World Wide Weaving – Atlas Weaving Globally, Metaphorically and Locally World Wide Weaving – Atlas Weaving Globally, Metaphorically and Locally Contents 3

4 Preface Artists’ positions World Wide Weaving – Workshops Ellen K. Aslaksen 20 Verina Gfader 66 001 Interlinking Practices, Complex Fabrics 5 World Wide Weaving – Atlas Tricky Business of Relations and their Materials Hans Hamid Rasmussen and Dorothee Albrecht 28 Archana Hande 68 002 Make Your Own Dictionary 7 Textile Art – Who Are You? Silk Route Hedges Sarat Maharaj 70 003 Weaving with Textiles, Texts, 38 Hans Hamid Rasmussen Sounds and Materials 10 World Wide Weaving – Seed Bank of Crafts Kasbah walking III, taking photographs Dorothee Albrecht and making embroidery 72 004 Seed Bank of Crafts

13 The Art of Interwoven Encounters 46 Åsa Sonjasdotter 74 005 Scrutinizing Fields of Reference, Julia Gwendolyn Schneider Promiscuous Weaving Constructing Contexts, Exploring Spaces In-Between 15 One Aspect ... 52 Zille Homma Hamid Rike Frank Natural Dyes Workshop 76 006 Seed Bank of Crafts – Weaving Globally, Metaphorically and Locally – Starting from 60 Kirsti Willemse Guangzhou and Hangzhou Veiled in drowsy uncertainty, Maja rises from the grass 90 Biographies

Imprint 4 Preface World Wide Weaving – Atlas 5 Weaving Globally, Metaphorically Ellen K. Aslaksen Dean, Art and Craft Department and Locally Oslo National Academy of the Arts

Hans Hamid Rasmussen and Dorothee Albrecht

he Art and Craft Department at Oslo National irst of all we would like to express our deep Hangzhou and KHiO – Oslo National Academy of Academy of the Arts (KhiO) is proud of being gratitude to Sarat Maharaj. His invitation to the the Arts. Ta partner in the project World Wide Weaving. F3rd Guangzhou Triennial at Guangdong Museum The Art and Craft Department draws on traditions of Art Guangzhou 2008 in China led to our encounter Before introducing the content of the book, we founded on an interest in material qualities and the between stitched spaces and the Tea Pavilion. thank most sincerely all artists, participants, teachers handmade object, and gains inspiration from a vision As the head of the Art and Craft Department at and authors who contributed to the project and the of art as being integrated into everyday public and KHIO Oslo National Academy of the Arts, Hans Hamid book. Especially the colleagues at the textile depart- private spheres. As stated about the project, “World Rasmussen invited Dorothee Albrecht to Oslo to ment Anne Knutsen and Hege Bratsberg supported Wide Weaving is both theoretical and practical … a develop a common project and workshop: World Wide us greatly. Thank you so much for your commitment. space for art and the crafts, for presentation, discussion, Weaving – Weaving Globally, Metaphorically and action and video screening”. This approach is in line Locally. We are very happy and feel very honoured to with the perspectives represented in our study begin the World Wide Weaving – Atlas with Sarat programmes. We recognise the social, political and Weaving is one of the oldest crafts in human Maharaj’s contribution Textile Art – Who Are You?. environmental responsibilities of artistic practice, in culture, along with knitting and pottery. Ancient textile We are greatly pleased that Julia Gwendolyn Schneider which the contextual significance of materials in remains have been found in all parts of the world. But then explores the context of the project with her text production and sustainability is as important as their textiles are more than merely interwoven materials. As The Art of Interwoven Encounters, followed by a kind intrinsic properties. We are investigating the role of art means of exchange and trade, and with their potential of artist statement by Dorothee Albrecht providing in a larger social context: not only its overall societal to communicate complex layers of social meaning, an outline of World Wide Weaving and Rike Frank’s effects but also its potential to challenge frameworks textiles are directly related to the fabric of social life. text One Aspect …. and hierarchies within art institutions. Since World Wide Weaving started in February Then we show examples of artists who were This publication will be an important contribution 2010 it took place at Kunstnernes Hus in Oslo, the invited to give workshops, making the different both to our education programmes and to the Nordic Artists’ Centre at Dale in Sunfjord, at Skansen approaches related to World Wide Weaving more ongoing development of a contemporary discourse in in Blaker located close by Guttorm Guttormsgaards graspable: Hans Hamid Rasmussen – Kasbah walking the broader field of arts and crafts. It gives us the archive (all in Norway). World Wide Weaving happened III, Verina Gfader – TRICK Y BUSI NESS, Archana possibility to rethink and deepen our understanding of for the sixth time in September 2016. Hande – Silk Route Hedges, Åsa Sonjasdotter – Pro- textile as a field of art. We are truly thankful for this miscuous Weaving, Zille Homma Hamid – World Wide contribution. As part of the 2nd Hangzhou Triennial of Fiber Art, Weaving – Natural Dyes Workshop, supplemented by the project was launched by China Academy of Art a text of Kirsti Willemse who participated two times. 6 Textile Art – Who Are You? 7

Sarat Maharaj

Seed Bank of Crafts – Woodblock print on Textile, Jin Ze Arts Centre, 2016. Photo, Dorothee Albrecht.

Finally, images and short texts of the workshops offer The century‘s boxing match. A knockout lining which evaporates as it’s ironed – a yard of moiré, a deeper insight into the project. roar of muscle across the stadium. Eubanks1 a ‘fusible’. As we look, cloth seems to run away from 1. strides towards the ring. A spotlight chases itself, playing on its own thread and threading, ‘spinning We would like to give special thanks to the Textile after him, half catches up, jig-dances over him, speeds out its own yarn’. We are called to look on it as if at Department of Oslo National Academy of the Arts ahead. What’s he got on? a painting, but one without paint and pigment. Cloth (KHiO) for hosting us during all these years. For experi- A smock, a long T-shirt or kaftans cut off at the stages the syntax of its own forms and textures. We are mental projects, it is so helpful to get this kind of support. thigh? Hi-tech medical gown, an A-line mini, blouson struck by its sheer ‘painterliness’. We also give many, many thanks to the rector Jørn or Grecian rustic tunic? Rough-hemmed towelling, Against this ‘pure formalism’, the pieces read Mortensen and the dean Ellen Aslaksen for supporting chemise, loose-fit cheesecloth, cling-film muslin, as ‘history painting’. Duchamp stretches and shapes the project and the book. frayfringe. … What seems like ‘manly swagger signs’ the cloth so that it suggests a profile portrait of switch into ‘womanly sway signs’ and back again. George Washington, a star-spangled flag or blood- For us to compile a book means to make available A shuttle sets up between them, to and fro. Neither soaked gauze, a drenched bandage. It speaks of ideas, images and materials that we have developed one thing nor the other, it seems to be both. We face the scars and wounds of war – the violence out of together with the contributors and participants during an ‘indeterminate garment’. which nation, patriotism, politics is carved out. Cloth the last years. World Wide Weaving is an ongoing project. An ‘undecidable’ – as Derrida puts it, some- serves as sign, stands in for something else. Hans Hamid Rasmussen and Dorothee Albrecht Hans Hamid Rasmussen and Dorothee We are curious to see where it will lead us further. thing that seems to belong to one genre but Duchamp ties it in quite an arbitrary, factitious way overshoots its border and seems no less at with the idea of war and conflict, as ‘emblem’ of it. 2. 2 home in another. Belongs to both, we might say, It becomes symbol, hurtles away representing by not belonging to either. Should we comprehend something other than cloth, triggering off yet another ‘Textile Art’ under the chameleon figure of the ‘unde- stream of associations. We are in the allegorical mode cidable’? – an excess of signs.4 We stand in front of Duchamp’s Genre In the Duchamp piece, therefore, cloth is all Allegory.3 Two regimes of seeing hold us even as it is nothing. It is everything, ‘bare stuff and 3. in their grip, a deadlock of two genres and fabric’, that sets off a visual dynamic for formalist their discourses. A cloud of cloth bulges out of the ends. At the same time, it is nothing as it effaces canvas frame, ready to tear away, to cascade out of it. itself to serve as figure or cipher for some idea or A laddered fabric moulded into lumpy form, half-sag- concept, for programmatic ends. The two genres ging, half-tumescent. Perhaps it was once a crackling play off against each other, citing and cancelling out sheet of stiffening for collars and cuffs, dazzle tissue- each other in an unending tussle between them. Source: Sarat Maharaj, Textile Art 4 Walter Benjamin, The Origin of 9 – Who are you?, Distant Lives / German Tragic Drama, p. 174. Shared, Voices. Collated / edited: Sharon Marcus, Kay Lawrence, 5 Jean Baudrillard, quoting Ruth Scheur, Aleksandra Manczk, Phillppe Sollers. Janis Jefferies. Lodz, Poland, 1992. Translation: Marysia Lewandowska, 6 Leotard & Monory, Récits checked by Sophie Bibrowska. Tremblants, p. 119.

1 Chris Eubanks, British Champion, Photo: Supreme Quilting Co. See 4. heavyweights, 1991.

2 Jacques Derrida, ‘Living on Borderlines’, in Deconstruction and Criticism, pp. 75–176.

3 Genre Allegory may be de- scribed as an assemblage work made of cloth, nails, iodine and gilt stars. It is held within a private collection in Paris.

‘Supreme Quilting Co.’ – before us a photo us as a speculative object without transcending the fact of a bleak, redbrick building slinking that it is a plain, mundane thing. Not entirely either and 4. sideways out of view. It might be Southall yet both, an ‘undecidable’. or the Midlands, even North England in the 1970s. Meyer Vaismann, Haim Steinbach, Jeff Koons –

Sarat Maharaj Sarat In front of the building, Asian woman in winter coats the everyday consumerist object aspiring to the over their traditional salwar/kameez. Women from the conditions of artwork while adamantly holding onto Punjab, what journey from the green, dusty country- its brute mundaneness? It is simply a calico mattress- side into the centre of the modern? Some are holding divan or has the shift of context made of it an object up placards, some huddle up to a fire in a drum, a for another kind of attention? Has the quilt not always The silk might have been woven in some land. For us, on that Apartheid shore – aliens, colonial makeshift brazier. A mythic scene of workers on strike straddled such a double-coded space, an ambivalent faraway, colonial place. Few knew where. subjects, soon to be called ‘Burghers van die Republiek’. in the machine age, marking out the site of dispute site of this sort? 7. An ancient craft for the most modern of Soon to be cast out as ‘the exiles’, then to arrive as and disagreement – conditions of work, labour and It seems at odds with Greenberg’s view, things. Bales of it were brought over, cut up, fashioned non-nationals, forever non-citizens – belonging by not production. pre-eminent amongst the classic modernist into parachutes somewhere in Britain. Where exactly? belonging, neither insiders nor outsiders, ‘swarthy However much the ‘quilt’ aspires to the state of 5. stances, that genres should be clear cut, Hems and seams, who stitched the parachutes resident aliens’ always?6 ‘artwork’, it does not shake itself free of references to self-contained, their boundaries crisply defined and together? At once delicate fabric and tough engine the world of making and producing. Hung up on the meticulously patrolled. Each genre pares itself down of war. Sacred cloth and airforce material – floating, Textile Art am I you? wall, framed, put on display, it catches our attention as to the textures and logic of its own medium – holding lifesaving and death-dealing umbrella. statement of form, colour, texture. We soar away with check on the drive towards spilling over into another. War surplus, the shift to tough synthetic material, its allusive, narrative force. But we never quite manage ‘O busy weaver, stop. One word, why these few knew how these silk parachutes came to be sold to set aside its ties with the world of uses and functions, endless labours? One moment speak. But off in faraway Apartheid land. Lying opened out in the with the notion of wrapping up, keeping warm, sleep 6. no, the shuttle flies and the figures emerge courtyard, like some creature wounded and brought and comfort, some feeling of hearth and home. In floating from the loom, from the rolling mill, from the down, last gasps of its billowing, wavy forms stretched all of this, it is no less easy to blank out memories of vats admitting not a second’s interruption. You would flat across a vast carpet of sinewy hessian sacks basted its links with the domain of processes, crafts, and say that production wishes more and more to mine together. My grandmother carefully cutting into the techniques. perpetual motion, to draw near the heart of nature silk, close along its panelled seams and edges, folds and Half-on-wall, half-on-floor, it stand/lies/hangs which establishes us here. We who contemplate the joins, reclaiming yard upon yard for some other uses. before us: everyday object and artwork in one go. factory are deafened by its humming. It is only when At once sacred cloth and object of warfare, life- Domestic commodity which is at the same time the we enveloped death. Death weaves life. I am the image. saving and death-dealing engine – now run up as shirts, conceptual device. The quilt stands/lies/hangs before I am the carpet.’5 pants, skirts and saris for us, the ragged of Apartheid 10 1 Glissant, Edouard. Kultur und 4 SPIEGEL ONLINE, June 20, 11 Identität – Ansätze zu einer 2014, http://www.spiegel.de/poli- World Wide Weaving – Poetik der Vielheit. Verlag Das tik/ausland/uno-so-viele-fluech- Wunderhorn, Heidelberg 2005, tlinge-wieseit-dem-zweiten- p. 14 weltkrieg-nicht-mehr-a-976299. Seed Bank of Crafts htm, retrieved June 20, 2014, 2 Daniel Birnbaum, Sarat Maharaj, translated into English from the In Other‘s Words, interview, German original. Artforum 40, (February 2002). Weaving Globally, Metaphorically Available http://findarticles. 5 Peter Weibel (ed.), Inklusion:Ex- com/p/articles/mi_m0268/ klusion, Versuch einer neuen is_6_40/ai_82800088/?tag=- Kartographie der Kunst im Zeit- content;col1, retrieved March 30, alter von Postkolonialismus und and Locally 2011. globaler Migration, steirischer herbst 96, DuMont, Cologne, 3 See Jeremy Rifkin, The Empathic 1997, p. 38. Civilization: The Race to Global Consciousness in a World of 6 Peter Weibel (ed.), Inklusion: Crisis, Jeremy P. Tarcher, 2010 Exklusion, Versuch einer neuen Dorothee Albrecht Kartographie der Kunst im Zeit- alter von Postkolonialismus und globaler Migration, steirischer herbst 96, DuMont, Köln, 1997, p. 38.

