视界——瑞典纺织布艺作品四人展

视界——瑞典纺织布艺作品四人展

参展艺术家:甘•约翰森(Gun Johansson),布莉塔•玛拉卡特-拉芭(Britta Marakatt-Labba),昂内塔•安德森(Agneta Andersson),维多利亚•安德森(Victoria Andersson)
展览开幕式:2012年10月6日星期六,晚8点
展览日期:2012年10月6日——11月2日
工作坊:2012年10月8日星期一下午2点——6点(免费,需提前报名,限20人,报名邮箱zhuxiaolin@tcgnordica.com)
讲座:2012年10月6日星期二下午2点半(免费)
地址:昆明市西坝路101号,创库艺术社区,TCG诺地卡画廊
电话:0871-4114692
邮箱:info@tcgnordica.com

视界

文/玛丽安•瑟德贝里(Marianne Söderberg)

富有能力的双手,加上满有力量的思想,使有些故事的形状变为在麻织物和补丁布片上的图画,使有些故事以线编织,以炭条绘画,以金属塑形,或以碎玻璃片着色。
瑞典的纺织传统始于北方的女性创作者,当然也有很多先驱者,为后人引路。
然而一旦日常需要和技艺被赋予了新的形式和表达,现今的材料不必再拘泥于传统材料,可其中闪烁的精神却一直延续。承接的智慧和传诵的人文精神在时间和空间里连接我们,但同时也可能急转弯式的分裂我们。在全球化的今天,可以同时找到相似性和差异性。
甘•约翰森(Gun Johansson)规律地深入旅行到世界各角落获取灵感,然后会在瑞典最北部的山区阿比斯库——她的小屋进行进一步创作。她在壁炉边将蒙古的巨大沙丘和北部山地的传说编制成全新的不同的故事。
布莉塔•玛拉卡特-拉芭(Britta Marakatt-Labba)生活于萨米族文化中,继承并延续着多个世纪以来萨米族对日常必需物品的理解和知识。她耐心刻苦的用她的针线唤起了第四种历史。她常用亚麻布作为基质材料,同时用鱼皮、塑料和任何手边材料。布莉塔的全套工具和她的作品一样,每一处细微针脚都那么地丰富而充足。
昂内塔•安德森(Agneta Andersson)同样拥有非常深厚的布艺根基,尽管她也在其他媒介里工作了多年。比如,她曾将布料浇铸在玻璃里,也将玻璃带入布艺,她挑战着约定俗成的观念。她在不同的材料之间制造对比,使得原先材料突然变得明显、有冲击力、更加成为它们自身,这就好比在她家乡基律纳(瑞典北部城市)由矿物碎片所堆积的山丘,为了保留这座城市,它们不得不被搬走。
维多利亚•安德森(Victoria Andersson)的刺绣经过无数个小时的漫长工作逐渐发展成为新闻报告或突然之间的顿悟。她的刺绣描绘着记忆、亲族历史还有起源,但同时也是一份陈述,强有力地锚定在一个时间点上,既是关于此时也是未来。
这些艺术家正在一个离我们遥远的国家——中国,展出我们梦寐以求的布艺传统。


昂内塔•安德森(Agneta-Andersson)作品“脚本”


布莉塔•玛拉卡特-拉芭(Britta-Marakatt-Labba)作品“幕后”


维多利亚•安德森(Victoria-Andersson)作品“风景之歌”


甘•约翰森(Gun-Johansson)作品“宝塔”

Views: Swedish Textile Art Exhibition

Artists: Gun Johansson, Britta Marakatt-Labba, Agneta Andersson, Victoria Andersson
Exhibition Opening: 20:00, Oct 6th 2012
Exhibition Duration: Oct 6th – Nov 2nd 2012
Workshop: Monday, 14:00—18:00, Oct 8th 2012 (Reservation required, contact: zhuxiaolin@tcgnordica.com)
Lecture: Tuesday, 14:30—16:00, Oct 9th 2012 (Free entrance)
Address: TCG Nordica Gallery, xi ball u 101, Kunming
Tel: 0871-4114692
Email: info@tcgnordica.com

Views
The power of the hand and the power of the thought – here are stories that change shape and become images on linen and patches of cloth. Here are stories that are woven in threads, drawn in charcoal, shaped in metal, or rendered in fragile glass.
The textile heritage is fundamental among women creators here in the north. No wonder – some have always gone before, and been way-finders for others.
But what was once skills for everyday needs have found their way into new forms and expressions. Nowadays the materials do not even need to be the traditional ones, the intention still shines through. The received wisdom and storytelling of humanity unite us through time and space. But they may also divide us with sharp turns. In the globalized world we live in today, it is possible to discover both the similarities and the differences.
Gun Johansson travels regularly far into the world’s corners and gathers impressions which she then works further while staying in her small mountain cabin in Abisko in northernmost Sweden. By the hearth she weaves together the stories about the huge dunes of the Hongorian Els of Mongolia with the tales of the Northbothnian mountains, creating something completely new and different.
Britta Marakatt-Labba resides in the middle of Sámi culture and carries forward the understanding and knowledge based on necessity that has been kept alive through the centuries. Patiently and assiduously she has called forth history through her use of needle and thread. She often uses linen fabric as substrate, but also fish skin, plastic or any material within reach at the time – the tool set of Britta Marakatt-Labba is as richly ample as her art is unpredictable, down to the least stitch.
Agneta Andersson has equally a strong textile foundation while she has branched into other media over the years. She has, for instance, cast textiles into glass, and has brought glass into textiles – all to stir up the norms of conventional notions. She creates contrasts where the different materials suddenly become evident, impacted, and come into their own. It is like the mountain of mining debris in her home town of Kiruna that has to be moved in order for the town to stay alive.
Victoria Andersson creates embroideries that slowly develop during many hours of work into reporting of news or sudden insights. Her embroidery portrays acts of memory, heritage of kinship and origins, but are also statements strongly anchored in a time that is both here, in the moment, as well as in the future.
All of these artists are now exhibiting in a country far from ours, China, with a textile heritage we can only dream of.
/Marianne Söderberg

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