La creatividad textil hace parte de la herencia prehist\u00f3rica y en particular del legado aborigen de Am\u00e9rica Latina. Ese patrimonio, ampliamente valorado por los m\u00e1s prestigiosos artistas internacionales del textil, comenzando por Anni Albers a quien se acredita como la introductora del arte textil en la Bauhaus y por ende en el arte moderno, representa un acervo invaluable como inspiraci\u00f3n o como fuente de donde beber para introducirse en razonamientos vinculados, no s\u00f3lo con las caracter\u00edsticas y cualidades espec\u00edficas de esta modalidad creativa, sino con los
prop\u00f3sitos del arte moderno. De hecho, Anni Albers visit\u00f3 en catorce oportunidades con su esposo, el reconocido pintor Josef Albers, varios pa\u00edses latinoamericanos para estudiar su legado y producci\u00f3n en esta \u00e1rea. No obstante, una validaci\u00f3n de los textiles, no ya como un trabajo simplemente artesanal, sino como una nueva disciplina art\u00edstica tan leg\u00edtima como la pintura, la
escultura o la arquitectura, no fue tarea f\u00e1cil, En la misma Bauhaus los consideraban como un oficio femenino y en otros \u00e1mbitos los relacionaban con la industria o con tradicionales oficios manuales. Pero, aunque en t\u00e9rminos t\u00e9cnicos los textiles est\u00e1n basados en la estructura binaria de trama y urdimbre, el impulso experimental y la actitud anal\u00edtica que promueven en la actualidad, han ampliado considerablemente esta noci\u00f3n y ahora emergen de transferencias complejas, que se han sucedido a trav\u00e9s del tiempo. Es decir, los textiles, como modalidad art\u00edstica son, ante todo, abstracciones sensoriales que combinan propiedades visuales y tangibles a trav\u00e9s de las cuales se reflejan desarrollos geogr\u00e1ficos, sociales y est\u00e9ticos. Pero gracias a Albers y otras artistas que continuaron su derrotero, el arte textil contempor\u00e1neo es una vertiente creativa que involucra un sinf\u00edn de posibilidades. As\u00ed lo ponen de relieve los trabajos de las estadounidenses Sheila Hicks, Lenore Tawney y Claire Zeisler, quienes, alrededor de la d\u00e9cada del cincuenta, integraron sus tejidos con la creatividad tridimensional: Hicks con esp\u00edritu innovador y experimental, involucrando diversos materiales, Tawney con obras de escala arquitect\u00f3nicacompuestas por miles de hilos relucientes, y Zeiler acudiendo al anudado para liberarse de las limitaciones geom\u00e9tricas y bidimensionales del telar.Tambi\u00e9n la polonesa Magdalena Abakanowicz, quien alrededor de la d\u00e9cada del sesenta traslad\u00f3 sus conocimientos sobre tapicer\u00eda a la escultura creando sugestivos ambientes mediante repeticiones de formas de la figura humana; la suiza Elsie Giauque, cuyos textiles incluyen una amplia variedad de materiales incluidas las hojas de ma\u00edz; y la colombiana Olga de Amaral quien por la misma \u00e9poca, se hizo conocer por sus obras abstractas a gran escala en las cuales las fibras se cubren frecuentemente con laminillas de oro o plata, son artistas que han
contribuido desde distintos \u00e1ngulos en la inserci\u00f3n de los tejidos en los \u00e1mbitos del arte. Igualmente, el franc\u00e9s Jean Lucat y el espa\u00f1ol Josep Grau-garriga cuyas obras relacionadas con las de los pintores que les fueron contempor\u00e1neos, el primero con los figurativos y el segundo con los abstractos, han hecho notables contribuciones al afianzamiento art\u00edstico del tejido y la tapicer\u00eda. Gracias a su trabajo y al de algunos otros artistas, el arte textil es actualmente valorado como una de las modalidades creativas m\u00e1s significativas habiendo especializaciones en la materia en connotadas universidades alrededor del mundo. Una menci\u00f3n especial amerita el colombiano \u00c1lvaro Diego G\u00f3mez Campuzano quien, aunque m\u00e1s joven que los mencionados, se convirti\u00f3 igualmente en pionero
del arte textil haciendo evidente desde 1976 su novedosa consideraci\u00f3n de esta materia, El artista enfatizaba en el espacio, el cual interven\u00eda algunas veces a la manera de grandes telones, sostenidos por marcos met\u00e1licos que lo subdivid\u00edan, y otras veces a la manera de construcciones abstractas que se internaban en el espacio colgando de soportes industriales. El objetivo de estas instalaciones era lograr para el espectador un recorrido con diferentes transiciones a trav\u00e9s de los giros de los paneles y los reflejos de los colores. Se trataba de una de las primeras intervenciones art\u00edsticas espaciales, de las primeras instalaciones, modalidad propia del arte