PLUMAS Y VUELOS – FEATHERS AND FLIGHTS

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.

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DEBORAH KRUGER arte textil / textile art

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

 

SLOW FIBER STUDIOS™ IN MEXICO

Oaxaca, México.  French artist Michel García—one of the world leading experts in sustainable natural dyeing—is giving some workshops at the beautiful Centro de las Artes de San Agustín (formerly a huge textile factory), from March 12 – 20, 2012.

El artista francés Michel García, uno de los grandes expertos en tintes naturales sostenibles, ofrece talleres en CaSa (Centro de las Artes de San Agustín y antigua fábrica textil de Oaxaca), del 12 al 20 de marzo.

 SLOW FIBER STUDIOS™ OAXACA 2012

 ColorFest: Exploring Primary Colors (cochineal, indigo, yellow)

Explorando colores primarios (cochinilla, índigo y amarillo)

Natural Dye Workshop with Michel Garcia • Ikat Weaving • Paper Making •

Zapotec Field Trips • Local Culture

Talleres en tintes naturales • Ikat • Papel picado • paseos Zapotecas • cultura local

MARCH 12-20, 2012  (suggested arrival/llegada: 3/11, depart/salida: 3/21)

Springtime excursion inspired by the colors of amarras Pre-Columbian textiles

 Paseo de verano inspirado por los colores de amarras precolombinos.

 Explore Oaxaca and the vibrant natural dyes for which the area is famous.

Explore Oaxaca y sus tintes naturales que la hacen famosa.


Natural dye expert and world traveled botanist, Michel Garcia of France, will lead an eye-opening series on the primary colors of the Americas – indigo, cochineal, and yellow. The workshop will explore sustainable processes on animal fibers.

Sessions will be conducted in and out of the classroom, with hands-on technical training plus field visits to an ethnobotanical garden and a cochineal farm.

Our program will connect participants with local master artisans who will instruct us in traditional crafts that sadly are fading, like jaspe rebozo (ikat shawls) from Tenancingo, and papermaking.

Standout Oaxacan attractions included in our activities: the MUSEO TEXTIL de OAXACA (March exhibition will be “Herencia de moros, alforjas, alfombras y almohadas”); JARDIN ETNOBOTANICO de OAXACA; and ZAPOTEC ruins. Other Oaxacan traditions sure to inspire: stitch-resist dye traditions; papel picado (paper cutting), tapestry weaving with natural dyed wool.

We are fortunate to have as our base the beautiful artists facility of el CENTRO DE LAS ARTES DE SAN AGUSTÍN (CaSa) with support from Trine and the founder, artist Francisco Toledo—one of Mexico’s greatest living artists and a Oaxacan native. CaSa is a 20-30 minute drive from downtown Oaxaca.*Our participation helps CaSa offer more affordable instructions to local artisans and organizations.

http://www.casanagustin.org.mx | http://www.museotextildeoaxaca.org.mx | http://www.jardinoaxaca.org.mx

PROGRAM PRICE: $880.00 USD

Does not include airfare or hotel

Slow Fiber Studios™ is a program of the World Shibori Network

More information: Lala de Dios  www.indigotextil.com

—Silvia Piza-Tandlich

WTA Biennial: Photos of winning works

The following are photographs of winning works,

Laura Ferrando (Argentina) "Cause Effect Action" - video

which is something—I suspect—we all love to see.

Ana Karen Allende Noriega (Mexico), "I will fight for your dreams"

Enjoy!

Anita Larkin (Australia) "Roger I hear you loud and clear”

If you’d like to have the work description for a particular artist’s piece, feel free to request at   sdarep@galeriaoctagono.com

Berta Jakubovic Teglio (Argentina) “Divinos Tiempos”

Most of the exhibits will be open to the public for about one more month.

Emilia Sandoval González (Mexico) “Tomado" ((Drunk))

Emily Jan (United States) “Dürer´s Rihnoceros ("A dream of elsewhere)”

Brigitte Amarger (France), "Weightlessness"

Anita Larkin-"Roger I hear you loud and clear”

Gerda Standaert (Belgium) “Woman from Afghanistan – I need air”

The Biennial is taking place in three different Mexican cities.

More than 300 artists participate in this event every two years.

