“The Great South” – EL GRAN SUR

First Biennial of Montevideo: “The Great South”
Montevideo, Uruguay
2012/2013
 
Textile and fiber art is an important part of this great exhibit, which has been curated by Alfons Hug. The inaugural ceremony took place on November 22, 2012 within four historic buildings in the Old Quad of Montevideo, Uruguay. 
More than 50 artists and many groups from around the world, have been invited to participate in this event, which will run until  March 30, 2013.
Montevideo BiennialFundación Bienal de Montevideo

Rincón 739,
11100 Montevideo
Uruguay

Tel.: + 598 29031356

Email: info@bienaldemontevideo.com.uy
Website: bienaldemontevideo.com

—Silvia Piza-Tandlich

Expo Punta Arte in Uruguay

Expo-Punta-Arte-2013Expo Punta Arte, 5th Edition. December 29, 2012 through February 23, 2013.
This event aims to gather more than a hundred artists:
national and international painters, sculptors, and textile artists as well as
artists from related disciplines.
The event is held since 2008 at the “School Number 5: Alejandro & Samuel Lafone”
—a historic and patrimonial building on Avenue Gorlero 692 & 23rd Street in the
great city of Punta del Este, Uruguay.
Today, this exhibition is considered one of the most important
artistic expressions in South America.
—Silvia Piza-Tandlich

Beatriz Oggero exhibits at Manzana 1, Bolivia

Inauguration: February 2, 2012

Calle Independencia & Plaza Manzana Uno

http://www.manzanauno.org.bo

Santa Cruz de la Sierra, Bolivia

—————————————

Manzana 1 Espacio de Arte is a not-for-profit art gallery located in the historical center of downtown Santa Cruz de la Sierra, Bolivia. It is called Manzana 1 because it is found on the city’s first block. The building, which has been acknowledged as part of Santa Cruz’s historical legacy, was formerly the headquarters of the National Police and, after 13 years of neglect, it was opened once more, this time as a cultural space in 2005.

 

Beatriz Oggero is a Uruguay-born artist living in Cochabamba, Bolivia.

Contact Beatriz: www.beatrizoggero.blogspot.com

—Silvia Piza-Tandlich, translation

Sprang bags for sale – CARTERITAS A LA VENTA

 They measure 6″ X 8″ (15 X 20 cm) and are absolutely adorable.
¡Miden 15 X 20cm y son divinas!
We have seen Beatriz Oggero’s beautiful, monumental sprang pieces (warp weaving)
hanging handsomely in museums and galleries.
Now she claims to make the little bags “during spare time”.

 Ya hemos visto las obras monumentales de Beatriz: piezas hechas en la

técnica sprang,
 las cuales cuelgan en museos y galerías de arte.
 Ahora ella dice hacer estas carteritas “en su tiempo libre”. ¡Dichosa!

Contact: 

Beatriz Oggero, Cochabamba, Bolivia
Phone: +591 4440 6940
Please see the article below to appreciate one of Beatriz’s works in sprang technique.
 
 
 
—Silvia Piza-Tandlich, translation

Beatriz Oggero exhibits in Bolivia

SANTA CRUZ, BOLIVIA – An interesting exposition named SAVIA (Spanish for “sap”) opened to the public last November 9 sponsored by the Simon I. Patiño Foundation, and presented at Kiosko Gallery. Curator Raquel Schwarz, with the inspiration of Hagamos el bosque (Make A Forest)—a Dutch organization dedicated to sustainable management of tropical forests (http://www.makeaforest.org)—selected 20 renown contemporary artists from Bolivia to present SAVIA through various artistic mediums.

Beatriz Oggero’s “Relict” is made of 220 modules woven in copper, mercerized cotton, and viscose in hues of green, and draws its inspiration from the Andean forest. It measures 40″ X 75″ by 8″ depth, with the upper part in light tones and the bottom in dark ones the way it is in the woods when seen from the air.

