A Stitch In Time As Work Continues Ahead Of Ros Tapestry Exhibition

THE DEDICATION of the Ros Tapestry voluntary embroiderers is currently being put to the test as they eagerly focus on finishing the tapestry panel 'ExVoto Tintern Abbey' on time for the opening of Ros Expo on April 3.

Ros Expo, a permanent exhibition of the Ros Tapestry, is a dedicated exhibition centre at Priory Court on the quay in New Ross, opposite the Dunbrody Famine Ship.

The 14 tapestries will have taken a decade to reach completion, a remarkable achievement realised by an extraordinary group of people from all over the county and beyond.

Over 100 voluntary embroiderers – some of whom have been dedicated to this mammoth task since 1999 – and their expert tutor, Alexis Bernstorff have never been anything other than committed and positive to the task in hand.

Ros Expo will be open all year round to visitors after its opening on April 3.

Taken From NewRossStandard.ie

The Guernica Tapestry, Whitechapel Gallery, London

Picasso's fury screams out still

Reviewed by Michael Glover

Welcome back! Picasso's Guernica, that supremely sombre evocation of the destructive powers of war, first went on show at the Whitechapel Gallery in 1939, after it had been exhibited in Paris.

The painting, a commemoration of the destruction of the village of Guernica by Franco's forces, had been made by Picasso in his Paris studio in 1937, in a furious outpouring of pity and anger.

Now, a version of Guernica is back at the Whitechapel, as part of an installation by Goshka Macuga, to mark the gallery's reopening after refurbish-ment. This is not the painting you'd have seen in 1939; that one is permanently installed at Madrid's Reina Sofia Museum, too fragile to travel.

In some respects, the installation at the Whitechapel is more impressive than what can be seen in Madrid. In London you approach it face-on, and you can get up really close. In Madrid, you come at it side-on, like a listing ship. There is no way you can walk directly back a pace or two to take in the enormity of the terrible message.

The other advantage is that this version is not so colourful. It is woven in tones of brown, cream and black, which adds a strange intensity. Look at the original, and you experience a near-riot of movement and agitation. Nothing stops.

Everything seems to be decomposing before our eyes. Arms reach out. Hands claw at nothing. A disembodied head floats. Mouths yawn in inaudible screams. The heads of mythic beasts skew violently.

And we – the merest we – approach this monumental distillation of human suffering like petty-minded voyeurs. We are suddenly plunged into the midst of it, all this jaggedness, all this laceration, all this falling apart. And the colour seems to add a horrible decorative gaiety to the scene. Strip it of most of that colour, as here, and you have scarified it to the bone.

At the Whitechapel, you approach it along a blue carpet. It's close to the blue of the UN, where the tapestry usually hangs. It is here to remind us of that moment in 2003 when some goon ordered that it be covered up because Colin Powell was about to deliver a speech in support of the invasion of Iraq. Did Picasso's minotaur rage back in the muffled dark? Or did Powell just dream that later?

5 to 18 April 2010 (020-7522 7888; www.whitechapelgallery.org )

Taken From Independent.co.uk

Tapestry Exhibition in Sancti Spiritus, Cuba

By Manuel Echevarría Gómez

A tapestry exhibition by Luisa María Serrano (Lichi) was opened in the central Cuban province of Sancti Spiritus to mark the 40-year-old artistic career of this outstanding artist.

After a long absence, the artist is back to settle a debt that transcended her life-work, the use of colors in her creations.

The recent work of this autodidact artistic, which was considered a turning point in this city’s plastic arts concepts in the 80s, resembles her previous intimate freedom.

Lichi joined Sancti Spiritus’s plastic arts free workshop in 1965, where she learned painting. She presented her first exhibition in 1968.

She has presented her work in local and international expositions and has been awarded several prizes in local salons.

Taken From Escambray.cu

St John’s: 2 More Tapestries Ready

Restoration of the second set of tapestries from the St John’s Co-Cathedral collection is now complete and the Belgian Embassy in Malta is investigating how to bring them back to Malta – although it is still not clear where they will be displayed.

The Cathedral Foundation recently dropped unpopular plans to create an underground museum beneath St John’s Square which would enable all 29 tapestries to be displayed at the same time. However, no other plans have been put forward yet.

