Generali Foundation, Vienna

Textiles
Open Letter

In collaboration with Sabine Folie, Georgia Holz, Susanne Titz
Texts by Elissa Auther, Sabeth Buchmann, Rike Frank, Judith Raum, Seth Siegelaub, T’ai Smith, Georg Vasold, Leire Vergara, Grant Watson

One essential characteristic of textiles is their richly intertextual nature. Their contemporary appeal and historicity derive from their place in the history of art and culture as well as in the history of media, society, and technology. Representing traditions found in both applied and fine arts, textiles hover between formalism and functionalism; as objects and techniques, they mediate between relations to the self and relations to the world, between affect-driven and knowledge-driven processes of appropriation. Functionally versatile—as objects of utility and media of an abstract (visual) language—textiles read as the fulcrum of an ensemble of activities, and illustrate specific entanglements that, since the beginning of modernity, have transformed the relations between subject and object, the material and the immaterial, artistic and artisanal labor, and different cultures.

This publication examines the referential and analytical qualities of textiles through both contemporary and historical works. The contributions in this book reflect on the complex interplay between the various functions and connotations of textiles—such as the emphasis on their tactile qualities or the artistic value attributed to them—and the attendant conflicts and antagonisms that articulate relations of power and value and of the interaction of artistic processes with their overarching contexts.

Textiles: Open Letter stems from an exhibition at the Museum Abteiberg, Mönchengladbach, and a research project (2010–14) initiated by Rike Frank and Grant Watson. Including the following artists; Magdalena Abakanowicz, Anni Albers, Carl Andre, Leonor Antunes, Tonico Lemos Auad, Thomas Bayrle, Jagoda Buic, Heinrich Clasing, Yael Davids, Sofie Dawo, Ria van Eyk, Hans Finsler, Elsi Giauque, Sheela Gowda, Eva Hesse, Sheila Hicks, Loes van der Horst, Johannes Itten, Elisabeth Kadow, Paul Klee, Benita Koch-Otte, Heinrich Koch, Beryl Korot, Konrad Lueg, Agnes Martin, Katrin Mayer, Cildo Meireles, Kitty van der Mijll Dekker, Nasreen Mohamedi, Walter Peterhans, Edith Post-Eberhardt, Josephine Pryde, Florian Pumhösl, Grete Reichardt, Elaine Reichek, Willem de Rooij, Desirée Scholten, Johannes Schweiger, Gunta Stölzl, Lenore Tawney, Rosemarie Trockel

Copublished with Generali Foundation, Vienna, and Museum Abteiberg, Mönchengladbach
Design by Martha Stutteregger

Now out of print.

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WereIMade-coverWereIMade-spread

Ulrike Grossarth
Wäre ich von Stoff, ich würde mich färben / Were I Made of Matter, I Would Color

 

Edited by Sabine Folie, Ilse Lafer
Texts by Mieke Bal, Rainer Borgemeister, Sabine Folie, Michael Glasmeier, Ulrike Grossarth, Dietrich Karner, Elliot R. Wolfson

This book is published on occasion of Ulrike Grossarth’s eponymous retrospective at the Generali Foundation in Vienna. Both the book and the exhibition trace the evolution of Gossarth’s practice, with a particular emphasis on her training as a dancer in the 1970s, to draw connections between the early years with her sculptural settings and actions and her most recent work, which engages with history more generally.

In her contributing essay, Ulrike Gossarth states that the title—Were I Made of Matter, I Would Color—is a counter-model to the fundamental Descartian formula “I think therefore I am,” a position which exists between consciousness and disembodiment, in a state of incompleteness. Rainer Borgemeister discusses the artist’s actions from 1978 to 1987, which were preceded by her critical engagement with modern dance. Further contributions from Mieke Bal, Michael Glasmeier, and Elliot R. Wolfson discuss Grossarth’s practice in relation to history, the body, and polymorphism.

Copublished with the Generali Foundation, Vienna
Design by Karin Holzfeind

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