After the Dunlop Art Gallery (Regina Saskatchewan) earlier this month, I took one of the three panels started in the Stitch in Time exhibit with me to Winnipeg Manitoba. I left it with my sister, Joan Baker, who took it with her to work where students visiting the Niakwa Place School Library got involved! Thank you, Joan, for explaining the project and urging students (Kindergarten to Grade 8) to learn about forced migration through hand work and textiles.
At the Dunlop Art Gallery, inside of Reginal Public Library Central, in the downtown of Saskatchewan’s capital city, the people who wander into the gallery are welcomed by artworks that invite their involvement. A part of the “generator” series, the Stitch in Time exhibition and its programs are expected to reach audiences that include art viewers as well as library visitors who regularly pop into the space, which is opposite the check-out desk. “All libraries should have art galleries!” Lori Weidenhammer and I concluded at the end of four interactive sessions commissioned by the Dunlop curators Wendy Peart and Blair Fornwald (or was it that we thought, “all galleries should be inside of libraries”?).
Libraries and art are indeed well matched, from the perspective of Slofemists. Active (from time to time) since 2013, Slofemists reflects the way both Lori’s and my art practices have settled on the kind of “social practice” that aims to emphasize issues affecting our participants. In Slofemists we bring relevant topics like feminisms and ecology “to the table” and use art or craft processes to focus the discussions and enable the kind of connections and sociability needed to understand our shared challenges. As one of the groups featured in Stitch and Time, we spent four long workshop sessions in the gallery with visitors.
After we left Mindy Yan Miller and Suzanne Miller, next in the Stitch in Time series, presented the performance Needle and Thread. The components of Needle and Thread were on display while we were there, as if in-waiting for the artists to make them come alive. A circle of clothing stitched together was lying on the floor, ready for one of the performers to take her place in a waist-sized opening in the centre, and another to work on the periphery where more clothing would be attached. Behind this large disc of used clothing, a video projected names from the archives of Yad Vashim (The World Holocaust Remembrance Centre) up the wall like a movie’s final credits. An evocative sound work by Allan Paivio repeated this list of first names with softness and intensity. It was both a haunting and soothing accompaniment for the handwork and conversations that we shared during our sessions in the gallery.
I understand that tonight in the gallery the artists Heather Majaury and Terre Chartrand will be presenting the piece Neighbours as their part of Stitch and Time. The gallery’s notice describes how today’s workshop is aiming to “provide newcomers to Canada and its citizenship a more inclusive history of the diverse Aboriginal peoples of Canada.” When we were in the galley, Neighbours was shown as two incomplete “blankets” of textile pictures on the wall: one set made by newcomers to Canada and the other by Indigenous people. Many of the newcomers’ panels displayed Syrian signifiers like red boats commemorating people lost at sea--as was pointed out to me by one of the Dunlop Library’s staff members who was herself from the Middle East. The centre of the Indigenous panels was a dividing line made from three fabric strips in purple, white and purple. Owing to the generous teachings of Haudenosaunee hosts from Four Directions Indigenous Centre who welcomed me at events on the campus of Queen’s University (during recent studies), I recognized these horizontal stripes as likely representing the Two Row Wampum, or Gusweñta--a beaded belt recording a 406-year-old treaty of mutual respect between the Haudenosaunee and Dutch settlers. Two ships represented by the purple lines are on parallel but separate trajectories. Above these unfinished panels, the words of another document of respect and responsibility, the Truth and Reconciliation of Canada: Call to Action #93, formed a heading text for the entire display:
We call upon the federal government, in collaboration with the national Aboriginal organizations, to revise the information kit for newcomers to Canada and its citizenship test to reflect a more inclusive history of the diverse Aboriginal peoples of Canada, including information about the Treaties and the history of residential schools.
It was very humbling to sit and embroider—one of many survival skills inherited from my newcomer grandmothers—under this call. Many of the visitors to the gallery were themselves newcomers and the handwork of Neighbours gave us an opportunity to talk together about the Truth and Reconciliation commission, and the way it included newcomer neighbours through Call to Action #93.