Helvetia Kela Cremasque (Italy) “Anomos, el soplo vital”

Lilian Madfes (Uruguay) “Rojo y Carbón”

Joyce Rosner (USA): "Kite Study"

6th WTA Biennial: Program

6th International Biennial of Contemporary Textile Art

World Textile Art – Air

Mexico, May 16 –June 3, 2011

The first Biennial event will be in Xalapa, a culture-oriented university town known as the “Veracruzan Athens,” sponsored by the Veracruzan University of Xalapa. In addition, the cities of Mexico DF and Oaxaca will also gather textile art creation, research, popular expression, management, and design personalities from all over the world.

INAUGURATIONS:

International Congress, “Considerations Between Textiles and Society: A Recapitulation”. May 16-19, offers 40 conferences from 28 nations, and five theme tables. Venue: Xalapa Anthropology Museum, May 16 at 7:00pm.

• Mexico DF exhibits: Museum Diego Rivera-Anahucalli, May 26 at 7:00pm.

• Oaxaca exhibits: Centro de las Artes de San Agustín (CaSa), May 28 at noon.

The program includes the following shows: Salon Mini-textiles . Salon Art Object. Salon Large Format. Salon Recyclability In Textile Art, and Salon Collaborative Nets. In addition, the list of parallel shows and workshops is extensive.

Hicks: A Life In Textile

It is a great honor to have Sheila Hicks—pioneer of contemporary textile art—as special artist at the Museum of Anthropology. Her exhibit, “A Life In Textiles” will pay homage to this important artist, who started 50 years ago and still continues to guide the direction of new artists. Hicks has very strong ties with South America since it was our tradition that attracted her to textiles. There is no doubt that Mexico made an impression as well, compelling her to live here for a while near the workshop she created. Mexico is where she had her first exhibit, and among her favorite techniques is the huipil chamula from the Chiapas area.

WTA is creating the Sheila Hicks award, Pioneer In Textile Work, which will be presented for the first time at the closing ceremony in Xalapa.

See the article about Sheila Hicks in American Craft Council Magazine:

Itinerant Artist: Sheila Hicks
Textiles legend Sheila Hicks has never stopped traveling the world and seeking new horizons in her work.

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The entire Biennial program can be found at www.wta–online.org

For more information: wta.aire.mexico@gmail.com

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The exhibitions comprise

Large Format Salon: work by Ana Mazzoni, Argentina

a surprising number of renown LatinAmerican artists. I am posting a couple of “pre-show” works now, and promise to share more photographs as I receive them.

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Invitation: Exhibition “Thread To Thread” (Hilo a hilo), contemporary textile art from Spain.

Thread To Thread

Large Format Salon. Ariane Garnier, Costa Rica. "The Draft". Galvanized wire, embroidery on rubber and mosquito net. 150 x 100 x 100cm.

Beatriz Oggero: Colored Transparencies. Copper wire wrapped with sewing thread. Large Format Salon. 6th WTA Biennial of Contemporary Art.

—Silvia Piza-Tandlich

6th WTA Biennial: Going to Oaxaca?

My work will be displayed at the 6th WTA Biennial’s Salon for Recyclability In Textile Art in Oaxaca, Mexico as of May 28!!!

Silvia Piza-Tandlich: Molecular Composition. Recycled afghan, fused plastic, papel picado, crochet. 2011, Salon For Recyclability In Textile Art, Oaxaca. Photo: Martha Alvarez.

Aside from the obvious thrill of chatting with artists and meeting new people, Oaxaca will feature Carolyn Kallenborn’s premiere of her documentary, Woven Lives, at the Oaxaca Textile Museum on June 2nd, which I really wanted to see.

Unfortunately, making the trip from Costa Rica to Mexico is expensive, and as my husband’s voice of reason sadly tells me what I already know, he also proposes to find “ways to fill the void.”  He’s right!

DVD cover for Woven Lives

While nothing could fill the void of not attending our own exhibit’s inauguration, so it happens that Carolyn Kallenborn does have the film on DVD for sale, and I have already requested a copy.

It also occurs to me that Carolyn has to fly herself all the way to Oaxaca at whatever price airlines charge, and then fly to the SDA Conference where she’s also giving a lecture and showing the film. I therefore, urge everyone to buy the film, and I know we won’t regret it: It’s made in very good taste, contains a lot of valuable information, and the proceeds will help Carolyn continue this type of important research. Last week I posted the film’s trailer, and I’ve seen photographs of Carolyn’s life with this Zapotec textile community in Oaxaca. This film is must-see, must-have! You can go to her website and use the payment options available

Or you can go to Oaxaca and see the exhibits at the Casa de Arte de San Agustín (CaSa) as well as the Oaxaca Textile Museum film premiere. If you go, please take lots of photos and share them with me!

—Silvia Piza-Tandlich