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Hannah Ryggen (1894–1970) is one of the most significant Scandinavian artists of the twentieth century. Her tapestries are visual responses to major and minor events, conflicts and processes. She captured the world in her weaving. In the early 1930s, she addressed fascism and the destructive consequences of Nazi power. Violence and abuse are visualised in an idiom reminiscent of modern, critical history painting. Her narrative drive goes hand in hand with a free accentuation of abstract patterns, shapes and colours. The exhibition echoes a broad renewal of interest in Ryggen’s figurative and highly captivating modernism internationally. It is produced in collaboration with the Moderna Museet in Malmö.
fiber artists --- textile art [visual works] --- textielkunst --- Ryggen, Hannah
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indigo [color] --- textile art [visual works] --- shibori --- Fukumoto, Shihoko
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Art --- textile art [visual works] --- brieven (genre) --- Adnan, Etel
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Marilyn Monroe was an iconic figure in her time, known for her undeniable beauty. The mystery surrounding her sudden death elevated her to a legendary - almost immortal - status. Recently, she has been seen by some feminists, like Gloria Steinem, as a proto-feminist, and artists like Andy Warhol immortalized her in their work. Items related to her, such as her famous dresses and even X-rays from her medical examinations, are sold for extreme prices. However, on a personal note, Spank Moons had a unique connection to Marilyn Monroe through a story told by his father, who claimed to have met her during his time in the mercant navy in New York in 1952. The sailor said it was an unforgettable night. Intrigued by it all, Spank Moons is on a personal quest to deconstruct the typical cliché image of Marilyn in order to reconstruct her persona, to remake and remodel her through his project 'Marilynisms'.
Photography --- digital art [visual works] --- Monroe, Marilyn --- Moons, Spank
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Can crochet explain the complexities of non-Euclidean geometry? How does the 1804 Jacquard loom relate to modern computing? For centuries, fiber arts have influenced practical, theoretical and pedagogical areas of the sciences as diverse as digital technology, mathematics, neuroscience, medicine and more. Radical Fiber explores this relationship through contemporary art and historical artifacts that address five key themes: shape, machine, body, brain, and community. It foregrounds each work as at once fine art, process-driven craft and scientific tool, complicating existing frameworks across fields. How did the accidental discovery of synthetic mauveine dye in 1856 pave the way for modern pharmaceuticals yet also generate toxic environmental impact? Why do we respond differently to a woven photograph than a printed one? These and other questions reframe the histories of fiber/science intersections and ask not only how artists continue to engage in scientific inquiry through fiber, but also importantly, how the medium can be used to improve our world for the future. Radical Fiber features a new artwork created by amateur and professional makers around the globe: the Saratoga Springs Satellite Reef, part of the worldwide Crochet Coral Reef project by Christine and Margaret Wertheim and the Institute For Figuring. Alongside a number of unidentified artists, additional artists and creators include: Lia Cook, Brock Craft, Veronica Dry, Anna Dumitriu, Ellis Developments, Hanne Kekkonen, Kintra Fibers, Elaine Krajenke Ellison, Karen Norberg, William Henry Perkin, Helen Remick, Dario Robleto, Daniela Rosner, Samantha Shorey, John Sims, Soft Monitor (Victoria Manganiello and Julian Goldman), Daina Taimina, Cecilia Vicuña, Christine Wertheim, Margaret Wertheim and Carolyn Yackel.
Science --- Art --- fiber art --- textile art [visual works]
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body art [visual works, performance] --- feminism --- performance artists --- Orlan
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body art [visual works, performance] --- saints --- body arts [discipline] --- body art [visual works, adornment] --- plastische chirurgie --- Orlan
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Saskia Olde Wolbers has a taste for stories in which the characters become victims of their own imaginations, unable to tell dream from reality. In her videos, detached voice-overs recount the unlikely dramas of her protagonists; abstract visuals look like digital dreamscapes but are in fact meticulously built miniature film sets. The Dutch video artist Saskia Olde Wolbers (*1971, lives in London) has attracted international attention over the last few years with exhibitions throughout Europe. In 2003, her work in the "Statements" section of the Basel Art Fair received the Baloise Art Prize. The works of Saskia Olde Wolbers are extremely popular. Her films even fascinate viewers unfamiliar with the art world. Although there are no actors involved, Wolbers's tales provoke emotional reactions. The protagonists are only present through the voice of the off-screen narrator. Wolbers's moving, painterly vocabulary of abstract forms surprisingly reveals itself as a visual correspondence to the storyline. The actual plot develops as a fiction in the mind of the perceiver. In both video installations Placebo and Interloper, Wolbers narrates one identical story from each of the points of view of two lovers. They lie together in intensive care after a serious car crash. From the woman's version (Placebo), we learn about her suspicion that her lover, supposedly a married doctor, could have been deceiving her for years about his profession and his marital status. The model-like representation of a hospital room progressively fades away as the true story is shockingly revealed. The artist's images and stories seem to be familiar to us, despite the relative absence of any spatial or temporal orientation in her films. In fact, Saskia Olde Wolbers's work refers to true TV or newspaper reports. However, the artist changes and expands the story at her own discretion. The protagonists thereby land in a spatially and temporally displaced meta-world, literally the artificial world of fiction. Saskia Olde Wolbers reminds us of the basic conditions with which the medium of moving images functions: on the one hand, the attraction of an imaginary, yet living reality; on the other hand, the tragedy of melodrama.
Iconography --- Art --- Film --- science fiction --- imagination --- computer art [visual works] --- video art --- digital art [visual works] --- Olde Wolbers, Saskia --- Netherlands --- multimedia works --- video [discipline] --- multimediakunst
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textielkunst --- Applied arts. Arts and crafts --- textile art [visual works] --- Abegg Foundation [Riggisberg]
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fashion design --- textile art [visual works] --- textielkunst --- Applied arts. Arts and crafts --- mode --- Periodicals
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