Newsletter #7: Chronicle


Fine Spinning and Arachne’s Sewing Box

By Julián Ruesga Bono, Spain
The School of Art of Granada, Spain held the show, “Fine Spinning” this year from May 15 to September 25 at its exposition hall. The exposition has gathered a selection of works, which are the product of the learning process of the last few years’ students in the program of Textile Art of the School of Art of Granada. At the same time, a panorama of various subjects contained within the curriculum has been presented, showing various textile techniques imparted therein: batik, warp and weft-faced weaving, stamping, knotting, basketry, paper, felting, and freestyle techniques.

The School of Art of Granada is one of the oldest public schools in Spain—second half of the 19th century—and officially teaches artistic professional courses. It is the only Andalucia center teaching graduate level textiles, and in the last few years its student body comes from diverse countries: Poland, Colombia, Australia, Argentina, etc.

To the various artistic experiences so far developed at the textile workshop—one of the most dynamic in Spain—we can add the soon to be implemented project of cooperation with the School of Drama in order to research the creation of scenic spaces as textile installations.

Alongside the student exhibit, the School of Art has published the fourth edition of the magazine-object, “Arachne’s Sewing Box,” directed by the school’s textile art professors, Maria Isabel López-Perea, and Angel Sanz Montero. “Arachne’s Sewing Box” is an ensembled magazine specializing in textile sculpture. The magazine is a container with works by various invited artists, each of whom contributes a theme work under the condition that
it must be textile and of small format. The group of works form the Sewing Box, with forty copies in each rendition, and being presented biannually. There have been four editions so far—counting this last one.

For more information about the Textile Workshop of the School of Art of Granada, Spain, visit

Photographs by Gabriel Ramos

Translation: Silvia Piza-Tandlich

La Telaraña- la Honda Noche y la Ternura: Tres nombres para un poema. Instalación,2006.

La Telaraña- la Honda Noche y la Ternura: Tres nombres para un poema. Instalación,2006.

Weaving: A Cultural Enterprise

By Dinorah Carballo – Costa Rica
Visual artist and art historian.
Secretary of REDTEXTILIA

Creating a cultural enterprise requires networking within various entities: business incubators, local government agencies, development banks, artists, impresarios, and others. This theme places us in the center of today’s vision about sustainable development.

It is the wish of the Board of Directors of the Iberoamerican Textile Network, to facilitate strategies in design and creation of commercial enterprises applicable to creating cultural enterprises. The goal is to facilitate tools and contribute to its undertaking—translated to personal, family, and community endeavors with the aim of developing small and medium-size businesses—while achieving the utmost use of resourses in favor of better development of persons and the environment, altogether starting a wellbeing chain.

Can artists contribute to the development of our societies by participating in knowledge-driven economy? This concept is based on “the development of wealth, as well as on the organic co-development of digital and intellectual technologies. Art, which shares common world tools, can also apply its methodologies.” According to José Ruiz Navarro, MS*, the previous statement is feasible and applicable.

Xénia Viladás on Profitable Design (Diseño Rentable:) “From the business that uses it as a mere style resource to the one that turns it into the axis of its strategy, each must establish what it is that design can contribute, and place themselves accordingly”.(2008:13)

Some characteristics developed by artists—experimentation ability, risk taking capacity, development of atypic behaviors at the time problems surface, ability to represent ideas, or to manipulate languages and symbols, sensibility to weakness indicators of mutations, management of competitiveness and uncompetitiveness, capacity to unlearn and place ourselves at transversal levels in emerging situations or issues*, allow us to redesign and re-propose situations surrounding economy, development, and cultural enterprising by placing our knowledge and sensitivity to the service of our community, far beyond art economics.

The spark of creativity does not guarantee success unless we systematize innovation and its processes in addition to discarding the myth that creative work is only a product of inspiration. All creative work has a process of maturing, study, and research, which must be valued by society. This doesn’t downgrade art in its capacity of intuitive, aesthetic creation—a product of interior, spiritual reflection.

None of this is possible, however, without undertaking a series of activities, attitudes, and processes that facilitate the development of a business.

Systematizing, keeping controls, previous studies, feasibility and guarantee that the product we want to develop meets a need, either for contemplation as an object contributing to better some environment in our society, or to fill a void in the world of objects surrounding us.

There are some guidelines, without which design wouldn’t benefit the actions carried out in order to create a product or enterprise.
Design contributes to setting guidelines—to mark the road to be followed within a creation process (Viladás)*. …”Design doesn’t function without creativity, or in a disorderly manner; instead, it follows a precise methodology. It’s not created by chance, nor is it a product of it: It’s rationalized, thought out, and a plan is created; it offers solutions and alternatives to the needs of people.

Therefore, it’s important to take into account this factor in order to think of creating a representative image that values and gives visibility to the product if we already have a targeted personal design, art, or group of accessories or products.

Visualizing a cultural enterprise
1. Make a feasibility study in the area where the product is to be offered.
2. Decide who will be the intended public, their characteristics, which problem are we going to resolve for them, and why will they buy from us.
3. Review and work on the needs in a development plan: main resources, organizational capabilities, support personnel, business plan, who can help resolve our basic needs in the making of the product, and follow up of strategies.
4. Sales and distribution plan.

A very important matter is to ask ourselves, “Why would investors invest in our business? What makes it stand out from all other similar ones? A unique product? An efficient and successful managerial team? Investment return? What else does it have in order to compete in the market?

Creating its mission and vision allows us to visualize a range of action in order to place each thing or intention, and go forth from here.

Common commercial businesses take into account all the makers in a process of business creation—the stakeholders. These are shareholders, clients, managers, employees, providers, official regulators, society, media communication, universities, ecologists, and non governmental agencies. According to José Ruiz Navarro, it’s important to achieve a good relationship with all of these in order to guarantee a harmonious chain of values and potentialities where each and every one satisfies their need, thereby promoting reciprocal gain.

It has been observed how by creating a chain of competence, and searching for needs each step of the process, all fields get strengthened, managing to orchestrate the involved factors, and optimizing the idea that it’s possible to collaborate in the economy of knowledge with our creative products, from a textile field, or any other.

• José Ruiz Navarro, Ph.D. in Economic Sciences, and professor at Cadiz University, Spain.
• Xénia Viladás, Diseño Rentable, ten topics to debate. Printed in China, 2008
*Other sources:

Translation: Silvia Piza-Tandlich