The Cathedral Chapter, which is represented on the Foundation board, was unanimously against the project and has recommended that an extra floor be built on top of the annex.

The tapestries are being restored by the King Baudouin Foundation at the Royal Manufacturers De Wit, a company of weavers and restorers founded in 1889. Today, it is the leading tapestry restorer in the world for museums and one of the leading laboratories for private customers.

The first 2, depicting Grandmaster Perellos and the Triumph of the Catholic Church, were sent to Belgium in November 2006 but the delicate restoration process took less than the 2 years expected and they were returned to Malta in December 2007.

The embassy in Malta got involved to sort out a tricky logistical problem: Getting them to Belgium, no easy task given their size and weight.

Current ambassador Jean-Francois Delahaut explained that his predecessor, Thomas Baekeland, managed to get help from the Ministry of Defence to use a military plane, which stopped off in Malta on its way back from an overseas assignment.

They were then taken from the military airport to Brussels and then back the same way to Malta.

Mr Delahaut confirmed that the next 2, Triumph of Faith and The Institution of the Feast of Corpus Christi, were sent to Belgium in December 2007 and are now ready.

“The whole collection of 29 needs to be restored. The long-term intention is to go on with the restoration of the whole set so there is quite a few years’ work. Each of the tapestries has its own particular problems. Time has not treated all of them equally,” he told www.di-ve.com.

The budget for the first 2 alone ran into 6 figures. The set, considered to be priceless and unique, was ordered from the Brussels atelier of Judecos de Vos for the sum of 40,000 scudi and was based on cartoons of the same subjects by Peter Paul Rubens (1577–1640), except for the panel representing the Last Supper that was woven on the cartoon of Nicholas Poussin and a panel with the portrait of Grand Master Perellos, probably based on a drawing by Mattia Preti.

Mr Delahaut expressed confidence that the right solution would be found for the tapestries’ display.

“The tapestries survived the centuries in good condition, which shows that they were cared for, for over 400 years, by very competent people,” he said.

Taken From Di-Ve.com

The Mystery of History: Arrow Ross Debuts His Photo Journal Of Peruvian Weavers

By: Lauren Hodges

PERUVIAN CELEBRATION:Arrow Ross showcases an ode to the ancient people, places and things of Peru, as inspired by textile artist Maximo Laura.

So many trends have come and gone in the art world. Some went on to the Modern Museum of Art, while others were doomed to be stapled to wood paneling (ahem, velvet paintings). The true test of quality art seems to be staying power. Is it a mere chapter in the book of creative history, or does it still influence modern-day artists?

When local photographer Arrow Ross visited Peru last April, he was introduced to one of the oldest and most influential art forms in the world. “It is amazing how old the techniques of weaving are,” he says. “The people in Peru, they just keep the tradition going.”

Ross’ discovery began at No Boundaries, a local painters’ retreat arranged by Dick Roberts, Gayle Tustin and Pam Toll, with whom Ross shares space at Acme Art Studios. It was there that he met Maximo Laura, a Peruvian artist who had come to the Carolina coast to paint.

“He was a good painter, but he kept talking about his tapestries,” Ross says. “I was just amazed at how detailed they were. Later, someone bought one of his tapestries, and when I heard how much he sold it for, I said, ‘Oh my God, that’s all it was? I would have bought it for 10 times that price!’ So, I had to learn more.”

Ross, originally from Denmark, has quite a few stamps on his passport. His next trip would be to Lima, Peru, to visit his new friend and learn about the craft that went into Laura’s tapestries. “When we got there, he and his wife welcomed us into their home.

It was a large blue house that had started out as one room many years ago. They kept adding rooms and then floors. Now it is five floors.” The first two floors of the house consist of Laura’s weaving rooms, staffed with 20 trained crafters.

Most of Laura’s employees are family members. “He supports them all,” Ross says. “He is a very generous man.” “He was a good painter, but he kept talking about his tapestries,” Ross says. “I was just amazed at how detailed they were...

Each of the staff has been personally trained by Laura himself, who has work hanging in the Smithsonian and several other museums around the world. Each work is handmade in his home by the people he trusts. As Ross scans his photo album from the trip, he stops at a shot of what he calls “the butterfly room.”

