Plural Spaces. A Sculptural Matter of Textility

The familiar and domestic textile surfaces are commonly associated with private interiors and intimate garments. But woven structures and textile ornaments also manifest in public spaces as part of the city's architecture. Observing textility in - at first glance - differing contexts and dimensions recognises textile technology as an interconnection between the artistic disciplines.

Gottfried Semper's concepts on the interwovenness of textiles, art and architecture lay the foundation for the workshop, which aims to re-evaluate the interdisciplinary relevance of his writings in a contemporary art context.
During the course, participants will discuss theoretical foundations and gain an understanding of contemporary analogue and digital approaches to textiles. The knowledge acquired can then be adapted and integrated into their own artistic process. At first, the established physical, historical and social identities of textile and non-textile materials will be critically reviewed: any raw material can serve as a storytelling tool. But what information can it reveal to us? Following the material research, students will be invited to do practical experiments using textile construction techniques. New hybrid materials and surface compositions will be developed representing new identities. The aim is for participants to create individual interpretations of spatial textiles in the form of objects, skins or façade elements. Challenged by the context and the dialogue between a structure, an ornament, geometry and topology. In the final part of the course, participants will have the opportunity to capture textile architectures and their visual narratives using digital photography, accompanied by the photographer and art director Gedvile Tamošiunaite (www.gedvile.com).

The course is open to individuals with an interest in textiles, architecture, art, fashion, and product design.

Workshop schedule:

Day 1:
• Introduction of the group.
• Reading excerpts: ( e.g. Gottfried Semper, Practical Aesthetics. A Handbook for Technicians, Artists, and Art Lovers. Volume One: Textile Art (1860), Adolf Loos, Ornament and Crime (1908), Robert Venturi, Denise Scott Brown, Steven Izenor, Learning from Las Vegas. The Forgotten Symbolism of Architectural Form (1972) and others).
• Participants present their own research. Start of material analysis and analogue surface experiments.

Day 2:
• Material research and surface experiments.
• Scaling-up: realisation of final objects, skins or façade elements.

Day 3:
• Field Trip/Studio Visit.

• Completion of final objects. Visualisation of possible (spatial) scenarios.
• Realisation of a photographic stagings accompanied by Gedvile Tamošiunaite.

Day 4:
• Finalisation of a photographic stagings.
• Finalisation of the workshop, presentations and feedback.

Justina Monceviciute is a Lithuanian-born visual artist and designer based in Berlin. Alongside her art practice, Justina is a lecturer for textile technologies at multiple institutions, including Berlin University of the Arts (UdK), the Academy for Fashion und Design (AMD) Berlin and Berlin School of Economics and Law (HWR). In her art practice, Justina Monceviciute explores analogies between architecture and textiles. She focuses on a practical and theoretical investigation of material identities, their transformation, and their fluidity. Justina creates sculptural works deliberately contrasting rigid ceramic substances and flexible textile materials to challenge common dualities, especially those related to gender classifications. Justina Monceviciute’s work has been exhibited in galleries and museums, as well as design festivals internationally, including COLLECT in London, Dutch Design Week in the Netherlands, and Berlinische Galerie in Berlin, among others.

www.justinamonceviciute.com