Following Heather Majaury and Terre Chartrand’s support of newcomers with information about Indigenous people and histories, the final artwork in Stitch and Time will end the series by supporting Indigenous people themselves. Stacy Fayant will later this week present Hand-Sewn with Love, a session for friends of this Métis artist to receive “comfort and medicine” through traditional skin stitching.
During our Slofemists time in the gallery, visitors were invited to consider how and what in their world needed mending while they sat quietly on or near Slofa, a patchwork created in similar gatherings during the years 2013 to 2016. In a nearby “Menditation Station” small boxes were set out to receive their handwritten mending descriptions and intentions for change. The Slofa’s embroidery patterns were wall-mounted in the space, as was a new pattern we had designed for Stitch and Time: “Famished Road Ecology: for 25 Million Refugees”.
As described on the “Famished Road Ecology” pattern, our topics for this visit to Saskatchewan were broad but surprisingly interconnected. We wanted participants to sit with the biggest of our world’s problems by embroidering a hungry road with stitches representing refugees and ditches filled with threatened ecological diversity. Generously, Lori had also designed and brought materials for participants to make indigo eye masks filled with a soothing mix of lavender seeds, buckwheat, and wheat; and covered with sun-printed shadows of native plants. These were needed when the heaviness of the topics required an inward turn to meditation or rest.
Now that a couple of weeks have passed since Lori and I were stitching and getting to know newcomers to Regina, I am thinking about how the exhibit gathered artists and craft practices to count and be accountable. Needles and Thread by Mindy Yan Miller and Suzanne Miller recited a large number of historic names and processed a large volume of used clothes to mark a much greater number of lost lives—forever grievable. Another project of Mindy Yan Miller, Six Million Stitches, also memorialized people lost in the Holocaust with counted stitches that the artist made with human hair onto blanket fragments and counted on paper during public performances. Heather Majaury and Terre Chartrand’s Neighbours demonstrated for me how the TRC’s Calls to Action need to be read expansively. Majury and Chartrand's action to inform newcomers, in an art setting, goes well beyond the TRC call for the government to take on this responsibility. In this way they are demonstrating how the Calls to Action are expected to be enacted in spirit, not just in words or in literal interpretation of the words.
With the library in the background—itself an ever changing storehouse of records and reading—this exhibition seemed to me like its own archive-in-progress. Soon, the curators will return to us the Slofa and the menditation boxes with cards recording realizations of brokenness and intentions to make change. Lori and I have decided that we will stage a quiet ceremony here in Vancouver to close our time with this evidence. We are also expecting that the embroidered famished roads will have collected more stitches and pictures of the problematic ecologies of forced migration and settler roadways. We will send them to Jennifer Kim Sohn to help her realize the 25 million stitches needed to make the number of refugees more real for her audiences in California. Besides the ecological losses recorded on the Slofemists banners made at the Dunlop, the stitches now also carry remembrances of genocide of European Jews in the twentieth century, and the responsibility of all Canadians to address our own broken treaties and genocidal histories.
Thank you to everyone at the Dunlop Art Gallery and Dunlop Public Gallery, particularly curators, Blair Fornwald and Wendy Peart, and Director Curator Jennifer Matotek.
Tonight is Nuit Blanche in Regina! Indeed, white flakes are already starting to fill the city's windy streets that are expected to be white by evening. Otherwise, the Slofemists' part of the Dunlop Gallery's "Stitch and Time" exhibition will add colour to the night.
Join us at the Dunlop through the white night. In the gallery's warmth there will be stitching, a reading cart, a menditation circle, and a table for you to add your intentions to mend and recipes to realize that intention. Lori and Lois will be there to guide you in all of the above, and to get some slow and intentional conversation going on the many topics that they are bringing to this city's night of art: ecology, forced and natural migrations, intentions for change, feminism, textiles, time, and more.
Famished Road Ecology (for 25 Million Refugees) is a new embroidery pattern that the Slofemists designed especially for Nuit Blanche Regina 2019. The stitches laid down onto unbleached cotton panels will be added to Jennifer Kim Sohn's 25 Million Stitches--a project that is working to realize the quantity of refugees listed by UNHCR in 2016 .