eaving is one of the oldest crafts in human We situate our investigations in the art context the Second World War”.4 In parallel to the military to arts and crafts from different times and regions, yet culture, along with knitting and pottery. because of the potentiality of art described by Sarat conflicts in the Ukraine, Syria and Iraq, we will contin- within a common field of inquiry. W Ancient textile remains have been found Maharaj, for example, as art that doesn‘t only mean ue to work on World Wide Weaving. in all parts of the world. But textiles are more than transferring prefabricated knowledge established in At the fourth workshop in 2013 we started with merely interwoven materials. As means of exchange the institutional discourse of systematic disciplines, Instead of focusing on differences and cultural working on the Seed Bank of Crafts – Dictionary and and trade, and with their potential to communicate but art as a producer of knowledge that normal clashes, could we go beyond the constructions of Handbook – Assemblage in Space. It explored the complex layers of social meaning, textiles are directly reasoning cannot handle: “What we call art activity identities on the basis of nation, tribes, religion, a contemporary framework of the globalised world related to the fabric of social life. is expanding, extending, transmogrifying in the certain culture or race? Could we use the idea of “The through projects that research and collect knowledge global contemporary setting. Hence also my dogged Common Globe” as a possible common denominator of traditional or ancient craftsmanship from different On one hand, textiles and crafts are related to a interest in Duchamp’s question ‘How to make a work that links very different initiatives and ideas? parts of the world. global field of reference, to human life and culture in of art that isn’t a work of Art?’. For me, it’s a marker In his text “Culture, Identity and History” Edward general. On the other hand, a multitude of traditions, for ways we might be able to engage with works, World Wide Weaving is understood as an arena W. Said writes: “No cultural identity is predetermined. practices, techniques and patterns have been devel- events, spasms, ructions that don’t look like art and for investigation. During the workshop, we examined It’s a collective construction on the basis of experi- oped as contributions to local contexts, but also don’t count as art, but are somehow electric, energy fields of reference for textiles and crafted objects, ence, memory, tradition (which can also be conceived through encounters with traditions and practices from nodes, attractors, transmitters, conductors of new constructed contexts for them and explored the spaces and invented) as well as on a multitude of cultural, other regions. thinking, new subjectivity and action that visual artwork between the referential fields, contexts and contempo- political and social practices.”5 The parenthetical in the traditional sense is not able to articulate.”2 rary issues. World Wide Weaving is both theoretical and phrase, in the foregoing passage, which functions as Édouard Glissant’s discourse on “creolization” practical. It is a space for art and craft, for presentation, a somewhat marginal adjunct, could be seen as the and the, finally recognized, “totality earth” is applicable But why does it seem urgent to embark on a discussion, action and video screening. starting point for the Seed Bank of Crafts. A tradition to the region under examination of World Wide journey towards World Wide Weaving? can be conceived and invented! Weaving: “The term of creolization [ ] can be applied The meanwhile visible results of climate change Participants and workshop leaders together to the recent situation of the world, that is to say have produced an awareness of the globe as the opened a space of engagement and exploration; this The Seed Bank of Crafts combines historical to a situation, in which a finally recognized ‘totality common frame of reference for anyone. The relational space lay at the nexus of the individual projects and knowledge and techniques with contemporary ap- earth’ allows that in this totality (in which no ‘organic’ frame of the “common globe” is also described by the interests of the participants and involved textiles, proaches that reuse traditional techniques and adapt authority exists anymore, in which everything is Jeremy Rifkin who contributed to the debate on other materials, techniques, texts and concepts. The them to contemporary needs. It explores different archipelago) most distant and totally heterogeneous globalisation, giving it a new direction with terms like workshop’s relational frame expanded in response to examples, but also collects knowledge and techniques elements can be related to each other in a totally “empathy” and “The Race to Global Consciousness.”3 the interests of the participants. Each contributor was that are about to disappear. Like a seed bank, the unsuspected way.”1 At the same time, “more than 50 million people invited to work on and present a special subject area. project aims at preserving the knowledge of ancient worldwide are displaced – the highest number since In this way, we could experience various approaches and traditional crafts for further use in the future. 12 The Art of Interwoven 13 Encounters

Julia Gwendolyn Schneider

1 cf. T’ai Smith: The Event of 4 For an overview of art exhibi- a Thread, in: Textiles: Open tions concerned with textiles Letter, ed. Rike Frank and and related discourses, see e.g. Grant Watson, Vienna: Generali “A Survey on the Significance Foundation; Mönchengladbach: of Textiles in Contemporary Museum Abteiberg; Berlin: Thought and Praxis,” in: Texte Sternberg Press, 2015, p. 77 zur Kunst 94 (June 2014), pp. 162–177 2 T’ai Smith, Bauhaus Weaving Theory: From Feminine Craft 5 Anni Albers, On Weaving, to Mode of Design, Minne- Middletown: Wesleyan University apolis / London: University of Press, 1965, p. 13 Seed Bank of Crafts – Materials Minnesota Press, 2014, p. xiii for Socks, Datang, 2016. Photo: 6 T’ai Smith: The Event of a Dorothee Albrecht. 3 Ibid, p. xxi Thread, pp. 76–87

The Svalbard Global Seed Vault is a secure As Edward W. Said writes, “A tradition can be n her books On Designing (1959) and On Weaving ever-extending relationships. Thus tangential subjects seed bank located on the island of Spitsbergen, the conceived and invented.”6 Could it be a decentralised (1965) Anni Albers develops a philosophy of come into view. The thoughts, however, can, I believe, largest and only permanently populated island of the invention of a new global tradition including very I weaving, a theoretical appraisal of the versatility be traced back to the event of a thread.” The quote Svalbard archipelago in northern Norway. The facility different traditions and projects from all parts of the of textiles which produces its concepts out of the addresses the far-reaching complexity of the medium preserves a wide variety of plant seeds in an under- world? The common denominator is the globe, medium’s specificity.1 Her theory “became at the out- and highlights, as T’ai Smith points out in her essay ground cavern. The seeds are duplicate samples, or conceived as a transnational and shared space of set a powerful voice of the midcentury textile design with the same title, Albers’ view of weaving as an event Dorothee Albrecht Dorothee “spare” copies, of seeds held in gene banks worldwide. reference. movement in the United States”2 and remains influ- rather than the creation of mere objects.6 The seed vault is an attempt to provide insurance ential until today. For T’ai Smith for example, Albers’ In a similar metaphorical way, the experimental against the loss of seeds in gene banks, as well as a World Wide Weaving is an ongoing, experimen- approach was the starting point for a recent investiga- artistic project World Wide Weaving sets out to explore refuge for seeds in the case of large-scale regional or tal, artistic and educational project; an investigation tion into Bauhaus Weaving Theory. With this book she “the event of a thread”, by adding together the many global crises. cutting across artistic and educational fields conceived focuses on Bauhaus’ weavers’ texts that discuss their connecting lines running through the complex textile and curated by Hans Hamid Rasmussen and Dorothee objects and practice in relation to the language of medium. Conceived as an ongoing project, Dorothee The Seed Bank of Crafts should, of course, not Albrecht. Since it started in February 2010, it has other media such as painting, architecture, photogra- Albrecht and Hans Hamid Rasmussen have started be stored in a cave. It should be a tool for preserving been hosted by the textile department of Oslo phy, and “confronts a long-standing assumption in art this collaborative journey in 2010. Based on a modular cultural knowledge and techniques from all parts of National Academy of the Arts (KHiO). So far it took history that the crafts are manual and technical, but format of practical and theoretical workshops and the world, but it could be also used as a means for place at Kunstnernes Hus in Oslo, the Nordic Artists’ never intellectual, arts”.3 excursions that can be situated in between anthropo- rethinking the global setting. Centre Dale and at Blaker-Skanse (all in Norway). In a similar line of thought a number of exhibi- logical field trips and Situationist dérives, six itera- World Wide Weaving took place for the sixth time from tions and research projects have recently focused on tions with different areas of focus have taken place until So far, it seems that globalisation has been about September 20 to 30, 2016. As part of the 2nd Hangzhou textiles within the context of contemporary art and 2016. The followed threads open up a discursive space development, acceleration and the levelling of differ- Triennial of Fiber Art 2016, the project was launched exhibition practice.4 Textiles: Open Letter (Museum around textile thoughts and inspirations that create ences. But especially global warming has produced a by China Academy of Art Hangzhou and KHiO – Oslo Abteiberg, Mönchengladberg 2013) and The Event ways of thinking about a contemporary global world, in new awareness about the mutual dependency of all National Academy of the Arts. of a Thread (Kunsthaus Dresden, 2017) draw direct relation to local, historical, technical, economical, social people; about the fragility of the globe and the wealth references to Albers in their titles: while Open Letter and cultural facets. of diversity – biodiversity for example. The different Berlin, 2010 – 2017 is the title of a weaving by Albers from 1958 with a Tablet weaving, which was practiced during the financial crises have intensified the sensitivity for black and white pattern made up of linear ideographic most recent workshop in 2016, offers a good example human needs. In different parts of the world there is characters, “the event of a thread”5 is a citation from that gives further insight into the workings of the a growing interest in farming, gardening, permaculture On Weaving. “Just as it is possible to go from any project. In this case World Wide Weaving was invited and crafts. place to any other, so also, starting from a defined and to China as part of the Second Hangzhou Triennial of specialized field, can one arrive at a realization of Fiber Art (2016). In a workshop led by Hege Bratsberg 14 7 T’ai Smith, Bauhaus Weaving 1 The text is based on the 15 Theory, p. 157 1 following two essays: Materials One Aspect … at an Exhibition published in: Textiles. Open Letter (Berlin: Sternberg Press, 2015) and Readings of an installation view (with Grant Watson) Rike Frank published in: Re-reading the Manual of Travelling Exhibitions (edited by Andreas Müller et al., upcoming).

2 The first part of the publication consists exclusively of technical drawings and reproductions of documents, with no pictures of works.

and Anne Knutsen, arts and crafts teachers from production. It created subtle interventions and various n the summer of 1975, Anni Albers had her first In 1953 Elodie Courter Osborn authored the Norway, introduced the ancient technique of band modes of social interaction. solo show in Germany at Kunstmuseum Düs- Manual of Travelling Exhibitions that was commis- weaving, which up to now can still be found in Russia, The performative aspect of tablet weaving may I seldorf and the Bauhaus Archive in Berlin. The ex- sioned by the UNESCO. In her introductory essay she China, India and Japan as well as in Arab countries remind of the inclusions of the living body in art in hibition’s subtitle Picture weaving, drawing, printing emphasises the educational power of exhibiting and remains a common craft especially in Scandinavia. the 1960s, which brought a shift to the medium of referred to fine art and its artistic techniques rather environments: “Moreover,” she writes in her introduc- Tablet weaving uses cards to create the shed sculpture. A prominent example can be found in Franz than to applied arts and crafts, a programmatic tion “the diffusion of knowledge for education in all through which the weft is passed. For World Wide Erhard Walther’s textile works, for which the concept gesture (in the sense of a deliberate distancing) that fields – natural science, history, health, science, art, Weaving participating students from the China of a “Werkhandlung” (work as action) is central. His also seems to have influenced the choices for the etc. – can be accomplished effectively through

