ARTAPESTRY5 EUROPEAN TAPESTRY FORUM 2018
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ARTAPESTRY5 EUROPEAN TAPESTRY FORUM 2018
ARTAPESTRY5
a touring exhibition organised by
European Tapestry Forum
Art Centre Silkeborg Bad, Denmark
Kulturcentrum Art Gallery, Ronneby, Sweden
Daugavpils Mark Rothko Art Center, Latvia
Arad Museum of Art, Romania
ARTAPESTRY5 A juried international exhibition of contemporary tapestry from Europe organised by European Tapestry Forum Jurors Lidia Choczaj, Professor, Head of Department of Textile Art, Academy of Fine Arts and Design, Łódź, Poland. Linda Green, Weaver/Textile Artist, Scotland Velta Raudzepa, Chief Collection Manager, Museum of Decorative Art and Design, Riga, Latvia Exhibition venues Art Centre Silkeborg Bad, Denmark Kulturcentrum Ronneby, Sweden Mark Rothko Art Center, Daugavpils, Latvia Arad Museum of Art, Romania Images of the artwork were provided by the artists. Dimensions are in centimetres, height indicated by H, width by W, depth by D Only one tapestry per artist is reproduced in the catalogue ARTAPESTRY5 Catalogue produced by Llywelyn ab Eleri, Anet Brusgaard and Consulting Editor Thomas Cronenberg Edited by Llywelyn ab Eleri Cover design by Thomas Cronenberg, Peter Horn, Fiona Hutchison, Llywelyn ab Eleri Printing by Lithotec Oltmanns, Hamburg, Germany Published by European Tapestry Forum (ETF) © European Tapestry Forum ISBN 978-87-91774-04-1 European Tapestry Forum The Secretariat Kastelvej 6, o.g. DK-2100 Copenhagen, Denmark Telephone +45 2670 2024 E-mail mail@tapestry.dk Website www.tapestry.dk 4
ARTAPESTRY5 - participants by country
BELGIUM LITHUANIA
Groza, Carmen Jakubauskas, Feliksas
Száraz, Marika
NORWAY
CZECH REPUBLIC Been, Brita
Rozsívalová, Renata Herup, Dorthe
Aalberg, Solveig
Aas, Kristina Daukintyté & Nøkleby, Karina Presttun
DENMARK
Agger, Margrethe
Brusgaard, Anet POLAND
Fløe, Birgitte Bartosz Mazuś, Ewa
Hansen, Mette Kędzia, Elżbieta
Henriksen, Ane Kiełpiński, Paweł
Pagter, Gudrun Łukasiewicz, Zygmunt
Thorning, Inge Taranek, Dorota
Schrøder, Charlotte
UNITED KINGDOM / ENGLAND
FINLAND Jones, Margaret
Donner, Ariadna Ray, Anna
Kajaniemi, Aino
UNITED KINGDOM / SCOTLAND
FRANCE Gizzi, Amanda
Emöke Hutchison, Fiona
Lavocat, Katarzyna Rutherford, Fiona
Perret, Sarah Soroka, Joanne
GERMANY SWEDEN
Horn, Peter Holmgren, Gunilla Nillan
Kolesnikova, Irina Nyberg, Ann
Petersson, Gunilla
5
ETF STEERING COMMITTEE Margrethe Agger, Sjaellands Odde, Denmark Christine Altona, Gauting, Germany Anet Brusgaard, Copenhagen, Denmark Thomas Cronenberg, Berlin, Germany & Sydney, Australia Ariadna Donner, Esbo, Finland Anne Jackson, Crediton, United Kingdom Fiona Hutchison, Edinburgh, United Kingdom Katherine Lavocat, Montrouge, France Anne Naustdal, Oslo, Norway Renata Rozsívalová, Prague, Czech Republic 6
JURY STATEMENT
The jury looked anonymously through 67 applications from 17 countries, in total 118 textile art-
works. From these 40 artworks by 38 artists were chosen for ARTAPESTRY5.
The jury was impressed by the range and diversity of work submitted and the breadth of themes
being explored. Whilst the focus was predominantly on the medium of woven tapestry, including
Jacquard, more experimental approaches were also given consideration.
The main themes selected for the exhibition could be broadly categorised as abstract, decorative
and poetical composition, social aspects including family history, nature combined with philosophical
issues and decoration inspired by tradition.
7
FOREWORD
European Tapestry Forum
We are both proud and delighted to present and celebrate the fifth European tapestry show
ARTAPESTRY5 - a contemporary showcase of tapestries from 12 European countries.
We are proud that European Tapestry Forum (ETF), in only a short number of years, has succeeded
in creating a forum for European tapestry artists and has established a position on the international
tapestry scene. In 2001 a score of visionary tapestry weavers had a dream of promoting and impro-
ving the visibility of tapestry art in Europe and of enabling it to reclaim its position as a challenging art-
form. ETF has gained valuable experience in the past 20 years by working with artists, curators and
experts. We are now launching ARTAPESTRY5 at Art Centre Silkeborg Bad in Denmark on 6th January
2018, then successively at Kulturcentrum Ronneby, Sweden, at Mark Rothko Art Center, Daugavpils,
Latvia and finally at Arad Museum of Art, Romania. Each ARTAPESTRY exhibition is based on a care-
ful selection of artworks chosen by an international committee of jurors which includes experts from
various fields. This time the group consisted of 3 members: Professor Lidia Chozaj, Poland, textile artist
Linda Green, Scotland, and art historian Velta Raudzepa, Latvia. The jurors met at the Danish Art
Workshop “Gammel Dok”, a converted old warehouse in Copenhagen, for a passionate and valuable
three-day discussion about contemporary tapestry. The jurors were impressed with the quality and
diversity of the submissions which included 40 tapestries by 38 artists. The works ranged from tradi-
tional tapestry weaving to new-style Jacquard weaving. The jury chose Paweł Kiełpiński’s work “Steel”
as the winner of the ARTAPESTRY5 prize for the most outstanding piece.
A constantly recurring question has been this: how do we reach out to more Southern and Eastern
European countries? This question had its first answer this year. Elena Ana Stoinescu contacted ETF
to get ARTAPESTRY5 to Arad in Romania and because of her enthusiasm and fruitful cooperation with
Arad Museum of Art, ARTAPESTRY5 will be shown in Romania for the first time.
Statement of Artist Elena Ana Stoinescu,
“The organisation of a large European tapestry exhibition in the city of Arad is the fulfillment of both a
dream and a long-held wish. Sometimes things are achieved through great effort and with a lot of soul,
but also through a sense of dedication, in order to open the door to people who are fascinated by beau-
tiful things, like the great and time-consuming art of tapestry. The exhibition will be a chance to see and
to get to know each other and, not least, to get to know oneself. The Arad Art Museum is pleased to
invite you with great love and emotion, but also with pride at being the host of such a wonderful
exhibition for the first time. I thank all those who have made such a cultural event possible.”
