{"id":1212,"date":"2013-11-08T00:00:00","date_gmt":"2013-11-07T23:00:00","guid":{"rendered":"https:\/\/bulegoa.org\/web\/textiles-open-letter-reading-textiles-from-the-south-a-seminar-on-the-production-of-a-tactile-geography\/"},"modified":"2017-09-11T12:48:20","modified_gmt":"2017-09-11T10:48:20","slug":"textiles-open-letter-reading-textiles-from-the-south-a-seminar-on-the-production-of-a-tactile-geography","status":"publish","type":"post","link":"https:\/\/bulegoa.org\/en\/textiles-open-letter-reading-textiles-from-the-south-a-seminar-on-the-production-of-a-tactile-geography\/","title":{"rendered":"TEXTILES: OPEN LETTER. Reading Textiles from the South: A Seminar on The Production of a Tactile Geography"},"content":{"rendered":"

The seminar approaches textiles from the epistemological perspective of the South aiming to address ways to examine, discuss, declassify and ponder the current aesthetic role of textiles within contemporary art and art history. The presentations pinpoint several disruptions textiles introduce within hierarchical and binary divisions such as the separation between art and crafts, the limits between the tactile and the optical, and the geopolitical boundaries between the North and the South. The seminar gathers the experiences of researchers, art historians, curators and artists committed to investigating the potentiality of textiles within contemporary art practice.<\/p>\n

PROGRAM<\/p>\n

11:00 \u2013 11:30: Welcome and Introduction by Rike Frank and Leire Vergara<\/p>\n

11:30 \u2013 12:15: Patricia Molins, \u201cThat which has no name. Textiles as text\u201d<\/p>\n

12:30 \u2013 13:15: Sabeth Buchmann, \u201cLightly Clad Histories\u201d<\/p>\n

13:15- 14:00: Workshop roundup<\/p>\n

14:00 \u2013 15:30: Lunch Break at Bulegoa z\/b<\/p>\n

15:30 \u2013 16:30: Conversation between Teresa Lanceta and Laurence Rassel<\/p>\n

16:30-17:15: T\u2019ai Smith, \u201cWhy Textiles Matter (as Art or whatever) as Never Before\u201d<\/p>\n

17:30 \u2013 18:00: Workshop roundup<\/p>\n

The seminar can be seen in\u00a0TV-tron<\/a>.\u00a0(\u00a0http:\/\/www.tea-tron.com\/teatron\/TVTRON.do<\/a> )<\/strong><\/p>\n

Patricia Molins de la Fuente<\/strong> has a degree in Art History. Her work centres around the search for a space on the borders of art (dance, design, feminine art…) from which to consider it without the restrictions\/exclusions of canonical art history’s assumed objectivity. Professor of History of Design for the Masters in Exhibition Management at the Universidad Europea, Madrid; Masters in Design, CEU, Valencia; and Masters in Museology, Facultad de Bellas Artes, Universidad de Valencia. She has curated exhibitions on graphic design (Mauricio Amster, Ricard Giralt Miracle, Enric Crous,<\/em> IVAM, Valencia), on industrial design in its relationship to art (Arquitectura y arte de los a\u00f1os 50,<\/em> Fundaci\u00f3 La Caixa, Barcelona; Suiza constructiva,<\/em> Museo Nacional Centro de Arte Reina Sof\u00eda (MNCARS); Gerrit Rietveld,<\/em> Museo Nacional de Artes decorativas, Madrid), and dance (Salom\u00e9, un mito contempor\u00e1neo,<\/em> MNCARS; Flamenco, vanguardia y cultura popular 1864-1939,<\/em> MNCARS. Her most recent text is \u201cLa heterogeneidad como estrategia de afirmaci\u00f3n. La construcci\u00f3n de una mirada femenina antes y despu\u00e9s de la Guerra Civil\u201d(Desacuerdos,<\/em> Madrid, 2012).<\/p>\n

Sabeth Buchmann<\/strong> is an art historian and art critic. She is Professor for Modern and Postmodern Art at the Academy of Fine Arts Vienna and Chair of the Institute for Art Theory and Cultural Studies. She also is member of the Advisory board of the Berlin based magazine Texte zur Kunst<\/em>. She regularly contributes to books, magazines and catalogues and is co-editor with Helmut Draxler, Clemens Kr\u00fcmmel and Susanne Leeb of Polypen<\/em> \u2013 a publication series on art criticism and political theory. Recent publications include: with Max Jorge Hinderer Cruz (co-author): H\u00e9lio Oiticica, Neville D’Almeida and others: Block-Experiments in Cosmococa,<\/em> London: 2013; co-ed. with Helmut Draxler and Stephan Geene Film, Avantgarde und Biopolitik,\u00a0<\/em>Vienna: 2009; Denken gegen das Denken. Produktion \u2013 Technologie \u2013 Subjektivit\u00e4t bei Sol LeWitt, H\u00e9lio Oiticica und Yvonne Rainer,<\/em> Berlin: 2007; and co-ed. with Alexander Alberro, Art After Conceptual Art.<\/em> Cambridge, Mass\/ Cologne: 2006.<\/p>\n

