EXHIBITIONS SHOT THROUGH
CURATED BY GLENN ADAMSON
Textile and photography: the two media seem, at first, to be antithetical. On the one hand we have a painstakingly slow craft, and on the other an immediate and automatic process. One is constructive, the other indexical. Weaving is rooted in the past, photography the ultimate medium of modernity.
Yet the history of these two art forms is more intertwined than one would expect. At times each seems to strive for the condition of the other. Since the nineteenth century, textile artists have sought to revivify their medium by emulating the exactitude and fine grain of the photographic print. Photographers, in turn, have sometimes seemed to hunger for the inherent abstraction and process-driven logic imparted by the loom. And there are other points of connection too: the origin of digital computing (now the technology in which photography generally occurs) in the mechanics of Jacquard looms; the use of photos as sources for weavers’ printing plates; and that signature image type of modern life, the fashion photo.
This exhibition seeks to trace the exchange of these two media in miniature. It brings together four disparate contemporary works that create photographic images in a weave; each perches somewhere between loom and camera.
Works in the exhibition by Chuck Close, Lia Cook, Kari Dyrdal, Johanna Friedman, Sabrina Gschwandtner, Kate Nartker and Karina Presttun.
The exhibition is curated by art historian Glenn Adamson, Head of Research and of Graduate Studies at the Victoria & Albert Museum, London.
The exhibition is supported by The Norwegian Association for Arts and Crafts.
GIUDED TOURS IN THE EXHIBITION
Sunday November 13th at 2 P.M.
Wednesday November 30th at 5 P.M.
Friday December 16th at 12 Noon
ABOUT THE 35-YEAR PROGRAMME AT HORDALAND ART CENTRE
2011 marks the 35th year of the Hordaland Art Centre, and we are creating a programme exploring ideas of histories and futures based on different thematics and institutional frameworks.
Do we need to re-lecture the past? How do we prepare for the future? These are two immanent questions to ask in the present. Is it possible to act as if the present is suspended above both history and future? Or is it lurking below both? Maybe is it weighed down by history at the same time as it is longing and striving for the future? These and other related questions will be asked in this one year programme containing six exhibitions, several lectures and seminars, as well as text production and publications.
This anniversary programme intentionally avoids the institution’s self-mythologising approach, but rather focuses on the idea of history and future as the present’s support structure. Nostalgia and hope are two component of how we long for what has been and what is to come, and can act as poetic notions to understand the present.