“Relicto” is a word to define remains of life organisms from the tertiary geologic Era —both vegetable and animal, which are scarce in the world: there are deposits in Chile, the Canary Islands, and Australia.

…”My idea when choosing this title, was that if we continue destroying the forest the way we have until now, there will only be these wonderful relicts left which, were we talking about human works, would be known as “relics”. While making the piece I thought that manual weaving in this contemporary world of digital looms, is also a relic of sorts, and that’s why I liked the term: I thought it was both strong and poetic…”

—translation by —Silvia Piza-Tandlich

Beatriz Oggero: "Relict" - detail

3rd Encounter of Natural Fibers in Uruguay

 

3rd Encounter of Natural Fibers

When:    October 21 – 23, 2011

Where:   Día del Patrimonio en Castillo Piria in Piriápolis,       Uruguay

Local artistic creators will celebrate their live cultural patrimony by generating participation and awareness with their natural environment. Discussion groups, networking, expositions and workshops.

Contact: Graciela Miller http://facebook.com/artegracielamiller

—Silvia Piza-Tandlich


Beatriz Oggero: Artist and Teacher

DIALOGUE WITH MATERIALS AND TIME

Beatriz Oggero is an accomplished textile artist and teacher. Born in Uruguay and now living in Cochabamba, Bolivia, she’s a child of two very strong textile cultures. 
She claims to have a hard time answering the routine question, “what do you do for a living?” Yet, what she does was presented at a recent retrospective show featuring an installation of miniatures in an impressive array of textile techniques, plus a transparent tapestry knitted with two needles, made of 400 copper wire rectangles and color gauze.

In principle, we could say she uses tools such as time, rhythm, contrast, structure, and transparency. Not everything she does is an expression of gender, but neither can we forget she’s a woman: feminine elements appear to underline her work, especially in her conceptual reasoning. 
Obsessed with time, she views the material aspect of work in terms of the time it contains: time to spin, time to dye, time to weave, stretch, wash, iron, sew…time,time,time…it’s also the time of a woman involved in these textile activities, which makes her identify with ancestral and primal textile endeavors from way back in Andean history.

Beatriz Oggero: "Contrast rhythm transparency". Torn cotton mesh dyed with tanning agent, hand sewn. 2004

Beatriz has been “at it” since 1980, when she studied with maestro Ernesto Aroztegui, the Tapestry Father of Uruguay. She had studied Art and Art History and had begun to work as a teacher, when her country was overtaken by the military regime known as The Process (El Proceso), and educated people were thrown out of their professions. Being forced to stay home she pursued sewing as a hobby. She made her children’s clothing, and later on decided to learn to weave, too.

Beatriz Oggero: "Mi zorzal" (My thrush), cigar box, raw hide, feathers, maize kernels, wire, seeds. 2005

In 1982 she was one of the founders of CETU (Center for Uruguayan Tapestry), which later became the Center for Textile Art of Uruguay since many artists evolved from solely Gobelin to mixed-media textiles. She later became President of this institution from 1986 to 1990 and organized two mini-textile international encounters, and in 1991 was invited to lead and develop the textile section at the Center for Industrial Design of Uruguay. 

Beatriz Oggero: "Contra Ruta", 50 X 800 cm, 800 rectangular modules, silicon-glazed copper thread in various gauges, metal sticks. 2008

Today, in Bolivia, Beatriz weaves with copper wire and various types of threads. She enjoys both mini-textile and large format tapestry techniques, and despite the variety of techniques employed, her style is recognized and respected throughout Latin America for its transparency and pliable look. Beatriz is known to manipulate wire as if it were cotton!

Contact: http://www.beatrizoggero.blogspot.com

Beatriz Oggero: "Contra Ruta", 50 X 800 cm, 800 rectangular modules, silicon-glazed copper thread in various gauges, metal sticks. 2009 . 5th WTA Biennial of Contemporary Textile Art, Argentina.