Download pattern - Download Slofemist_FamishedRoad_Pattern
Visitors to the gallery will see that Slofemists are in the colourful and profound company of artworks representing the other projects that are part of the longer-running "Stitch and Time" Generator project. These include: Mindy Yan Miller and Suzanne Miller: Needle and Thread, Heather Majaury and Terre Chartrand: Neighbours: A Community Quilting Project, Stacey Fayant: Hand-Sewn with Love/kashkwaykashoon a maen avik shakihitowin .
This week, the Slofemists (Lori Weidenhammer and Lois Klassen) are stitching and menditating at the Dunlop Gallery. Come to stitch and menditate. After Nuit Blanche other activities will take place including stitching menditation masks and menditation circles:
SUNDAY, SEPTEMBER 29, 7:00 - MIDNIGHT
MONDAY, SEPTEMBER 30, 4:00 – 8:00 PM
TUESDAY, OCTOBER 1, 12:00 - 4:00 PM
WEDNESDAY, OCTOBER 2, 4:00 – 8:00 PM
A metaphoric feature of Slofa that has not so far been talked about or noticed or mused over is it's skin-like function in covering sitting surfaces that are maybe not so contiguous or new or pretty. As a furniture cover it designates a sitting surface different from what is under or inside of it. Wearing all of the little stitches and knots and minor mistakes and beautiful creations of Slofemists embroiderers over several years it is not just the thing that is looked at, its skin-like function is now one of its features.
Or at least that is one of the meanings that comes from its inclusion inside of the exhibition, All membranes are porous, which is now presented at Kamloops Art Gallery. This exhibition, curated by Charo Neville, brings together works by six Canadian artists that explore dynamic conditions and phenomena familiar to human embodiment --the experiences of living as a body. In her curatorial exhibition walkabout, which preceded the exhibition opening last week, Neville led the crowd in breathing exercises and proudly described how this exhibition would be her last professional output before her own swollen body would deliver an expected baby. Fittingly, this is a project that demands that the viewer use more than just the eyes. The body is expected to maneuver around precarious foam, ceramic and felt sculptures (Zoe Kreye and Luanne Martineau), sit through psychedelic eye-popping effects (Jeremy Shaw), and experience diverse video installation spaces, where the way one's body is positioned or held, is part of the video's effect (Jeremy Shaw, Pascal Grandmaison, Sarah Anne Johnson, and Margaret Dragu). The work of the Slofemists forms surfaces for that kind of altered or enhanced viewing in Margaret Dragu's The Library Project.
Here are some photos of how Slofemists participants Rebecca Pasch and Lois Klassen experienced the exhibition and opening events. Excerpts of the exhibition notes that describe the Slofemists work is here - Download KamloopsArtGallery_Dragu001.
Congratulations to artists, Margaret Dragu, Pascal Granmaison, Sarah Anne Johnson, Zoe Kreye, Luanne Martineau, Jeremy Shaw, and curator, Charo Neville, and everyone at Kamloops Art Gallery!
Embroidery by Karin Millson
Since the fall of 2013, the Slofemists project and its many participants have slowly worked away at embroidery, feminism, self care, group care, and local ecologies --all with deliberate slackness. Not so much sluggishness as a rebellion against speed, the Slofemists project has been a methodology of feminist survival, an excuse to gather and exchange life skills and stories and to produce a pretty singular pile of embroidered creations.
Organizers, Lori Weidenhammer and Lois Klassen, are excited to announce that later in 2016, the work of the Slofemists will appear inside an installation by Margaret Dragu at the Kamloops Art Gallery (September 24 - December 31). In this exhibition the Slofa patchwork, on which so many hands have worked, is expected to designate a place for gallery visitors to view a very special collection of Margaret Dragu’s video archive. Her work called “The Library Project / Commodification of Touch” offers a profound view of people in the act of personal knowledge exchange.
You are invited to join the Slofemists in the final (intensive) production of the Slofa patchwork and other peices for this exhibition project.
