National Crafts Competition 2016, Argentina

The richness and cultural diversity of each region in Latin America, are represented by its crafts.

Argentina is a highly textile country, where an incredible array of techniques are present in an equally incredible array of competitions and shows. Ranging from vegetable to animal fiber creation, you can see categories such as traditional Mapuche indigenous weaving, horse mount blankets, belting, leather textiles, textile jewelry and accessories, felt toys, felt garments, basketry, contemporary paper creation, and more.

The National Fund for the Arts in Buenos Aires, is a governmental entity that holds an annual competition of craft cuture at a national level: Concurso Nacional de Artesanías FNA 2016, which will open to the public on September 1st, with four textile categories: traditional crafts; rescue; neo-crafts: Contemporary expression; and textile projection.

 Susana Larrambebere. Shawl. Hand dyed, hand felted Merino over gauze, with applications.


Susana Larrambebere. Shawl. Hand dyed, hand felted Merino over gauze, with applications.

 

Susana Larrambebere. Shawl (detail). Hand dyed, hand felted Merino over gauze, with applications.

Susana Larrambebere. Shawl (detail). Hand dyed, hand felted Merino over gauze, with applications.

 

 

 

 

 

 

 

 

Textile artist Susana Larrambebere from Buenos Aires, has won 2nd Prize in Felt Garments, within the Contemporary Textiles category. 

Her shawl was felted with exquisite Merino wool from Patagonia, over gauze with natural silk applications. It was dyed with purple and gold onions, walnut and acid aniline.

To see more of Susana’s creation, visit her site “El Cuarto De Las Lanitas”: http://www.elcuartodelaslanitas.com/     or her page on Facebook:  https://www.facebook.com/elcuarto.delaslanitas

 

 

 

Impressions from Afghanistan

 

09062011-09062011-P1150199Irene Carlos and I became friendly thanks to being members of the Surface Design Association at the time (2011,) and we also had a piece in the 4th WTA Biennial here in Costa Rica, so I admired her work even though I had not met her: She is a great visual artist from Guatemala.

That year, she was invited to visit in Afghanistan and, being a place of conflict, we didn’t expect her to be able to delve into textiles, but I anxiously awaited her letters and, of course, her photos.

Three skimpy letters arrived, with warnings not to publish location. I managed to make a full article out of them, without photographs. Some photos arrived later, but I didn’t get permission to publish them, so I didn’t.

Until now! I came across her article published by the European Textile Network, and quickly contacted her. The full story is fascinating:

She arrived in Herat, where she stayed for one month until unrest intensified in that city, leaving her to travel on her own. She visited Kabul first, and then Bamyan. I’m publishing her photos of Bamyan at the end.

May 24, 2011: In her first account she talked about her arrival, lodging, and other sensitive matters we could not publish. Afghanistan is, after all, a war area. The following letter was received this morning after a few days of silence. It promised me photographs that have arrived five years later: It turns out Irene sent the photos, but I did not receive them; then I got them, but couldn’t show them. Here is Irene’s second letter to me, which I posted so long ago:

“For security reasons I can’t tell you where I’m staying, but not much is going on at my refuge. I’ve been painting morning and afternoon, except when Hassina waits for me by the door in her blue chador—then my life brightens up. We roam the streets of Herat seeing historic monuments, the Citadella, bazaars, side-streets full of dust and open gutters. Right then it would never occur to you that there’s a war going on in this country. Everyone seems more worried about their daily shopping, and you see streets full of women in light blue burkas and black or grey chadors. It’s inconceivable that in a desert country the fabrics utilized by women are a hundred percent polyester; yet underneath the burka or chador there are more layers of cloth, like the obligatory scarf that covers head and shoulders, long tunics, and pants. I find myself asking Hassina if she’s not cooking in there, and she answers she no longer thinks about it, ’cause there’s nothing she can do about it. Indeed, we get exhausted under the ardent sun: there’s not a cloud, or a small café to sit awhile. We wait until lunch time to look for a restaurant where there’s only women, or a family-style one where the men are out front in the first room. At the latter we continue down the hallway to sit in the women’s area as close as possible to a small fan to reduce the intense steam from kitchen and desert, but under the chador we continue to roast.
An order of lamb and basmati rice, with pomegranate and saffron fried seeds as garnish actually breaks the routine of eating pasta and salad, salad and pasta, and okra, spinach and potatoes eaten daily at my refuge.
Today I’m going to an Afghan wedding; I’m leaving in a few minutes. I’ll be alone in the women’s area, without knowing a soul, but hoping to see with my very own eyes something I wouldn’t be able to see otherwise. I thank my friend, who invited me over to Afghanistan.”
—Irene Carlos, Guatemala
P.S. Photographs will follow as soon as I can find a computer to send them!
—Translation by Silvia Piza-Tandlich
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“…It’s inconceivable that in a desert country the fabrics utilized by women are a hundred percent polyester…” Quote and photo: Irene Carlos