Julia Gwendolyn Schneider Julia Gwendolyn Academy of Art Hangzhou and the Oslo National monochrome, sewn fabrics promote a communal visual organisation of the accompanying catalogue. exhibitions.” (Page 11) and continues: “With this Academy of the Arts carried out the popular weaving dialogue. The audience is asked to enter into a spatial This is especially true of the plates (preceded by emphasis on the need for bringing fundamental method, which is relatively easy to reproduce. The and physical relationship with the artworks, which can, an introduction to the artist’s work by art historian education to all the peoples of the world …” In the list weaving experiment highlights an approach that lets for instance, involve lying on the textile object, folding Friedrich W. Heckmann): just three early weavings of illustrations at the end of the manual, she includes the material “speak”, which is similar to Albers’ idea of it or wrapping the piece of cloth around one’s body. from the 1920s, from the Bauhaus Archive in Berlin, two installation views of the MoMA solo exhibition “methods of practice from within – to make ‘theory’ Until today Walther’s modular artistic method regards are followed by around fifty illustrations giving a Anni Albers Textiles (September – November 1949). experiential rather then preconceived.”7 Furthermore, each element only as a provisional part of a never- substantial cross-section of her screen prints and Even if it could be argued that it is the advocacy for without being particularly concerned with the created ending process. Similarly, Word Wide Weaving uses drawings made (mostly) in the 1960s and ‘70s. In art and the empowering educative experience which outcome, tablet weaving became a daily practice. dialogues and encounters as the central media to dialogue with the art works, the catalogue also con- connects their practice, the appearance of Albers still The students would exercise it during excursions to navigate the multivalent significances of a contempo- tained the first publication in German of One Aspect is a striking fact:2 on the one hand because the MoMA various public spaces or sites of textile production, rary theory of weaving, and takes up the potential of Art Work, a chapter from her volume of writings show was never toured outside of the United States, like a global sock manufactory in Datang, as well as directions of a thread, which will never come to an end. On Designing (1971). In this essay written in 1944 and because Albers, on the other hand, not only is the at the exhibition of the Second Hangzhou Triennial of (clearly influenced both by her experience of Nazism only weaver but also the only female artist included Fiber Art. and her teaching at Black Mountain College), Albers (with Matisse, Henry Moore and van Gogh, plus In order to weave with this technique, one has to addresses the need for new models of teaching and examples from the field of applied arts and crafts). attach the threads to create the right tension among learning to pave the way for a “forming” education, The image following Albers’ installation shots (ill. 17 them. One can either group up with another person rather than a purely imitative approach. She stresses and 17a) is a view (ill. 18) from the MoMA travelling and fasten the fiber to each other’s bodies or use any that art – the experience of giving form that is inher- exhibition South American Textiles. In her curated list available structure that allows fixing the woolen bands ent in artistic and craft processes (and processes of of illustrations, Osborn thus presents Albers (almost in to it, to continue the weaving process. This way tablet formulating, as her practice of writing shows) – plays an educative way understanding the manual as an weaving became much more than a method of ribbon a specific role in this. exhibition) in direct connection with “her great teachers,” 16 3 T’ai Smith, “Tactile Lessons,” 17 unpublished manuscript, lecture held in the context of the conference “Textiles: Open Letter – A Haptic Space: Praxis and Discourse,” December 2012, Academy of Fine Arts Vienna, which I organised together with Sabeth Buchmann. One Aspect …

Am Webstuhl, 1955 (At the Loom): Textiles: Open Letter, in: Maximilian Schell (Hg.), Anni und Museum Abteiberg, 2013, Josef Albers. Eine Retrospektive, installation view, Rike Frank Rike Villa Stuck München, 1990. photo: Achim Kukulies.

as Albers calls the creators of the Pre-Columbian well as artists like Katrin Mayer, Judith Raum or Leonor that had become ‘feminised’, as hordes of women textiles that she and her husband bought during their Antunes – in particular because of the tremendous entered the factories in the nineteenth century. And visits to Latin America between 1935 and 1956. In influence of the weaving workshop on other media when it came to the relationship to photography, the her writing Anni Albers describes how the analysis of and a current revision of the dominance of the visual, textiles only highlighted the discursive inverse of the textiles – some of which she dismantled in order to to quote T’ai Smith: “... what specified weaving was optical – the palpable materiality of wool or silk and understand and learn their structure – led her to the constantly pushing against the specificity of those the medium’s explicit life as a tactile entity, something conviction that pre-Columbian textiles, which came other media. Weaving harnessed the vocabulary of that the discourse around Neue Sachlichkeit pho- from highly advanced civilisations, over and above their other media only to show, in the process, that those tography depended on and dismissed simultaneously.”3 practical, utilitarian function, also displayed a unique, other media were never so discrete in the first place. unmistakable vocabulary that functioned as a visual What was specific about weaving at the Bauhaus, language and that were groundbreaking for the it turns out, was that it could exploit the limits of development of abstract art. each disciplinary domain as well. So, for example, the expressionist ‘picture’ could no longer be seen as a The role of the Bauhaus weaving workshop and, direct expression of the artist’s soul out of the fluid in particular, the female weavers, which had long been application of paint through a brush to a canvas. neglected, ignored and undervalued, has in recent years Rather the picture had become a laborious, even gained interest and recognition thanks to the research mechanical transfer into thread. Suddenly the of female authors such as Magdalena Droste, Anja picture was tethered to an apparatus that evoked Baumhoff, Sigrid Wortmann Weltge or T’ai Smith as the complexities of the textile industry – an industry Artists’ positions 20 1 Enchantment 19682001 Michel Serres. Atlas. Merve: 2005, 13. Nets Cliché image, motif we find also for example Verina Gfader enchant us, but do so in a manner of curing. in Stanley Kubrick’s sci-fi feature 2001: A English translation from German by the Space Odyssey, 1968. (beginning of the author. Paleolithic Era with man’s usage of tools, whereby they become an agent with power TRICK of action over nature) 2 Tiger www.hkw.de/en/programm/projekte/2017/2_ or_3_tiger/start.php, Status: February 28, 2017. 3 Preciado Y digital.lafayette.edu/collections/eastasia/ Paul B. Preciado.Testo Junkie. Berlin: b_books, mammana-postcards/rm0028, vimeo. 2016. English translation from German by the com/142376735, Status: February 28, 2017. author. The postcard as such functions as a BUSI particular medium of travelling and worldly Pharmacology of the spirit explorations/exploitation. For recent philosophical takes on pharma- kon (post Derrida) and pharmacology, see NESS Mundus Subterraneous Bernard Stiegler: His ‘pharmacology of the Link between Serres’ atlas-ing and Athanasi- spirit’ for instance explores our opening us Kircher, Mundus Subterraneus, 1665. towards new futures through technical ob- jects, thereby creating the spirit that makes Posthuman us human. According to Rosi Bradotti, the former technological other, with its insistence on an endangered non-unity of the subject, today is superseded by a technological other which operates simply as a vague dimension. See chapter 3, Das Inhumane: Leben jenseits des Todes: 110–113. Braidotti. Posthumanis- mus: Leben jenseits des Menschen. Frankfurt/ New York: Campus Verlag, 2014.

ie Netze bezaubern uns, aber sie tun es nach for accessing a meditation on social imaginaries Tigers do not directly form the core of my the 15th century, the birth of modern capitalism. It asks, Tricky Business Art der Heilmittel.1 through embedded narratives of worldly-planetary short story, it is rather the complex net woven around in what way this disappearance of common pharma- D In his recent lecture as part of the orders. such sign. Wearing the skin of a modernity or world, ceutical knowledge manifests in new forms of Technopolitics Salon in Berlin Anselm Franke remarks We are tigers, we are tigers. Softly, seductively it is the way this super-detailed, animated ‘tiger’ knowledge production around professionalisation how the tiger in its returning fashion, in art and possibly the sinister entity sings. triggers a series of plots around transformability and and consciousness – basically outsourcing or rather elsewhere, may serve as an entry point to shake up What is striking is Franke’s note on CGI, “where capital, magic, worlding and somatic ordering, forced eliminating all knowledge based on self-experiments worldly orders. A figure of the past looping into the everything is possible and nothing is. You cannot forgetting. – and nowadays opens up a new discursive realm present; a figure with its cultural–mythological–territo- answer why something is not possible.” More specifically, and it will unfold as we go along, around ‘semio-technical trade.’ rial–cosmological demands; a figure that fits neatly In Franke’s talk the tiger appears in an East Asian what follows is an attempt to argue for a tension What is the role of forced forgetting in propel- in registers of the post-de-colonial, of narratives of realm. Similar to Mille’s 1905 postcard image, Japanese between ‘forced forgetting’ and the artist’s archive ling and organising aesthetic endeavours and otherness, of yet another cleansing, modernist projec- Tiger Devouring Asia, that now announces 2 or 3 Tigers, (Guttorm Guttormsgaards Arkiv), drawing on a section scientific discourse? How can the artist’s archive be tion. The tiger is also the very transformer in Ho Tzu the forthcoming exhibition at Haus der Kulturen in in the chapter, ‘Pharmacopower,’ in Paul B. Preciado’s re-approached via thinking the forced forgetting Nyen’s video animation and installation 2 or 3 Tigers, Berlin, the scene is a historical landscape where a book Testo Junkie, where ‘forced forgetting’ (160) that occurs with pharmaceutical traditions, economic with its smooth and sinister coming alive (too well or crowd of people gather around a strange technological is discussed through the structural comprehension analysis and the criminalisation of witchcraft!? How never entirely) of a humanised tiger or tigerised compound, a machine or technical futurity of sorts.2 between pharmakon/pharma subjectivities, folk does Guttormsgaards Arkiv potentially speak of or human by means of CGI animation. This tiger protago- From the back, a beastly tiger jumps. The animal imaginaries and electric modernity.3 Pharmakon from against a forced forgetting? How does it in-form us? nist unfolds as not strictly human, animal, machine, hovers over the machinic entity at the centre of the Greek φάρμακον (phármakon) for medicine, and What is the archive’s chemical message, if there is as it carries within it a seed of becoming a fluid, picture, its flight suspended, stilled in the instance of (ancient) magic drink. My interest is in the modelling any? mythical, textual system. Yet in the process, in a the painter’s vision. The tiger’s object of desire, his of today’s world surface as an endless rail track, that Preciado (159–60): “At the end of the Middle Ages context where the renewed demarcation of otherness, enemy is not the people, is not human flesh. It is the is an environment dominated by communication, the peasant community is destroyed at once: lakes objectivation and inequalities recalls humanist machine with the people watching the catch in travel, exchange, connection and distribution, and the and moors are laid dry, forests cleared, fences built reflections on naturalistic human subject unity, the upheaval at the periphery of vision. shifting understanding of information – induced by and agricultural land as well as livestock can be tiger is stuck in its screen memory. Caught in this A reading of above depictions as an atlas of the circulation of fluids and information transfer within privately owned. The place of the mythical forces of dilemma, I am allowing the tiger to emancipate itself fleshly or somatic orders may turn out as too exclusive our bodies (161). At the core of it: the chemical message people’s imagination is as such obliterated and with from a discourse of indeterminacy and identity, as or reductive here, but perhaps it supports the wider as the key agent. it the ecosystem, in which the plants and substances he becomes more of a conditioning device for our speculations of current experiences based on a ‘Pharmacopower’ invites a closer look at a histor- used for ‘witchcraft’ grow. The witch-hunting can in estranged and conflictual relation to transformability multiplicity of ‘modernities’ with their processes of ical moment of deletion of that part of society that this sense be interpreted as the war of expert knowl- as such. This tiger is more than the effect of a subjectivation, slowly revealing themselves like the was equipped with pharmaceutical knowledge, a edge against the knowledge of the multitude, a war of post-humanist discourse. It is rather a reconstruction taste of a freshly cut passion fruit. process that in the Western world begins at the end of patriarchal power counter narcosexual knowledge, 22 23

Tiger, 2001. Pencil and pen on paper, 21 x 14 cm, Verina Gfader. 24 4 Ueno 25 Toshiya Ueno, ‘Guattari’s Ecosophy and Nature as machinic assemblages: in reading literatures and films by Kôbô Abe.’ Propos- al for The Dark Precursor – International Conference on Deleuze and Artistic Research 2015, Orpheus Institute, Ghent, November 9–11, 2015. Thank You to Ueno for sharing this document–thoughts in process–with me. A hint also to the marvellous and timely Jap- anese feature Woman of the Dunes (Suna no onna), 1964, directed by Hiroshi Teshigahara after a novel by Kôbô Abe. Tricky Business that is traditionally practised by women, colonialised into her self-experimenting with doses of testosterone Pressure pad for textile printing, people and illegitimate magicians. A certain ecology of in gel form or injected in liquid form. Her becoming Iran. Cut tree, 18 x 12,5 cm, 4,5 cm deep, unknown artist. body and mind should be extinguished or confiscated, what she calls a somatic connective, a ‘joint’ that “ARKIV”, G.G., Pax Publisher, the hallucinogenic treatment of pain, lust (libido) and recognises itself by forming new connections. The 2010. Reg. No.: GA_000144,

