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projectweek textielontwerp 2020/2021

Giuseppe Penone
"Pietra, corda, albero, sole
Pietra, corda, albero, pioggia" (1968)
de zon droogt een linnen touw en heft een marmeren steen langzaam op

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Francis Alys - The green line
Jeruzalem 2004 - 17:41 min

Shimenawa,sacred ropes
"married rocks", south of Fukuoka, Japan

Laundry drying at the washing ghats, Mumbai, India
Textiles, The whole story, Beverly Gordon

Musée de la rubanerie
Comines-Komen

Francis Alys

Various knots, seam and twinning from: Der Stil, Gottfried Semper, 1860
« The idea came to man to articulate a system of material units whose properties are malleability, flexibility and resistance, for the following reasons:
First to form rows and tie together;
Second to cover, protect and fence. »

Al-Tahla Floating Islands of the Ma'dan, Iraq
Reeds bundled with rope into columns
Lo-TEK, design by radical Indigenism, Julia Watson, Taschen

Weaving the Bridge at Q’eswachaka
from exhibition "The Great Inka Road: Engineering an Empire", National Museum of the American Indian in Washington

Threads that communicate
Khipus, 15th century
Etnologische Museum Berlin

Barry Flanagan
early works 50' 60'
Two space rope sculpture, 1967

Fred Sandback (1943 –2003) was a minimalist conceptual-based sculptor known for his yarn sculptures, drawings, and prints.

Sandback is primarily known for his Minimalist works made from lengths of colored yarn. The artist's early interest in stringed musical instruments led him to make dulcimers and banjos as a teenager. In 1967, he produced the sculpture that would establish the terms of his mature work. Using string and wire, he outlined the shape of a 20-foot-long 2-by-4 board lying on the floor.Though he employed metal wire and elastic cord early in his career, the artist soon dispensed with mass and weight by using acrylic yarn. His yarn, elastic cord, and wire sculptures define edges of virtual shapes that ask the viewer's brain to perceive the rest of the form. In that way his work can be considered visionary or imaginative, as well as minimal and literal. Indeed, Sandback was fond of installing "corner" pieces whose shadows assist with this form completion process. In describing his work he stated, "It's a consequence of wanting the volume of sculpture without the opaque mass that I have the lines." and "I did have a strong gut feeling from the beginning though, and that was wanting to be able to make sculpture that didn't have an inside." Sandback himself referred to his sculptures operating in pedestrian space, acknowledging both the viewer’s movement through a space and as something to be engaged actively.

Using acrylic yarn, Fred Sandback made Minimalist sculptures that impress themselves upon the eye as objects with volume and mass. Sandback’s “leaning” works, in which lengths of yarn are suspended diagonally between wall and floor, appear to fundamentally alter a space, while his floor-to-ceiling screens, varying in scale to engage the potential of each space, possess an architectural presence. The subtlety of the artist’s choice of material allows the spaces between the lines to become as visible as the lines themselves.
https://www.artsy.net/artwork/fred-sandback-untitled-80

René Heyvaert
1975-76

Eskimo strings
'The Collections of Harry Smith, Catalogue Raisonné' series spotlights and indexes his eclectic research obsessions. Volume two focuses on Smith's erudite study of string figures, an age-old form of spiritual and recreational play that he passionately chronicled in multiple mediums.

The Journal of American Folklore
(Jul. - Sep., 1923), pp. 285-288

Spinning thread from agave cactus

Children of Yenton School dancing around the Maypole during the May festival held at the school in 1963

Anton Alvarez, Thread Wrapping Architecture, 2014

Ryuji Nakamura, NEOREAL IN THE FOREST, 2012

https://www.yellowtrace.com.au/string-thread-installations/