Author Archives: Silvia

Ernesto Aroztegui: revered and remembered

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Reproducciones Ernesto Aroztegui Montevideo UruguaySome years back, a woman from New York City contacted me with the news that she was about to sell a tapestry by the renowned Uruguayan artist, Ernesto Aroztegui, and she wanted me to pass along the offer to people in South America before she would sell it on eBay (photo not shown here).10303173_10204157201585658_5439365526444325915_n

The incident was regrettable since the woman’s photographs showed that the valuable tapestry was used as a floor mat or rug and was photographed over the driveway’s concrete floor. That fact made some of Aroztegui’s fans cringe from disgust, along with the obvious sadness not to be able to acquire it and donate it to a museum.

It is unfortunate that some people may view art as a purely utilitarian object, but I hope that whoever owns the tapestry in question will understand its value not only in terms of dollars and cents, but as part of the legacy of a talented and prolific weaver and teacher, recognized worldwide.

                      Many of Aroztegui’s students still revere and remember him.

Reproducción Ernesto Arostegui Montevideo Uruguay

Ernesto Aroztegui. Double portrait of Sigmund Freud.

Born in the city of Melo, Uruguay in 1930, in his twenties he developed a profound relationship with theatre and important theatrical personages, but his passion for contemporary tapestry occurred almost simultaneously. It didn’t take long for him to dedicate himself—almost exclusively—to weaving and teaching this technique in various cities in Uruguay, Argentina, and Brazil, winning prizes and distinctions along the way. He represented Uruguay in the 62nd Venice Biennale in 1986.

Exhibit opening at Subte Montevideo, Uruguay

Exhibit opening at Subte Montevideo, Uruguay

Thanks to the eBay tapestry incident, I stumbled upon a secret group on Facebook, where I followed the detailed preparations for a retrospective exhibit and printing of a book—a project led by curator Jorge Francisco Soto, with contributions made by friends and students.

10649755_10204157201185648_5028024272273444913_n And wonderful students he did have! From 1987 to 1993, Aroztegui founded a plastic arts workshop at the National School of Fine Arts (ENBA) in Montevideo, where he formed great tapestry artists.

Soto launched his two-year project with an incredible retrospective exhibition—held in Montevideo—followed by the presentation of the book, and a video.This project was awarded the 2013 prize by the Cultural Incentive Fund (Fondos de Incentivo Cultural), a governmental institution that promotes sponsorships by giving sponsors fiscal benefits.

invitación ERNESTO AROZTEGUI libro_f

December 12, 2014 at 9:00 am was the moment we had waited for, when the book Ernesto Aroztegui 1930-1994 was presented to enthusiasts and collectors. This 416 page edition comprises his works, teaching method, and theatrical activity. Texts, photographs, documents, critiques, and interviews retell his trajectory and the creation of a textile movement in Uruguay and surrounding areas during the 1960’s, in addition to the following development to date.

The video, “The back side of weft” (El revés de la trama) was also presented. It’s a 33 minute documentary directed by Fabián Marros and Mónica Talamás, and produced by Dina Yael for ANTEL’s digital channel Vera+ about the life and work of the artist. http://tv.vera.com.uy/video/9931

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PLUMAS Y VUELOS – FEATHERS AND FLIGHTS

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DEBORAH KRUGER

“Turbulencia: pájaros, belleza, lenguaje y pérdida”

Centro Cultural Antigua Presidencia en Chapala, Jalisco (México).

4 de agosto al 15 de setiembre de 2018

Uno de los propósitos de este blog es promover la transculturación del trabajo de artistas textiles mundiales en Latinoamérica, o viceversa: divulgar la creación textil latinoamericana hacia el resto del orbe. Por lo tanto, no es de extrañarse si prestamos atención al ambiente natural en el cual se desenvuelven ciertos artistas foráneos, convirtiéndolo en una parte esencial de su creación. La convivencia cultural en la cual participan, en muchos casos se convierta en promotora —parcial o total— de la proyección social, política y artística del artista en cuestión.

Deborah “Cobra” Kruger es una artista textil neoyorquina que desde siempre ha sentido un gran arraigo a sus raíces culturales. Después de todo, Nueva York es una ciudad con gran mezcla de culturas asentadas por varias generaciones, de manera que la tradicional migración y Diáspora judía encontró suelo fértil en un espacio sociocultural bastante propio. De ahí que la artista encontrara una analogía entre el sentimiento histórico judío de tener que migrar hacia otros lares, y el vuelo de las aves. 

