“Las primeras tramas fueron cautelosas”
-Crónica de una acción de arte-
Soledad Fontela
Historiadora
“Lo esencial es invisible a los ojos”
El Principito
En el marco de la 5º Bienal Internacional de Arte Textil, organizada por World Textile Art se llevaron a cabo una serie de talleres en la ciudad de Buenos Aires, República Argentina, país que ofició de sede para dicha Bienal en este año 2009.
La artista internacional y directora de la organización Pilar Tobón convocó para estar al frente de uno de estos talleres a un artista de origen colombiano, residente en Honduras, Jorge Restrepo. Las múltiples exposiciones de Restrepo han estado en diferentes países, lo realmente peculiar de las obras del artista es que muchas de ellas están dirigidas a personas ciegas. Si bien pueden ser disfrutadas por cualquier persona, sus obras tienen poco o nulo color apuntando a “ver” a través del tacto.
El otro artista convocado por Pilar Tobón es un artista ciego, uruguayo, Humberto Demarco quien ya había llevado adelante un taller en la anterior Bienal en la ciudad de San José de Costa Rica en 2006.
Contratiempos e imprevistos hicieron peligrar que dichos artistas pudieran llegar a Buenos Aires, por lo cual las organizadoras de los talleres pidieron la colaboración de un artista argentino, Pablo Ramírez Arnol, que además es docente y se encuentra trabajando con personas ciegas y con otras discapacidades.
En las semanas anteriores al taller se pudieron poner de acuerdo los tres artistas en realizar juntos la tarea en una casa –taller en el barrio Palermo Viejo en Buenos Aires.
Los unían dos grandes temas comunes: El arte y la ceguera. Humberto Demarco es el único ciego, pero Jorge Restrepo hace obras para ciegos y Pablo Ramírez Arnol trabaja con personas ciegas. La casa-taller pertenece a una artista y docente en arte, Ana Pagani. El día sábado 25 de abril se reunieron todos en la calle Gorriti donde está ubicado el taller. Hubo presentaciones y reencuentros, en el caso de la dueña de casa, conocía sólo a Pablo, en cuanto a Jorge y Humberto se conocían entre sí pero no con Ana y Pablo. Fue en esa instancia cuando decidieron transformar el formato del taller, pensado en principio para ser realizado en el interior de la edificación.
En la casa se destaca un muy bien cuidado jardín, sumamente colorido e iluminado que les pareció ideal para una obra colectiva. Se trabajó en la preparación de las cuerdas ser utilizadas, ya que Jorge había traído desde Honduras gran parte del material (el que faltaba fue adquirido en la tarde por Jorge y Ana, que ofició de guía).
Domingo 26. La llegada con antelación de los encargados del taller hizo posible organizar una urdimbre con los hilos cortados el día anterior y cortar los restantes. Los colores eran negro, gris y blanco al que se sumó un verde muy tenue en algunas tiras que acompañaba la estética de la fotografía. En esta instancia se sumó la ayuda de Claudia Herrán, esposa de Jorge, quien había llegado la noche anterior.
Fueron llegando puntualmente los asistentes, en su mayoría mujeres (sólo un hombre ciego que fue alumno de Pablo y que se escribía con Humberto sin conocerse personalmente). Cuando se comenzó hubo una instancia de presentación tanto de lo que se pretendía realizar, como de cada una de las personas presentes.
La consigna era vestir todos de color negro, lo cual fue acatado por la mayoría.
Artistas de varios países, con distintas realidades, distintas edades y convocados a una actividad colectiva. Consistía en tejer entre todos un tramo de unos ocho metros por un metro; la urdimbre estaba sostenida en cuatro rejas del tamaño de puertas que servían de marco al futuro tejido. Se encontraba en el correr del patio a la altura de los hombros y hacia abajo un metro. Cuando se dio el inicio de la actividad, todos formaron parte de ella; se dejaron unos trozos de tela negra al alcance del que quisiera, con los cuales se cubrieron los ojos.
La mayoría y me atrevería a decir que todos, exceptuando la fotógrafa profesional que fue convocada, se vendaron los ojos en algún tramo de la obra. Algunas, me consta, mantuvieron la venda todo el tiempo, pues querían trabajar con los sentidos restantes a la visión.
Las primeras tramas fueron cautelosas, pero se fueron confundiendo las voces, los nudos, las manos. Se soltaron cada vez con mayor fluidez los temas, las vivencias. En una recorrida auditiva a lo largo de los ocho metros se hacían presenten los relatos de vida, de trabajo, de costumbres; temas filosóficos, de creencias y sensaciones que enriquecieron la creación que tenía el marco de ese jardín encantado y una música seleccionada por la excelente anfitriona que se involucró en la obra sin dejar de atender a todos con refrigerios y sonrisas.