Verina Gfader Verina erection. Modern colonial and capitalist knowledge consciousness and knowledge, beliefs and truths, https://guttormsgaardsarkiv.no/ pathologises all forms of subjectivation, which are generated through this personal account, life story, node/66/item/166. produced through collective and physical experiences palimpsest. The concrete and virtual vocabulary, this of the ritual, through the transmission of symbols and future-archival perspective includes: magicians, the taking of hallucinogenic or sexually stimulating illegitimate agents, witchcraft, commons, self-experi- plants. Behind the charge of heresy, witch-hunting ments, care, curing, hallucinogenic effects, organ hides the criminalisation of the practices of ‘voluntary therapy, ritual, mythical forces. We listen to a machin- future-archival vision inherent in this logic be interpreted have committed suicide, not because they sought to poisoning’ and sexual and hallucinogenic self-experi- ery of chasing a function: dragging us to a sensual only in its full, violent character? sacrifice themselves for their own works or for the ments. Electric and hormonal modernity arises from psychoactive regime that both realises today’s While Preciado’s account of the histories and sake of the world, but as a way of inventing a series of this forced oblivion.” subjectivities and is produced by them. Her writing is futures of non-/reproduction via today’s semio-techni- unforeseen alliances within nature, where nature was My debt to Preciado’s dystopian vision on current a politics of naturalising common knowledge in a cal trade and information channels and transfers never posited as an object of correspondence or body-power relations and pharma subjectivities lies in convoluted, clean-dirty, viscous world (view) where expresses a structurally comprehensive endeavour, filiation; that was the reason why the issue in becoming the way she brings forth a logic of ex-inclusion based ‘naturalising’ is as excessive as it is undecipherable. for Toshiya Ueno it is the very potential of a structural and writing was ‘not pity but unnatural participation’ on a holistic grasp on ‘witchcraft’/pharmakon, if only But are we loosing something mythical in this formless informe producing inclusive ‘informatic’ (Deleuze and Guattari 1987: 240). Unlike the evidence be means of a ‘forced forgetting’ and in that way a process? Why do we feel at loss and humiliated in subjectivities and social imaginaries.4 I have been of substantial influence among authors or intellectuals modelling of resistance. In this rendering, the fabrication this affair? searching for sensual-conceptual connections to the presented by positivistic explanation, or the filiation by of witchcraft and its ecology, witchcraft ecology, are The role these forcibly forgotten instances and mythical forces à la Preciado. Then I recalled a perhaps heredity in the biological world, unnatural participation forgotten only as what today appears libidinal, acts of ‘witchcraft’ at the time of colonising the less sentimental register of semio-technical trade in proceeds with epidemic and contagion as in the case distortedly creative, curative and remedial. Electric New World then reproduce come as an afterlife in the Japanese writer’s notes on the production of of ‘vampire,’ more physically in the conjuncture of a and hormonal modernity is founded on a twist, one the shape of something dangerously and seductively subjectivity, composed by unforeseen and extraordinary bacterium, a virus and a molecule. I am almost tempted might say. oppositional, controversial, resistant, impossible to mixtures of biological, chemical, viral moments. Exem- to call it ‘informatic participation,’ just because it Testo Junkie is a testimony. I love Preciado’s soft take on or in – vampiristic. Along these lines I think of plary in art and literature. precedes the emergence before structural combina- and vulnerable voice and narrative on her upbringing Preciado’s emotion-libido-machinery as a way of “Writers, authors and philosophers are always tions. While anthropological concepts of participation surrounded by a major DS collection – the father’s interpreting mythical forces (of people’s imagination) engaged with becoming and belonging to something could afford the model of symbiosis among different garage and company somewhere in the States. The drift as a suture that resists being fiction. Can the potential or events through their own writings. Many writers social groups, the notion of ‘unnatural or informatic 26 5 www tricknology Worlding 27 Blaker near Oslo. References: Åbäke, I saw Pascale Casanova.The World Republic of that we had come to a treasure house, filled Letters. Cambridge, MA: Harvard University with tricknology, Victoria and Albert Museum, Press, 2004. London, 2013; Giorgio Agamben on forgetting Erich Hörl. ‘Variations on Klee’s Cos- and Sergei Eisenstein’s ‘plasmaticness;’ Tim mographic Method.’ In Textures of the Robinson’s Connemoara, 2011; and a former Anthropocene: Grain Vapor Ray, vol. 2. Berlin: talk at ‘9min 43 sec’ symposium, Academy Revolver, 2014, 180–192. of Fine Arts, Vienna, January 23, 2015; on the meaning of referentiality in art production: Nameless archives, museums and curatorial strategies. Magic and Happiness (Agamben. Profa- nations, 19–22), Liu Tian. ‘On Curating the Archive vision Nameless.’ Random search: guttormsgaardsarkiv.no/ node/276/item/1186#. Accessed February Forgotten 2017 Agamben (Profanations, 35): “What is lost demands not to be remembered and fulfilled Wording of display but to remain forgotten or lost, and there- Åbäke’s archive sculpture at V&A. fore, for that reason alone, unforgettable.”

Tiger in Guttormsgaards Arkiv

Tricky Business participation’ might posit a matrix of conviviality in certainties, thoughts, sensibilities. And a vision that Sample book from engraving which a variety of cultures – including ‘races’ or itself has become visionary. workshop, Japan. Paper, 30 x 21,5 cm, unknown ethnicities, and different semiological regimes – could In a mail exchange with Hans Hamid Rasmussen artist. “ARKIV”, G.G., live together.” around New Year 2017, he talks about the “new layers Pax Publisher, 2004. Reg. No.:

Verina Gfader Verina It is information and chemical messages that now of violence, earth creaks and poverty”, which I feel are GA_LH_000045, https://gut- explode and claim to attune our imaginary capacities. essential to recognise as the currents for devising and tormsgaardsarkiv.no/node/246/ item/48. It seems that we have never imagined, have never establishing new subjectivities. It is hard in our worlds been in liaison with strange symbiotic alliances before. and completely dispersed lives to trust such endeav- And it seems that memory is partially lost, or people’s our. But what capitalism may have taught us well, abilities to memorise are superseded by something namely being able to think / enact alternatives only else. through its own sick set-ups and economy (perversity), emancipatory, egalitarian connectives-bundles of Writing this story has evolved and expanded prompts us to rethink and act upon how enormously nerve fibres? Perhaps we can start by understanding since running a 6-hour workshop, www tricknology, on large our capacities for transformation are calling our changing ‘now’ as the pharmaceutical moment of Guttormsgaards Arkiv at Blaker near Oslo a couple of themselves forward. Recursions to modernist narra- an art of visionaries and magicians. A significant years ago.5 We started with ‘societies without access tives and histories, and the unresolved problematics historical moment of a larger consciousness of no-more to the past’ and storytelling in relation to the un-rooting between transformability and capitalism, propel an belonging is forming. Creative, doubtful, visionary, condition of today’s sensibilities; atlas-ing metaphors unsettling, alienating feeling in/for us, but most likely not-yet-fully captured by means of a code, mesmeris- guiding us through. Guttormsgaards Arkiv, the key in very diverse ways. These nuances in relations, I am ing, sound. motive of its discourse and performativity, was not curious about. The “chemical message”, as a somatic-conceptual about strange objects, but the estranging, mythologiz- Pharmakon and witchcraft ecology – their history operator that we find in Preciado, may thus be deemed ing and unnatural capacity the ‘objects’ preserve, and and potential update today from within formations of an artistic zone, from within which the mythical-real enact. Exploring the haunting character of transform- pharmacopower – is of interest for a kind of acknowl- force of people’s imaginations intensifies most. ability in capitalist regimes pointedly surfaced in edgment of absurdity. Die Netze bezaubern uns, aber sie tun es nach Sergei Eisenstein’s early notion of plasmaticness: I remember ‘witchcraft’ as a place where forces Art der Heilmittel. polyformic characters producing polymorphic charac- are classifications of granules … ters on the page or screen. Walt Disney and Sergei The unsettling, discomforting, alienating feeling Eisenstein. provided by the recursion to modernist narratives and Now the vision of an alteration of information, histories, including this story, continues. But how can that is the alteration of somatic matter and also people’s we transform it into a thinking towards pharmaceutical, 28 Archana Hande 29 Silk Route Hedges

Silk Route: or the Silk Road, an ancient network Silk Route Hedges of trade, economy and cultural exchange across Hedge: a fence or boundary formed by closely 1 Eurasia, inspired me to travel to some parts of growing bushes or shrubs or a way of protecting the route and get my own account of the current 2 oneself against financial loss or other adverse economic and cultural exchanges. It is also the story circumstances Here, I weave the stories of textile and the Archana Hande Archana of artistic exchange and the spread and mixing of salt/dry desert across man-made borders, religions, all set against the background of the rise Salt Route Map – Buddhist Map, stories of exchange and migration through drawing – ink on paper, 2015 4 and fall of polities which encompassed a wide range trade. Kutch, Rajasthan, Pakistan, Afghanistan, Nepal, of cultures and peoples, whose identities we still know Ladakh, Tibet and the Indian Ocean are the threads too little about. in my journey note book – called The Only Planet. The Indian subcontinent’s large salt market received salt from the Silk Route Map – Himalayan The Only Planet, cover page of deserts of Rann in Gujarat as from Range, drawing – ink on paper, an unfinished travel book 5/6 the Tibetan salt lakes via Mustang, the ‘Forbidden 2015 Kingdom.’ Mustang was an independent kingdom long ago. When China threatened to occupy it, the King acceded to Nepal. The Dalai Lama calls Mustang the last bastion of living Tibetan Buddhism. There is more Tibet here than in today’s Tibet. The relative isolation of the region has preserved its culture. In fact, you can walk for miles here and not meet anyone along the desolate landscape.

Chintz or Chheent or Calico: a printed/plain Mustang – Nepal / Tibet Land- cotton cloth that found its way along the Silk scape, digital print, 2015 Route and the Indian Ocean route to homes 3 Mustang Nepal / Tibet Salt Route, and fashion houses from east to west. pin hole camera – digital print, 2015 The Golden Feral Trail, still from the video showing the Indian Ocean calico trade route, 2015 1 & 2 30 31 Silk Route Hedges Archana Hande Archana

But when we talk about the Silk Route – this Hybridity. Exchange. Migration. These words coalesce trade was so extensive that the major set of around the human stories I explore by chasing phan- 7 trade routes between Europe and Asia came to toms in the landscape, but also by recording the ghost be known as the Silk Road. I was thrilled to see silk at along with the landscape; it is about an essence of the Viking museum, in Oslo and how this trade route someone or something around you in an empty land- connected Scandinavia through the Greeks. scape, evidence of the human journey. My trail mean- ders through stories of human identity impacted by The Golden Feral Trail, Indian geographical borders shifting in response to trade and Ocean trade map of camels colonisation: the traders, the merchants, the seeds, along with calico, digital print on paper, 2013-14 the animals, the textile… Over a period of hundreds of years, slowly the nomadic life transforms into a more settled life in a few villages, and also into the adoption of the local religion, an identity which never existed for them; a stamp which previously didn’t attach to them. As they are disconnected from the originary narrative, which said, “I AM THE LAND” and never said, “This land belongs to me.”

Water colour on found legal Image found at a flea market. documents from Rajasthan. Script On the opposite side of the Urdu and Hindi. Miniature artists paper I painted a desert land- collect these papers as found scape – recording the ghost images and paint their traditional along with the landscape. costumes on one side. 32 33

“Patan king: Are you from Salvi Family? The Salvi family of Patola weavers originally hailed Silk Route Hedges from Jalna, Maharashtra. The Patan king Kumarpal, 9 Abdul: No, I am from a trader’s family. I am just a Jain follower, had a habit of wearing new Patola the link between you and the Salvis. turbans everyday. Jainism accepted Patola made from pure silk. Archana Hande Archana Patan king: Hmm, so tell the king the truth: who is Doubtful of the nature of the Patolas he was receiving cheating – the Salvis or you? I am not a fool to miss from the Salvis, the Patan king Kumarpal fought the fact that these Patolas are all used ones. and defeated the King of Jalna and brought 700 Salvi weavers to Patan. He could now get a new, holy Abdul: No idea. I am just a messenger. Patola daily. He converted all these Salvi families from Digamber to Shwetamber Jainism.”