Asistentes participantes en la exposición.

En el proceso creativo de todo artista entran indiscutibles analogías, las cuales muchas veces pasan inadvertidas a la hora de presentar obras en exhibición. La obra expuesta cuenta con lenguajes internos, los cuales raras veces son expresados al público.  Por esta razón, es interesante hacer referencia al proceso migratorio de Kruger al mudarse a México, a la par del triste proceso evolutivo de los pájaros, pues actualmente el número de especies en la lista de extinción parece crecer a pasos agigantados.

Deborah Kruger. Broken. Platos quebrados pintados a mano con imágenes de pájaros en peligro de extinción y escombro. Detalle. / Broken plates with drawings of endangered birds, and building rubbish. Detail. Foto: Carlos Diaz Corona, Guadalajara.

“Turbulencia”…“vórtice”…“Cambodia”…“Casanare” (departamento geográfico en Colombia donde existen muchas aves en peligro de extinción) son algunos títulos de obras de Kruger que aluden a la desaparición de los pájaros y cuales exhibe en su muestra individual hasta el 15 de setiembre de 2018.


Deborah Kruger. Broken. Instalación / installation. Platos de cerámica con dibujos de pájaros en peligro de extinción, quebrados, y escombro. / Broken ceramic plates with drawings of endangered birds, and building rubble. 2018
203 cm ø X 28 cm / 80” ø X 11 “ Foto: Carlos Diaz Corona, Guadalajara.

Esta exhibición incluye obras de pared, instalación, escultura, obra impresa y un libro de artista.

Nuevos vuelos e interpretaciones caben dentro de la motivación original de la artista, de manera que su discurso abraza no solo conceptos como el de la desaparición de pájaros y lenguajes regionales, y nuestro consumismo en el uso indiscriminado del plástico, sino también la migración humana en busca de sustento y una vida mejor.

 

Sitios de información sobre Deborah Kruger / Information sites:
Webpage: www.deborahkruger.com
Facebook: deborahkrugerartist
Twitter: @360XochiQuetzal
Instagram: @deborahkrugerstudio
Turbulence Ad for Guad Reporter.jpg

One of the purposes of this blog, is to promote a trans-cultural exchange between international textile artists in Latin America, or viceversa: To present Latin America’s textile creation to the rest of the world. Therefore, it doesn’t seem strange to pay attention to the natural ambience surrounding some foreign artists in Latin America, whereby they turn it into an essential part of their creation, as well as a partial or total promoter of their social, political, and artistic projection.

Deborah “Cobra” Kruger is a textile artist from New York, who has always been close to her cultural roots. After all, NYC is a place with a great mix of cultures settled in for some generations, so the traditional Jewish migration and Diaspora found fertile ground within a sociopolitical space pretty much its own. From there Deborah found an analogy between the Jewish historic feeling of having to migrate towards other lands, and the flight of birds.

Unquestionable analogies are usually part of an artist’s creative process, sometimes unnoticed when presenting works in exhibition. The exhibited work has internal languages that are rarely expressed to the public, which makes it interesting to refer to Kruger’s personal migration process in moving to Mexico, next to the sad evolution process of birds—since the number of species on the extinction list seems to grow in an accelerated way.

Deborah Kruger. Casanare. Fusión de plástico, serigrafía, costura, ensamblaje. / Plastic fusion, silkscreening, sewing and assembly. 2018.
150 X 291 X 2.5 cm / 59 X 114.5 X 1”

“Turbulence”…“Vortex”…“Cambodia”…“Casanare” (the latter being a geographic state in Colombia with many birds in danger of extinction,) are some of Kruger’s work titles alluding to the disappearance of birds, and are being displayed at her solo exhibit until September 15, 2018.

Equipo de montaje, izquierda a derecha / Installation team from the left:
Mariana del Rosario Estrada de la Fuente, asistente de taller / studio assistant; Anita Lee, acuarelista / watercolor artist; Charlsie Kelly, artista residente del Programa 360 Xochi Quetzal / resident artist in 360 Xochi Quetzal Artist Residency Program; Deborah Kruger; Jenny Angus, artista en instalación / installation artist

 

 

 

 

 

 

 

 

 

 

 

This  exhibition includes wall pieces, an installation, sculpture, printed works, and an artist’s book.

