Boletín #4: Agenda


SUAVE 3 Third International Biennial Of Textile Accessories

Terrasa (Cataluña,) Spain, 9 October – 9 November, Documentation Center of the Textile Museum

Suave 3 has been organized by the Association of Textile Creators of Madrid, and the Documentation Center & Textile Museum of Terrassa, with the collaboration of Artesanía Cataluña, Gremio Textil of Barcelona, and Oficio & Arte OAE. Its objective is to promote innovation in textile crafting, show examples of creativity, inspiration and good design, and encouragement to make artisan workshops more international.

It will travel to Madrid during 2009, on dates not yet specified. All proposals by entities interested in its organization will be considered.

Suave 3 represents a unique occasion to learn about latest tendencies in textile creation—principally in Europe, from where obviously most participants will come. The craftsmanship of all these works is made by their authors, although many call themselves, “artists,” or “designers.” During these past three editions, the Biennial has consolidated as a European referent, because although there are many traditional events, they are focused exclusively on textile work.

For more information:
Asociación de Creadores Textiles of Madrid

Translation: Silvia Piza-Tandlich

Natalia Parejo - Zapato de tacón 72

Natalia Parejo – Zapato de tacón 72

FIBRAS 08 Contemporary Textile Art

Madrid, Spain – September 12 to November 12, Museo del Traje.

FIBRAS is an artist meeting arising from the idea to define textile design as an artistic language being ours and autonomous, based on the presentation and representation made by each one of the national and international participating artists.

FIBRAS is a show organized in collaboration with World Textile Arts Spain, and comprises the work of 16 contemporary textile artists working on large format.

Artists such as Yosi Anaya (Mexico,) offer us tapestries which fuse together the materiality of weaving with the vitality suggested by rivers.

Cristina Almodóvar (Spain,) with a delicate technique, makes materials which could very well be used to create ancestral nets where to catch her memories.

Cristina Busto (Spain,) projects from her creations a journal to a lost natural world full of soft melancholic references.

Laura Ferrando (Argentina), with her weavings, tension first and then free-form, creates a scheme of IESVS NAZARENVS REX IVDAEORVM, full of suggesting reading.

Amelia Jiménez Goy (Spain), proposes in her tapestries a deferred vision of Hispanic aesthetics.

The ethereal forms of Sugane Hara (Japan), evoke a mysterious pond anchored in undetermined space and time.

María Muñoz (Spain), portrays a disturbing melancholy trapped amongst weavings that draw a reflection over anchored and frozen time.

Kae Newcomb (USA), suggests an ethereal world floating throughout a unique stroke.

María Ortega (Spain), transforms our energy support into light, subtly analyzing and re-designing our routine life.

Paulina Ortiz (Costa Rica), presents intertwined forms evoking memories attached to waving structures.

Natalia Parejo McWey (Spain), forms fetishistic objects by delicately and convincingly fusing diverse materials.

Isabel Polikowski Ditone (Argentina), constructs banners where untimeliness serves as base to a temptation appearing to be almost alive.

Silke (Austria), depicts immortal tales of humanity through ingenious lines.

The Link, by Flora Sutton (Argentina), turns wire into a stable weaving.

The impossible dresses of Pilar Tobon (Colombia), analyze and re-design millenary traditions.

And lastly, Consuelo Vinchira (Spain), makes almost psalmodic vindication pieces by building and arranging dwellings in a utopic city.

FIBRAS represents an approach to multicultural discourses which allow access to to a new universe of forms and colors, turning textile activity into a unique and exceptional experience.

Translation: Silvia Piza-Tandlich, Costa Rica.

Satélites de amor 06

Satélites de amor 06

Exposition LOVE SATELLITES 06 “Affective Politics” (“Políticas de la afectividad”)

Montevideo, Uruguay, October 4 – November 1st, 2008. Museo Nacional de Artes Visuales.

Exposition of thirty Uruguayan artists, whose language has developed from textile art.

This exhibit is the result of constant work during six months of encounters between the artists and Museum Director, Lic. Jacqueline Lacasa, characterized by dialogue and theoretical work. Thus, it was evidenced that affective politics arise from continuous work, with a surprising historic process in constructing the daily encounter.