ETF is run on a daily basis by the secretariat in Copenhagen and its ten steering committee members -
voluntarily and with great enthusiasm. The steering committee meets about twice a year to discuss not
only issues such as funding, the next ARTAPESTRY tour around Europe, the catalogue and new venues,
but also more sensitive and delicate things like digital tapestries, giving rise to an addendum to the entry
criteria: “ETF's main aim is to promote handwoven tapestry, but in order to encourage innovation in the
field, the jury will be open to selecting a small number of works (no more than 10% of the exhibition) exe-
cuted in related techniques such as jacquard weaving. All works must meet all other selection criteria.”
The steering committee wants to thank the artists for their participation and for their inspiring works
and also all our fellow artists for their enthusiasm and use of contacts to find new venues. We want to
thank the museums who have opened their doors to us and done their utmost to show our works at
their best. And, finally, a thank you to the various foundations for grants which have helped fund our
catalogues
Anet Brusgaard for the Steering Committee
8
ABOUT OUR MUSEUM PARTNERS
Art Centre Silkeborg Bad
Modern art in a former spa
All of us here at Art Centre Silkeborg Bad are proud to be part of the ARTAPESTRY5 exhibition tour
in 2018 and look forward to showing the wonderful works chosen for ARTAPESTRY5 to a Danish
audience at the very beginning of the year.
As the first venue of ARTAPESTRY5, we hope, as in previous years with ARTAPESTRY3 in 2012
and ARTAPESTRY4 in 2015, to experience works by artists who have both the skills and the com-
mitment to work with tapestry; artists who make use of and challenge old techniques to present
artworks that are relevant, inspiring and maybe even provocative to a contemporary audience.
We trust the European Tapestry Forum to recognise and select for exhibition the best works on the
European tapestry scene and we thank the people involved working with knowledge and insight in
the field of contemporary tapestry.
The purpose of Art Centre Silkeborg Bad is to communicate pictorial art. The institution presents
artists from all over the world and exhibitions with internationally relevant themes and it provides a
physical platform for Danish and foreign art. Space is created for interdisciplinarity along with pos-
sibilities for dialogue between art forms. Exhibition programmes cater to international as well as
regional/Danish art to the widest possible extent. Art Centre Silkeborg Bad aims to provide the
audience with an opportunity to experience art in a pertinent way. Some encounters will be purely
for enjoyment, some will pose challenges and some will open the mind to unexpected aspects of
life and culture in a broader sense.
Art Centre Silkeborg Bad is an independent institution founded in 1992. It is housed at the location
of a former health facility from which it also gets its name. A sculpture park surrounds the area
where one of the historic buildings has been renovated and boasts floor space of approximately
1,000 square metres which is dedicated to art exhibitions. The institution is supported by the
Municipality of Silkeborg and a group of local sponsors.
Dorte Kirkeby Andersen
Curator
9
ABOUT OUR MUSEUM PARTNERS
Kulturcentrum Art Gallery in Ronneby, Sweden
Contemporary art, design and crafts
The Art Gallery at the Kulturcentrum in Ronneby mounts between ten and fifteen exhibitions a year,
showcasing the work of both national and international artists. Our aim is to attract a broad audience
by presenting an extensive range of different modes of expression and differing techniques.
Occasionally, the Kulturcentrum presents outdoor exhibitions and we arrange outdoor graffiti
workshops annually with well-known graffiti artists. Our attractive and innovative textile exhibitions
have fascinated visitors from the very beginning. The textile exhibitions previously put on have been
very well-visited and appreciated and we are certain that ARTAPESTRY5 will be just as popular.
The Art Gallery at the Kulturcentrum – one of the largest art exhibition halls in southern Sweden –
was formerly a warehouse for enamel products produced at Kockums Emaljerverk, an enamel
factory in Ronneby. The building has a serrated-edged roof and north-facing skylights which
create a soft, diffuse light all day, making it perfect for showing works of art. In addition to the art
gallery, the culture centre offers artists workshops in graphics, enamel and textiles.
Excitingly, the Kulturcentrum has been assigned by Blekinge region to strengthen artistic collabo-
ration on a local, regional, national and international level. Additionally, the Kulturcentrum and
Blekinge region will work together to increase the general public’s knowledge of art and also to
make the region attractive for artists to live and work in.
We are convinced that ARTAPESTRY5 will attract a large number of visitors from Sweden and near-
by countries.
The Kulturcentrum in Ronneby is proud to be the only gallery in Sweden to present ARTAPESTRY5.
Kirsti Emaus
Director of Culture
The municipality of Ronneby
10ABOUT OUR MUSEUM PARTNERS
Daugavpils Mark Rothko Art Center
Contemporary art and culture in a former artillery arsenal
Mark Rothko Art Center is a multifunctional centre of contemporary art and culture, situated in the
Daugavpils fortress, in what used to be the Artillery Arsenal. This is a place where the past has a
new lease of life and goes hand in hand with contemporary trends, creating a unique and inspiring
place for diverse creative ways of expression. Mark Rothko Art Centre was opened on 24 April
2013 and it is the only place in Eastern Europe where original works of art by Mark Rothko, foun-
der of abstract expressionism, can be found.
The Daugavpils Mark Rothko Center has more than 2,500 square metres of space, some of which
is dedicated to a permanent exhibition called “Mark Rothko. Life and Art” displaying Rothko origi-
nals, the rest to temporary exhibitions displaying the best of regional, national and international art
projects. Visitors can enjoy up to 50 exhibitions each year.
The multifunctional art centre is used not only for the staging of art exhibitions, but also as a venue
for international symposia of artists, workshops and master classes, meetings with artists and exhi-
bition curators, concerts and other events.
ARTAPESTRY is one of the most important textile art and fibre art projects in Europe. The ambi-
tious exhibition will be available for visitors to the Daugavpils Mark Rothko Art Center along with
the 4th International Textile and Fibre Art Symposium in Daugavpils, thereby creating a true feast
for all textile admirers.
Māris Čačka
Deputy Director of Daugavpils Mark Rothko Art Center
11ABOUT OUR MUSEUM PARTNERS
Arad Museum of Art
Bringing contemporary art to the public
In view of the purpose of such projects, namely to promote and popularise contemporary art
among young people, artists and the general public, and in view of the fact that it will be accom-
panied by a full catalogue to document the show, we regard ARTAPESTRY5 as a highly desirable
exhibition to put on in our city.
The Arad Museum of Art has, in the course of its existence, organised and hosted a significant
number of diverse cultural events: biennials, triennials and solo exhibitions. Through these the Arad
Museum of Art wants to promote all kinds of visual arts for the benefit and edification of the gene-
ral public.
