The textile work, historically relegated to the field of crafts, has reached an outstanding place in the main spaces of contemporary art, from museums to Biennals. In Spain, a key figure in this revaluation process is Teresa Lanceta (Barcelona, 1951), who, from the … Decade of the seventies, has created tapestries, carpets, dyed and embroidery.
As well as pioneer practices of Eva Hesse or Robert Morris, His formal exploration and his claim challenged the conventional formats of art. However, Lanceta has always claimed the tradition of the textile medium, settled in a long -standing binary code – urdimbre and plot – that expands towards infinite possibilities.
His work is contextual, guided by the desire to dialogue with local expressions, either In the Raval neighborhood in Barcelona, where he lived, or in the Middle Atlas, that frequented for three decades. In these places, Lanceta has established relationships that transcend mere collaboration, generating what he calls “shared authors.” If the textile has been historically devalued by its association with the feminine, the domestic and the artisanal, she values these same characteristics to configure an aesthetic, of feminist affiliation, which reconceptualizes the artistic as a space of vital experiences and shared knowledge.
Lanceta has reflected a recurring interest in the events of the past. For example, Your family history and your own trips They served as a starting point for ‘El Paso del Ebro’ (2013-2015), where he explored one of the most bloody battles of the Spanish Civil War. In its last major project, presented last year at the Patio Herreriano Museum in Valladolid, it transferred us to the thirteenth century Spanish to investigate coexistence between Christian, Muslim and Jewish cultures, as well as the connections they established through the textile workshops of The time.
In the images, works of the series ‘Chronicle of a battle’ and ‘Shadow’
Current exhibition in The 1Miramadrid gallery This project continues, deepening not only in those cultural exchange networks, but also in the legacy of violence that the wars left behind. The sample includes unpublished drawings made with colored pencils, embroidered fabrics with new iconographies, and a wool and silk installation that examines the relationships between value and volume. In the last room, The artist’s voice resonates reporting memory of those who never returned from battle, while evoking the subaltern condition of women.
Lanceta’s methodology is nourished not only of an exhaustive analysis of the textiles of the time, but also of a breakdown of linear time that allows it, for example, for example, I entertain the story of Leonor de Guzmán with the poetry of Alejandra Pizarnik. The Commissioner Laura Vallés Vilches He describes the artist as a “historian of the everyday and chronicler of forgotten details.” A definition as suggestive as problematic, since it points to the most controversial aspect of historical memory when this is not experienced experience: the facts run the risk of moving to the background in front of their representations, which end up acquiring a kind of autonomous existence.
Teresa Lanceta
‘The Cólcedra to the Filo del Alba’. Gallery 1Miramadrid. Madrid. C/ Argumosa, 16. until March 15. Four stars.
Lanceta’s great challenge is to prevent the act of narrating the past becomes a strategy to legitimize ideas of the present. And he gets it thanks to his eagerness not to subordinate Poetic thought to historiographic investigation.
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