Love Satellites is a program comprised within the project, “Liquid Museum.” It proposes to make different cosmo-visions by developing spaces of artistic creation and critical reflection.

The project considers the possibility that the field of audiovisual arts functions as a reservoir to ferment stagnant zones within communication, thereby deactivating them through dialogue. This way, individuals are encouraged to get closer in territories where they can build and work in order to generate affective politics. The idea is to “think our time” from the optics of sociologist Sygmunt Bauman who, in his book “Liquid Love,” analyzes conflicts of fragility in human links, and states that “today more than ever, it is urgent and imperative to conduct a careful search of common humanity, as well as the actions that derive from it”.

General Project: Jacqueline Lacasa

Tanslation: Silvia Piza-Tandlich

Collar Graffiti (detalle), Julieta Odio

Collar Graffiti (detalle), Julieta Odio

UA + MS: Utilitarian Art + Sustainable Furniture

By Juan Ignacio Salom, Kiosco’s Director

San José, Costa Rica, July 23 – September, 2008.
Collective Exposition at Kiosko Boutique SJO

How could we reverse the many damages inflicted by the consumer market on the environment and other human beings, reaching a more fair equation for our planet and all who live on it, without necessarily depriving ourselves of things we enjoy?

At the exposition AU+MS you found many designs serving as an answer to this complex question.

The invitation made by Kiosko Boutique managed to seduce a considerable group of Costa Rican artists and designers to present environmentally friendly expressions of their work within the frame of fair production, without ignoring technical innovation, and quality.

All the production processes to make the objects comprised in this exposition are sustainable. Furniture is made either with certified or renewable woods, or with recovered industrial materials. Utilitarian art pieces are the product of highly specialized craftmanship, mixing traditional techniques and innovative application with socially and environmentally responsible initiatives.

Within the samples of Utilitarian Art we find some examples where traditional textile technique is applied in an innovative way:

• Graffiti Necklace by Julieta Odio, Costa Rican jewelry maker, who uses crochet in steel thread to make a unique and delicate object.

• Dennis Gómez Vega for Widecast, mixes crochet applied to plastic bags, and flameless plastic melting to make sandals, whereby each pair uses between 500 and 700 plastic bags.

• Arianne Garnier in her project Responsible Art, translates sieves and light games of the wire netting she uses as a medium for her artistic work, and turns it into delicate and translucent utilitarian objects, thereby creating an art that may be worn as bags and bracelets.

Translation: Silvia Piza-Tandlich, Costa Rica


“INTERWEAVING COPPER” (“Entretejiendo el Cobre”) Exhibit by Raquel Yuhaniak y Andrea Carvacho

By Ximena Correa, Director of Galería Praxis

Santiago de Chile, Chile, August 26 to September 21, Galería Praxis

From the moment I saw the work of both artists I wanted to unite two expressions of a same passion: textile art. Each one in her space and with her own motivations, blinded by the same light, had developed a little known art—textiles—but this time, the raw material is copper.

Interweaving their art with impeccable presentation of great aesthetic value and balance, they have achieved effects by using a copper weft that they weave and un-weave together with a warp of silk threads of all colors.

Each atist displays her own rigor, discipline, and harmony in work which is detailed, slow, and requiring much observation where materials and textures are united, contrasting between them. It’s no wonder Andrea won the critics and public award presented at Casa Mater 2007, winning first place at her participating stand. Three of her works are exhibited at the Palacio de la Moneda, two at Salón Montt Varas, and one at Salón de Gabinete.

Likewise, Raquel’s work has been selected in numerous occasions, and she has had expositions at the Museo de Bellas Artes, Chile, and in the U.S., México, and Costa Rica.

Translation: Silvia Piza-Tandlich, Costa Rica


Instalación Peque Cañas sobre el río Mapocho, Santiago, Chile. “Cada mujer decide cuando sacarse la ropa”

Peque Cañas Installation

By Cristal Ferret, Chile
Sculptor/Urban and Textile Artist

Installation over Río Mapocho – Chile, May 2008

Length of 200 linear meters with 2,360 bras, 1,000 skirts
(Several persons donated their garments to feel physically a part of this installation).