Excerpt from my uncompleted book – The Silk Route Hedges – The Silk Route Hedges – The Only Planet. The Accordion Book, lithograph The Accordion Book, Lithograph and block print on Nepali paper and block print on Nepali paper 8 and elephant dung fibre paper, and elephant dung fibre paper, 16 pages, 2011 16 pages, 2011

“Chotta Rann (salt marsh) of Kutch: The False Bite (Journey from marshy, saline clay desert and The Bombay to Rann), intaglio print 10 Land of Textile. (From: my dairy notes) on Nepali paper, 2014 34 35 Silk Route Hedges

After 2 hours and 30 min, we reached a My red-hot blood steamed up and said, but then what place called India Bridge, which defines is this permit for? Suddenly I felt like an uneducated the start of the Rann. But came to know who doesn’t know how to read English – he said this Archana Hande Archana 12 that we have no permits, so back to Bhuj with our permit was only till the last village we crossed (which identity cards and our mug shots. Enquired, realised was 10 km behind) – but that we had visited twice and whoever wants to go has to show their faces to the you don’t need a permit. He agreed and said, “I am deputy commissioner… submitted everything at 5:25 sorry you have to go to the BSF head quarters and pm, almost before time. The officer was surprisingly take a permission.” Whatever good impression I had humble and well behaved; he suddenly asked for the of the well-behaved officer in Bhuj, who gave us the original identification card – we rushed back, came permission, at that moment I would have strangled his Need a permit to go to the salt desert, as back with a few identities but as we didn’t have them neck for sure. it is just 85 km away from Pakistan bor- for everyone, we requested the officer, who agreed By then he saw my friend Abeer walking coolly on the 11 ders. From Bhuj to Rann the landscape is in the end, as I took the responsibility of the group … bridge, so the officer screamed – ‘Hello sir, are you a filled with ‘Babool plants’ – supposed to be ecological yes, we got the permit. special person on this earth to walk on that bridge?’ waste; it sucks all the ground water from the desert. I overheard the other officer saying, “Oh, is this the The British wanted some green landscape, so this group of 95 foreigners who want the permit?” But is the army man a special person on this earth to plant was migrated and planted. As it is a weed, it has and I was wondering, if they can give permits to 95, enjoy this landscape?” happily spread its roots all over, capturing the land in then what is the use of the permit? Or the security? its full power. It is supposed to be good for brushing And of course, in that land we all looked like foreign- This border sees everyday an exchange of textile – teeth and we also saw camels eating them. ers. crossing the barbed wire and the salt desert, the We again travelled two and a half hours, reached the quilts make their way to the homes of each other’s Bhuj to Rann landscape (babool bridge, jumped out. The driver said the army guy will land. Cross-border marriages still happen – dowries plant), photograph, 2009 come and check your permits. The army guy took the still come in the form of quilts, exchanges which go permit from my hand, looked at it, stared at me and beyond a permit. And the barbed wire is just an said, “Madam, you have no permission, even for this inconvenience. bridge.” Chotta Rann, photograph, 2009 10 36 37

Still, the city attracts waves of Silk Route Hedges distressed populations; since it is still the economic capital, it remains a port city. But no calico leaves its shores anymore. Archana Hande Archana

Bombay / Mumbai at Night, now redeveloped into residential and office complexes, photograph, 2016

JupiterTextile Mills Land Lower Parel, photograph, 2005 I live in Bombay, once called “Manchester 13–24 of the East” – center of the industrialisation of textile manufacturing – many migrated from afar crossing geo-political borders to this mega city to make a living, but today greed for scarce land and corrupt politicians smashed the migrants’ big hopes and sucked their living; now they live in a complete despair.

Girangaon (scroll), block prints on Chinese silk and acrylic paint, 2011 Bombay Mill, block print on calico, Textile mill labels from British 2010 India, chromolithographs, late 19th or early 20th century The End, block print on calico, 2010 38 1 Paul Ricœur La mémoire, 39 l’histoire, l’oubli. Hans Hamid Rasmussen Paris: Seuil, 2000

2 La Bataille d’Alger is an Algerian film by the Italian Kasbah walking III, filmmaker Gillo Pontecorvo, from 1966.

taking photographs and All photos (pp. 40–45): Hans Hamid Rasmussen making embroidery

uring the past years, Europeans have intensively constructed in close relation to geography, places in Boualem’s commitment to establishing an walking in the Kasbah I feel connected to historical III, making photographsKasbah walking and embroidery dealt with issues related to refugees and im- landscape and cities, the name we give the places, international socialism based on Marx could not find time, to periods of long duration like the time of French D migration, due to the wars both in Afghanistan and also immaterial shared knowledge, such as myths a future in a state like Algeria had become. He went colonialism, air strikes and bombing and the FLN’s and Syria. But there are also persons seeking safety and fairy tales. into exile to Paris where he became politically active, response to this. I feel the repercussions of the civil and better living conditions who are from elsewhere in in close relation to art in many forms. war in the end of 1990s, but also of earth quakes that Africa and are arriving in Europe with transit through During my second trip to Alger in 2007 together caused damage to buildings and street structures. Libya, Algeria and Morocco. I will not go into this large with my brother Karim and my father Boualem Makouf, In the Kasbah the shifting social conditions have In a strange way the present city structure reflects the

Hans Hamid Rasmussen topic with the exception of mentioning that my family I met relatives living in the Kasbah. A Kasbah is etymo- also formed the city. The steps we walk up and down past of many Algerians. I believe refugees around the also once arrived in Europe as refugees, fleeing from logically understood as a fortress. The form of the respond to shifting political and social circumstances. world have similar experiences. Walking in the Kasbah a coup d’état in Algeria in 1965. We rested in Budapest street and colours used on the facades should cause I write “we” because there are so many people who weaves together the past and the present, as well as for one year. Then we moved on to Norway, while my disorientation. The enemies had to split up in thinner carry with them past experiences of violence. Well after interlinked geographical references. father took his way to Paris. For my sister and me the lines or smaller groups, which then were easier to moving or fleeing to new social and geographical flight was easier because our mother is Norwegian. attack. The French used to call the Kasbah in Algiers conditions, a large gap exists between an inner memory This happened in the late 60s, early 70s. During that “la ville blanche”.2 In the film La Bataille d’Alger from or a memory we share with some few, and a collective time Scandinavia was still in a mode of openness. 1966, we learn how the French army developed new memory. Memories can be contained in the smell of To be more specific, the farmer’s area where I grew systematic methods to penetrate resistance move- a flower or by the sight of a familiar bird and the songs up was a rather friendly and peaceful place to arrive ments such as FLN. As a matter of fact, with a tremen- they sing. But more important for our living conditions at. Still, like most strangers, I have experienced what dous force, napalm and electrical torture and the is how we are able to transport and translate our it means to be alienated both geographically and systematic repression of civil people, the oppressor memories from past into present situations. When socially. Even after living in Norway for many years, could penetrate a resistant social body living in the I still experience and keep within me the knowledge of country as well as in the complex city structure of the what is different.1 Kasbah. When I took walks in the Kasbah, I was aware of this history and reflected on it. This history was Paul Ricœur stated that, on the one side, what passed over from my father and is entangled into family we forget and what we remember is a result of an active matters. He told me: “When I was tortured by the French, cognitive process. But what becomes history and it was bearable because I knew the earth under me what we share with others results from a shared critical was of my own. It gave me the strength to endure. process, which then slowly develops into that what At the time in prison after the coup, when my own becomes a collective memory. Shared memories are people tortured me, it was as if the earth disappeared”.

42 43 Kasbah walking III, making photographsKasbah walking and embroidery Hans Hamid Rasmussen

46 All photos (pp. 47–51): 47 Åsa Sonjasdotter Åsa Sonjasdotter Promiscuous Weaving

lant breeding is a promiscuous undertaking, a Breeding is an interspecies skill carried out in Promiscuous Weaving genealogical endeavour, where knowledge from a dialogue between plants and humans, also involving P historical moments is re-organised and brought many other agents such as microorganisms, soil, to the present in the very flesh of the plant. When climate and weather. It is a skill of deep time, through characteristics from different varieties are entangled which the genetic flexibility inherent in plants has

Åsa Sonjasdotter in a new seed, it is at the same time a narrative remix, adapted to various conditions as they have migrated a new beginning of both matter and story making. through shifting landscapes and lived through changing Thus, breeding can be described as a weaving of em- climates and cultures. The species’ variation, appearing bodied histories, allowing for new space–time–matter in an abundance of taste and smell, shape and form, to emerge. is the result of intense and intimate social weaving, Since some six, seven years, together with the with humans as well as with other species. It is memo- gardeners Bennar Markus and Matze Wilkens, I have rised in the tissue of the plants as a stable species been cultivating and breeding potatoes in the publicly variation, and by humans as a cultivation technique. accessible urban garden Prinzessinnen­garten in Breeding generates knowledge that is made operative Berlin. Over the years we have had the chance to get to through a plant-human joint effort in cultivation. know about twenty-five varieties, almost all of them With industrialisation these lively socialisations bred by other non-industrial growers. By deliberately were brought to a halt, as breeding was lifted out of performing sexual assistance among the plants in the the fields and into controlled environments of labora- garden, by bringing pollen from one flower’s anthems tories and greenhouses. Back in the fields, both human to another’s pistil, or simply harvesting the fruits of and plant labour were deskilled and mechanised. The flowers that have been pollinated with the aid of wind new order brought standardised plant clones designed and insects and then sowing their seeds in the soil to behave uniformly and predictably. The memory of again, we have taken part in the weaving of new potato diversified human-plant knowledge, as it had sediment- genealogy. This is neither to mess with God’s divine ed in the tissue of the plants as species’ variation, order, nor is it to be in control of nature. It is about being got locked into seed banks and rendered a genetic intimate with plants. This sensuous form of making pool for the engineering of modern, industrially adapted together with plants has been a way for us to reconnect cultivars. to nurturing human-plant social fabrics, and to the Thus, for us to cultivate and breed pre- and way it used to occur. non-modern potato varieties has been a way to regain 48 49 Promiscuous Weaving Åsa Sonjasdotter 50 51 Promiscuous Weaving Åsa Sonjasdotter

sensous and knowledgeable relations. In order to potatoes weave a fabric of connections between of embodied history likewise enables a re-weaving lines, not about a nostalgic possibility to erase the past, re-connect to the plants’ memory, I have traced the humans, plants and landscapes over deep time spans. of the narrative of this history, as these are entangled but rather about revealing how the “past” is open to historical threads of different varieties, as this brings When we ingest and get nurtured by the tubers’ tissue dimensions. In Meeting the Universe Halfway, change: “It can be redeemed, productively reconfigured us closer to the specific moments in which they have today, we are somehow bodily intertwined with this feminist theorist and theoretical physician Karen Barad in an iterative unfolding of space–time–matter.” emerged. Through this tracing process, it has become continuous, uninterrupted deep time fabric. The plant describes experiences made in quantum physics Breeding enables us to stay in touch with embod- apparent how the genetic variation sedimented in the matter of the farmer-bred potato varieties we are laboratories, where particle and wave experiments have ied memory, by allowing it to appear, disappear and plants is at the same time a memory of life shared with cultivating in the garden has accumulated memory shown how past and future actually are developed at re-appear – a process that permits the unmaking of humans. Especially the tubers’ sensory characteristics along trajectories from pre-Hispanic America to Europe, the moment of measurement. This reveals that time is linear narrative and uniform order and gives way to the of taste, texture, colour and shape render the memory along the triangular slave and sugar trade of early not a static parameter, but is made as we measure it. weaving of sensuous and nurturing social fabric in farm of such an everyday socialisation tangible, as it has modern colonialism and capitalism. In an interview in New Materialism: Interviews & fields and elsewhere. occurred throughout shifting times and landscapes. Through cultivation of this living, historic matter, Cartographies, Barad explains what this means: “There Thus, to socialise with these old varieties today, through we wish to open up for a reconnection to the memory is no inherently determinate relationship between cultivation, cooking and ingestion, is a sensory recon- of these genetically rich and flexible plants, a memory past, present, and future. Instead: … ‘past’ and ‘future’ nection to historical moments. As the tubers must be that is of both material and narrative dimensions. We are iteratively reconfigured and enfolded through the replanted every year in order to be maintained, these further wish to bring awareness to how a re-weaving world’s ongoing intra-activity.” This is, as Barad under- 52 Zille Homma Hamid Photo: Sarin Tasnathepgamol Natural Dyes Workshop

olours have always contributed significantly turer of synthetic dyes, and dyeing with natural dyestuffs to the history of human expresssion. It is disappeared throughout Europe and North America. Cimpossible to imagine a world without colour. There is, however, a certain satisfaction in We have always beautified and adorned our bodies, rediscovering traditional methods which connect us clothing and the things which surrounds us with with nature. Moreover, this rediscovery at the same colour. In ancient times, colours were obtained from time takes us on a journey through history, especially

Zille Homma Hamid Zille plants, minerals and animal sources. The most common to the history of regions which are well on the way of all colours was yellow; nevertheless there existed of being wiped out. The focus of the Natural Dyes a wide range of brilliant colours and shades in nature. workshop was to introduce traditional dyestuff to the The use of colours depended on their availability participants and show them a very easy way to extract and varied in different geographic locations. We find rich colours from leaves, flowers, barks, tree roots references of trading activities between the medieval or bugs. The workshop covered basic theory and Arab, Persian and Indian merchants as well as with the provided some techniques to achieve different shades early European traders who brought saffron, kermes, ranging from vivid to subtle. Based on these methods, Tyrian purple and indigo to Europe. the participants were able to experiment and create The colour purple played a special role in the patterns. The workshop was also about giving an history of fabric dye. It was extracted by crushing insight into the versatility of natural dyes. thousands of sea snails found in the Mediterranean For instance, natural dyes consist of polychrome sea. Due to the high amount of Murex snails required, elements which provide a richness and diversity in it was and remains to this day the most expensive and colour, while synthetic dyes usually consist of mono- exclusive colour available in the region of what is chrome elements. The process of natural dying hasn’t now called Lebanon. The price often equalled its weight changed much over the time. Most natural dyes need in gold and only the richest people from Asia and a mordant which helps the dye molecule to bite onto the Middle East or royal families from Europe had the fibre and intensify the colour. The process of access to this fascinating colour. With the advent of dying is very simple and requires no more then the synthetic dyes every colour was available practically dye material, water (distilled or rain) and the dyestuff. over night, which had an immense impact on the You fill a pot with water, add 500g dyestuff for 100g market of natural dyes. In the beginning of the 20th material, add the textile and heat it all up to a simmer century Germany became the world’s largest manufac- until the colour is transferred. 54 55 Natural Dyes Workshop Zille Homma Hamid Zille

All photos (pp. 54–57): theTent, workshop in Johannes- burg, Zille Homma Hamid. Photos courtesy: ifa (Institut für Auslandsbeziehungen)

“theTent” people of different ages, cultures and social back- “theTent” was one of numerous workshops fields of fashion, design, photography and art in public The workshop “theTent” was initiated and conducted grounds to be part of an experimental treatment of held in the context of prêt-a-partager, a project by spaces. This artistic dialogue created interdisciplinary by Friedrich M. Ploch and Zille Homma Hamid in textiles with natural colours. The joint project was ifa (Institute of Foreign Affairs Germany). In 2008, and multimedia works, which then toured in the form cooperation with Kemang Wa Lehulere in 2011. The presented in the frame of a public event at the historic seventeen artists from Africa and Europe met in of an exhibition to seven different African countries. idea was to bring together youth, students and creative Drill Hall in Joubert Park, Johannesburg. Dakar, the capital of Senegal, to collaborate in the

58 59 Natural Dyes Workshop Zille Homma Hamid Zille

Photo (p. 58): Sarin Tasnathepgamol Photos (p. 59): Left, top down: Dorothee Albrecht, David NG McCallum, David NG McCallum, Dorothee Albrecht. Right: David NG McCallum. 60 1 “From A Broken Web. Separation, 5 Ynesta King as referred to in 61 sexism, and self”, Catherine the essay “Mer biologi, mindre Kirsti Willemse Keller. Beacon Press (dates?) frihet”, see footnote 3.