contempor\u00e1neo, solo que llevada a cabo, con t\u00e9cnicas artesanales de tejido que le permit\u00edan no solo ejercitar la mente mediante la concentraci\u00f3n, sino activar la imaginaci\u00f3n y la creatividad. La mayor\u00eda de estas obras, construidas en algod\u00f3n crudo y cordones de lana que se entretejen en relieve, crea figuras geom\u00e9tricas lineales que son como ideogramas que permiten evocar pentagramas o planos urbanos puesto que las nociones de verticalidad y horizontalidad son predominantes. El t\u00edtulo de estas obras, Creando en Expansi\u00f3n, coincid\u00eda con la idea de \u201cla escultura en el campo expandido\u201d planteada precisamente por esa \u00e9poca por la cr\u00edtica Rosalind Kraus, con lo cual se explicitaba la idea de que sus obras pod\u00edan considerarse como escultura, o como arquitectura, o como se quiera dentro de la nomenclatura apropiada, a pesar de sus materiales diferentes a los usualmente empleados en esas disciplinas y empero su t\u00e9cnica ancestral. \u00c1lvaro Diego G\u00f3mez Campuzano combina desde entonces, como la mayor\u00eda de los artistas mencionados la fabricaci\u00f3n tradicional de tejidos con los prop\u00f3sitos del
arte moderno y contempor\u00e1neo, Y ese sincretismo temporal, esa tendencia a juntar y armonizar \u00e9pocas con corrientes de pensamiento o ideas dis\u00edmiles, le ha provisto con la argumentaci\u00f3n y la sensibilidad propicia para, por una parte, resignificar el tejido y sustraerlo a ese constre\u00f1imiento propio de las definiciones inamovibles, y por otra parte, expresar el eclecticismo del arte contempor\u00e1neo acorde con las m\u00faltiples posibilidades de la vida moderna. Pero el artista tambi\u00e9n llevaba a cobo por ese entonces obras relacionadas con la arquitectura como Muro Interior, pieza que present\u00f3 en la XIII Bienal de Lausanne en 1987. En esta obra se combinaron \u00e1reas densas y \u00e1reas transparentes y el artista incorpor\u00f3 materiales industriales los cuales, mezclados con el algod\u00f3n y la seda, le proveyeron una estructura adecuada para la exactitud que demandaba la representaci\u00f3n.
El trabajo de \u00c1lvaro Diego G\u00f3mez Campuzano no ha perdido nunca el inter\u00e9s por el experimento siendo esa la raz\u00f3n de que sus materiales hayan ido variando, pasando de los mencionados, al polipropileno, o a las resinas y la tierra, e inclusive a las bandas industriales, para la producci\u00f3n de determinadas obras. Todas ellas involucran el tejido, pero, por supuesto, cada una demanda una
t\u00e9cnica diferente. Su producci\u00f3n en polipropileno podr\u00eda calificarse como contundente por sus grandes dimensiones, su gran peso y su intenci\u00f3n de encarnar fuerza, torsi\u00f3n, tensi\u00f3n y compresi\u00f3n a trav\u00e9s de dos maneras diferentes de tejer: una para producir la cuerda y otra para producir esa forma, apropiadamente, de nudo, de atadura, una noci\u00f3n fundamental en el \u00e1rea del tejido, la cual complementa y devela armoniosamente los procesos envueltos en su realizaci\u00f3n. De vuelta al hilo, el t\u00edtulo de esta muestra, hace referencia a que, a partir del material originario del arte textil, el hilo, y a trav\u00e9s de diversas relaciones con otras disciplinas y elementos, se puede llegar a obras enriquecedoras y de vigencia contempor\u00e1nea, Y con referencia particular al trabajo de \u00c1lvaro Diego G\u00f3mez
Campuzano, su significado puede extenderse a implicar que el artista est\u00e1 siempre dispuesto a recomenzar desde el m\u00e1s antiguo y fundamental elemento del tejido, el hilo, con un nuevo tipo de obras que seguramente reiterar\u00e1n, de otra manera, su particular combinaci\u00f3n de historia y contemporaneidad.<\/p>\n\n\n\n
The creativity displayed through textile making is part of our prehistoric inheritance, and particular to the indigenous heritage of Latin America. This patrimony, widely valued by the most prestigious international textile artists \u2013 beginning with Anni Albers, who is credited with introducing textile art to the Bauhaus, and by extension to modern art \u2013, represents an invaluable cultural heritage that serves as an inspiration or source through which to introduce oneself to other related ways of thinking, not only in regards to the characteristics and specific qualities of this creative modality, but also to the aims of modern art. In fact, Anni Albers made fourteen trips with her husband, the renowned painter Josef Albers, to various Latin American countries to study the legacy and production of textiles.<\/p>\n\n\n\n