Deborah Kruger. Vortex. Fusión de plástico, serigrafía, costura, ensamblaje. / Plastic fusion, silkscreening, sewing and assembly. 2018.
150 X 132 X 74 cm / 59 X 52 X 29” Foto: Carlos Diaz Corona, Guadalajara.

New flights and interpretations fit within the original motivation of the artist so that her discourse embraces not only concepts such as the disappearance of birds and regional languages, or consumerism in our indiscriminate use of plastics, but also our modern human migration in search for sustenance and a better life.

Deborah Kruger. Turbulence

Deborah Kruger. Turbulence.

Deborah Kruger. Missing

Deborah Kruger. Missing. Obra basada en el mapa de Camboya / Work based on the map of Cambodia.

Deborah Kruger. Kansai. Obra basada en la región Kansai del Japón / Work based on the Kansai region of Japan.

Fotos: Deborah Kruger and Carlos Díaz Corona

Deborah Kruger. Cambodia. Obra basada en el mapa de Camboya / Work based on the map of Cambodia. Fusión de plástico, serigrafía, costura, ensamblaje. / Plastic fusion, silkscreening, sewing and assembly. 2018.

DEBORAH KRUGER arte textil / textile art

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Deborah Kruger, artista textil / textile artist

Las plumas de Deborah Kruger representan un arduo proceso de reciclaje de plástico, costura, serigrafí­a y ensamblaje, dentro del cual levanta vuelo y se asienta en Jalisco (México) junto con su familia, para allí continuar su observación de aves y plasmar sus diferentes aristas culturales en obras de inmensa belleza.

Deborah Kruger. Casanare. Detalle / detail. Fusión de plástico, serigrafía, costura, ensamblaje. / Plastic fusion, silkscreening, sewing and assembly. 2018.
150 X 291 X 2.5 cm / 59 X 114.5 X 1” Foto: Carlos Diaz Corona, Guadalajara.

The feathers in the work of Deborah Kruger represent an arduous and long process of recycling plastic, sewing, silkscreening and assembly, during which she has taken flight and settled in Jalisco (Mexico) together with her family. There she continues her bird watching, and converts her multiple cultural edges into artworks of immense beauty.

“Turbulencia: pájaros, belleza, lenguaje y pérdida”

EXPOSICIÓN INDIVIDUAL

Centro Cultural Antigua Presidencia. Chapala, Jalisco (México).

4 ago. /Aug. – 15 Sept. 2018

Sitios de información sobre Deborah Kruger / Information sites:
Webpage: www.deborahkruger.com
Facebook: deborahkrugerartist
Twitter: @360XochiQuetzal
Instagram: @deborahkrugerstudio

 

 

—Silvia Piza-Tandlich

 

Constantino Laura: arte y persona

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Constantino Laura, tejedor, pintor y poeta peruano, proviene de una familia de tejedores de Ayacucho. Actualmente es uno de los artistas textiles contemporáneos más reconocidos en América Latina y su trayectoria incluye prestigiosas bienales y exposiciones textiles en todo el mundo.

La tradición del telar andino está íntimamente ligada a una gran espiritualidad, la cual representa aptitud y técnica, actitud ante la vida y, sobre todo, ejercicios de crecimiento personal. En el caso del Maestro tejedor Constantino Laura, me imagino sus comienzos al lado de su padre, absorbiendo cada detalle y cada intención, como si fueran semillas que cuidaría y haría crecer en el tiempo.

" Luz Tiempo y Color a través de tu MIrada" 120 x 160 cm.jpg

Constantino Laura. “Luz, tiempo y color a través de tu mirada”. 120 X 160 cm. Tapiz.

En cada uno de nosotros hay un potencial de iluminación que todos podemos desarrollar haciéndolo crecer. Dicha frase denota un pensamiento espiritual, pero también, si lo transportamos a la obra de Laura, también denota el uso de luminosidad central, o puntos focales desde los cuales logra expandir su propuesta, con los mismos juegos de luz que emplea en sus pinturas.

