UNTIL SUNDAY 12/2
VAT. Guillem de Castro, 112
It is not a minor art at all.. Knitting is using a primary and ancestral binary code (warp and weft) that has marked humanity in the past and continues to do so even today in computers that operate based on zeros and ones. It is code and it is open, because anyone who knows how to knit knows how to reproduce what they are seeing. And it is known how to do it all over the world, It is a collective and popular art. Teresa Lanceta was trapped by the knitting technique, to repeat with small variations, He chose that path in the seventies when conceptual art prevailed and he has never abandoned it.. It's more, he continues to claim it. The background is the shape in the tapestry, everything is created at once, everything is the same. Knitting is a language. It was a brave stance at that time and in the European context., where the fabric had never been considered to be at the level of a painting, It was a technique without prestige, domestic and women. And although Lanceta was not necessarily interested in it as a feminist demand, If he did it because of its materiality, structure and ability to narrate. And for its spiritual aura, It's the way a non-believer has to pray..
Open Source is a retrospective that covers five decades of career in which the biography of Teresa Lanceta is glimpsed through the techniques, the materials, shapes and geometries. The first room of the exhibition is designed as an introduction and summary of his work., from his first tapestry 1972 The different materials he has worked with over the years are shown: lana, cotton and also jarapa, of which she is devoted, made with shreds of clothing. It is woven with jarapa, precisely, one of the last works on the tour in collaboration with Pedro G. Romero. Chicken coop is a tapestry that evokes the geometric mosaic of the Roman Curia on which chickens, with their dances, They helped the Romans make important decisions.
Lanceta works from an original fabric – which is always exhibited alongside her creations – and demonstrates that tradition can be expanded and create one's own language.. The first looms in the exhibition that draw on the nomadic Berber culture are an ode to the rhombus and diagonals that he loves so much.. They contrast with the squares and rectangles that follow, those of the 15th century Moorish carpets and ceramics that supplied the palaces of the great sedentary Christian lords in Albacete and Cuenca. Lancet also looks at the most recent past, to historical memory, remembering the pain caused by the bloody Battle of the Ebro and, by extension, for the Spanish civil war. For example, with five fabrics - inspired by one in which his grandmother kept bread - in which the predominant blue becomes redder with each step, clouding the waters. The last part of the exhibition invites us to enter the Raval neighborhood of Barcelona, to walk through its alleys delimited by tapestries that refer to specific places in the life history of Lanceta. The IVAM covers weaving as a major art. S.M.