The Slofemists' Intensive will take place at the Moberly Arts & Culture, 7646 Prince Albert Street, Vancouver, Canada.
June 23: 9 am to 2:30 pm
June 24: 9 am to 5 pm
June 25: 9 am to 3:30 pm
Everyone is welcome. No textile proficiency is required. This site will become an open textile studio during those times, so feel free to bring your own projects (or mending, etc.), to come and go, or just to enjoy the vibe. As usual, Weidenhammer and Klassen aim to mingle the collective handwork of the workshops with fun and empowerment: topical discussions, collective food, garden time and self-care.
IMPORTANT - Please confirm the times that you plan to come to ease in planning, especially food and supplies - [email protected]
At the Santa Fe Art Institute’s Emigration/Immigration themed residency, embroidery is infiltrating artists’ practices.
A couple of days ago, Osvaldo Ramirez Castillo organized an after dinner Mapping/Tracing Migration Workshop. In it he provided us with small stretched canvasses, thread, needles, scissors and the instructions, “describe your experiences or ideas of migration critically onto 10' x 10' piece of stretched raw canvas using needle and thread.” Our embroidered, altered, and deconstructed canvasses are now floating around the residents’ living and studio spaces here are SFAI.
As expected, the workshop generated interesting discussions –not just about immigration but also embroidery. For the benefit of Slofemists far and near, here are a few of the projects discussed:
Last summer at Neuberger Museum of Art, artist Teresa Margolles assembled a series of collectively produced textiles from various sites (South, North and Latin Americas), which revealed and produced links (knots) between the embroiderers’ experiences of violence and the textiles themselves. We discussed the way she engaged families and communities grieving the deaths of loved ones from violence in the embroidery of the morgue shrouds that carried bloodied imprints of victims’ bodies. Teresa Margolles: We Have a Common Thread. Thank You to fellow SFAI artist-in-residence, Erika Harrsch, for highlighting for us Margolles's work.
Also linking embroidery to violence, there is a tradition in Japan of embroidering pieces of fabric to protect warriors heading to war. Traced to the Sino-Japanese War (1894-1895) but becoming ubiquitous in the second world war, the practice of making Sennin-bari involves women preparing white bands of fabric with 1000 red embroidered French knots as symbolic protection garments to be worn by men heading to war (usually worn around their waists). Each of the knots needed to be collected from different women embroiderers, although women born in the year of the dragon were able to add multiple knots (up to 35) to each cloth. Women would gather in public spaces like train stations to collect from each other the requisite knots. The practice was known to hold a radical element, since it provided women a means of offering a contradictory message of hope for survival, when the official rhetoric of the Imperial Japanese government insisted that these men carry the more honourable duty of dying for their country. This article describes the practice, with photos - Needleprint.blogspot.com. Thank You to fellow SFAI artist-in-residence, Yoko Inoue, for telling me about this small piece of Japanese textile culture.
The elaborate portraits “painted” with embroidery by Cacye Zavaglia are inspiring. In this video, Zavaglia describes her process: https://vimeo.com/51107397
A “radical” feminist embroiderer from Halifax, Anna Taylor, was listed as “best local artist” in a recent Guardian article - An insider's guide to Halifax: 'The perks of a city, as relaxed as a small town'. Thank You to fellow SFAI artist-in-residence, Emma FitzGerald, for telling me about Taylor's work.
WOW what a lot of feminist news to process at the final 2014 Slofemists event last weekend...
Let's see how much I remember:
- Hillary Clinton deflecting discussions during her recent visit to Canada of the formidible possibility of her breaking through the thickest of glass ceilings;
- mansplaining, an as yet unarticulated cultural concept, courtesy of Rebecca Solnit;
- the complex and contrary messaging of #yesallwomen;
- Germain Greers's provocation - what will it be like when women are not needed to make babies? (in a lecture at the new Canada Human Rights Museum);
- ... I'm sure there was more!