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Men tend to their stores, where women are not allowed to work. Yet, the Afghan culture is quite friendly.
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Amir is a weaver and owner of “Pamir Kashmir” distributor on Chicken Street in Kabul. Photo: Irene Carlos

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Irene entering Amir’s distributing store in Kabul. Pashminas on the ground floor, and all the weaving operation upstairs, men weave and women make rugs. Photo: Irene Carlos

Note, 2016: May I congratulate Irene Carlos on her latest article, published by the European Textile Network. 

—Silvia Piza-Tandlich

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Bamyan, capital of the province of Bamyan in central Afghanistan, means "The Place of Shining Light." Its population of 62,000 still shows traces of a blend of Greek, Turkish, Persian, Chinese, and Indian cultures since the town sits on the ancient Silk Route, forming now the Hazara ethnic group of Afghanistan. Photo: Irene Carlos.

Bamyan, capital of the province of Bamyan in central Afghanistan, means “The Place of Shining Light.” Its population of 62,000 still shows traces of a blend of Greek, Turkish, Persian, Chinese, and Indian cultures since the town sits on the ancient Silk Route, forming now the Hazara ethnic group of Afghanistan.
Photo: Irene Carlos.

Bamyan stands out in History by its prominent Buddha sculptures, built in the 6th Century AD as a holy Buddhist site. They were 55 meters and 37 meters high, carved in sandstone. Demolished by the Taliban in March 2001 after being declared idols. Photo: Irene Carlos.

Bamyan stands out in History by its prominent Buddha sculptures, built in the 6th Century AD as a holy Buddhist site. They were 55 meters and 37 meters high, carved in sandstone.
Demolished by the Taliban in March 2001 after being declared idols.
Photo: Irene Carlos.

Life is tough for people living in rural areas. Bamyan is a small town with a bazaar at its center. It has no infrastructure of electricity, gas, or water supplies. Photo: Irene Carlos.

Life is tough for people living in rural areas. Bamyan is a small town with a bazaar at its center. It has no infrastructure of electricity, gas, or water supplies.
Photo: Irene Carlos.

Despite war and poverty, children in the countryside continue to be educated in school, while a textile tradition continues at home. Photo: Irene Carlos.

Despite war and poverty, children in the countryside continue to be educated in school, while a textile tradition continues at home.
Photo: Irene Carlos.

At last without the chador, Irene enjoys a little bit of fresh air and sightseeing in Shahr-e Zohak.

At last without the chador, Irene enjoys a little bit of fresh air and sightseeing in Shahr-e Zohak.

Waiting to enjoy sone Naan bread—the national bread of Afghanistan. Photo: Irene Carlos.

Waiting to enjoy sone Naan bread—the national bread of Afghanistan.
Photo: Irene Carlos.

Herding and trading continue to be important in Bamyan life. Photo: Irene Carlos.

Herding and trading continue to be important in Bamyan life.
Photo: Irene Carlos.

Female enrollment in schools in Bamiyan has surged in the last decade, and Bamyan now has a female governor. Photo: Irene Carlos.

Female enrollment in schools in Bamiyan has surged in the last decade, and Bamyan now has a female governor.
Photo: Irene Carlos.

