The Cité Internationale de la Tapisserie, with its rainbow-striped facade, is transforming Aubusson – a small historic town whose spires and stone buildings overlook the river Creuse, which runs through the Limousin region of central France. The museum, which opened in July, is expected to attract 40,000 visitors a year and reinvigorate the town’s rich tapestry heritage, which is on Unesco’s Representative List of the Intangible Cultural Heritage of Humanity.
Aubusson’s weaving industry began 600 years ago when Flemish weavers settled in the area – the most famous example of their art is the Lady and the Unicorn tapestries, woven in Flanders around 1500 and rediscovered in the 1840s by the novelists Prosper Mérimée and Georges Sand at the Chateau Boussac, just 50km north of Aubusson. The town’s tapestry workshops were granted royal status in the 17th century; and Aubusson became famous throughout Europe for elaborate pictorial tapestries, usually based on large-scale cartoons drawn on paper.
In light of Aubusson’s rich heritage, it is fitting that the museum not only houses the area’s largest collection of historical and contemporary tapestries – previously held in the Musée Départemental de la Tapisserie d’Aubusson – but will serve as a centre of conservation and training in order to preserve ancient techniques, and support the creation of new work.
What led to the opening of the Cité Internationale de la Tapisserie?
Emmanuel Gérard: Unesco added Aubusson tapestry to the list of Intangible Cultural Heritage of Humanity in 2009. It then became necessary to enlarge the Musée Départemental de la Tapisserie d’Aubusson and diversify its activities. In fact, the international recognition we received led us to focus on the human dimension of tapestry, in particular the transmission of this ancestral knowhow, which was in jeopardy because there was no longer any professional training for weavers in Aubusson.
How significant is the opening of the new museum for Aubusson and the surrounding area?
It’s very important, of course. There are many expectations among the population because tapestry is a strong part of Aubusson’s identity. Once there were weavers in every family that lived in the town. I guess the general feeling is that now tapestry from Aubusson has a home that corresponds to its long history and international reputation. It was striking to see the town’s inhabitants come to watch the construction works from the street. Many of them love our colourful striped facade, which reminds them of looms and weavings. The Cité Internationale de la Tapisserie has already become a symbol of the town.
How does the museum support the region’s current tapestry industry?
As a public institution, it makes Aubusson’s current tapestry industry much more visible. We work to increase the presence of this small industry – made up of around 150 professionals – at art and design fairs and through the media. A few months ago, we hired a young professional, who currently works in the United Arab Emirates, to promote Aubusson tapestry in the Middle East.
We also work to encourage the creation of contemporary tapestries. One way that we do this is by running annual public calls for artists to send their tapestries to us. The artworks have to be woven in accordance with Aubusson tapestry techniques, as recognised by Unesco. The best pieces are then awarded prizes and become part of the museum’s collection. We also organise vocational training for weavers.
Help is available for former students to launch weaving workshops too.
How will the museum strike a balance between preserving the region’s tapestry heritage and encouraging contemporary work?
There is no contradiction between preserving heritage and encouraging contemporary creation; they come hand in hand. Contemporary creation challenges established techniques, allowing them to change and develop. On the other hand, giving a greater place to heritage is necessary to inscribe the contemporary creation within a six-century-long history.
What is one of the most talked about exhibits and why?
I guess the most talked about work is Peau de Licorne, which translates as Unicorn Skin, by artist Nicolas Buffe, who won the museum’s Grand Prize in 2010 – the first year that artists were asked to submit work. The work was later displayed at the Musée Départemental de la Tapisserie d’Aubusson, before the new museum was open. Buffe’s work restyles one of the most important patterns in tapestry history – the unicorn. Buffe’s unicorn is a rug representing animal hide. According to legend, the unicorn is an immortal animal, so Buffe symbolically murders the past to create a kind of tapestry rebirth. The artist also adorned the hide with popular characters from comics and cartoons.
What time periods does the museum cover and how is the work displayed?
The oldest tapestries on show date back to the 15th century, and the newest is Toute personne 2 – Tissage métissage by Vincent Bécheau and Marie-Laure Bourgeois, which was finished in March this year and presented to the public when the museum opened.
What type of audience visits the museum?
We have noticed a change in our visitors since the opening of the new site. The average age has dropped and we get more from a much larger catchment area, coming from across France.
