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.
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
The following are photographs of winning works,
which is something—I suspect—we all love to see.
If you’d like to have the work description for a particular artist’s piece, feel free to request at firstname.lastname@example.org
Most of the exhibits will be open to the public for about one more month.
The Biennial is taking place in three different Mexican cities.
More than 300 artists participate in this event every two years.
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.
• 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.
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:
The entire Biennial program can be found at www.wta–online.org
For more information: email@example.com
The exhibitions comprise
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.
Invitation: Exhibition “Thread To Thread” (Hilo a hilo), contemporary textile art from Spain.
My work will be displayed at the 6th WTA Biennial’s Salon for Recyclability In Textile Art in Oaxaca, Mexico as of May 28!!!
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!
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!
Woven Lives is Carolyn Kallenborn’s documentary to be shown on June 2nd at the Textile Museum of Oaxaca as part of the 6th WTA International Textile Biennial. The weavers who are in it will be seeing it for the first time, which will prove to be a very special moment for them.
Carolyn spent a considerable amount of time in Oaxaca working with these weavers, and has recently finished this wonderful documentary.
I was lucky to attend her witty and fascinating lecture last September at the Costa Rican-North American Cultural Center, where she talked about some of her experiences getting acquainted in Oaxaca, and showed photographs of her community work, as well as the video below.
After the Oaxaca premiere, Carolyn will be showing the film on June 10th at the SDA Conference in Minneapolis.
—Silvia Piza-Tandlich, translation
Woven Lives: Contemporary Textiles from Ancient Oaxacan Traditions examines how traditional art and design play an active role in the cultural sustainability of the Zapotec communities in Oaxaca. This documentary, which traces the development of the weaving process from the first people in the valley to the present day, uniquely blends the perspectives of art, design, business, history, ethnic studies and cultural anthropology. While the textiles are the centerpiece of the film, it highlights the life around the production that creates a sense of connection to the culture, the community, the past and the future.
The weaver’s work is filled with color and textures from dyes and yarns. The meditative movement of the spinning wheel and swift work of the weaver’s expert hands show a rhythm of motion at the loom that has been going on without interruption for centuries. The workroom is filled with the clack of the looms, the noise of the chickens in the yard, and the voices of the weavers as they speak with pride of their work. Photos can capture an instant. Written words can describe the scene and pass on tremendous amounts of information, but only through movement, color and sound can one really communicate the experience of the process, their connection to their culture and the beauty of their extraordinary textiles.