Guest editor Surface Design Journal
Impressions from Hardangerfjord
Lecture at Outsider Art Gallerie
March 2018 // Amsterdam
About creativity, vulnerability and well being
9th edition of annual Amsterdam craft design fair
December 2017 // Amsterdam
Weeflab takes part at Meesterlijk.
European Textile Network
Presentation of Weeflab in Sweden
September 2017 // Boras, Sweden
Summershow Nieuw Dakota
Woven piece in Fine Arts show
July 2017 // Amsterdam
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Communityweaving @ Zonneplein
April 2017 // Amsterdam Noord
Weeflab staat met een mobiel weefgetouw op Koningsdag op het Zonneplein. De buurtbewoners worden uitgenodigd om een stuk mee te weven. Dit symboliseert ons gemeenschappelijk netwerk. Het resultaat wordt gepresenteerd bij Studio Spaanders op 5 mei. Op de Bevrijdingsdag 2017 is het thema verbinden.
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Presentation of Weeflab in Estonia
April // Estland
March 2017 // Amsterdam Noord
Academic and Practice based views on making
Wishing you all a creative New Year
'...that peculiar human ability to weave stories from the past into the texture of present lives.' Tim Ingold, Being Alive
Historic weaving re-interpreted
Research into historic weavings, materials and tools tells fascinating stories about how people lived, worked and valued their materials. Covering and protecting the body is equally as important as hunting and growing crops for food. What can be learned from material heritage and culture? Work in process about reinterpreting historic weaving.
A previously published article in Dutch about constructing and threads. >>read more
Private view Nordic colors
Work made at international A.I.R. Messen, Hardangerfjord was shown in a private view to collectors and friends. The technical restrictions of a 4-shaft traditional loom were a welcome challenge from working on my computerized loom. In a painterly approach several wall-panels were made, using hand-dyed vintage linnen warp and weft, adding locally salvaged yarns, fishing line and bark from birch trees. photo: Wouter Stelwagen >>read more
Artist in residence Norway
Into Nordic colors What are the colors of Norway? National folklore shows brightly colored clothes and decorations, Edvard Munch’s paintings are a turbulent mix of bright colors. However - the association with Norway is of subdued colors, muted tones and earth shades. A two month’s retreat as artist in residence in a remote Norwegian village at Hardanger Fjord started an investigation into the Nordic color palet. Arriving on a chilly, wet June afternoon at Bergen airport I was greeted by dark letters spelling ‘Bergen?’ on a wall of granite rocks behind the bus station. A premonition that Nordic colors have a background of grey, shiny material - rocks and rain? Researching colors locally while restoring an old, traditional loom, dyeing, designing and weaving Nordic Ikat patterns resulted in a series of wall panels that will be shown later in the year.
Re-enacting historic weaving with QS2 group for show @Rijskmuseum voor Oudheden in 2020.
Women in Art Brut, historic origins and contemporary artists.
Autumn 2018/summer 2019
In-depth articles about female artists, their textile work in Art Brut and it's origins in 19th century psychiatry. Published in Surface Design Journal, summer issue 2019 and Dutch TxP magazine After discovering a young contemporary Outsider artist at the Outsider art Gallery in Amsterdam I portrayed her in an interview.
Embroidered jacket by Agnes Richter (1873-?) and detail, courtesy of Sammlung Prinzhorn
Two articles in Surface Design Journal
For the Summer edition of American Surface Design Journal I wrote two articles about contemporary textile practice in The Netherlands. In the Studio - about madder now and in a historical and restoration context and a review of Claudy Jongstra's project 'Woven Skin-Shelter of color'.
The microscopic view
Bradley Quinn wrote about my work: ‘Monika Auch’s medical background is evident in her detailed textile work, which is often suggestive of the growth patterns found through the lens of a microscope. The clash of digital and tactile methods in Auch’s work heightens the material impact of the viewing experience, a combination of traditional, time-consuming methods and contemporary, instantaneous technology.' Wall hanging, 2m x 40 cm
Dutch weaver Marian Stubenitsky published her second book in an Dutch/English edition. It is a technical how-to guide for weaving with one tie end and mainly two, but as well three or five pattern ends. Myriad possibilities at varying technical levels are the result.