" Presencia Infinita del Amor " 120 x 160 cm. Tapiz tejido a mano. Alpaca, algodón y fibras mixtas.jpg

“Presencia infinita del amor”. Tapiz. 120 X 160 cm.

Dentro de su inmensidad técnica, su obra parece pintura y tapiz al mismo tiempo, de manera que podemos volver a hacer una relación espiritual al sentido de “Ayra”: hacer dos cosas a la vez, mientras que también conecta con su gran mundo de simbología y pertenencia pictórica.

" Cuzco Mágico " 120 x 160 cm..jpg

Constantino Laura. “Cuzco Mágico”. Obra Ganadora del Primer Concurso de Diseño para la Innovación de la Artesanía Peruana. Organizado por el Ministerio de Comercio Exterior y Turismo ( MINCETUR ) Año 2004.

Desde hace varios años he admirado la obra de Constantino, pero no fue sino hasta octubre del 2017, durante la VII Bienal de Arte Textil de la WTA en Uruguay, que tuve la gran dicha de conocerle personalmente. Creo que no es lo mismo ver la obra de determinado artista, “en seco”, que poder empezar a comprender su simbolismo y compararla con su propio creador. En ese sentido, Tino Laura es tan poético como su obra y, con su percepción de la vida y su intención al plasmarla en urdimbre, lienzo o papel, él modela su energía viviente y la proyecta hacia lo positivo. Dentro del mundo rápido y a veces impersonal en el cual vivimos, resulta sumamente refrescante contar con la calidad artística del creador y de su creación: ambos regando energía y color por todo el Cosmos viviente.

https://www.facebook.com/ConstantinoLaurat/

—Silvia Piza-Tandlich, artista textil (Costa Rica). http://www.galeriaoctagono.com

Constantino Laura, Peruvian weaver, painter, and poet comes from a family of weavers from Ayacucho. Currently he is one of the most recognized contemporary textile artists in Latin America, and his trajectory includes prestigious biennials and textile expositions worldwide.

https://m.youtube.com/watch?v=GJ8ZBr2Zt7I&feature=youtu.be

Andean tapestry tradition is intimately tied to great spirituality, which represents aptitude and technique, attitude before Life and, above all, exercises in personal growth. In the case of Master Weaver Constantino Laura, I imagine his beginnings alongside his father, absorbing every detail and every intention as if they were seeds he’d cared for and would make grow in time.

There is illumination potential in each of us, which we can develop and make it grow. That statement denotes a spiritual thought, but if transported to Laura’s body of work, it also denotes the use of a central luminosity or focal points, from where he achieves expansion of his artistic proposal—with the same light games he employs in his paintings.

Within his technical immensity, his work seems to be painting and tapestry at the same time, so we can again make the spiritual comparison to the meaning of “Ayra” as to make two things at once, while it also connects with his great world of symbology and pictorial belonging.

For several years I have admired Constantino’s work, but it wasn’t until October 2017 during the 7thWTA Textile Art Biennial in Uruguay that I had the joy to meet him personally. I think it’s not the same to see any artist’s work alone, than to be able to comprehend its symbolism, and compare it with its creator. In that sense, Tino Laura is as poetic as his work and, with his perception of life and his intention to translate it to loom, canvas, or paper he models his living energy, projecting it towards the positive. In today’s fast and sometimes impersonal world in which we live, it is very refreshing to have the creator’s artistic quality alongside his creation: Both spreading energy and color throughout the living Cosmos.

—Silvia Piza-Tandlich, textile artist, Costa Rica. http://www.galeriaoctagono.com

To see more of Constantino Laura, visit his page:

https://www.facebook.com/ConstantinoLaurat/

" Tu Corazón es un Canto de Aves " 120 x 160 cm " .jpg

Constantino Laura. “Tu Corazón es un Canto de Aves”. 120 x 160 cm

Asemic writing: TEXERE

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asemic-writing

Miriam Midley is a textile artist with a respectable list of exhibitions in her native country of Argentina as well as Brazil, an online exhibition (The Volta-Women of the Visual Art, Coldfront Magazine-Vispo), and she is currently in UTSANGA: A collective asemic writing show at Roccelletta di Borgia’s Parco Archeologico Scolacium, Italy from December 2nd, 2016 to May 2nd, 2017.

asemic-writing-expo

UTSANGA Asemic Writing Exhibition | 57 autori in mostra a Roccelletta di Borgia | Dal 2 dicembre 2016 al 2 maggio 2017

texereMiriam’s work concept derives from the Latin word, TEXERE: A weave we use to construct history. Thus, with each turn over, the weaver constructs her own history and her own culture. Also, it is noted that words materialize in the writing being woven, over and over, to transform ideas into a system of communication.