Starting from the importance of the event and the uniqueness of the exhibition, the Art Museum in
Arad is delighted to get the chance to work with European Tapestry Forum and to support its peri-
patetic exhibition that brings together artists from all over Europe and it is indeed an honour to have
the opportunity to host ARTAPESTRY5 as an international event of great proportions here in our
historical city of Arad.
I am convinced that both European Tapestry Forum and the Arad Museum of Art will be pleased
with the outcome. And the audience, whoever they are and whatever their stake in visiting the exhi-
bition, will have a quality event.
Dr Adrian Sandu
Curator Art Section Arad Museum of Art / visual artist
12ARTAPESTRY5 INTRODUCTION
ESSAY Fate, Destiny And Self Determination: An international tapestry installation Le Sort, Le Destin et L’Auto-Détermination | Suerte, Destino y Auto-determinación | Das Schicksal, das Geschick und das Selbstbestimmungsrecht : Fate, Destiny and Self-Determination/Le Sort, Destin and l’Auto-determination (FD&SD) is a tape- stry installation co-created by people all over the world, including many members, organisers, and parti- cipants in ARTAPESTRY exhibitions, such as Marika Száraz, Anet Brusgaard, Emöke, Ewa Bartosz Mazuś, Thomas Cronenberg, Birgitta Hallberg, and Włodzimierz Cygan. International participation reflects the panorama of Canada’s cultural mosaic, highlighting the importance that Canada places on respec- ting cultural differences yet also recognising that tapestry practice migrated from Europe with our European ancestors and more recent newcomers to Canada. Tapestry practice and traditions are a com- mon ground that dissolves our differences and celebrates our diversity. The initiatives and mandate of ARTAPESTRY are echoed in FD&SD – “facilitating collaboration and cooperation, an exchange of ideas….,” but also in generating exhibition opportunities for tapestry weavers and showcasing their work. Composed of three sections, Fate, Destiny and Self Determination was conceived, designed and managed by Line Dufour, who wove the largest panel, referencing the contemporary practice of tapestry weaving, where artist and weaver are one and the same. The second panel was woven by visiting participants ranging from the inexperienced and amateur to the professional. This referenced traditional tapestry conventions in that many weavers worked on the tapestry at the same time or at various stages and were not the artists. Go to the YouTube page to see documentation https://www.youtube.com/- watch?v=pF64oU6iOKo&t=9s The third section is the main and most important component of the installation, composed of irregular shapes positioned at varying heights, between the two main panels, floating freely in space, as though the tapestry is pulling apart or coming together. It is here that we witness how the installation has come to embody what a vibrant artist-driven initiative it is and because of it, what it has been able to accom- plish. Through Facebook and the internet, I was able to connect with tapestry weavers and textile artists around the world, and invite them to participate in co-creating the installation – transforming the isola- tion of tapestry weaving to a community endeavour. I did not expect such eager and enthusiastic responses from the day I first put out the invitation in 2013. I have been scrambling to keep up with the volume of submissions, their participation such a privilege and honour. To date, 400 people from 34 countries have contributed 700 shapes. Inherent in the idea of Fate is that one has no influence over events and outcomes. Fate is defined as a force, energy, principle, element or power that prescribes to each person a set of limits, boundaries and confines. In Islam it is called Kismet. The Greeks called Fate, Moira. Greek Mythology speaks of the three Fates: Clotho, Lachesis and Atropos who supposedly controlled each person’s fate. The youngest, Clotho, is a spinner and she determines the time of birth and spins the thread of life on her distaff. Lachesis measures the length of the thread to determine the length of one’s life; the time of death is decided by Atropos, who cuts the thread. Mythology and psychology distinguish between Fate and Destiny. Destiny, is considered an expanding field of possibilities alluding to our potential to influence our Fate. This makes Destiny kinetic. “The lives we construct are an inextricably woven fabric of influ- ences, possibilities and accumulated consequences of choices made.” (James Hollis) Thus our destiny is in part influenced by our own efforts to be who we want to be, to become who we want to become and enables self-determination. 14
Weaving is an activity where one exercises a fair amount of control and in my attempt to mirror these
technical aspects of weaving but also introduce the unpredictability of life, I wanted to give over some
of that control to others. I also invited the element risk, chance and uncertainty in several ways: by not
being sure tapestry weavers would even want to participate; by having others contribute in an expres-
sive, authentic and creative way; by deliberately having unwoven areas in the larger tapestry panels,
without knowing how I would resolve it technically; by not knowing if the installation would ever be exhi-
bited and if necessary, where I would find resources to pay for any expenses related to it. So in this way,
many aspects of the installation were left to chance – fate and destiny.
FD&SD has become a platform upon which to spotlight so many tapestry artists and create mutual
benefit. All aspects of the installation are documented. A Facebook page for the project was created to
showcase submissions and for participants to remain abreast as to its progress and journey :
https://www.facebook.com/Fate-Destiny-and-Self-Determination-An-international-tapestry-project-
194385150700425/. I photograph each shape as it arrives, and post it to the Facebook page. I also
include any information each participant would like to share, such as their website, if they have one, and
other comments they have made about the project or about their work and/or life. A page dedicated to
the project on my website: https://www.linedufour.com/fate-destiny-self-determination and I have also
started an Instagram page @tapestrline where a shape is posted daily and is seen as a work of art on
its own. Each time the installation is exhibited I include an updated list of all contributors’ and partici-
pants’ names. The installation is ongoing and with each successive exhibition, a storm of new shapes
flies in for inclusion. If you would like to participate, email me at linedufour.tapestry@gmail.com.
Each time the installation is exhibited it is different, adapting to the space and reflecting the aesthetics
of the co-curators. To date the installation has had eight exhibitions and by the time of publication will
be into its ninth, with three others scheduled to follow, thanks to many of the co-creators of the instal-
lation who have had a hand in creating these opportunities. Most of the exhibitions are by invitation. The
installation has been exhibited at Craft Ontario in Toronto (2014); Galerie Trames at the Montreal Centre
for Contemporary Textiles (2015); the Doyle and Margaret Hartman Gallery, Regis University, Denver,
Colorado (2015); the Craft Council of British Columbia, (2015); the 9th From Lausanne to Beijing Biennale,
Guan Shanyue Art Museum, Shenhen, China (2016); World of Threads, Oakville Ontario (2016); the San
Jose Museum of Quilts and Textiles, California (2017) as part of the ATB11; the Centre D’Actions
Culturelles de la MRC de Papineau in Quebec (2017) and the 7th World Textile Art Biennial at the
Fundacion Pablo Achtugarry in Punta del Este, Uruguay. Exhibitions are also planned for Ireland,
Germany (2018) and Brazil (2019). If you would like to stay informed, please sign up for the newsletter
at https://www.linedufour.com/fate-destiny-self-determination.