La actividad total duró unas cuatro horas. Los hilos con los cuales se hacía la trama se recogían del suelo donde se habían dispersado de manera cuidadamente desordenada por los organizadores. La idea de Jorge era que se levantaran las hebras así como los “trozos de nuestra historia, que será tejida entre todos”.
El futuro de la obra, que era el resultado obtenido en aquella tarde fue discutido luego de agotar todo el material y conseguir un tramo compacto y elaborado. Se decidió por unanimidad que aquello era rico en cuanto al proceso. La importancia no radicaba en el producto obtenido, sino en el proceso en el cual se realizó. Vale decir que visualmente era estupendo. Es por ello que algunos propusieron la idea de exponerlo junto con algunas fotos del proceso creativo al culminar la Bienal.
Muchos dieron testimonio de la experiencia verbalmente, otros llevaban su satisfacción dibujada en los rostros (esto se puede tachar de hecho poco verificable empíricamente, pero puedo rebatirlo diciendo que sólo un participante de las 14 personas que asistieron se retiró unos minutos después de culminada la creación y por causas de fuerza mayor).
Luego de charlar bastante se pasó al goce, se bajó la obra y de la misma forma que unos chicos jugando, se disfrutó colectivamente saltando, envolviéndose en ella sacando fotos y apropiándose entre todos de aquel tramado que ya tenía un pasado, un presente y que guardaremos por siempre, éste será su mejor futuro.
No podría haberlo descrito sino hubiese estado allí.
Me mantuve a distancia cuanto me fue posible en el relato porque la objetividad es la regla Nº1 en la Historia; pero fui testigo activa y disfruté como todos de esta actividad colectiva tan enriquecedora.
En distintas partes del mundo se están practicando por parte de artistas y de trabajadores sociales acciones colectivas efímeras, en su mayoría con el fin de concientizar sobre algún tema.
La sensibilidad del artista y su convocatoria hacen visible lo que pasa inadvertido. En este caso nos mostró a todos que somos capaces de “ver” sin la visión y poseemos la fuerza de la creación colectiva.
Montevideo, Uruguay, 5 de abril de 2009
“ lo esencial es invisible a los ojos. “ El Principito.
taller cultural itinerante SINSOCIEGO
Animación socio cultural
Educamos para la vida
Seguimos en contacto, seguimos en movimiento, seguimos jugando.
Nos puedes encontrar en :
tallersinsociego@adinet.com.uy
(598-2) 507 59 58
Celular: 096 400 462
http://www.tallerculturalsinsociego.blogspot.com/
Creatividad en movimiento
Montevideo – Uruguay
Animación socio cultural
Educamos para la vida
Seguimos en contacto, seguimos en movimiento, seguimos jugando.
Nos puedes encontrar en :
tallersinsociego@adinet.com.uy
(598-2) 507 59 58
Celular: 096 400 462
http://www.tallerculturalsinsociego.blogspot.com/
Creatividad en movimiento
Montevideo – Uruguay
A continuación va la tradución en inglés gentileza de nuestro querido amigo el artista hondureño Jorge Restrepo.
“The first wefts were cautious ones”
-Chronicle of an action of art-
Soledad Fontela
Historian
“What is essential is invisible to the eye”
The Little Prince
Within the framework of the 5th International Biennial of Textile Art, organized by World Textile Art, a series of workshops were held in the city of Buenos Aires, Republic of Argentina, the nation that hosted the Biennial this year (2009).
Pilar Tobón, an international artist and director of the organization, invited Jorge Restrepo, a Colombian artist residing in Honduras, to lead one of those workshops. Restrepo has had multiple exhibitions in different countries, but what is really distinctive about this artist’s works is that many of them are targeted to the visually impaired. Although they can be enjoyed by anyone, this series of his works have little or no color, as they are to be “seen” through touch. The other artist invited by Pilar Tobón was, the Uruguayan Humberto Demarco, who is visually impaired and who had already given a workshop in the previous Biennial in the city of San José, Costa Rica in 2006.
There were setbacks and unforeseen events that were complicating the artists’ arrival in Buenos Aires; thus the organizers of the workshops requested the collaboration of an Argentine artist, Pablo Ramírez Arnol, who besides being a teacher works with those who are visually impaired or have other discapacities.
In the weeks prior to the workshop, the three artists were able to reach an agreement whereby they would work together in a house–workshop located in the Palermo Viejo district of Buenos Aires. They were brought together by two large themes they had in common: art and blindness. Humberto Demarco is the only one who is blind; but Jorge Restrepo produces art for the visually impaired and Pablo Ramírez Arnol works with them. The house-workshop belongs to Ana Pagani, an artist and art teacher. On Saturday, the 25th of April, they all met on Gorriti Street, where the workshop is located. Presentations were made for those who were meeting for the first time and for those who were meeting again: for example, the owner of the house knew Pablo, while Jorge and Humberto knew each other but not Ana and Pablo. It was at that moment when they decided to transform the format of the workshop, which was originally planned to be held indoors.