Not the traditional fancy dresses, or the luxurious silk one would expect. Afghan clothing includes men's turbans, the Perahan with modern side slits, tsādar or shawl, the Firaq which is like a skirt, and the Partug or shalwar. Weather permitting, poor women prefer to wear the Chador, without having to display anything else. Photo: Irene Carlos.

Not the traditional fancy dresses, or the luxurious silk one would expect. Afghan clothing includes men’s turbans, the Perahan with modern side slits, tsādar or shawl, the Firaq which is like a skirt, and the Partug or shalwar. Weather permitting, poor women prefer to wear the Chador, without having to display anything else.
Photo: Irene Carlos.

A lot of activity in one of the deep blue lakes at Band-e Amir National Park near Bamyan City. Photo: Irene Carlos.

A lot of activity in one of the deep blue lakes at Band-e Amir National Park near Bamyan City.
Photo: Irene Carlos.

 

 

 

 

 

 

 

Our traveler posing with the lake beauty of Band-e Amir National Park behind her.

Our traveler posing with the lake beauty of Band-e Amir National Park behind her.

 

 

 

 

 

 

 

 

 

 

 

 

The “Theater of Always”: Main Venue of the 7th Biennial in Uruguay

As of June 18th, 2016 Teatro Solís—the 160 year-old theater—is presenting an anniversary show in its PhotoGallery: A graphic retrospective of the patrimony of all Uruguayans.

teatro solís

Inaugurated in 1856, this stately landmark has treasured the artistic and cultural life of Montevideo, incorporating new forms and languages along the way, and developing audiences.

With the founding of its CIDDAE Center for Research, Documentation & Presentation of Scenic Arts, the Solís becomes an important asset in the field, with preservation, protection, and communication as important goals. However, it is important to remember that alongside theory, Teatro Solís has state-of-the-art technology, and offers a fantastic opportunity in the arts as well as quite an experience for the public.

In October 2017, the 7th WTA Biennial of Contemporary Textile Art will take place mainly at the Teatro Solís. Numerous other venues will participate during this event, but the Solís will house the main shows.

The Small Format Textile Art Salon as well as the Photography With Textile Theme Salon will take place at the Exposition Hall at Teatro Solís, and all works will approach the scenic/performing arts theme—contemplating theatre (puppets, circus, clown, street theatre, cabaret, recital, concert,) carnival and/or any endeavor related to those arts.

Also, due to the variety of expression mediums to which artists have access nowadays, the 7th WTA International Biennial of Contemporary Textile Art looks to broaden the field of participation by proposing as a challenge, to venture into electronic mediums by way of an art video or “VideoArt,” making reference to textiles in any of its possibilities.

A Large Format competition will also be presented.

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More information: http://uruguay2017.wta-online.org/

LARGE FORMAT SALON: SIZE (tamaño)

7th International WTA Biennial of Contemporary Textile Art

LARGE FORMAT SALON SIZE REQUIREMENTS

Large Format Textile Art “Folding-Unfolding”

(Arte Textil de Gran Formato “Plegable-Desplegable”)

Maximum= 100 X 280 cm   |   Minimum= 50 X 150 cm

Maximum measurements for tridimensional work: 280 cm (height) x 100 cm (width) x 80 cm (depth), and minimum: 150 cm (height) x 50 cm (width) x 50 cm (depth).

Maximum weight for works delivered in person: 20 Kilos.

Maximum weight for works sent by mail: 10 Kilos.

7th WTA International Biennial of Contemporary Textile Art: DIVERSITY

WTA logoI’m honored to have been appointed Costa Rica Rep before World Textile Art( WTA), and I can also answer questions if you have any.

7th WTA International Biennial of Contemporary Textile Art: “DIVERSITY” Uruguay 2017.

Note: At biennial level, the last two exhibitions are pioneers.

Small Format:

http://uruguay2017.wta-online.org/smallformat.pdf

Large Format:

http://uruguay2017.wta-online.org/largeformat.pdf

Textile Photography:

http://uruguay2017.wta-online.org/photography.pdf

Textile VideoArt:

http://uruguay2017.wta-online.org/videoart.pdf