Here are a couple of podcasts that were shared:
Semiotext(s)'s new publication by Simone Weil inspired Sunday's SlofemistS. We wondered if the entrenched economic inequity based on gender, from stories in our families' histories, could be understood as what Weil describes as an unexamined and highly desired "truth" --the stuff of religions, and adherents to political parties. In "Note on the Abolition of All Political Parties" (first published in French in 1957, and now available in English as part of the Semiotext(e) Whitney Series), Weil decides that political parties, like religious groups, are incapable of critically examining the truth... "how can one desire truth without knowing anything about it?" (20). We wondered if her logic could be applied like this: how can one desire some "truth" (like inequitable distribution of family assets based on gender, for example) when one does not thoroughly examine the justice of this truth on all of the people involved?
Weil's essay ends: "Almost everywhere --and often for purely technical problems--the operation of taking sides, of taking position for or against, has replaced the obligation to think." (30)
Other SolfemistS highlights from Sunday:
Lexie Owen is continuing her deconstruction / reconstruction project called For All The Boys I've Loved Before, that was featured in the graduate exhibition at Emily Carr University of Art + Design at the beginning of this month.
Kriss Boggild dug into her archive and brought along three issues of Makara: The Canadian Magazine by Women for People circa 1975-78. Coming out of an office on Commercial Drive in Vancouver, Makara's editorial policy was "'Canadian general interest alternative magazine by women for people.'... some art, some fiction/poetry, some politics, some humour, some health news, some children's features, some book reviews... We want to reflect the growing, moving, changing times, without making things appear impossibly dismal, because we believe in possibilities, and people who are working for new ideas, new approaches, new lifestyles. Do we sound fussy? We are!" (Vol 2, #4, page 10)
Jem Nobel brought a family story about the important but unacknowledged economic contribution that his mother had made in his extended family. He used the SlofemistS time and supplies to do his mending.
Margaret Dragu was completely delighted by the hazards the heavy weather had presented to her en route... I was so glad she made it!
Slofemists will be embroidering again next Saturday (February 22, 1-3pm). For this event, Cindy Mochizuki has graciously agreed to tell us about her grandmother's practice in the Japanese art of Bunka Shishu (or thread painting). Everyone is invited to bring feminist stories, as usual. Embroidery supplies and equipment will be available. No prior experience needed. If you have your own project to work on, bring it along, otherwise, Slofemist Patterns will be available for you to work on.
Note: This gathering will move out of the Yukon Studio, for this time only, and take place in The Textiles Institute, an itinerant project space created in Emily Carr's Abraham J Rogatnick Media Gallery by Lexie Owen. Owen is an Emily Carr University student of visual art and critical studies. This is how she describes The Textiles Institute:
Anyone with any type of interest in textiles is welcome to use the provided work space from Feb 12-23rd. The project hopes to create an opportunity for knowledge exchange between art and design, students, faculty, support staff, and the public, and proposes itself as a potential model for a topic driven post-displinary workspace. The space is a structure for exchange, and throughout its duration will host sewing bees, knitting groups, design consortiums, fashion designers, performance works, and a variety of workshops.
Slofemitsts will be embroidering at the Yukon Studio next Saturday. We've invited Elisa Ferrari to talk about her experience embroidering a Boetti panel. Bring your own feminist story... and come ready to embroider!
16 DICEMBRE 2040–11 LUGLIO 2023 (December 16, 2040–July 11, 2023). 1971
Embroidery on fabric. Each: 23 5/8 x 23 5/8" (60 x 60 cm). Private collection, Houston. © 2012 Estate of Alighiero Boetti/Artists Rights Society (ARS), New York/SIAE, Rome
These embroidered squares were the first works Boetti had fabricated in Kabul, on his initial visit to Afghanistan. He supplied the dates to hired embroiderers without further direction, and he was pleasantly surprised when the texts came back surrounded by ornate borders. Boetti was interested in the idea that an artwork might be produced by different parties without collaboration or discussion—a form of authorship that is split rather than shared. The dates had superstitious connotations for Boetti: December 16, 2040, will be the hundredth anniversary of his birth; July 11, 2023, is the date he predicted for his death.