The house has a very well-kept garden, highlighted by beautiful colors and a well-lit space, which the artists found ideal for collective work. They worked to get ready the strings to be used given that Jorge had brought most of the material from Honduras (what was missing was acquired in the afternoon by Jorge and Ana, who acted as his guide).
Sunday, the 26th. The arrival in advance of those in charge of the workshop made it possible to organize a warp with the yarns cut the day before, as well as cut the rest that were required. The colors were black, gray and white, to which was added a very pale green in some strips that matched with the esthetics of the photography. Help was received from Claudia Herrán, Jorge’s wife, who had arrived the night before.
The participants―the majority women (there was just one visually impaired man who was a student of Pablo’s and who had been corresponding with Humberto without knowing him personally)―began to arrive punctually. When the workshop began, there was a brief presentation of what was hoped to be achieved, as well as of each of the people present.
The instructions were for everyone to dress in black, which was respected by the majority.
Artists from several countries, with different realities and ages, had been invited to participate in one collective activity. This consisted in everyone’s weaving a span of about 8 meters wide by 1 meter high. The warp was supported by four bars the size of doors, which served as a frame for the weaving activity. The structure was located at shoulder height in the patio corridor, with the warp hanging down 1 meter. When the activity began, everyone formed part of it. There were pieces of black cloth placed within the reach of anyone who wanted to cover her/his eyes.
The majority―and I would dare say that everyone except for the professional photographer who had been contacted to document the exercise―blindfolded their eyes at some point during the work. Some people―and I can confirm that―kept their blindfolds on the entire time because they wanted to work with their senses other than vision.
The first wefts were cautious; but gradually the voices, the knots, the hands became intertwined. The conversations, the sharing of experiences, began to flow effortlessly. As I listened while walking along those 8 meters buzzing with activity, I picked up stories about life, work, customs; philosophical topics, beliefs and sensations―all of which enriched the creation, which was set within that enchanted garden and the music selected by the excellent hostess who got involved in the work without neglecting to attend everybody with refreshments and smiles.
The total activity took about four hours. The yarns with which the weft was being made were picked up from the ground, where they had been spread in a carefully disorderly way by the organizers. Jorge’s idea was that the threads would be picked up as well as the “bits of our history, which would be woven among all those who were there.”
The future of the work, which was the product obtained that afternoon, was discussed after using up all the material and achieving a compact and well-worked weave. The unanimous decision was that it was rich with respect to the process. The importance did not lie in the end product, but in the process with which it was made. It should also be pointed out that visually, it was stupendous. For that reason, some of the participants proposed the idea of exhibiting it together with some photos of the creative process to bring the Biennial to a close.
Many gave a verbal testimony of their experience; others took away their satisfaction painted on their faces (this could be challenged as something that cannot be verified empirically as a fact; but it can be refuted by the fact that just one of the 14 participants left a few minutes after finishing the creation and for a pressing need.
After chatting considerably, the group went on to enjoy themselves. The work was taken down; and just like a bunch of kids playing, they collectively enjoyed jumping, wrapping themselves in it, taking photos and making it theirs. For them that weft already had a past and a present that they will always hold. That will be its best future.
I couldn’t have described it if I hadn’t been there. I kept my distance as much as possible in this account because objectivity is rule no.1 in history; but I was an active witness and I fully enjoyed this collective activity which was so enriching, just like everyone else did.
In various parts of the world, ephemeral collective actions are being practiced by artists and social workers, the majority of which are to create awareness about some topic.
The sensitivity of the artist and his invitation made visible what often passes unnoticed. In this case he showed us that we are all capable of “seeing” without vision, and we have the force of collective creation.
Montevideo, Uruguay, 5 April 2009
Translated by: Gertrude Brekelbaum
“The first wefts were cautious ones”
-Chronicle of an action of art-
Soledad Fontela
Historian
“What is essential is invisible to the eye”
The Little Prince
Within the framework of the 5th International Biennial of Textile Art, organized by World Textile Art, a series of workshops were held in the city of Buenos Aires, Republic of Argentina, the nation that hosted the Biennial this year (2009).
Pilar Tobón, an international artist and director of the organization, invited Jorge Restrepo, a Colombian artist residing in Honduras, to lead one of those workshops. Restrepo has had multiple exhibitions in different countries, but what is really distinctive about this artist’s works is that many of them are targeted to the visually impaired. Although they can be enjoyed by anyone, this series of his works have little or no color, as they are to be “seen” through touch. The other artist invited by Pilar Tobón was, the Uruguayan Humberto Demarco, who is visually impaired and who had already given a workshop in the previous Biennial in the city of San José, Costa Rica in 2006.