However, to receive a validation of textiles, not only as a simple work of handicraft, but rather as a new artistic discipline as legitimate as painting, sculpture or architecture, was not an easy task. Even in the Bauhaus, textiles were considered a feminine practice, and in other environments it was related to industry or traditional, hand-made crafts. Although, technically speaking, textiles are based on a binary structure of warp and weft, the experimental drive and analytical attitude that they promote today have broadened this definition considerably. Now works of textile art are emerging from complex transfers that have taken place over time.<\/p>\n\n\n\n
This is to say that textiles as an artistic modality are, before anything else, sensory abstractions that combine visual and textural properties through which geographical, social and aesthetic developments can be reflected. Thanks to Albers and other artists who continued on this course, contemporary textile art is a creative axis that involves an infinite amount of possibilities. This is highlighted through the works of American artists Sheila Hicks, Lenore Tawney and Claire Zeisler, who, beginning in the 1940s, integrated their weavings with three-dimensional creativity: Hicks, using diverse materials with an innovative and avant-garde spirit; Tawney, with works of architectonic scale composed of thousands of gleaming threads and Zeisler, who used knotting techniques to free herself from the geometric and two-dimensional limits of weaving.<\/p>\n\n\n\n
Outside of the United States are also recognized: the Polish artist, Magdalena Abakanowicz, who around 1970 began to translate her knowledge of tapestry making to sculpture, creating suggestive environments through the repetitions of shapes of the human figure; the Swiss, Elsie Giauque, whose textiles are made from a wide variety of materials, like corn leaves, and the Colombian, Olga de Amaral, who, during the same time period, became known for her large-scale abstract works in which the fibers were frequently laminated with gold or silver. These are artists that have, from different angles, contributed to the inclusion of weavings into the realm of art.<\/p>\n\n\n\n
Similarly, the Frenchman Jean Lucat and Spaniard Josep Grau-Garriga \u2013 whose works related to those of their contemporaries, the former working in a figurative style and the latter in abstraction\u2013 have made notable contributions to the artistic refinement of weaving and tapestry making. As a result of their work, and that of other artists, textile art is regarded today as one of the most significant creative practices with dedicated academic programs all over the world.<\/p>\n\n\n\n
The Colombian artist \u00c1lvaro Diego G\u00f3mez Campuzano merits a special mention. Although he is the youngest of the previously noted artists, he also became a pioneer of textile art, as he has made his innovative consideration of this discipline evident since 1976. The artist focused on space, intervening into it, on occasion, in the manner of large curtains sustained by metallic frames that further subdivided the space around it. Other times, he made large abstract constructions that penetrated space by hanging them from industrial supports. The objective of these installations was to achieve for the spectator a trajectory with different transitions made through the rotations of the panels or reflections of the colors.<\/p>\n\n\n\n
It was one of the first spatial artistic interventions, one of the first installations \u2013 a method proper to contemporary art. Only, however, it was brought about using artisanal weaving techniques that allowed him to not only exercise his mind through the practice of concentration, but also to activate his senses of imagination and creativity.<\/p>\n\n\n\n
The majority of these works, constructed with raw cotton and woolen cords interwoven in relief, create linear geometric figures that function like ideograms: evoking pentagrams or urban planes, given that the notions of verticality and horizontality are predominant. The title of these works, Creando en expansi\u00f3n<\/em> (Creating in Expansion<\/em>, 1986), coincided with the idea of \u201csculpture in the expanded field\u201d, proposed precisely during this same time period by the critic Rosalind Kraus. This concept specified the idea that G\u00f3mez Campuzano\u2019s works could be considered as sculpture, as architecture, or as however one wanted to define them within the appropriate nomenclature, despite his choice of different materials compared with those normally used in these disciplines and his ancestral technique.