“Weaving & We” Hangzhou Triennial of Fiber Art and Parallel Events
By Sylvia Tsai
The genre of fiber art tends to be categorized as craft and generalized as a form of outsider art. But in recent years, art historians have developed a more complete theory and vocabulary for fiber art, so that the art form can now plant deeper roots in the wider art historical narrative. In Asia, the Hangzhou Triennial of Fiber Art, now in its second edition, is paving the way for broader conversation and analysis. Hosted in a city reputed for its silk production and textile craftsmanship, the Hangzhou Triennial of Fiber Art debuted in 2013 as a platform to bridge this seemingly “traditional” art with the contemporary, by not only featuring works of artists shown in other international exhibitions, but also showcasing the ways in which interpretations of fiber art are diverse and address issues that are relevant today. For this year’s Triennial, the focus is on the notion of weaving.
Entitled “Weaving & We” the festival looks at the labor of weaving, as well as seeks to trace its history and social implications. According to Shi Hui, director of Hangzhou's Maryn Varbanov Tapestry Research Institute, and artistic director of the Triennial, “weaving-related activities are all linked to one singular source, which is the existence of human beings.” This relationship between people and weaving became the entry point for more detailed thematic explorations by the show's co-curators, Liu Xiao, Xu Jia and Assadour Markarov, who divided the exhibition into four sections: "Needles & Proverbs"; "Body & Identity"; "Weaving & Form" and "Scene & Phenomenon." Varying from soft sculptures and videos to paintings and installations, works from 60 artists across 20 countries fill the 6 exhibition halls and outdoor spaces of Zhejiang Art Museum. The following are some highlights from the Triennial.