2 Athena was born from Zeus’s 6 Rike Frank og Grant Watson: Veiled in drowsy uncertainty, forehead. Source: “From a «Materials at an Exhibition» Broken Web” Catherine Keller: from the book Textile Spaces, “When God was a Woman” Sternberg Press, 2015 Merlin Stone. Maja rises from the grass 7 Elisabeth Haarr b. 1945, Nor- 3 “Mer biologi, mindre frihet” Nina wegian textile artist based in Björk, Morgenbladet 7. mars Kristiansand 2014

4 Björk assumes that gender divisions in fact start with indus- trialization in the 19th century.

tarting with an Indian veil, along the of way of daddy’s girl, born without a mother2, who serves the else to take care of the house, children and parents enjoyed a very high status was ingrained in a larger Veiled in drowsy uncertainty, Maja rises from the grass a European female monster, via a banker on a patriarchy perfectly. These two take shape as mythical that may exist. Without undermining the importance protest of the time. One would think that textile artists Sbusiness trip, I seek to examine the Norwegian figures that exist as a single antithesis to the mascu- of the fights led by feminists before her – providing could have made life easier for themselves by choos- textile tradition to reveal something there that we line hero. The male figure, free from tenacious rela- results that form the very foundation on which she ing an “established” form of expression, such as might have forgotten. tional ties, can do anything: from committing heroic can construct her points of view – Björk highlights painting, for example? – Couldn’t that have been Kirsti Willemse Kirsti bravery in wartime, to simply being through the power the ecological consequences of continuing to strive something? – Okay, I guess not… The artists claimed Beginning with the uncertain: it has been claimed of thinking that he is someone. Yet, this male figure, towards such a phantasmagoric ideal. If women, space on their own premises, and the freedom to that the world doesn’t appear the way it truly is, that according to Keller, is closely tied to and dependent through two centuries4 of work, have managed to choose a form of expression was an intrinsic part of reality is obscured and only manifests through little on the female figure. How can the heroic even exist, conceal the “dirty little secret”5 of humanity, that we their claim. For me, one of the more interesting glimpses, if at all. This phenomenon is referred to in if not in a dualistic relationship with the quotidian bound, are fragile, mortal and dependent bodies, then it is, aspects is the insistence on the material’s inherent the Hindu tradition as the “Veil of Maya”. After having from which it marks its freedom? Keller concludes according to Björk, “[...] too important not to make value, possibly because it resonates, in a peculiar way, looked into the topic, I’ve gained the impression that that the Western way of defining an autonomous self politics of it”. The fact is that human kind is vulnerable. with Nina Björk’s postulate for an alternative structure Maya has quite a bad reputation. Her veil is something is inherently hostile, because in the very idea of a It depends on nature and ecology to work in order that we can use to address the climatic challenges you’d need to penetrate and surpass, should you wish Western self lies the precondition of reducing the other to have a future. Hence, we must face challenges we face. to gain a lucid and conscious view on your surround- to an object, regardless of sex. collectively. ings. Maya is the forest you cannot see through the As a member of a younger generation of textile trees. Maya is all the things that compose your life, yet Thus, it seems that both Eastern and Western The dualistic definition that occurs at the expense artists, there are several works created by artists who obscure your vision. Still, other accounts invest Maya traditions associate the material and trivial aspects of the other, like between the female monster and belong to the abovementioned golden era of textile with the magical forces needed to transform an idea of everyday life with something problematic. We will the male hero, can also be sensed in the fight led by art that stir my interest as an extension of the topic into a physical reality. Etymologically, the word Maya see that the challenges related to the female mon- textile artists in the Norwegian art scene. They have, raised here. One is Frustrasjonsteppe, or Frustration may be derived from má, which signifies mother. strosity also make themselves valid in the fight for a throughout the last four decades, challenged prevail- blanket, of 1986 by Elisabeth Haarr7, a tapestry with more sustainable natural resource management: an ing art concepts by transforming the perception of plastic bags woven into the piece. The text: HUS MAT This leads me to the female monster. In the book essay written by the Swedish journalist and feminist textile materials. They were met with resistance, which BARN ALENE ALENE, (HOUSE FOOD CHILDREN From a Broken Web1, Catherine Keller introduces the Nina Björk, published in the Norwegian weekly could partly be explained by the fact that textile art CLEAN ALONE ALONE), is woven in big letters set conception that in the depth of Western and European newspaper Morgenbladet on the occasion of March 8, served as a comfortable limit, from which fine art could against a variegated background. A yellow handprint culture lives the idea of feminine monstrosity. In this (2014)3, contains the observation that the ideal of demarcate itself6. At best, this could be considered a sliding down from the right edge of the piece express- idea you find the self-abasing mother, the commodified feminism has evolved to become a banker on an questionable honour, especially in a time and a land es weariness rather than the willingness to fight. A woman whose everyday actions can only achieve airplane, detached from physical realities. With this where fine art needed to find its own form. The struggle transformation has taken place in this work: whether value through others. You also find the Athena-like freedom comes the premise that there is someone to promote the intrinsic value of materials that hadn’t the plastic bags are the result of distress or not, the 62 8 Else Marie Jakobsen b. 1927, d. 2012, Norwegian textile artist from Kristiansand. The two works are parts of a triptych.

relationship between the choice of material and the works themselves also are subject to laws of material text, though mixed with a sense of humour, evidently decay. Through the careful examination, and penetra- hints at despair. The transformation itself owes itself tion, of the materials’ nature we are reminded that we to the fact that the work has come into being in may lack the ability to see clearly the relationship the midst of all the children, food and plastic bags. between the materials and our selves; this may also be Kirsti Willemse Kirsti It insists on its own right to exist while simultaneously connected to our culture of overconsumption. Like revealing humanity’s “dirty little secret”, as evoked by the materials, our bodies undergo decay; together we Björk. This aspect is also reflected in the use of the, crumble, we get worn out, we go out of fashion. Yet, until then, deemed quite unworthy material. underway in all this, shall the bodies and the materials live: Jakobsen defies our gloomy prospects and Two other works, with a quite different expression weaves the decay into the same earthly material. and tone, also are relevant in this context, is Der møll tærer and Der rust tærer, (Where moths destroy and In a tradition where spirit and material were Where rust destroys), of 1994 by Else Marie Jakob- valued as opposites, it was considered radical to insist sen8. They are both woven mostly in wool, with open on the value of textile, an everyday material, as worthy sections where the warps are left visible. The interac- of the arts. To open the materials and recognise their tion between the tightly woven areas and the open inherent value is still a relevant, contemporary issue, parts creates an illusion of dissolution. Yet, the both in acknowledging the materials’ worth and as materials that are disintegrating are not the same as a reminder of our own degree of a wretched, natural those used to represent them: Those in nuances of condition. white allude to decay caused by moths, and those in copper and brown, caused by rust, as suggested in the titles. The colours change from ivory to pure white in Where moths destroy and from a coppery, rich (This text is a further development of elements from brown to purple hues in Where rust destroys. To see the exhibition text written for the Jubliee Exhibition material decay simulated through a whole different of Norwegian Textile Artist 2017, where Willemse was material – woven wool – allows us to examine the very a co-curator and the project manager.) essence of materials with a new, clearer and more distanced gaze. Another aspect to consider is that the Translation: Nora Fangel Gustavson World Wide Weaving – Workshops 66 World Wide Weaving 001 67 Interlinking Practices, Complex Fabrics of Relations and their Materials

Texts (pp. 66–89): Dorothee Albrecht

ver since the first World • The analysis of a specific textile, The work on the individual projects Interlinking Practices, Complex Fabrics of Relations and their Materials Wide Weaving – Interlinking how it was produced, how it fits and the common assemblage in EPractices, Complex Fabrics of in historically, its capacity to space was accompanied by the Relations and their Materials shape history. following projects, presentations – Workshop, the intention has been and workshops: to extend and rethink the space of • Seth Siegelaub‘s Centre for education and production related Social Research on Old Textiles Theo Barth and to art, textiles and other crafts. For (CSROT) reflects on his interest Hans Hamid Rasmussen World Wide Weaving 001 Wide Weaving World the first edition at the Kunstnernes in textile history, its connection Quilt game Hus in Oslo, the participants were to trade, the development of invited to work on various questions capitalism and industrialisation Åsa Sonjasdotter and topics, for example: and in particular, the range and Potato perspective on weaving ideology of its literature. • What kind of space / architecture Geir Tore Holm and can we open up with carpets • Reflections on the work of Søssa Jørgensen and textiles? artists like Hélio Oiticica, James Sørfinnset skole / the nord land Lee Byars, Varvara Stepanova • Tapestry is a synonym for and Rosemarie Trockel. Siri Hermansen Left, top: Potato perspective on complexity in English. Tipping Point Station weaving, Åsa Sonjasdotter. Left, bottom: Sørfinnset skole / the nord land, Geir Tore Holm • Weaving considered metaphori- Markus Degerman and Søssa Jørgensen. Photos: cally – also knitting, combining Hard Textile. Hans Hamid Rasmussen. all kinds of materials, connecting Right, top: Quilt game, Theo Barth and Hans Hamid Rasmussen. ideas. Right, bottom: Tipping Point Station, Siri Hermansen. Photos: • Textile used as fashion, costume Dorothee Albrecht or masquerade / related to queer culture / with performative elements. 68 7 Michel Foucault, The Order of 69 Things, New York, Pantheon, World Wide Weaving 002 1970, p. XII, XIV

8 Michel Foucault, Other Spaces, Make Your Own Dictionary 1967 9 http://www.potatoperspective. org/page8/page8.html, retrieved Jan. 11, 2016

Photos: Top: Dorothee Albrecht. Middle: Excursion to the local shoe factory. Photo: Hans Hamid Rasmussen. Bottom: Dorothee Albrecht.