The ARTAPESTRY and Fate, Destiny and Self Determination initiatives bear a certain similitude on many
fronts. The thrust of their efforts has been focused on creating ‘comm-unity’ within the larger tapestry
population of practitioners by spotlighting the work of participating artists who come from many different
countries, cultural traditions and backgrounds. Like my Canadian project, ARTAPESTRY initiatives emer-
ged from an absence of exhibition possibilities for tapestry artists. This was made more challenging by
tapestry’s being continuously overlooked by main stream and public gallery arenas. ARTAPESTRY per-
forms a vital role in championing the contemporary tapestry weaver and their oeuvres by providing a
much-needed framework that offers consistent exhibition opportunities for them, not only to showcase
their work, but to showcase work in many venues in Europe. The eagerness of tapestry artists to sub-
scribe to the efforts of FD&SD and ARTAPESTRY evidences the desire for, not only interconnection, but
above all, the need for strategies that champion their efforts, increase their visibility and generate the
recognition tapestry weavers deserve.
Line Dufour © 2017
15INTERVIEW ARTAPESTRY artists are fascinated by textiles, lead busy lives ETF has provided a platform for tapestry artists for more than 15 years now. After a total of five ARTAPESTRY showcase exhibitions, we have become familiar with the work of many top tapestry weavers. Now we want to find out more about them on a more personal level. The following edi- ted interview with two of the exhibiting artists is meant to give us a look into how they work, what they think and how they fit making art into generally very busy lives. We decided to interview Aino Kajaniemi from Finland, one of the artists who has been involved in ARTAPESTRY shows since the very first exhibition; and Anna Ray from the United Kingdom, who joins us for the very first time on the current ARTAPESTRY5 tour. AINO KAJANIEMI What is your profession? (Write the first thing that comes to mind) Textile artist. What do you consider yourself? (A weaver, tapestry weaver, textile artist, artist or craftsperson?) Textile artist. How much time do you spend on your weaving/artwork? 8 hours a day, 50 hours per week. Do you have art-related and non-art-related incomes? I have commissions almost every year, sometimes smaller and occasionally bigger projects. For instance, I’m currently weaving 54 different tapestry pieces for the Church of Muurame, which is the first church designed by architect Alvar Aalto in 1929. Almost all my commissions nowadays come through competitions. I take part in about 10 group exhibitions per year and usually have one solo show each year. Sometimes I sell pieces from these exhibitions. I have also started to weave very small tapestries for private customers. I’ve received grants for artistic work for many years. Currently I have a five-year-grant from Finland’s National Council for Crafts and Design. What other things do you do daily? I love to read, mostly novels and poems. In summertime I like to do gardening. We have a big gar- den and a lot of flower beds, berry bushes and some fruit trees. My strangest hobby is to swim in a hole in the ice in the wintertime. Tell me about a typical day. To be a textile artist is a profession and a lifestyle. Routines help me to take a pen in my hand or sit down by the handloom every morning. My work is shared between two different periods: at first I have to get an idea and draw a sketch (cartoon) and the second period is weaving. Because these techniques are totally different, to jump from one to another takes time and concentration. When I draw, I make multiple sketches at the same time for several days. To get into weaving is easier, because there I don’t have to make decisions every second. A typical day: in the mornings I work for three hours and then have lunch at noon while reading a novel. In the afternoon I work again for three hours and after dinner in the evening for two hours. What drew you to textiles and weaving originally - and why do you still do it? In my childhood home I was one of five girls. Three of us became artists – a painter, a photograp- her and a textile artist. My parents appreciated culture in many ways; music and visual arts and antiques. My father also had an Oriental carpet collection. We were brought up in a very old-fas- hioned way: children should be seen and not heard. Maybe this is the one reason why three of us started to make pictures - we found another way to communicate. 16
During my childhood, the roles between the genders were quite rigid. Soft materials were suitable
for girls and hard things for boys. I mixed accepted old-fashioned textile craft and communication
with the world. That is what I still do.
ANNA RAY
What is your profession? (write the first thing that comes to mind, without thinking)
I am an artist.
What do you consider yourself? (A weaver, tapestry weaver, textile artist, artist or craftsperson?)
I think of myself as an artist, but I am frequently described as a textile artist, which I don’t mind at
all; it is a useful definition. I work with cloth, stitch and threads but also employ a wide range of
other techniques and media including photography, digital imaging and video. I am very much led
by my ideas and a perpetual, open-ended process of experimentation.
How much time do you spend on your weaving/artwork every day/week?
I work in the studio at home full-time. I also work at weekends and during the holidays. Creating
my work is a constant process. If I am not making, then I am often immersed in visual research of
one kind or another.
Do you have art-related and non-art-related incomes?
I make pieces for exhibitions and work on commissions. I have a textile collection that I sell online
through my website and through fairs and events. I was formerly a lecturer at Edinburgh College of
Art in the Tapestry Department and now I teach from time to time, running educational workshops
through funded projects with galleries and museums.
What other things do you daily?
I have a son and so I am always busy looking after him and his friends and running our home. We
have a front and back garden, which also occupy my time, particularly in the spring and summer.
The studio is next to the kitchen so I can manage my work easily.
Tell me about a typical day. How does weaving fit in?
Every morning, after I have dropped my son off at school, I walk through farm land and along the
canal near my house and then I settle into the studio where I can begin to focus on my work. I tend
to work on and off during the day and often find that I am still working late at night when my mind
is completely clear of other distractions.
What drew you to textiles and weaving originally - and why do you still do it?
My mother and my grandmother were both very skilled makers. My grandmother knitted and
embroidered and showed me fine examples of cutwork tablecloths that she had made as a young
woman. My mother did a lot of dressmaking and machine appliqué. I would sit by her while she
worked away on her sewing machine. She had a vast collection of lovely cloth for me to choose
from - exquisite, patterned (cotton) Liberty lawn fabrics and plaid wool fabrics in atmospheric, ear-
thy colours. It was therefore natural for me to begin to try to make my own stitched pictures and
dolls’ clothes. I am enthralled by the history of textiles and fibre in all its forms. I am excited by the
transformation of these humble, natural materials. My recent research has led me to investigate the
history of papier maché and bark cloth. My imagination is still fired up when I look at historical and
antique textiles, vintage clothing and handmade domestic textiles. For me these objects are extra-
ordinary testaments to people’s lives. Through making my own work I seek the same kind of visu-
al stimulation and emotion.
Thomas Cronenberg
17INTRODUCTION
PRIZE-WINNING TAPESTRY: JURY STATEMENT
Copenhagen 12 June 2017
CONGRATULATIONS
Dear Mr Kiełpiński,
For the second time in the history of ARTAPESTRY we have the pleasure to inform you
that the Jury has elected YOU as the prize-winner of the show ARTAPESTRY5.
The prize will be an invitation to be a member of the next jury in ARTAPESTRY6.