The installation, “Each woman decides when to take off their clothes,” is an urban statement whose goal was to expose sexual abuse towards women. The work possesses symbolic and testimonial character since it’s made from discarded feminine intimate apparel donated by dozens of women wanting to be represented in this installation.

“The universe of intimate apparel is in the terrain of the occult, the non-visible, that which is suggested but not taught, where differences in each one of us [women] are best noticed… Each one of these volatile phantoms, erotic cadavers, functional, virginal, and maternal…are witnesses of shameful stories of anonymous women…with no names, no faces, no bodies, but who are present and incarnated in each rag, skirt or bra; bras which—as ‘holders’—are the symbol of all corsés, constrictors, molds and subjection…but no…we’re not subjectable and our bodies and minds are unrestrained… These invisible women who become agitated with the wind, who weep and laugh, who sing and dance…howl from that floating round, and repeat in unison:

This body is mine and it does not get touched, raped, beaten, hushed, categorized, yelled at, censored, denied, enclosed, controlled, subordinated, domesticated, forgotten, destroyed, intimidated, stopped, insulted, blamed, ignored, marginated, killed… This body is mine and it decides because it is autonomous: it rebels, transgresses, acts, creates, constructs, pronounces itself, enunciates itself, gets dirty, forms groups, answers, speaks, masturbates, screams, demands, knows, changes, rejects, disobeys, gets off track, loves, hates, questions, it’s strong, it resides, fights, gets empowered, and decides when to take off its clothes.”
Cristal Ferret


Translation: Silvia Piza-Tandlich, Costa Rica

Luego de vestir un marco vertical con la urdimbre, el tejido es terminado con el telar de cintura.

Luego de vestir un marco vertical con la urdimbre, el tejido es terminado con el telar de cintura.

Boruca Women Rescue Culture

By Beverly Gallagher – Costa Rica

Twelve women of the Boruca, one of Costa Rica’s eight Indigenous groups, have formed an artisans group called Sô Cagrú, meaning “masked warrior” in Boruca language. Through tourism, they hope to educate visitors about Boruca traditions as a way to help rescue their fading culture.

As Boruca renaissance, Sô Cagrú is leading tours of their community—famous for its carved masks and textiles, and providing accommodations to overnight visitors in a mountain valley in the southern part of the province of Puntarenas, Costa Rica. Tour highlights include discovering the ancient weaving and dying techniques still practiced today.

Still a Boruca tradition, weavers travel to the Pacific Coast beaches of Piñuela and Ventana to collect murex snails for extracting purple coloring. Some Boruca textiles are woven from hand-spun thread dyed with murex snail, clay and with plants only harvested during the waning moon, although most textiles are woven from chemically-dyed industrial thread.

Currently, only a small handful of women in Boruca weave hand-spun and hand-dyed thread, a time consuming and costly process. They also wonder how to market the finer pieces to keep their old textile traditions alive?

“There’s much work to be done in order to reach that point in which people will start to better appreciate their objects,” says Paulina Ortiz, Costa Rican textile artist and President of the Iberoamerican Textile Network. “By rescuing textile traditions, they would discover that there are exquisite ways of finishing objects, and many different object designs that were done in pre-Colombian times are rather different from what they are doing nowadays. Some of those functional objects might have some use today, could feed new designs, or they might just be interesting to have as a testimony of how things were.”
Rates in Sô Cagrú are reasonable, they include breakfast, lunch, dinner, accommodations and guided tours. Customized day tours of artist studios, the local area and nearby waterfalls are available upon request.

If you are interested call 2286-5136 (San José), or 2730-2453 (Boruca)

For more information:


A Latino Commissary and Jury in Europe

The recent invitation to the position of Commissary of the Latin American Art Museum in Amersfort, Holland, which will open its doors next year, gives great recognition to Luis Acosta’s activity.

He will be the first in Europe to be dedicated to cultural exchange between Latin America, Spain, and Holland. The museum will gather all arts, and will hold numerous educational projects.

As a member of the jury, Luis will take part in the Third International Biennial of Complements and Textile Garments SUAVE…3, which will be held in October at the Textile Museum Terrassa, Spain and is being organized by the Association of Textile Creators od Madrid.

In addition to the above-mentioned appointments, Luis has been commissioner and jury member of various expositions in Spain as well as in Holland.