he second edition was held plateau on the way from Oslo by juxtaposition, the epoch of the near Make Your Own Dictionary at the Nordic Artists’ Centre car. Reaching the Artists’ Center and the far, of the side-by-side, of T Dale. World Wide Weaving was an adventure. The site was the dispersed. We are at a moment, – Make Your Own Dictionary imposing. Covered in snow, up on I believe, when our experience of focused on exploring how art theory, the mountains the modern archi- the world is less that of a long life art history and other disciplines tecture was built into the rocks. On developing through time than of a intersect and coalesce in partici- one of the first strolls, Anne Lise network, that connects points and pants’ artistic projects. Stense guided an excursion to the intersects with its own skein.”8 World Wide Weaving 002 Wide Weaving World The project was about local shoe factory. Åsa Sonjasdotter’s workshop mapping one’s own dictionary / We also scrutinised together Potato perspective on weaving handbook as an extensive installa- different dictionaries or handbooks also gave an introduction to her tion combining different materials, for a cosmos of terms and field of work The Order of Potatoes. As an photos and text clippings. We references. We selected and ongoing experiment and analysis explored how to bring together examined terms and entries that of discourse and power formations, theoretical and practical approaches. we found interesting, useful or she follows the network that To start we asked the participants meaningful. Then we tried to find connects points, namely all those to choose about three terms that out how we can develop other related to “potatoes”. “A survey of they consider as important or ways of creating orders with the potato varieties prohibited within interesting related to their artistic selected terms or practical and the EU for commercial circulation. work and to choose about three theoretical “dictionary entries” as Most of these old and new varieties techniques from different parts of an installation in the space. are bred by farmers for small-scale the world. This discourse “is so complex use and do not meet EU regulations Being situated at the Artists‘ a reality that we not only can, but on Distinctiveness, Uniformity and Center in Dale became significant should, approach it at different levels Stability, the so-called DUS criteria, as one frame of reference. Located and with different methods.”7 Michel which were developed for industrial at the remote West Coast of Norway, Foucault’s thinking became one con- farming needs. The potatoes are in which the varieties were bred. ... tion from the Americas), to 2010 bypassing the industry’s need for the group arrived either by cruising tribution to the space of research: presented in chronological order The survey ranges from 1587 (when farmer Karsten Ellenberg in DUS criteria).”9 by ferry through the beautiful fjords “We are in the epoch of with a related narrative on the cul- (the earliest documentation of the Barum, Germany breeds new or by crossing the impressive, high simultaneity: we are in the epoch of tural / historical / economic context potato in Europe after its introduc- varieties for small-scale farmers, 70 Photos: Left, top to bottom: 71 David NG McCallum, Dorothee World Wide Weaving 003 Albrecht, Dorothee Albrecht, Sarin Tasnathepgamol. Weaving with Textiles, Texts, Right: Sarin Tasnathepgamol. Sounds and Materials

he next edition was called Additionally, Zille Homma Weaving with Textiles, Texts, Sounds and Materials World Wide Weaving – Hamid’s workshop focused on T Weaving with Textiles, Texts, experiments with natural textiles Sounds and Materials and took from South Africa (cotton), place at the Nordic Artists’ Centre Norway (wool) and Asia (silk) and Dale again. In February 2012, it colours from different continents, opened a space of inquiry for for example Turmeric from India, projects involving textiles, other Cochenille from Mexico, Nhlangothi / World Wide Weaving 003 Wide Weaving World crafts and sound. We started with Wood from South Africa, Lady’s investigations on terms, textiles Mantle from Germany and Walnut and sound clips (spoken words or from Norway. One section was sounds). Hans Hamid Rasmussen about taking a woven cloth apart hosted the project Drums, Words and trying to weave a new pattern and Sounds and David NG McCallum by pulling threads out, dying and the workshop Contact Microphone. reweaving them in a new way or pulling threads out and dying the complete fabric. 72 World Wide Weaving 004 73 Seed Bank of Crafts

he name of the fourth Mumbai, where Hande resides; 10 Beth Citron, Seed Bank of Craft edition, World Wide Weaving Mangalore, where she has her roots; http://www.archanahande. com/relics.html, retrieved T– Seed Bank of Crafts at and Calcutta / Kolkata, Madras / Jan. 11, 2016 Kunstnernes Hus in Oslo, became Chennai and the garden city of the title for a major ongoing project. Bangalore / Bengaluru, to which It was conceived to explore the she has attachments. From an contemporary framework of the intense position of social-political- globalised world through projects familial critique, Hande travels World Wide Weaving 004 Wide Weaving World that research and collect knowledge across the country probing and of traditional or ancient craftsman- unearthing narratives of different ship from different parts of the castes, classes, communities and world. See page 11. professions, the dust eventually At Kunstnernes Hus, Archana settling in the mega city, Mumbai.”10 Hande contributed to World Wide Weaving – Seed Bank of Crafts with her workshop Fabric: an oral history. It started with a presenta- tion on the history of trade and fragments of oral stories of the South Asian brink. With the work- shop The practice of oral story telling which records the history of the time she referred to her project Relics of Grey: “Relics of Grey was initiated as an investigation into the cultural, social and political attitudes of people in the four colonial port cities and commercial hubs of Bombay / 74 11 Forms of Modern Life: From 75 the Archives of Guttorm Gut- World Wide Weaving 005 tormsgaard, http://www.oca.no/ press/releases/3541/forms-of- modern-life2 – retrieved Jan. 11, Scrutinizing Fields of Reference, 2016 12 Ellef Prestsæter, The Graphical Interface of the Archive. An Constructing Contexts, Interview with Guttorm Gut- tormsgaard, p. 201

13 Ellef Prestsæter, The Graphical Exploring Spaces In-Between Interface of the Archive. An Interview with Guttorm Gut- tormsgaard, p. 215

14 Cornell University Library, Mnemosyne. Meanderings through Aby Warburg‘s Atlas, http://warburg.library.cornell.edu/ about – retrieved Jan. 11, 2016

15 Verina Gfader, www tricknology, outline, 2015

Photos: Top: Seed Bank of Crafts – Guttorm Guttormsgaards Arkiv, photo, 2015, Dorothee Albrecht. Bottom: www tricknology, Verina Gfader, 2015. Photo: Dorothee Albrecht.

he fifth edition was held in The “Guttorm Guttormsgaard necessary impulses to keep one’s Scrutinizing Fields of Reference, Constructing Contexts, Exploring Spaces In-Between Blaker-Skanse around one archives included publications and spirits up.’”12 Thour away from Oslo. World printed matter that Guttormsgaard “Instead of clashes, I want to Wide Weaving – Scrutinizing has gathered from nearly six create meetings between different Fields of Reference, Constructing centuries of history, in an attempt materials, meetings in which the Contexts, Exploring Spaces to always select ‘the modern’.”11 elements are open to each other’s In-Between reverted to Guttorm “The archive project moves em- inherent potential.”13 Guttormsgaard‘s archives and Aby phatically across most established In addition to the presentation World Wide Weaving 005 Wide Weaving World Warburg‘s Mnemosyne Atlas to social and cultural divisions. Here, of Hege Bratsberg, Ellef Prestsæter explore artistic collections and individual outsiders and collective introduced the archives of Gut- but also about objects, materials, the ineffable process of historical workshop is a haptic and abstract their displays, variable parameters life-forms – ‘art of known and tormsgaard, followed by a guided texts and pictures. change and recurrence immanent engagement with the luxuries of for non-systematic ordering and unknown origins’ – are documented: tour. He also gave the lecture “Begun in 1924 and left and comprehensible. ... The Atlas redrafting social zones. What tools, the provisional and haptic combi- masters such as Peder Balke, Probing Archives: From Guttorm unfinished at the time of his death functions cartographically, too, knowledges, micro universes and nation of divergent images, their Hannah Ryggen and Hokusai are Guttormsgaards Arkiv to Asger in 1929, the Mnemosyne Atlas is as it explores how meanings are referential points do we invent, sources and modes of presenta- ‘archived’ alongside works of art Jorn‘s Scandinavian Institute of Aby Warburg’s attempt to map the constituted by the movement of leading to a ceremonial aspect of tion. The Guttorm Guttormsgaard‘s produced by Russian prisoners of Comparative Vandalism. ‘afterlife of antiquity’, . ...Warburg’s themes and styles between East fabricating the social? What social archives were within walking war during the Second World War; We took Aby Warburg’s atlas combinatory experiments in the and West, North and South.”14 imaginaries are stitched together distance from the workshop’s steel-wire artefacts made by ‘tatere’ and the Guttorm Guttormsgaard Atlas follow his own metonymic, We invited the artist and and piled up, when the function of site. (Scandinavian travellers of Romani archive as starting points for intuitive logic, even as it is propelled researcher Verina Gfader to host things (composites) is no longer We asked the participants to origins) in order to earn a living; thinking about a common project: by decades of rigorous scholarship. part of the workshop www tricknol- given, determined, fixed? rethink theoretically and practically hand-drawn Korans and Coptic The Atlas in Space. Warburg believed that these ogy. www tricknology provides a space their own artistic approach and bibles; Indian bronze figures; African But while Warburg used 40 symbolic images, when juxtaposed “Serpentine roads, a Hematite, for storytelling in relation to the their art projects in relation to sever- masks and Greenlandic newspapers. wooden panels covered with black and then placed in sequence, could carved letters in wood, strange un-rooting condition of today’s al examples they were to choose If at first glance it seems difficult to cloth, onto which pictures were foster immediate, synoptic insights machines, mute animalistic assem- sensibilities; atlas-ing metaphors from the Guttorm Guttormsgaard see any unifying principle under- pinned, we worked with different into the afterlife of pathos-charged blages as craft objects, nordic will guide us through.”15 archives or from other collections. pinning the archive, the motto of structures made from diverse images depicting what he dubbed bits and pieces, Blakerisms, chair The examples could be similar to the project indicates the existential materials (cardboard boxes, Gaffer ‘bewegtes Leben’ (life in motion affinities: encountering the ‘myriad’ their own artistic practice, but also and political driving force behind it tape, plywood, textile....). The project or animated life). As such, the and ‘plural’ in the archive as very different. all: it is a question of ‘documenting was thus not only about pictures, Mnemosyne Atlas strives to make an arrangement, this tricknology 76 World Wide Weaving 006 77 Seed Bank of Crafts – Weaving Globally, Metaphorically and Locally – Starting from Guangzhou and Hangzhou

orld Wide Weaving took Starting points for our studies: Theoretical and practical prece- place for the sixth time dents from other parts of the world W from September 20 1 Jin Ze Arts Centre also served as possible starting to 30, 2016. The project was Cultural dialogues, artisanal points for the projects, for example launched by China Academy of Art workshops, retreat for creative the Silk Road as an ancient network Hangzhou and KHiO – Oslo National research of trade and cultural transmission Academy of the Arts as part of the connecting the West and East. 2nd Hangzhou Triennial of Fiber 2 Datang Or the proverbs of ‘The Saying of World Wide Weaving 006 Wide Weaving World Art 2016. The participants were Town of socks Needles’ project, which was intro- students from both art academies. duced in the outline of the 2nd For World Wide Weaving – 3 Anji Hangzhou Triennial of Fiber Art. Seed Bank of Crafts – Weaving Town of bamboo weaving Another element of the Globally, Metaphorically and workshop lead by Hege Bratsberg Locally – Starting from Guangzhou and Anne Knutsen was called Tablet and Hangzhou, we asked the Weaving Explorations. It involved participants to rethink, both doing tablet weaving for certain theoretically and practically, their periods of time at different sites own artistic approach and their art in the exhibition Weaving & We – projects in relation to examples of The 2nd Hangzhou Triennial of textiles and crafts they encounter Fiber Art. Tablet weaving became on the excursions to several places a daily practice during the work- in the environment around Hang- shop, especially interesting to do zhou. The examples could be similar in connection with the excursions to their own artistic practice or to various public space or sites of very different. textile production. 78 Jin Ze Arts Centre 79 Cultural dialogues, artisanal workshops, retreat for creative research

All photos (pp. 77–83): Dorothee Albrecht Cultural dialogues, workshops, retreat artisanal for creative research – Jin Ze Arts Centre 006 – Jin Ze Wide Weaving World 80 Datang 81 Town of socks Town of socks World Wide Weaving 006 – Datang Wide Weaving World 82 World Wide Weaving 006 – Datang Wide Weaving World 84 Anji 85 Town of bamboo weaving Town of bamboo weaving World Wide Weaving 006 – Anji Wide Weaving World

Photo p. 84: Yan Yizhou Photos p. 85: Top: Hans Hamid Rasmussen. Middle and bottom: Dorothee Albrecht Photo pp. 86–87: Hans Hamid Rasmussen

88 2nd Hangzhou Triennial of Fiber Art 2016 89 Workshop and Exhibition at China Academy of Art Hangzhou