The Jury’s statement:
Pawel Kiełpiński
“STEEL”
We are delighted to award the ARTAPESTRY5 Prize to Pawel Kiełpiński for his outstanding
work and invite him to join the jury for the next ARTAPESTRY exhibition. Mr Kiełpiński’s
tapestry with its intriguing combination of materials, richness of colour and technical com-
petence impressed the jury very much.
Representing a reaction between iron and oxygen in the presence of water, this woven
tapestry skilfully fuses smooth areas with areas in relief, just like a corroding porous surfa-
ce. Whilst representational and static at one level, it also evokes the movement and on-
going change of an evolving textured surface.
Linda Green, Weaver/Textile-artist, Scotland.
Lidia Choczaj, Professor, Head of Department of Textile Art, Academy of Fine Arts and
Design, Lodz, Poland.
Velta Raudzepa, Chief Collection Manager, Museum of Decorative Art and Design,
Riga, Latvia.
Members of the Steering Committee
European Tapestry Forum
Anet Brusgaard
18ARTAPESTRY5 ARTISTS AND WORKS
SOLVEIG AALBERG Norway I explore serial expression based on weaving, needlework and works on paper and seek a union between the tactility of the material and the free room of the thought. Movement and rhythm are the keys and repetition and displacement are some of the studies behind my work. The work “Passing through” is one in a series of horizontal stripes. It is woven by hand and the weaving method is a double weave on a single warp. This gives a two-layer colour combination and the colours achieve a special depth. “Passing Through” H202 x W398 cm Photo by Jostein Fjalestad 20
KRISTINA AAS & KARINA NØKLEBY
Norway
Kristina Daukintyté Aas and Karina Presttun Nøkleby have had a close professional relationship since they met
at the Bergen Academy of Art and Design. Collaboration emerged from a mutual respect for each other’s
discoveries and explorations, and the curiosity of what happens if the expressions are molded together. Both
works are self-portraits; two different ideas on how to use a discarded woollen warp from the weaving mill in
Innvik where Kristina works.
Photo by Povilas Réklaitis “Me and my Beard” H224 x W154 cm “Flay” H224 x W154 cm
21MARGRETHE AGGER Denmark I love ultramarine and cobalt and I love blues with whites, like waves on Japanese kimonos. For many years I have woven tapestries with wave motifs and I always do my cartoons in water colours. For my recent tape- stry, “Looks like Water”, I painted the usual water colour, but I was not satisfied with the result. So I washed it over with a wet cloth and lo and behold, by coincidence, the image was just there. It did not really look like waves. However, it could be associated with waves. “Looks like Water” H126 x W164 cm Photo by Erik Bernt 22
EWA BARTOSZ MAZUŚ
Poland
“Notes from the Diary” - The inspiration for making this tapestry came from my diary. I wanted to preserve
the past and leave a part of myself woven into the weft threads. “Notes from the Diary” is a three-part woven
tapestry made of paper and sheep’s wool where the fragility and elusiveness of the paper and the memories
are protected by the strength and hardness of the wool.
Photo by Yarrek LoveMountains “Notes from the Diary” H175 x W80, H175 x W118, H175 x W80 cm
23BRITA BEEN Norway Telemark has strong traditions in textile folk art. In the tapestry ARVESTYKKE / HERITAGE I have been fasci- nated by the beautiful Rose Embroidery on the female bunads’ stockings. They are usually lavishly decorated on the outside of the leg in stunning colour combinations on black felt. I wanted to show this beautiful Rose Embroidery by weaving my own interpretation of it, as a tribute to women’s work and their creative abundance as represented in folk art. “Arvestykke/Heritage” H250 x W275 cm Photo by Stina Glømmi 24
ANET BRUSGAARD
Denmark
My idea for “Rococo” arose from an old piece of a tapestry-woven rococo-cover I had previously used in an
installation I exhibited in Lithuania and my fascination with the style that originated in Paris in the early 18th
century and is characterized by lightness, elegance and an exuberant use of curving, natural forms and orna-
mentation.
Photo by Erik Brahl “Rococo” H200 x W140 cm
25ARIADNA DONNER Finland The tapestry ‘Lively and Silent’ is dedicated to Lake Lipukkajärvi and thereby to all other waters of the world. I love the lake. There is no life without the sun giving light to seas, lakes and rivers. The main content of the tapestry is surrounded by an Afghan motif which depicts a child in the womb of the mother goddess. The earth globe is our mother and we are children of the earth. “Livlig och Stilla/Lively and Silent” H168 x W134 cm Photo by Ilkka Hietala 26
EMÖKE
France
I have tried fibres and yarns of different types, qualities and thickness, and different weaving techniques in
order to produce different surfaces that are pleasant to the touch and pleasing to the eye. Forming the rhythm
of different colours, shades and forms is fascinating. Rhythm, just like fibre, is there in all forms of life and
connects them with the universe. When we see dancers, we can observe that the foot, the hand, the head,
the hip move in geometric lines, curves, triangles, circles and ovals. Order is not machine-like, but flows like
a dance, as the movement of the soul is never machine-like but rhythmical. Winter and summer, right and left,
up and down, day and night function in the name of this rhythm.
Photo by the artist “Révolution 2” H170 x W170 cm
27BIRGITTE FLØE Denmark The painted and folded paper which I have used for several years in my woven works has inspired me to challenge the implicit given vertical and horizontal lines of the weaving technique. “Layers of fan-shapes” H172 x W140 cm Photo by the artist 28
AMANDA GIZZI
United Kingdom / Scotland
This piece shows an everyday worker wrapped in a composition of apron ties which create a continual flow.
I have tried to create movement in the background as the worker thinks of another life. The composition
should keep your eye flowing in the work. I have put detail of pattern into the dress and used hatching and
drawing of threads to give texture to the cloth. The jars are nearly empty … perhaps evoking the end of an
era.
Photo by Joe Boyd “Sherbert lemons & soorplooms” H165 x W80 cm
29CARMEN GROZA Belgium At this stage of my graphic expression I have reduced my palette to white, black and a sort of grey resulting from their mixture. This is the way I have chosen to approach what I believe to be the essence. I use, as a technique, what European tradition has passed on to us. Within the clash between tradition and its trans- gression in representing it, I have a glimpse of infinite possibilities. “Presence” H225 x W140 cm Photo by Patricia Ehx 30
METTE HANSEN
Denmark
The awareness of moments and movements of time
Photo by Jeanette Thorup “Presence” H 121 x W192 cm
31ANE HENRIKSEN Denmark For many years I have had a fantasy of concentrating on treetops when I got old - this one is my first! Trees tune the mind. You can read them as you read skies and attribute dramas to them - maybe in a gloomy twi- light you can turn the shadows into fantasy or fairy tales. Or they can underline a meditative mood - all depen- ding on your own current state of mind. “West Wind” H245 x W245 cm Photo by Ole Akhøj 32
DORTHE HERUP
Norway
Christening (The Cigarmakers) is part of a project called “The Family Tree”. As a grandmother I thought about
what stories the children would learn about their great grandparents and other ancestors. I looked for old
photographs of my family. I want to tell the stories from the pictures in my tapestry and literally copy the
photographic expressions. This way my descendants will be able to remember and also hopefully learn some
of their ancestors’ life stories.