There were setbacks and unforeseen events that were complicating the artists’ arrival in Buenos Aires; thus the organizers of the workshops requested the collaboration of an Argentine artist, Pablo Ramírez Arnol, who besides being a teacher works with those who are visually impaired or have other discapacities.
In the weeks prior to the workshop, the three artists were able to reach an agreement whereby they would work together in a house–workshop located in the Palermo Viejo district of Buenos Aires. They were brought together by two large themes they had in common: art and blindness. Humberto Demarco is the only one who is blind; but Jorge Restrepo produces art for the visually impaired and Pablo Ramírez Arnol works with them. The house-workshop belongs to Ana Pagani, an artist and art teacher. On Saturday, the 25th of April, they all met on Gorriti Street, where the workshop is located. Presentations were made for those who were meeting for the first time and for those who were meeting again: for example, the owner of the house knew Pablo, while Jorge and Humberto knew each other but not Ana and Pablo. It was at that moment when they decided to transform the format of the workshop, which was originally planned to be held indoors.
The house has a very well-kept garden, highlighted by beautiful colors and a well-lit space, which the artists found ideal for collective work. They worked to get ready the strings to be used given that Jorge had brought most of the material from Honduras (what was missing was acquired in the afternoon by Jorge and Ana, who acted as his guide).
Sunday, the 26th. The arrival in advance of those in charge of the workshop made it possible to organize a warp with the yarns cut the day before, as well as cut the rest that were required. The colors were black, gray and white, to which was added a very pale green in some strips that matched with the esthetics of the photography. Help was received from Claudia Herrán, Jorge’s wife, who had arrived the night before.
The participants―the majority women (there was just one visually impaired man who was a student of Pablo’s and who had been corresponding with Humberto without knowing him personally)―began to arrive punctually. When the workshop began, there was a brief presentation of what was hoped to be achieved, as well as of each of the people present.
The instructions were for everyone to dress in black, which was respected by the majority.
Artists from several countries, with different realities and ages, had been invited to participate in one collective activity. This consisted in everyone’s weaving a span of about 8 meters wide by 1 meter high. The warp was supported by four bars the size of doors, which served as a frame for the weaving activity. The structure was located at shoulder height in the patio corridor, with the warp hanging down 1 meter. When the activity began, everyone formed part of it. There were pieces of black cloth placed within the reach of anyone who wanted to cover her/his eyes.
The majority―and I would dare say that everyone except for the professional photographer who had been contacted to document the exercise―blindfolded their eyes at some point during the work. Some people―and I can confirm that―kept their blindfolds on the entire time because they wanted to work with their senses other than vision.
The first wefts were cautious; but gradually the voices, the knots, the hands became intertwined. The conversations, the sharing of experiences, began to flow effortlessly. As I listened while walking along those 8 meters buzzing with activity, I picked up stories about life, work, customs; philosophical topics, beliefs and sensations―all of which enriched the creation, which was set within that enchanted garden and the music selected by the excellent hostess who got involved in the work without neglecting to attend everybody with refreshments and smiles.
The total activity took about four hours. The yarns with which the weft was being made were picked up from the ground, where they had been spread in a carefully disorderly way by the organizers. Jorge’s idea was that the threads would be picked up as well as the “bits of our history, which would be woven among all those who were there.”
The future of the work, which was the product obtained that afternoon, was discussed after using up all the material and achieving a compact and well-worked weave. The unanimous decision was that it was rich with respect to the process. The importance did not lie in the end product, but in the process with which it was made. It should also be pointed out that visually, it was stupendous. For that reason, some of the participants proposed the idea of exhibiting it together with some photos of the creative process to bring the Biennial to a close.
Many gave a verbal testimony of their experience; others took away their satisfaction painted on their faces (this could be challenged as something that cannot be verified empirically as a fact; but it can be refuted by the fact that just one of the 14 participants left a few minutes after finishing the creation and for a pressing need.
After chatting considerably, the group went on to enjoy themselves. The work was taken down; and just like a bunch of kids playing, they collectively enjoyed jumping, wrapping themselves in it, taking photos and making it theirs. For them that weft already had a past and a present that they will always hold. That will be its best future.
I couldn’t have described it if I hadn’t been there. I kept my distance as much as possible in this account because objectivity is rule no.1 in history; but I was an active witness and I fully enjoyed this collective activity which was so enriching, just like everyone else did.
In various parts of the world, ephemeral collective actions are being practiced by artists and social workers, the majority of which are to create awareness about some topic.
The sensitivity of the artist and his invitation made visible what often passes unnoticed. In this case he showed us that we are all capable of “seeing” without vision, and we have the force of collective creation.
Montevideo, Uruguay, 5 April 2009
Translated by: Gertrude Brekelbaum
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