Exploring memory, social and political issues through textiles
From 23 to 24 April 2020, the Conference Textile and Place will take place in Manchester School of Art, Manchester Metropolitan University with the aim of exploring politics through textiles. The debates will be built on the findings of the first conference also organised at MMU.
Mapping memories and places, the stories of trade and history transmission, migrations and cultural exchanges are some of the topics that will be raised during this exchange. The connections between communities, movements and alternative narratives through textile issues to be examined.
“We use the word politics as a broad term to indicate how textiles is implicated in particular places and is part of the relationships between groups or organisations and used to confront issues of power. Textiles can fix us to a place and also be part of the process of making change.”
- Textiles as a medium of protest and activism.
- Textile sites which represent migration and globalisation.
- Narratives of community and social interaction encountered through textiles.
- Responsibility, textiles and the places we live.
Submit your abstract and short bio by Friday, 8th november 2019.
The papers presented at the conference will be considered for publication in a special issue of TEXTILE: Cloth and Culture.WHO SHOULD PARTICIPATE?
We welcome papers from, textile artists, artists exploring textiles among other materials, designers, academics, early career researchers, art, fashion and textile historians, curators and archivists, ECRs, PhD candidates.We also welcome short films and audio-visual work that explore textiles and place for our ‘Film as textile site’ space.
On the occasion of Anni Albers exhibition at Tate Modern, Amber Butchart wrote a very interesting article for Frieze on how textile history has been separated from Art History and Fine Art because it has been always a women´s work.
The artificial divide that exists between fine art and textiles (or applied/decorative arts, or craft) is a gendered issue. ‘Textiles have always suffered as an art media because of their association with domesticity and femininity,’ says Hannah Lamb of The 62 Group of Textile Artists, an artist-led pressure group that has been promoting textiles as a fine art for nearly 60 years.
This opinion article share important foundations in which I support this research and how political stitching as other creative manifestations have been dismissed from Art History.
Indeed, me as student of Art History, I was never told about Anni Albers contribution to the Bauhaus. And the review of textile art was almost avoided during the whole university programme.
Textile Intersections Conference organised by the Textile Design Research Group at Loughborough University in collaboration with Royal College of Art and Queen Mary University London, launched a call for papers. The conference will be held in London, Loughborough University in London, from 12 to 14 September 2019.
TEXTILE INTERSECTIONS is interested in topics related to connections and cross- or interdisciplinary collaborations furthering research in the field of textiles and textile design. The focus will be on the nature of collaborations textiles are susceptible to establish with other disciplines and the consequent opportunities for each discipline. How are these collaborations initiated? What makes a successful collaboration leading to innovative research? What are the issues? Why collaborate?
Deadline for submission of abstracts is: 25th March 2019
More information can be found here: http://www.textile-intersections.com
This article makes a review of relevant artists using textiles to speak out. From Albers to the Pussy Hat initiative, you will find several references to wonderful experiences and stories handmade by women.
The Greeks knew something that artists, along with a new generation of “craftivists” (people combining craft with activism), are rediscovering — that fiber (woven, knitted, braided, quilted, crocheted, embroidered) can be an expressive medium, one more powerful, perhaps, for its ubiquity. Textiles, after all, accompany us on nearly every step of life: We are born and swaddled, buried in shrouds; most of us are even conceived between sheets.
Sophia Narrett, a recent Rhode Island School of Design graduate whose solo exhibition of embroideries opens at Brooklyn’s BRIC Arts/Media center in May, wrote in an email, “When an object is developed by human hands for hundreds of hours, it leaves a quality in the surface that can be sensed.”
Found in moowon an amazing article about textile collage prepared by Chinese women living in the countryside.
The testimony about this making shared in the article is amazing.
“When I was a kid, my mother was making collages. She always kept aside the cloths she found. When the time came to make it, she first sorted all the cloth on a paper to the right and left to see if the colors were in harmony, then she began to glue them when she was satisfied with the colors. And that’s how a work of art was born. When the weather was nice, the women of the village gathered at the entrance of a house to work together while chatting. And the collage became a real competition between the women. The one who made the most beautiful collage was like a champion who would have won a grand prize for sport.” (San Paolo, Brazil in 2002, Xin Yang, retired director of the Museum of the Forbidden City)