Photo by Morten Juvet “Dåpen / Christening” H170 x W212 cm
33GUNILLA NILLAN HOLMGREN Sweden I get my ideas from nature, the sea and heaven, the change of colour from light to dark, all year round. I first paint a sketch in tempera before I start weaving. I change the colours often, so I get the colourful expression I am looking for. “Twilight” H140 x W120 cm Photo by Jenny Thörnberg 34
PETER HORN
Germany
I took the photo for this tapestry in the Hamburg Art Gallery, which is one of my favourite museums. It has
always been my desire to exhibit one of my tapestries in this museum. But this has never happened. So, I
decided to revise the photo and added a detail of an earlier tapestry to it. This collage became the design of
the tapestry. This way my wish was fulfilled: I had one of my tapestries exhibited in the Hamburg Art Gallery,
at least in my imagination. And the woman looking at the tapestry seems to ask: “Who is this by?”
Photo by Rosemarie Horn “Who is this by?” H213 x W160 cm
35FIONA HUTCHISON United Kingdom / Scotland The sea is the starting point for my creative journey. Based on personal experience and research, my aim is not to create a representation of the sea but something experienced, a deeply felt personal connection. These powerful bodies of water, ever changing, can be dangerous, unpredictable places, a metaphor for our current political and cultural future. We must navigate with care. “Tide” H150 x W130 cm Photo by Michael Wolchover 36
FELIKSAS JAKUBAUSKAS
Lithuania
Nature is mystery as well as something amounting to pure perfection. How can we express our relationship
with the world around us using textiles as the means of expression? This question has inspired the weaving
in a lot of my tapestries.
Photo by Arūnas Baltėnas “Gold of Midnight” H130 x W145 cm
37MARGARET JONES United Kingdom / England This tapestry and poem are a reaction to the television images of war in Syria. we gaze into the void a drift of pink mist flickering images a boy sits dazed the thousand yard stare “Into the Void” H76 x W232 cm Photo by Peter Jones 38
AINO KAJANIEMI
Finland
I have made small tapestries for almost 40 years. I discovered a facet of old tapestries in my big tapestries
and a totally new visual world opened up for me. “Millefleur” tapestry is an homage to mediæval tapestries
and their millefleur backgrounds. Nowadays I think about questions of how a human being can find her/his
place in the world: reverses, fears, needing support and dreams. The girl in the tapestry could both be my
child or a refugee.
Photo by the artist “Millefleur” H171 x W159 cm
39ELŻBIETA KĘDZIA Poland In my work I try to continue the tradition of the Strzeminski Academy of Art. Simple graphic characters form the basis of my tapestry projects. Most of my tapestries are black and white. I would like to draw attention to the issues of composition and not distract the viewer with colour. “Iks II” H220 x W170 cm Photo by Paweł Napieraj Studio 271 40
PAWEŁ KIEŁPIŃSKI
Poland
Inspiration usually comes from the works of ancient artists - painters and sculptors - or from architecture and
its elements. The forms that arise operate in the field of illustration, both connected with physical phenomena
and concerning convictions, beliefs and the word of science.
“Steel” H240 x W300 cm Photo by the artist
41IRINA KOLESNIKOVA
Germany
In addition to referencing the perishable nature of the textile material, my work “Sunday morning 1934”
addresses the transience of human existence as well as the repeated generation-to-generation actuality of
the
„I operate
mother-daughter
with painstakingly
relationship.
thought-through displacements in the visual field. The classic game of what is
foreground or background is interesting.
My compositions are based on a limited number of lines and form elements. The textile structure is an impor-
tant element in my compositions as such. I use sisal, which I dye myself. This material is both coarse and strong
and makes it possible to achieve the clear-cut lines and forms that are so essential to my compositions.“
“Sunday morning 1934” H50 x W108 cm Photo by Lazim Dermaku
42KATARZYNA LAVOCAT
France
The unprecedented value of tapestry is not only to be found in the spiritual effect it can have, but the very
visual nature of it as well as the feel of it to the touch, feeling the material’s three-dimensionality and its
sensuality, a fact not to be undervalued in the world where virtual reality is expanding aggressively. The
tapestry conveys the value of dignity, its presence induces the necessity of calm and thoughtfulness.
“Promenade à Giverny” H213 x W200 cm Photo by the artist
43ZYGMUNT ŁUKASIEWICZ
Poland
I’ve taken inspiration to create “For this red Flower”, as well as all of my works, from cosmogony and cos-
„The
mology tapestry “DEPENDS
including IN of
every kind WHOSE EYES”
unearthly, is about
divine your wayofand
phenomenon mine.
nature. Situations
Apart of life
from their we experience
decorative so
function,
differently, how we are not able to fully sense someone else's perspective. In all my tapestries my aim
artistic textiles should carry the spiritual code that can only be unveiled to the viewer with time. “For this red is to
give a serious, reflective and humorous description of human life, behaviours, attitudes and
Flower” is a reference to the Quest for the Golden Fleece conveying the message that if we find that redqualities.“
flower, we will lead life in happiness and glory.
Photothis
“For by red
Gunilla Petersson
Flower” H180 x W160 cm “Depends in whose eyes”
PhotoH100 x W120
by Mariola cm
Góral
44ANN NYBERG
Sweden
The process starts with a crayon drawing on a piece of paper. The drawing gives me directions. It is then
transferred and interpreted into fibre such as wool, linen, silk and cotton, using traditional techniques in a wild
mix. Construction is part of a series on the theme: Build, form and construct.
“Construction” H136 x W133 cm Photo by Peter Roy Kirchner
45GUDRUN PAGTER Denmark Through the years my compositions have become simpler and simpler. Do not look for a specific pictorial motif. The compositions are an expression of concrete art. The image is what you can see and experience. With few lines or a single line, it is possible to transform a two-dimensional plane into a three-dimensional space. The tapestries are woven in sisal and linen. Photo by Jes Larsen “Into” H180 x W240 cm (not featured in catalogue) “Break” H180 x W240 cm 46
SARAH PERRET
France
“Lesson of the Abyss” is the first part of a future triptych on the global theme of chimaera, giving form to the
phenomenon of hybridization in the vegetable, animal and human world, on the borders of the imaginary and
the real.
