• Abstract and Figures
• Public Full-text

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.

Load more

  51

Copy Link