Teresa Lanceta<\/strong> is an artist, with a degree and PhD in Art History. Her work has developed around textile art and audiovisuals. She works on and investigates popular textiles in Morocco and Spanish carpetry in the 15th century. Teresa has exhibited individually at Museo Nacional Centro de arte Reina Sof\u00eda (MNCARS), Madrid; Museu T\u00e8xtil i d\u2019Indumentaria, Barcelona; Museo de Arte Moderno, Ibiza; Universit\u00e9 Le Mirail, Toulouse; la Nau, Valencia; Villa des Arts, Casablanca, and others; and collectively at Museo Gezhira, El Cairo; la Lonja del Pescado, Alicante; and Mus\u00e9e d\u2019Angers. Her documentary on female workers at the F\u00e1brica de Tabacos, Alicante, Cierre es la respuesta,<\/em> was presented at the Centro Cultural Las Cigarreras. She writes for art publications such as Arteyparte, Horitzons magr\u00e9bins <\/em>and Debates sobre arte,<\/em> and has given talks at the Universidad Complutense, MNCARS, Fundaci\u00f3n March and La Casa Encendida, Madrid. She was awarded the XIV Premi Bernat Cap\u00f3 for her book Mujeres en la industria tabaquera de Alicante.<\/em> She currently teaches at the Escola Massana, Barcelona.<\/p>\n

Laurence Rassel<\/strong> directs the Fundaci\u00f3 Antoni T\u00e0pies, Barcelona. She was a member of Constant, a non-profit association run from Brussels, from 1998 to 2008. Among other work done by Constant is research into feminist thinking and art practices, and critical analysis of intellectual property in new technologies. Between 2001 and 2006, Laurence coordinated projects for ADA, a network of Belgian educational centres for women which supports knowledge of knew technologies as a tool for integration.<\/p>\n

T\u2019ai Smith<\/strong> is Assistant Professor in the Department of Art History, Visual Art & Theory at the University of British Columbia in Vancouver, Canada. Her forthcoming book, entitled Writing on Weaving: a Bauhaus Craft, a Bauhaus Medium,<\/em> looks at how Bauhaus weavers harnessed the language of other media \u2013 painting, architecture, photography \u2013 to articulate the specific dimensions of their craft. That book will be out from University of Minnesota Press in late 2014. Her articles and reviews have appeared in various periodicals, including Art Journal, Grey Room, Journal of Modern Craft,<\/em> and \u202fTexte zur Kunst.<\/em> She is currently developing a new book project, provisionally titled Textile Media and Philosophy,<\/em> which will examine the use of textile metaphors in media theory and philosophy since the 19th century. Next summer she will be a fellow at IKKM, at the Bauhaus-Universit\u00e4t in Weimar, Germany.<\/p>\n

Rike Frank<\/strong> is an independent curator based in Berlin. She has previously held positions as curator at the Secession, Vienna, head of the curatorial office at documenta 12, Kassel, member of the Programme Team for the European Kunsthalle, Cologne, guest curator at Ludlow 38, New York, and curator and researcher at the Academy of Visual Arts Leipzig Recently, she has edited the artist monographs Constanze Ruhm. Coming Attractions<\/em> (2012), Sketches of Universal History Compiled from Several Authors by Sarah Pierce<\/em> (2013) and the upcoming Timing \u2013 On the Temporal Dimension of Exhibiting.<\/em><\/p>\n

This seminar belongs to the ongoing project: TEXTILES: OPEN LETTER<\/em> ( http:\/\/www.textilesopenletter.info<\/a> )<\/p>\n

TEXTILES: OPEN LETTER<\/em> is a project by Rike Frank (Berlin), Grant Watson (London), Sabeth Buchmann (Vienna), and Leire Vergara (Bilbao). In collaboration with Academy of Fine Arts Vienna; Bulegoa z\/b, Bilbao and the Museum Abteiberg, M\u00f6nchengladbach; and in cooperation with Allianz Kulturstiftung.<\/p>\n

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