The number of foreigners has also increased with the majority coming from the UK, Belgium and Germany, but some have come from as far as South Korea and South Africa.
www.cite-tapisserie.fr
Main funder French government; local government; private donors
Architect Terreneuve
Admission €7 adults, €5 (concessions), free for under-18s
Aubusson’s weaving industry began 600 years ago when Flemish weavers settled in the area – the most famous example of their art is the Lady and the Unicorn tapestries, woven in Flanders around 1500 and rediscovered in the 1840s by the novelists Prosper Mérimée and Georges Sand at the Chateau Boussac, just 50km north of Aubusson. The town’s tapestry workshops were granted royal status in the 17th century; and Aubusson became famous throughout Europe for elaborate pictorial tapestries, usually based on large-scale cartoons drawn on paper.
In light of Aubusson’s rich heritage, it is fitting that the museum not only houses the area’s largest collection of historical and contemporary tapestries – previously held in the Musée Départemental de la Tapisserie d’Aubusson – but will serve as a centre of conservation and training in order to preserve ancient techniques, and support the creation of new work.
What led to the opening of the Cité Internationale de la Tapisserie?
Emmanuel Gérard: Unesco added Aubusson tapestry to the list of Intangible Cultural Heritage of Humanity in 2009. It then became necessary to enlarge the Musée Départemental de la Tapisserie d’Aubusson and diversify its activities. In fact, the international recognition we received led us to focus on the human dimension of tapestry, in particular the transmission of this ancestral knowhow, which was in jeopardy because there was no longer any professional training for weavers in Aubusson.
How significant is the opening of the new museum for Aubusson and the surrounding area?
It’s very important, of course. There are many expectations among the population because tapestry is a strong part of Aubusson’s identity. Once there were weavers in every family that lived in the town. I guess the general feeling is that now tapestry from Aubusson has a home that corresponds to its long history and international reputation. It was striking to see the town’s inhabitants come to watch the construction works from the street. Many of them love our colourful striped facade, which reminds them of looms and weavings. The Cité Internationale de la Tapisserie has already become a symbol of the town.
How does the museum support the region’s current tapestry industry?
As a public institution, it makes Aubusson’s current tapestry industry much more visible. We work to increase the presence of this small industry – made up of around 150 professionals – at art and design fairs and through the media. A few months ago, we hired a young professional, who currently works in the United Arab Emirates, to promote Aubusson tapestry in the Middle East.
We also work to encourage the creation of contemporary tapestries. One way that we do this is by running annual public calls for artists to send their tapestries to us. The artworks have to be woven in accordance with Aubusson tapestry techniques, as recognised by Unesco. The best pieces are then awarded prizes and become part of the museum’s collection. We also organise vocational training for weavers.
Help is available for former students to launch weaving workshops too.
How will the museum strike a balance between preserving the region’s tapestry heritage and encouraging contemporary work?
There is no contradiction between preserving heritage and encouraging contemporary creation; they come hand in hand. Contemporary creation challenges established techniques, allowing them to change and develop. On the other hand, giving a greater place to heritage is necessary to inscribe the contemporary creation within a six-century-long history.
What is one of the most talked about exhibits and why?
I guess the most talked about work is Peau de Licorne, which translates as Unicorn Skin, by artist Nicolas Buffe, who won the museum’s Grand Prize in 2010 – the first year that artists were asked to submit work. The work was later displayed at the Musée Départemental de la Tapisserie d’Aubusson, before the new museum was open. Buffe’s work restyles one of the most important patterns in tapestry history – the unicorn. Buffe’s unicorn is a rug representing animal hide. According to legend, the unicorn is an immortal animal, so Buffe symbolically murders the past to create a kind of tapestry rebirth. The artist also adorned the hide with popular characters from comics and cartoons.
What time periods does the museum cover and how is the work displayed?
The oldest tapestries on show date back to the 15th century, and the newest is Toute personne 2 – Tissage métissage by Vincent Bécheau and Marie-Laure Bourgeois, which was finished in March this year and presented to the public when the museum opened.
What type of audience visits the museum?
We have noticed a change in our visitors since the opening of the new site. The average age has dropped and we get more from a much larger catchment area, coming from across France.
The number of foreigners has also increased with the majority coming from the UK, Belgium and Germany, but some have come from as far as South Korea and South Africa.
www.cite-tapisserie.fr
Project data
Cost €8.5mMain funder French government; local government; private donors
Architect Terreneuve
Admission €7 adults, €5 (concessions), free for under-18s