Photo by Jean Blanc “Lesson of the Abyss” H210 cm x W150 cm
47GUNILLA PETERSSON Sweden “LANDSCAPE” represents memories and fantasies about childhood. With hope, enthusiasm, optimism and strong arms you start your way in life! My ambition and interest with all my tapestries is to create a serious, reflective and humorous description of human life. The materials are wool on linen warp. Simple figures and animal creatures behave as mutes to tell a story which gives you something to think about. “Landscape” H125 x W110 cm Photo by the artist 48
ANNA RAY
United Kingdom / England
The artwork ‘Pointillist’ is inspired by the characteristics of digital pixelation, gobelin tapestry weaving and
painting techniques whereby complex surfaces are created through the arrangement or build-up of many
coloured units, strands or marks.
Photo by Rick Pushinsky “Pointillist” (hanging) H120 x W93 x D40 (in front) H50 x W50 x D30
49RENATA ROZSÍVALOVÁ Czech Republic Earth is a part of a free cycle of tapestries: Heaven, Hell and Earth. In my work I try to use textile possibilities like structure and relief to achieve expression and specific form. Using nature as my main source of inspira- tion, I search for an interesting composition that inspires me and that I want to convey. It is not a story of illu- stration, but rather the symbolic dimension I want to express. “Earth” H200 x W300 cm Photo by Jaroslav Rajzik 50
FIONA RUTHERFORD
United Kingdom / Scotland
“Find the Ways” is the title of a song that appeals for unity where there is division. Music and words are impor-
tant when I am weaving, often I am almost trying to find the sound of the imagery I’m creating. Strong blocks
of colour, abstract marks, lines, edges and disconnected space reflect the energy and discord in the wider
world while also reflecting the major changes that have happened in my personal life. “Find the Ways” brings
together the two narratives and seeks harmony.
Photo by Peter Dibdin “Find the Ways” H119cm x W121cm
51CHARLOTTE SCHRØDER Denmark White Wall is one of a series of white tapestries which I made in connection with my solo exhibition And Then Came White in 2016. My inspiration I found in Syria where I spent time among the broken pillars and stately ruins of Palmyra. My intention was to capture its atmosphere. The contrasts in my art are important: light/dark, slow/fast, black/white, big/small, past/future, noise/silence, life/death. My White Wall is delicate, subtle, soft, poetic and clean. Photo by Erling Lykke Jeppesen “White Wall” H186 x W136 cm 52
JOANNE SOROKA
United Kingdom / Scotland
The interlacing of yarns in the weaving of a tapestry is necessarily about connections. My tapestries are also
often shaped like continents or islands. They sometimes come in clusters and layers, rather than single pie-
ces. This formal choice can suggest both isolation and connectivity, with the sometimes-interconnected
islands saying that we are all linked. There is also the possibility of migration, moving from one land mass to
another, whether willingly or because of adverse circumstances. But there is hope as well, since no human is
an island.
“Another Country” H126 x W195 cm Photo by Michael Wolchover
53MARIKA SZÁRAZ Belgium I am particularly interested in the relationship between structure and light to the point where the surface beco- mes the subject. This tapestry represents the depth that opens towards clarity. Starting from deep darkness, the reflection on the bright material announces the presence of light. “Depth” H200 x W150 cm Photo by the artist “Cones” H30 x W200 x D20 cm (not featured in catalogue) 54
DOROTA TARANEK
Poland
As well as being interested in the Jacquard interpretation of my project which consists of different lines inspi-
red by gestures expressing personality and state of mind, just like an author’s handwriting, I am also fascina-
ted by mistakes in the weaving that detract from the piece and prove the feebleness of humans and machi-
nes, but which, in art, can constitute a new aesthetic quality. The results of my speculations are to be found
in White composition with a vertical line.
“White composition with a vertical line” H220 x W150 cm Photo by Tymoteusz Lekler
55INGE THORNING Denmark My work with art is inspired by nature and my intercultural work in life. We are all woven into each other, each with our own twist - life is a big tapestry “Outside” H101 x W132 cm Photo by Bent Blindbaek 56
ARTAPESTRY5 ARTISTS’ BIOGRAPHIES
SOLVEIG AALBERG KRISTINA DAUKINTYTÉ AAS KARINA PRESTTUN NØKLEBY
Born and lives in Norway Born in Lithuania, lives in Norway Born and lives in Norway
Education Education Education
Oslo National Academy of the Arts Bergen National Academy of the Arts Bergen National Academy of the Arts
Skrivekunstakademiet, Hordaland
Major Group Shows Major Group Shows Bergen Yrkesskole
The 5th Riga International Textile and Fibre Rijswijk Textile Biennial, The Netherlands
Art Triennial, The Exhibition Hall Arsenáls, (2017) Major Group Shows
Riga, Latvia (2015) World of Threads Festival, The Gallery at Rijswijk Textile Biennial, The Netherlands
NORDIC ART Top artists Scandinavian Queen Elizabeth Park Community & Cultural (2017)
Weaving, Carmel Convent Drachten, The Centre QEPCCC, Oakville, Canada (2016) 15th International Triennial of Tapestry,
Netherlands (2014) Textile Art of Today, International Textile Art Central Museum of Textiles, Łódź, Poland
The Spring Exhibition Kunsthal Triennial, Czech Republic, Hungary, (2016)
Charlottenborg, Copenhagen (2014) Poland, Slovakia (2016) Out of the Box Biennial of Textile
11 Asker Artists, Trafo Kunsthall, Asker, NordArt 2015, International Art Exhibition, Miniatures, Vilnius, Lithuania (2015)
Norway (2011) Büdelsdorf, Germany (2015) The Spring Exhibition, Kunsthal
Global intrigue II, Tradition and Innovation 10×10=100% JACQUARD in Titanikas, Charlottenborg, Copenhagen, Denmark,
4th Riga International Textile and Fibre Art Vilnius, Lithuania (2015) (2015)
Triennial, Exhibition Hall Arsenáls, Latvian Nantong International Contemporary Craft Play & Decay, UMI Gallery, Vilnius,
Museum of Art, Riga (2010) Biennale, China (2014) Lithuania (2014)
5th From Lausanne to Beijing International Contextile, Textile Biennial in Guimarães, I!, KODE, Bergen, Norway (2014)
