Sewing stitches and knitting knots are here with us for much longer than early visual works, such as cave art. For centuries textile art “have suffered as an art media because of their association with domesticity and femininity (...) Historically textiles have been labeled ‘women’s work’ and dismissed as inferior to pursuits such as painting or sculpture.” (Hannah Lamb)
- Monika Bogyos
- Rosana Martinez
- Magda Oleksiewicz
- Gerard O'Brien
"The Compass has been placed on a map of Dublin city center. This capital city is literally pinned onto the tissue of an Eastern coast of the island, which is fading away on the edge of Western Europe. Current geopolitical affairs and forced resettlement in Eastern Europe constitute a link between issues of mass migration since the dawn of time.
The combination of textile art displayed in clearly urban space - a public but really nobody's - was intertwined here with the question of belonging and public property in the contemporary world. Thus, safe and soft fabrics, that are considered female, are temporarily displayed on the dangerous and repulsive streets of the multicultural town. This illusion of coziness and the undisturbed rhythm of everyday life is captured in still photography. The awareness of volatility and uncertainty prevents us from inhabiting, getting used to and subsidence.
Handmade crafts are always rooted in ethnicity, nationality, land, cultural or political background regardless of the origin. In this sense, the variety of handicrafts is also a common point, at the same time related to and irrespective of cultural geolocation.
