrait in Hvedekorn
1966
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Brother, I am searching – Jens Jørgen Thorsen’s interview with Poul Gernes
1962
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