Textile dyeing by Dutch experts
Focussing on dyeing with natural pigments, here is a summary of recent articles about: The history of madder in The Netherlands. The discovery and conservation of a fabulous 17th century red silk wardrobe off the coast of Texel. Visits to workshops at the Rijksatelier, at Tinctoria studio and at Claudy Jongstra's 'Farm of the World'.
Studio visit by ARTECHNE team
Professor Dr. Sven Dupré and colleagues from the ARTECHNE project are conducting research on how artist's master their art. What is technique in the visual and decorative arts? How is technique transmitted and studied? Who is considered an expert in technique, and why? In a unique hands-on approach the scientists try to understand the intricacies of mastering a technique.
Book about weaving by Åsa Pärson
Essential weavings - Swedish weaver and designer Åsa Pärson has published her book on weaving and cut it down to the gist. Considering, that weaving is all about skills and tactility the book lies in my hands:
Craft design shows - Amsterdam and Münster
Two presentations reaching a wide public in Germany and The Netherlands. Invited by Akademie für Gestaltung der Handwerkskammer Münster and selected by Meesterlijk, Weeflab presented samples for tapisserie and scarves, while visitors could experience weaving hands-on.
ETN in Borås, an international fiber network
TxP 242 // November '17
Grethe Sørensen from Denmark received the Nordic Award in Textiles at the ETN conference and Textile Art Festival CROSS-OVER in Boras, Sweden.
Detail of work The OWL photo by Marius Hauge
Article will be published in Dutch TxP 242 magazine.
SDJ and TxP 241 autumn issues 2017
Critical review of the exhibition in the TextielMuseum Tilburg
>> Read more in Dutch and from the article in Surface Design Journal : "Sustainability is a trend...The elephant in this discussion is the huge Co2 foot print of the textile industry. Conflicting problems are e.g. water pollution, inhuman labor conditions while at the same time maintaining an industry which supports millions....Are textiles being exploited to produce trendy sustainable life-style products or will the trend support a critical awareness about textile products? Will many of the presented concepts in Earth Matters survive the ‘Valley of Death’, a well known phenomenon in the innovative industry?..This is the point from which many new ideas going through the innovation process fail to progress, and even those ideas that do make it out of the valley can spend between 5 and 10 years trying to escape from it. Will there be time enough for Earth?' published in SDJ/Fall 2017/ p. 50-53
De revival van textiele kunst
Textiel Plus 235 // October '16
Het TextielMuseum in Tilburg viert met de tentoonstelling van het werk van Sheila Hicks de revival van textiele kunst. Textiele kunst heeft een plek veroverd op de internationale kunstmarkt en in musea.
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Weaving is a construction technique bound to materiality. Weaving is a metaphor for time to be filled with contemporary ideas about i.e. the experience of time passing.
Weaving is a production technique for fashion and interior fabrics. Weaving is about life making connections and constructing beauty.
Weaving can be a community project with dance, theater or an installation in public space.
Weaving as a proces is synonymous with the infinite line, the thread.
Weaving has many poetic and dramatic associations in art, religion and science:
- Penelope’s story in the Odysee
- Psalm 139:13:.. you made my mind and heart, you wove me together in my mother’s womb.
- in anthropology:..weaving (like dwelling) continues for as long as time goes on - punctuated but not terminated by the appearance of the pieces that it successively brings into being.T. Ingold Weaving connects traditional and digital techniques with smart materials and innovative discoveries. .
Weeflab is a project by Monika Auch!
Weeflab invites artists and designers from all disciplines and scientists to reflect and react in a theoretical and practical way to the concept of weaving.
Weeflab is situated in Amsterdam Noord.