All photos (pp. 88–89): Dorothee Albrecht Workshop and Exhibition at China Academy of Art Hangzhou – 2nd Hangzhou Triennial of Fiber Art 2016 006 – 2nd Hangzhou Triennial Wide Weaving World Biographies 92 93 Sarat Maharaj’s research and administrator for the Biennale of in Berlin, GfzK Leipzig and the publications cover topics related to Sydney and the Australia Council Palazzo delle Papesse in Siena. She cultural translation and difference, for the Arts. In 2008 she undertook was co-curator of the Gothenburg textiles, sonics, visual art as a research trip to Kyrgyzstan and Biennial (2011), assistant curator of knowledge production (“visual art wrote about art production under the São Paulo Biennial (2010) and as know-how and no-how”), post-Soviet conditions. After research curator of the Guangzhou Richard Hamilton, Marcel Duchamp spending a year in Sydney in 2006, Triennial (2008). Albrecht is a and James Joyce. He is Professor the Asia-Pacific region has been founding member of the Kunsthalle of Visual Arts and Knowledge a focus in her writing, including Berlin-Lichtenberg, and initiated Systems at Malmö Art Academy / essays on numerous topics such as the projects Dreams of Art Spaces Lund University, in Sweden, and a the survival of The Artists’ Village Collected and World Wide Weaving. research professor at Goldsmiths, in Singapore, video art and media She is based in Berlin. University of London, where he activism in Indonesia, a compre- www.dorotheealbrecht.net taught art history and theory from hensive archive of artist-organised 1980 to 2005. He was the chief exhibitions between 1979 and 2006 curator of the 6th Gothenburg in Shanghai, the documentary titled Rike Frank is a curator and writer International Biennale in Sweden, IPHONECHINA, or artistic strategies based in Berlin and Oslo. She cur- titled Pandemonium—Art in a Time in the aftermath of the Umbrella rently is Associate Professor of of Creativity Fever (2011). Curatori- Movement in Hong Kong. Exhibition Studies at the Academy al projects include: 29th São Paulo of Fine Art of the Oslo National Biennale (2010); Farewell to Academy of the Arts (KHiO) and Postcolonialism, Towards a Post- Since the mid-nineties Dorothee from 2010 to 2012 programmed the Western Modernity, Guangzhou Albrecht has undertaken journeys exhibition space at the Academy Triennial (2008); Knowledge through different countries of the of Art Leipzig. She was curator of Lab, Haus der Kulturen der Welt, world, for example, India, South Textilities … and Roses, too, Ratti Berlin (2005); co-curator of docu- Africa and China, to explore the Foundation, (2015); with Grant menta 11, Kassel (2002), and social, political and artistic spaces, Watson she initiated the long-term co-curator (with Richard Hamilton opened up by the radical global research and exhibition project and Ecke Bonk) of retinal.optical. transformations of recent times. By Textiles: Open Letter, exploring the visual.conceptual . . ., Museum means of different artistic formats, seminal role of textiles in contem- Biographies Boijmans Van Beuningen, Rotter- especially video platforms and porary art and art history. Presenta- dam (2002). Maharaj lives and spatial installations, arranged as tions included the group exhibition works in London and Lund. continuing changing and broaden- Abstractions, Textiles, Art, Museum ing constellations, she tries to Abteiberg, Mönchengladbach make the complexity of these new (2013), the conference The Haptic Julia Gwendolyn Schneider is potentialities graspable. Question- Space, Academy of Fine Arts an art critic based in Berlin. Her ing conventional frameworks and Vienna (2012) with Sabeth Buch- essays and reviews appear, among hierarchies, she is especially mann and a series of seminars with others, in Camera Austria, springer- interested in relations between Leire Vergara at bulegoa z / b, Bilbao. in, die tageszeitung, Yishu – Jour- different cultural perspectives and Frank was member of the pro- nal of Contemporary Chinese Art their mutual dependencies. gramme team for the European and Leap. She studied American In 2017, with her work House of Kunsthalle; Head of the Curatorial Studies, Cultural Science, and Ruins, Albrecht contributed to Office for documenta 12, and Aesthetics at Humboldt University, Contemporary Ruins shown at KAI curator at the Secession. Berlin, and Cultural Studies at 10, Düsseldorf and KINDL – Centre As a writer, her texts have appeared Middlesex University, London. In for Contemporary Art, Berlin. In in Afterall, artforum, Texte zur Kunst, 2001 she curated an exhibition on 2016 she had the solo exhibition Camera Austria and springerin. net art at Humboldt University Tea Pavilion, Frankfurter Tor at Publication projects include, as an reflecting on its experimental and Galerie im Turm in Berlin. Albrecht’s author, editor and co-editor, Textiles: Internet-critical approach, and in works have been shown, for Open Letter (Berlin: Sternberg 2002 she was the assistant curator example, at the Kochi-Muziris Press, 2015), Textile Theorien der for Urban Drift, an international Biennale (2012 / 2013), the São Paulo Moderne: Alois Riegl in der Kunst- collaborative platform for contem- Biennial (2010), the Guangzhou kritik (Berlin: b_books, 2015), porary urban strategies in Berlin. Triennial (2008), the Rooseum in Timing—On the Temporal Dimen- In 2006 she worked as an arts Malmö, the Hamburger Bahnhof sion of Exhibiting (Berlin: Sternberg 94 95 Press, 2014), Sketches of Universal Laverton, WA, Australia; All is Fair Rasmussen has participated in bewegte Natur-Kulturen, Natural on different textile projects. Her History: Compiled from Several in Magic White in Delhi and Rome shows such as the 26th São Paulo History Museum, Berlin, Germany work has been shown in many Authors by Sarah Pierce (London: (2010); www.arrangeurownmar- Biennale (2004), 3rd Triennial in (2015); Native Food and Inva- African countries and at various Book Works, 2013), and Constanze riage.com in Bombay, China, Guangzhou (2008), the Gothen- sion, Sapporo International Arts western art institutes, such as Ruhm: Coming Attractions (Vienna: Finland and Sweden (2008-2012); burg International Biennial (2011) Festival, Sapporo, Japan (2014); MoMA PS1, New York, Kunsthalle Schlebrügge.Editor, 2012). Relics of Grey in Bombay. and Hangzhou Triennial of Fibre Haute Diversité, Domaine de Basel and at the Göteborg Biennal Group shows include: Social Fabric Art (2016). Chamarande and Centre Culturel in Sweden. at INIVA in UK, Sweden, Germany Rasmussen questions the state of 104, Paris, France (2014); The Order Verina Gfader is an artist and and India; Shadow Lines, Biennale being intercultural both conceptu- of Potatoes, The Worldly House, writer, who orchestrates her Jogja XI Jakarta; So Close Yet So ally and technically, by means of documenta 13, Kassel, Germany, Kirsti Willemse (born in 1985) practice as organised fields of Far Away, Incheon Women Artists’ hand embroidery, digital embroidery, (2012), The Way Potatoes Go, received her MA from the Oslo research aided by drawing, models, Biennale; SAMTIDIGT, (concur- photography and performative EATLACMA, LACMA, Los Angeles, National Academy of the Arts in text performance and fabulations, rent), in Sweden and Finland; projects. He studied Darwin and USA (2010). 2012. In her artistic practice, textile and fictional institutions. She is Farewell to Post-Colonialism, The social Darwinism, which resulted Links on the internet: www. appears both as a material and a co-director of Animate Assembly 3rd Guangzhou Triennial; The Edge in the series of hand-embroidered asasonjasdotter.net, www.nachbar- metaphor: physically in weaving (with Esther Leslie, Edgar Schmitz, of Desire: Recent Art in India, Asia portraits of disabled children. schaftsakademie.org and tapestries used in installations, Anke Hennig) and creative director Society, in Australia, New York, The work was titled Atlas zu den allegorically through the references of EP, a book series across art, Mexico City, Monterrey; Art Circus, Missbildungen des Menschen to textile structures in her poetry architecture and design from Yokohama Triennial (2005) in after a book from the 18th century. Zille Homma Hamid is a German– and performances. Her work Sternberg Press, Berlin. Her current Japan… Rasmussen participated in a born Pakistani artist and designer has been exhibited, among other postdoctoral fellowship on The One of her films was selected at the programme for artistic research with from Berlin. She graduated from places, at Gallery F15 in Moss, Contemporary Condition at Aarhus 10th ViBGYOR International Short the project Homage to a Hybrid the Hannover University of Applied Gallery Soft in Oslo, Hå Gamle University, Denmark, follows from and Documentary Film Festival, supervised by the artist Nina Roos, Sciences and Arts and holds a Prestegaard, Gallery Giga in Stord, doctoral studies at Central Saint Thrissur, Kerala (2014). the philosopher and curator Sarat design degree. Parallel to pursuing Studio 44 in Stockholm and at Martins, London, and research on Co-curated: Project: Cinema City Maharaj and the curator Maaretta the fine arts, she ran and managed Gallery KHM in Malmö. In her animation at Tokyo University of (2012), in Bombay, Delhi, Bangalore, Jaukuri. her own clothing line and produced hometown Fitjar, on the west coast the Arts (Geidai) to explore the Pune and Berlin. women’s clothing and accessories. of Norway, we find examples of her structural coherence between Online art work: arrangeurownmar- In her own artistic work, balancing public art mounted at Rimbareid independent Japanese animation riage.com; www.gameovercompany. In her practice, Åsa Sonjasdotter on the threshold between art, upper secondary school. She has and geographical, institutional and design and craft, Zille Homma written texts related to the textile Biographies com engages in processes of co-species social ideas. The artist book / Website: www.archanahande.com knowledge, memory, loss and Hamid reflects upon issues of material for several publications edited volume, Cloud Chamber Blog: http://archanadevitravels. prospect through the cultivation culture, history and identity, while and catalogues: most recently in (Officin / Antipyrine), based on her blogspot.in of plants, imagery and stories. exploring a variety of different art the book published as a part of performance project at the 11th Sonjasdotter is a founding member disciplines, through a variety of the jubilee exhibition for Norske Shanghai Biennale (2016–17), is of The Neighbourhood Academy, media. Textile materials or related tekstilkunstnere – NTK (Norwegian out in November 2017. Hans Hamid Rasmussen was a bottom-up learning site and a topics provide the conceptual Textile Artists), where Willemse born in Algeria in 1963; he lives and branch of the Prinzessinnengarten, basis. The influences of plants, was also a co-curator and the works in Oslo. Rasmussen studied an urban garden in Berlin, Germany. textiles and language are connected project manager. Her contribution Archana Hande lives and works in at the Photo Academy at the From 2014 she has been a research through thematic and tangible to WWW Atlas has been developed Bombay and Bangalore. She holds Konstfack school of art in Stock- student at Goldsmiths, University references in her work. Abstract under a Residency at la Cité a B.F.A and M.F.A in print making, holm, the Academy of Fine Art in of London, UK. She has worked as forms, structures and colours in Internationale des Arts in Paris, from Viswa-bharati, Santiniketan Oslo and was a research fellow at a professor at Tromsø Academy nature as well as patterns from a stay supported by the Ingrid (1986-1991) and M.S University, the Norwegian programme for of Contemporary Art in Tromsø, ancient cultures and traditions are Lindbäck Langaard foundation. Baroda, India (1991-1993). She has artistic research at the Art Academy Norway, an institution she helped subjects and sources of inspiration. been awarded the Charles Wallace in Trondheim (2004-2007). He to establish in 2007. From 1996 to She translates her personal com- India Trust Arts Award, a Residen- holds a position as a professor in 2006 Sonjasdotter was a founding ment into an abstraction that deals cy at Glasgow School of Art (2000), visual art and is head of textile at member of the Danish feminist with the many facets of unseen and a Research Residency, Pro the Art and Craft Department at art and action group Kvinder på beauty and internal reflection. Helvetia, Switzerland (2010). the Oslo National Academy of the Værtshus (Women Down the Pub). Derived from language and various Research project: Spaced 2: future Arts. Rasmussen recently held a Exhibitions include: From Flesh to cultural references, she inter- recall with Spaced, Perth and solo show at Østfold Art Centre in Flesh, Henie Onstad Kunstsenter, weaves her own perception with Asialink, Melbourne. Norway (2017). In the spring of Oslo, Norway (2016); D’après nature, different layers of social meaning. Solo shows were, for example: I am 2016 he gave a solo presentation Musée de la Chasse et de la Nature In the last 7 years she has travelled a Landscape Painter in Bombay; for Martin Asbæk Gallery at and Institute Suédois, Paris, France to different parts of the world to The Golden Feral Trail in Perth and MARKET Art Fair in Stockholm. (2015); Tote Wespen fliegen länger: learn about handcrafts and to work 96 Imprint

World Wide Weaving Atlas and the colleagues at the Art and Craft Department Weaving Globally, Metaphorically and Locally Anne Knutsen and Hege Bratsberg, Jørn Mortensen, Ellen K. Aslaksen, Ludwig Seyfarth, Felice Albrecht World Wide Weaving is an ongoing, artistic project conceived and curated by Hans Hamid Rasmussen Printing and Dorothee Albrecht. Since it started in February Bookfactory Buchproduktion GmbH, Bad Münder 2010, it has been hosted by the textile department of Oslo National Academy of the Arts (KHiO). Published and distributed by OSLO NATIONAL ACADEMY OF THE ARTS / ART AND CRAFT DEPARTMENT Contributors Sarat Maharaj, Julia Gwendolyn Schneider, Dorothee © 2017 Albrecht, Rike Frank, Verina Gfader, Archana Hande, Hans Hamid Rasmussen, Åsa Sonjasdotter, Zille ISBN 978-82-92613-75-7 Homma Hamid, Kirsti Willemse

Editing The World Wide Weaving – Atlas was made possible Dorothee Albrecht with the support of

Graphic design, cover illustration and picture editing Kurz Gestaltung / Carolin Jap Lim, Marie Wocher

Proofreading / editing BeLANG / Barbara Lang

Thanks to We most sincerely thank all artists, participants, teachers and authors who have contributed to the project and the book. Especially Sarat Maharaj World Wide Weaving – Atlas Weaving Globally, Metaphorically and Locally

Weaving is one of the oldest crafts in human culture, along with knitting and pottery. Ancient textile remains have been found in all parts of the world. But textiles are more than merely interwoven materials. As means of exchange and trade, and with their potential to communicate complex layers of social meaning, textiles are directly related to the fabric of social life.

World Wide Weaving is an ongoing, artistic project conceived and curated by Hans Hamid Rasmussen and Dorothee Albrecht. Since it started in February 2010, it has been hosted by the textile depart- ment of Oslo National Academy of the Arts (KHiO). So far it took place at Kunstnernes Hus in Oslo, the Nordic Artists’ Centre Dale and at Blaker-Skanse (all in Norway). World Wide Weaving took place for the sixth time as part of the 2nd Hangzhou Triennial of Fiber Art 2016 launched by China Academy of Art Hangzhou and KHiO – Oslo National Academy of the Arts.

With contributions by Sarat Maharaj, Julia Gwendolyn Schneider, Dorothee Albrecht, Rike Frank, Verina Gfader, Archana Hande, Hans Hamid Rasmussen, Åsa Sonjasdotter, Zille Homma Hamid and Kirsti Willemse.

Edited by Dorothee Albrecht