2019 – 2022
Stitching a Line Thru Media
Stitching a Line Thru Media brought together work by artists and scholars across Canada, the United States, and Europe, whose artistic practices and research explore the intersection of textiles, print, and technology. Through exhibitions, artist talks, and workshops, this multi-year project allowed for critical discussions around textile and media art, nostalgia, identity, culture and history.
YEAR 1: 2019
OCTOBER 4 – NOVEMBER 23, 2019
RECEPTION: NOVEMBER 8, 7 – 10 PM
ARTIST & CURATOR TALK: NOVEMBER 8, 7:30 PM
LESLEY LOKSI CHAN
CURATED BY SALLY FRATER
Swedish textile artist Charlotte Johannesson began making artwork as a weaver who created tapestries that provided political commentary on current events. After acquiring an Apple II Plus personal computer in 1978, Johannesson taught herself to program using the same dimensions that she used when weaving on a loom.
Inspired by Johannesson, who combined an interest of textiles and technology within a single practice, Interweavings featured work by Diedrick Brackens, Andrew Bugden, Lesley Loksi Chan, and Maria Hupfield. Exploring the intersection of seemingly dichotomous forms of [textile] production – the “handmade” versus mechanized forms of fabrication – the exhibition also touched on themes of mapping and astronomy, the body, cultural practice, and the ubiquitous presence of technology within daily life, while revealed the oftentimes inherent complexity and contradiction that exists within handmade art.
Year 2: 2021
SEPTEMBER 10 – OCTOBER 23, 2021
CO‐CURATED BY NICOLE BURISCH AND SALLY FRATER
The second in a three-part series of exhibitions at Centre for Artistic + Social Practice that explored the connections between textiles and technology, Remediations brought together artists who use textiles – whether weaving, knitting, embroidery, or their representations – to reflect on communication technologies and their development over time. While some works drew upon current platforms for commercial and interpersonal exchange, such as Etsy, Ebay, or dating sites, others referenced older methods for transmitting language and culture, such as television or word processing. Together, this selection commented on the ways in which technology itself is ‘constructed’ or ‘crafted’ by those that design, use, and implement its various functions. Elements of nostalgia and personal memory were interwoven with critical commentary on how cultural identity, gender, class, and sexuality can shape or be shaped by technological spaces.
Web of Connections
Year 3: 2022
OCTOBER 14 – NOVEMBER 26, 2022
RECEPTION: OCTOBER 14, 7 – 10 PM
TONG ZHOU LAFRANCE
CURATED BY NICOLE BURISCH
Transpositions is the final in a three-part series of exhibitions that explored the connections between textiles and technology. Building on the preceding exhibitions Interweavings and Remediations, the artists selected for Transpositions offered an expanded understanding of textile construction. Using non-traditional media such as wire, rubber, photographs, or insulation they transposed the technologies of weaving or braiding onto their chosen materials.
In genetics, ‘transposition’ refers to the transfer of a segment of DNA from one genomic site to another. In music, it refers to copying over a piece of music into a higher or lower key. The process of transferring sets of information inherently contains the potential for variations, glitches and the creation of new meanings. Works by artists Marisa Gallemit, Emily Hermant, Tong Zhou Lafrance, and Caroline Monnet activated this potential through processes of transformation and reconfiguration. Here, the knowledge of specific textile processes and aesthetics were brought into dialogue with materials that contain their own cultural and historical significance.
In addition to the exhibition Transpositions, we also organized two weaving workshops in partnership with Immigrant Working Centre.