In 1980 in Buenos Aires, Argentina, his interest in pre-Columbian weaving encouraged Luis Acosta to get involved in various weaving techniques and those of contemporary textiles.

Toward the end of 1982 he moved to Holland and started his textile studies at the Gerrit Rietveld Academy in Amsterdam where he graduated in 1988. From that moment on, his activity hasn’t stopped. He has participated in solo and group expositions throughout Europe, Argentina, the U.S., Japan, and Korea.

Although Luis continues to be active in his original profession as textile designer teaching textile design and complements, his present works—papel jewelry and mural objects in paper thread—have little to do with weaving techniques, but they do have a tight relationship amongst them.

He has published diverse articles describing his own weaving design method, published between 1992 and 1994 in Dutch and Spanish magazines, Textiel Plus and Oficio+arte.

He translated the book Si’ira (woven belt of Wayuu Indians), by Mirja Wark, from Dutch to Spanish.


Translation: Silvia Piza-Tandlich, Costa Rica

Alas de polilla - Serie de diez obras de Silvia Piza-Tandlich y Silvina Sapere.

Alas de polilla – Serie de diez obras de Silvia Piza-Tandlich y Silvina Sapere.


One of the parallel events to the 5th WTA International Biennial of Textile Art in April, 1009 will be a textile art exhibit receiving governmental approvals declaring it of cultural interest.

Said project arose from the initiative of independent textile artists from various countries of the Americas, and the collaboration of other reknown representatives of diverse artistic disciplines. With cultural exchange as a common goal, they wish to present art as a palpable medium of popular and professional expressions.

“Metamorphosis, A New Cycle” possesses a philosophical fiber nourished by the changes that all human beings experiment during various life stages, presented within a multi-sensorial, multimedia habitat which allows public participation.

The event will take place in Córdoba, Argentina at the exhibition chambers of the historic Cabildo Histórico (formerly a jail).

Participants are Silvina Sapere (Argentina,) Silvia Piza-Tandlich (Costa Rica,) Silvia López (Argentina,) Jennifer Marsh (USA,), Rebecca Walk (Costa Rica,) and musicians Sergio and Franco Cornacchione (Argentina).


Translation: Silvia Piza


About The Work Of Raquel Schwartz

By Ramiro Garavito

It is possible that the times we live in are—as far as art goes, the splendor of the object, whether ready-made or built by the artists themselves. It is to say the object is as it is (not a representation,) or reality is itself—and not its representation (without meaning, however, that the artistry of the work has moved to the object or to its formal matter;) instead, what has happened is that the object, staking evidence of the distance between reality and representation, has radically questioned the illusory nature of art in favor of reality as truth.

The artistic object is, in this sense, the course to conceive truth in a reality which, by the way, is not precisely within sensible forms, but beyond them where its contents or meaning lie. Therefore, object is primordially a metaphor, an analogy whose material presence functions as significant; thus, the quality of metaphor is important as a detonator of the senses.

Within that context, when we see Raquel Schwartz’s piece (an enormous surface of 21X5 meters, woven with used cassette tape,) we are in front of an object whose material presence possesses great semantic capacity. This huge rectangular warp, imposing in its dimensions, minimal in its economy of resources (and as such, essential,) woven with tapes full of invisible voices, not only is it an effective materialization of the energy contained in human communication, but it’s also a metaphor of its global interrelationship, whose monotonous multiplicity—invariable, continuous, and insistent—unveils in a critical manner the risks of a planetary plurality without differences.

On the other hand, the apparent slow and lengthy process which made the piece possible—the ancestral act of weaving—restores a lost notion of time that vindicates the value of sense over pragmatic efficiency. As far as the material, it’s inevitable to think of its historic informative reference raised by Robert Morris in 1968, who proposed that it was necessary to immerse in the field of non-rigid materials within whose final configuration—aside from the artist’s decision—intervened principles of Nature such as gravity, undetermined form, and lack of rigidity, which would make the artpiece turn into something showing the psychic state of its creator, and Nature’s will.

…”s.t.” by Raquel Schwartz, is a lucid piece that shows the Permanent contemporary artistic need that the object transcend aesthetics in order to make the invisible, visible.

Translation: Silvia Piza-Tandlich, Costa Rica