18th International Triennial of Textile Art in Lòdź. Poland
Curadoras: Marta Kowalewska y Bukola Oyebode-Westerhuis
XVIII Trienal Internacional del Textil Museo Central de Textiles, Łódź, Polonia. 2025 Deconstrucción/Reconstrucción. Para las comisarias Marta Kowalewska y Bukola Oyebode-Westerhuis , estos términos engloban los desafíos y contradicciones sociopolíticos y económicos de la actualidad. La deconstrucción surge de una fuerte necesidad de cambio que surge del escrutinio de los antiguos órdenes y sistemas no inclusivos. Por lo tanto, en el marco de esta Trienal, las comisarias proponen la deconstrucción como una ruptura y un desgarro, abrazando un desorden crítico, cuestionando y perturbando el orden de la sociedad moderna, repensando los viejos sistemas y sometiendo a escrutinio los logros del mundo moderno. Y conciben la reconstrucción como un medio para nuevas posibilidades, múltiples vías de restauración y reparación, creando nuevos sistemas para coexistir, mirando hacia atrás a las tradiciones borradas que aún pueden beneficiar a la humanidad e imaginando maneras en que nuestro mundo puede evolucionar desde un estado de violencia sin fin.
COMECHIFFONES #1
2023, Hand embroidery with cotton threads on reused fabrics, patchwork and quilting
This is an embroidered piece made with reused and dyed fabrics. By building onto quilts made with reused fabrics, the artists acknowledge that textiles carry memory and tell their own story through reusing and repairing them. This piece represents a family portrait of the two artists in the company of their children-dogs.
The arrangement of the family portrait recalls the pictorial conventions of the bourgeois portrait of early European modernity. The vegetation represented is stylized from textile designs and ceramic decoration of native peoples; particularly from the Santa María culture and the Comechingón ethnic group. The neologism “Comechiffones” brings together the Comechingón indigenous ethnic group, from which Leo partially descends, with the chiffoniers who collected scraps discarded by the Parisian textile industry in the 18th and 19th centuries to recycle them and make pulp for books.
The artists reconstruct stories, memories, and materials, to tell their own story. Their interest in pre-Hispanic productions attempts to revalue local aesthetic legacies by investigating reproductions of patterns taken from ceramics and textiles. They praise American contributions to the history of “universal” art by revaluing indigenous and popular traditions of the New World that have been removed from canonical art history.