The piece was made with paper and ink, and measures 145 X 115 cm divide into modules of 22 X 28 cm each, mounted on a wooden frame.

 

texere-detalle-1Each module is woven and has its own writing, which Miriam has named, “Calligraphic Gestures“. Her writing has no semantic sense, nor does it belong to any particular language.

 

texere-detalle-4Texere follows the idea of joining weaving with writing in order to make us delve into the Memory of our tongue.

 

Contact: miriam 

 

 

Blog: https://miriammidley.blogspot.com.ar/

texere-detalle-2Email: miriam.midley@fibertel.com.ar

 

 

 

 

7th Biennial in Uruguay 2017

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Some people have told me they find the WTA 7th Biennial “so expensive” ($80).
I have to say, we can’t view a large biennial [such as this one,] only in terms of its monetary fee. Biennial competitions are not for selling artwork! Selling may or may not come later, but these shows are usually held in museums and places where selling isn’t possible. On the plus side, participants usually receive the opportunity to show their work in a prestigious setting, and use it for résumé purposes. WTA offers much more than other exhibits as far as the following facts:
Being the largest in Central/South America, it keeps an enormous number of textile artists going, showing and creating, in addition to encouraging comradery and communication among them.
WTA pays a lot of attention to sensory and textile development in children and persons with visual impairment. Its social work is constant, and important.
Its biennials are enthusiastic festivals full of participation, fun, workshops, conferences, and field trips. The same enthusiasm escapes into the city where these activities are being held, making the public notice and attend the shows in a much more attentive way.
Artists who participate in this type of exhibits usually have to conform to format and date specifications, pay their entry fee, subject themselves to being judged, and if accepted they pay for transportation of their work. Therefore, WTA is serious about the importance to promote the event, show lots of pictures, and make sure that participants have a wonderful experience. It is a give-and-take where the selected artist gains needed recognition and support.
Those of us who have been in WTA biennials in the past, are really excited about the upcoming 7th in Uruguay 2017. If you’re into textiles, you should consider it, too!
http://www.wta-online.org/

Hay quienes me han dicho que consideran la VII Bienal “tan cara” ($80).
Tengo que decirles que no podemos ver una bienal tan grande como ésta, solo en términos de su cuota de participación. ¡Estas competencias no son para vender! Las ventas llegarán o no en un futuro, pero estas muestras se llevan a cabo en museos y lugares donde no es posible vender. Del lado positivo, los participantes normalmente reciben la oportunidad de mostrar su trabajo en un lugar de prestigio y usar esta participación para efectos de currículum. Al respecto, WTA ofrece mucho más que otras exhibiciones en cuanto a lo siguiente:
Por ser la más grande en Centroamérica y Suramérica, mantiene a un gran número de artistas textiles activos, creando y mostrando, además de promover camaradería y comunicación entre ellos.
WTA pone mucha atención al desarrollo sensorial y textil en niños y en personas con discapacidad visual. Su labor social es constante e importante.
Sus bienales son festivales entusiastas, llenos de participación, alegría, talleres, conferencias y paseos de campo. Ese mismo entusiasmo se escapa hacia la ciudad donde se realicen sus actividades, logrando así que el público aprecie y participe con más atención.
Los artistas participantes en este tipo de exposición, normalmente deben ajustarse a especificaciones de formato y fechas, pagar la cuota, someterse a ser juzgados y, de ser seleccionados, deben pagar por el transporte de su obra. Por eso, la WTA toma seriamente la importancia de promover el evento, mostrar muchas fotos y asegurarse de que los participantes tengan una maravillosa experiencia. Es un dar y recibir donde el artista seleccionado obtiene su necesario reconocimiento.
Quienes hemos participado en bienales WTA en el pasado, nos sentimos emocionados por la próxima VII en Uruguay 2017. ¡Si el textil es lo tuyo, debieras pensar en participar!