Beatriz Oggero: Work detail.

—Silvia Piza-Tandlich, translation

ECO-WEAVING

Textile Tourism: ECO-WEAVING

It is easy to be attracted to the materials in the work of Uruguayan artist Silvia Umpiérrez, as if she had nothing to do in the making of her creative pieces.

Silvia Umpiérrez: basket. Weaving with "pinocha" (pine needles), and other materials.

On the other hand, this unique work also shows a revaluation of the natural element normally thrown away or burnt, appearing to us in the life of something else. That can only be achieved through a thinking and creating process: Silvia’s own rhyme and reason is present at all times.

Silvia Umpiérrez: basket showing a Central American weaving technique. Pine needles.

She enjoys the sensorial beauty of dry nature—its colors and scents—which she normally works on a very simple, native loom used in the Uruguayan countryside to weave blankets and flounces, whose warp allows the incorporation of various materials.

…“I weave with my hands, placing each fiber, one by one. Same as life itself, I weft with transparencies and textures, respecting the natural colors of each material…”

Silvia Umpiérrez: basket in Coulding technique.

Silvia feels comfortable within this form of showing dry elements, including them in artistic work as well as utilitarian objects. She makes her tapestries by working with palm tree inflorescences, which give her a certain transparency. 

Silvia Umpiérrez: tapestry detail. Formio fiber (natural raffia-like leave, approx. 150cm. in length).

Tapestry by Silvia Umpiérrez. Some of the materials employed in her tapestry are banana peels, gum wraps, philodendron, and in some cases, her own dyed yarns and leathers.

In 2009, the Montevideo Museum of Contemporary Arts invited artists to create art with industrial fabrics. This was the first time that Silvia ventured away from organic found materials, using instead her grandmother’s ironing board to make a more traditional composition.

This year, however, Silvia’s wonderful mobile piece is being exhibited in the Art Object Salon at the WTA’s 6th International Biennial of Contemporary Textile Art in Mexico. Made with materials such as eucalyptus and woven philodendron and watsonia leaves, it measures 50 X 35 X 20cm. 

Silvia Umpiérrez. Work presented at 6th WTA Biennial in Mexico.


Decorative lamp by Silvia Umpiérrez.

Decorative lamp by Silvia Umpiérrez.

Left: Two of Silvia’s candle holders.

Photos at the bottom show raw materials before being woven into beautiful tapestries. Banana leaves and a great variety of twigs and sprays become part of the weft. The last picture is a detail of the finished tapestry.


Silvia Umpiérrez: tapestry (the "after" photo)

To see more of Silvia’s work, please go to her blog (in Spanish) at www.silviaumpierrez.blogspot.com

—Silvia Piza-Tandlich, translation


Good wishes to Alison Schwabe

Alison Schwabe

Dear Alison:

Our best wishes for a year of creativity and fun!

Alison had surgery last December, but she’s feeling inspired again.

Her SAQA quilt shown below—a contribution to the SAQA auction—usually marks the inspirational basis for Alison’s creative Series, and this year’s little piece is no exception: she already feels it fits in with the Timetracks series, which you can see by visiting her gallery at   http://www.alisonschwabe.com/gallery.php?cat=2

SAQA 2011 Auction piece

Alison is an Australian artist with extensive professional experience as a textile creator and teacher. She presently lives and works in Uruguay.

Her blog offers fascinating descriptions of her artistic process in developing each piece, or each series of pieces. For example, in her recent work, “Beachwork” she describes the mental process required to initiate work with purchased material she had previously deemed unsuitable.

"Beachwork", by Alison Schwabe. 2010

Unlike artists who prefer to work secretly until their work is ready for showing and viewing, Alison shares her mental and creative state with her public, thus allowing a better understanding of her creation.

"Circulation", by Alison Schwabe. 2011

To see more of Alison’s work, visit   www.alisonschwabe.com