<\/p>\n\n\n\n G\u00f3mez Campuzano has combined since the mid 70s, like the majority of the artists here mentioned, the traditional production of weavings with the objectives of modern and contemporary art. And this temporal syncretism, this tendency to join and harmonize time periods with lines of thinking or dissimilar ideas, have provided him with the arguments and the apt sensitivity to, on the one hand, resignify weaving and remove it from the constraints inherent to immovable definitions, and on the other hand, to express the eclecticism of contemporary art in accordance with the multiple possibilities of modern life.<\/p>\n\n\n\n However, the artist also realized works during that period that related closely to architecture, like Muro Interior<\/em> (Interior Wall<\/em>, 1986) which was included in the 13th<\/sup> Lausanne International Tapestry Biennial in 1987. Within the piece, the artist combined areas of density and transparency and incorporated industrial materials, which, when integrated with the cotton and silk, provided him a suitable structure for the exactitude the work demanded.<\/p>\n\n\n\n G\u00f3mez Campuzano has never lost interest in experimenting through his work. This contributes to the reason as to why his choice of materials is always changing: selecting from the previously indicated, to polypropylene, to resins and soil, to even including industrial sashes, in order to create certain works. All of them involve weaving, but, of course, each one demands a different technique.<\/p>\n\n\n\n His productions in polypropylene could be described as compelling and forceful through their large dimensions, heavy weight and intentions to embody strength, torsion, tension and compression through the different methods of weaving: one to create the string and another to produce forms, appropriately, of knots and ties. This is a fundamental idea in the field of weaving, which complements and harmoniously reveals the processes involved in the realization of such works.<\/p>\n\n\n\n A Return to the Thread<\/em>, the title of this exhibition, makes reference to that starting point, an original material in textile art, the thread. Through diverse relationships with other disciplines and elements, one can arrive at enriching artworks imbued with a contemporary legitimacy. In respect to the work of \u00c1lvaro Diego G\u00f3mez Campuzano, his significance can be extended to imply that the artist is always ready to begin again from the oldest and most fundamental element of weaving, the thread, with a new type of work that will certainly reiterate, in one form or another, his particular combination of history and contemporaneity.<\/p>\n\n\n\n <\/p>\n\n\n\n Eduardo Serrano<\/strong> – Translated by Alexandra Schoolman<\/em><\/p>\n\n\n\n <\/p>\n","protected":false},"excerpt":{"rendered":" La creatividad textil hace parte de la herencia prehist\u00f3rica y en particular del legado aborigen de Am\u00e9rica Latina. Ese patrimonio, ampliamente valorado por los m\u00e1s prestigiosos artistas internacionales del textil, comenzando por Anni Albers a quien se acredita como la […]<\/p>\n","protected":false},"author":1,"featured_media":553,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[16],"tags":[],"class_list":["post-1092","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-espanol"],"_links":{"self":[{"href":"https:\/\/alvarogomezcampuzano.com\/index.php\/wp-json\/wp\/v2\/posts\/1092","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/alvarogomezcampuzano.com\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/alvarogomezcampuzano.com\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/alvarogomezcampuzano.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/alvarogomezcampuzano.com\/index.php\/wp-json\/wp\/v2\/comments?post=1092"}],"version-history":[{"count":1,"href":"https:\/\/alvarogomezcampuzano.com\/index.php\/wp-json\/wp\/v2\/posts\/1092\/revisions"}],"predecessor-version":[{"id":1094,"href":"https:\/\/alvarogomezcampuzano.com\/index.php\/wp-json\/wp\/v2\/posts\/1092\/revisions\/1094"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/alvarogomezcampuzano.com\/index.php\/wp-json\/wp\/v2\/media\/553"}],"wp:attachment":[{"href":"https:\/\/alvarogomezcampuzano.com\/index.php\/wp-json\/wp\/v2\/media?parent=1092"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/alvarogomezcampuzano.com\/index.php\/wp-json\/wp\/v2\/categories?post=1092"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/alvarogomezcampuzano.com\/index.php\/wp-json\/wp\/v2\/tags?post=1092"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}