Fiberart Biennale, Beijing, China (2008) Portugal (2014) Tendenser 2013: Tenderness, Gallery F15,
ITF, The 6th International Textile Exhibition, Springexhibition 2014, Charlottenborg, Jeløya, Norway
Museum of Kyoto, Japan (1999) Copenhagen, Denmark (2014) Crafts, The Museum of Decorative Arts
The 4th Nordic Textile Triennial (1985) Play & Decay, MI Gallery, Vilnius, Lithuania and Design, Oslo, (2012, 2011, 2009)
The National Annual Autumn Exhibition, (2014) Talente, Munich, Germany (2012)
Norway x 5 Shot Through, Hordaland Art Centre,
The Eastern Norway Exhibition x 6 Solo Shows Bergen, Norway (2011)
Shed, Hå gamle Prestegård, with Karina
Solo Shows Nøkleby, Stavanger, Norway (2017) Solo Shows (with Kristina Aas*)
Trafo Kunsthall, Asker, Norway (2012) Entertwine, Kunstbanken, with Karina Shed, Hå gamle Prestegård, Norway
Hå Gamle Prestegard (2002) Nøkleby Presttun, Hamar, Norway (2016) (2017*)
The Akershus Art Center (2001) Vine, with Karina N. Presttun, KRAFT, Entertwine, Kunstbanken, Hamar, Norway
Møre and Romsdal Art Center (2002) Bergen, Norway (2016) (2016*)
Ram Gallery, Oslo (1997) Exhibition, Nils Aas Kunstverksted, Vine, KRAFT, Bergen, Norway (2016*)
Gallery F-15, Jeløy (1996) Inderøy, Norway (2016) Read. Riot. Recover, Trykk:trykK, Bergen,
Norwegian Textile Artists (1993) (2013)
Gallery Holmenbukta (1992) Awards Tomas and the house at Ask, Soft Gallery,
Kunstnerforbundet, The Norwegian Art One-year Working Grant, Norwegian Visual Oslo, Norway (2013)
Association (1987, 1984) Artists Remuneration Fund (2016, 2017)
Sogn and Fjordane County Council Arts Awards
Awards Scholarship, Norway (2016) Scheibler Foundation (2014)
Nomination International Solo Award, Two-year scholarship for young artists, Grant from Billedkunstnernes
Spring Exhibition, Kunsthal Charlottenborg, Arts Council Norway (2012) Vederlagsfond (2016)
Copenhagen (2014) Honourable mention at The 9th Cheongju Grant from Arts Council Norway (2015)
Excellent Prize honourable mention The 5th International Craft Biennial (2015) Grant from Bergen Kommune (2013)
From Lausanne to Beijing International 3rd Place, Arrowmont School of Arts and Grant from The Norwegian Association for
Fiberart Biennale (2008) Crafts (2012) Arts and Crafts (2013)
The National Guaranteed Income for Bronze prize, Nantong International 3-year grant, Arts Council Norway (2010)
Artists (2005) Contemporary Craft Biennial, China (2014)
e-mail
e-mail e-mail karina.presttun@gmail.com
sol-aa@onlineno post@kristina-aas.com
58MARGRETHE AGGER EWA BARTOSZ MAZUŚ BRITA BEEN
Born and lives in Denmark Born and lives in Poland Born and lives in Norway
Education Education Education
Denmark Design School, Copenhagen State School of Fine Arts, Zakopane, National College of Art & Design, Bergen
Astrid and Nobert Kahn Workshop, Poland National Teacher Training College for
Gentofte Crafts, Oslo
Major Group Shows
Major Group Shows 9th From Lausanne to Beijing International Major Group Shows
Danish Expressions in Textile, United Fiberart Biennale, Shenzen, China, (2016) Østlandsutstillingen, regional juried art
States of America (1975-1977) Fibre Without Borders, Shenkman Arts exhibition, Hamar, Drammen, Fredrikstad
Cinq Danoises Createurs de Tapisseries, Centre, Ottawa, Canada (2016) (2017)
Maison du Danois, Paris (1979) 13 The National Exhibition of the Polish 036 curator Fanny Gjestland, Skien Art
Nordisk Texstil Triennale (1979-1980) Tapestry, Łódź, Poland (2016) Centre and Maihaugen, Lillehammer (2016)
American Tapestry Biennial 1 and 6, United Extreme Fibers Exhibition, Dennos ARTAPESTRY4, Finland, Germany, Austria,
States of America (1990/2006) Museum Center, USA (2016) Denmark (2015)
Danish Tapestry (1998-2014) Extreme Fibers Exhibition, Muskegon Nordic Art, Scandinavian Tapestry
ARTAPESTRY, Denmark, Germany, France Museum of Art, USA (2015) Exhibition, Karmelklooster Drachten, The
(2005-2007) 12th Concorso Internazionale di Arazzo a Netherlands (2014, 2012)
25 Jahre Internationale Textilkunst, Graz, Fiber Art, Parma, Italy (2011-2015) ARTAPESTRY3, Denmark, Finland,
Austria (2003) 5th Triennial of Tapestry Novi Sad, ATELIJE Sweden, France, Latvia (2012, 2014 )
ARTAPESTRY2, Denmark, Norway, France, 61, Serbia (2014) Essence, regional exhibition of Arts &
Sweden (2008-2010) International Biennial of Miniature Arts Crafts, Hamar and Ålesund (2010)
ARTAPESTRY3, Denmark, Finland, Timisoara, Romania (2014) ARTAPESTRY2, Denmark, Norway, France,
Sweden, France, Latvia (2012- 2014) VIII International Artistic Linen Cloth Sweden (2008/2010)
Modern Danish Tapestry, Saint Petersburg, Biennial, Poland (2014) International Triennial of Tapestry and
Russia (2015) Woven Bridges International, Museum of Textile Arts, Tournai, Belgium (2008, 2005)
Weaving, Kamienna Góra, Poland (2013) Art Textiles - Norway, Kaunas, Riga, Sofia
Solo Shows International textile arts installations, (2006, 2007)
Rapport fra Mexico Designmuseum ValDesMonts, Quebec, Canada (2010) 2nd From Lausanne to Beijing International
Denmark, Copenhagen (1978) Fibreart Biennale, China (2008, 2006, 2004)
Solo Shows:
Awards Various, Poland (1986, 1991, 2005, 2008, Solo Shows
Craft Artist of the Year, West Zealand 2010, 2013) HERITAGE, Skien (2017)
(1972) Chinese Cloud, Soft Gallery, Norwegian
The Danish Arts Foundation (1972, 1977, Awards Textile Artists, Oslo (2014)
1986, 2001) Honourable mention, VI International Timeless Textiles, Larvik (2012)
Craft Artist of the Year, West Zealand Artistic Linen Cloth Biennial, Krosno, Woven Constructions, Moss Art Gallery
County (2003) Poland (2010) (2010)
Ole Haslunds Artists Foundation (2009) II Premio, 9 Concorso Internationale di Woven Constructions, Skien Committee of
Arazzo a Fiber Art Parma Italy (2012) Art (2007)
e-mail Premio Arcadia, 10 Concorso Woven Mosaics, Hå (2006)
margrethe@odden.dk Internazionale di Arazzo a telaio e Fiber Nordic House, Reykjavik, Iceland (2000)
Art, Italy (2013)
III Premio, 12th Concorso Internazionale di
Arazzo a Fiber Art, Parma, Italy (2015) Awards
Excellence Award, 9th From Lausanne to Several government grants and The
Beijing International Fiberart Biennale, National Guaranteed Income for
Shenzen, China (2016) Artists.
e-mail e-mail
mazby3@poczta.onet.pl brita@britabeen.no
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