“These are the butterflies,” he says, pointing to a pile of yarn bunches. “They are pre-made threads created by twisting yarn into the color scheme needed for the design of the tapestry. It’s a mathematical process.”

The precise colors are determined after a sketch of the design is produced by Laura and his helpers. “He sketches it all out on paper, and then they draw it into the loom,” Ross notes, pointing to another series of photos.

Once he had his photo album organized, Ross decided to add something extra to a few of them. “While I was in Peru, I took a lot of photos of the landscape,” he says. “This one here is of Machu Picchu. I was in awe of these ancient cities and the art that came out of them. People like Maximo are carrying on those ancient traditions.”

He used his skill with Photoshop to superimpose Incan icons into the landscapes and a few into the images of Laura’s tapestries. “I just wanted to put some things together,” he says. In one of his most poignant pieces, Laura’s face is translucent over one of his most intricate tapestries.

In another an Incan sculpture floats unattached against a background of Peruvian ruins and hillside. “I wanted to give the pictures some depth and put the people into the creations.”

Ultimately, Ross wanted to pay tribute to the deep past and people, recreating the strong connections he felt while visiting Peru. “There was such a mystery there,” he says. “I loved that mystery. I was so drawn to the history of these people and what their lives was like back then.

We see here, in their pictures, so many clues to their past.” He is mostly fascinated with the Incans’ ability to preserve their culture, even after their civilizations died out and the Spaniards invaded South America.

“They were all forced to convert to Roman Catholicism, but the people found secret ways to pass on their beliefs,” he points out. “Because they were so artistic, the Spaniards had many of these people painting, weaving and sculpting for them.

Even though the icons they represented were Christian, they snuck in images of the moon and stars, which is what they worshipped.” He points to an ancient image of the Virgin Mary. “

You can see here that they painted her like a mountain, even though it just looks like her dress is shaped like that. This was to symbolize Machu Picchu, the great city that the Spaniards never found.”

To this day people like Maximo Laura are responsible for carrying on those traditions for which his ancestors fought so hard.

Taken From EncorePub.com

Arena Stage's 'Delicate Balance': Perfectly Weighted With Subtlety & Smarts

By Peter Marks
Washington Post Staff Writer
Monday, February 16, 2009; Page C01

What a pleasure, lapping up all that angst. You wouldn't call "A Delicate Balance" a consoling experience. And yet you do feel swaddled in comfort during Arena Stage's revival of Edward Albee's brilliant dramedy of the inarticulate fears marinating in the martini glasses of the elite.

That's because the expert hands deliver an evening of combustibly entertaining drama, of a variety that reminds you how enriching a play can be with a subtle and sophisticated grip on the human psyche. This is grown-up theater -- the bristling sort that gives a playgoer hope, even when the theme is a strange brand of hopelessness.

Not to bring the room down, but you do also find yourself wondering, as you absorb the pleasures of six actors going at one another in the becomingly civilized quarters of Todd Rosenthal's living-room set, why more evenings can't be like this one, especially at Arena.

No major company in Washington represents a more vital link to the American tradition of great playwriting, and none has more authority to reaffirm it.

So let the endorsement of this production also be an entreaty: Give us more work of this caliber, please, even if these plays are harder to sell than they were in yesteryear. (And even if it means fewer visits by tours of famous-songwriter jukebox revues.)

As presided over by director Pam MacKinnon, who staged the juicily satirical "The Unmentionables" at Woolly Mammoth 18 months ago, the revival of Albee's Pulitzer-winning piece feels as solidly built as the immaculate manse in which the turbulent story unfolds.

It's been populated with a splendidly well-suited cast, particularly in the person of Kathleen Chalfant, who plays Agnes, the lady of the house, as a reluctant, caged scorpion with a finely disguised stinger.

Her match is met by Ellen McLaughlin in the bravura role of Agnes's younger sister Claire, a truth-telling lush whose specialties seem to be making messes and drowning in her anger at Agnes's unbreachable wall of composure.

What's constructed here is a portrait, flavored with Albee's lacerating wit, of people losing their grip, divesting themselves of the lie that life makes more sense as we grow more maritally settled and materially secure.

The collapse of the facade is terrifying for no group more than those who have the money for minks and wine cellars and country clubs, those who have committed the most belief to the illusion that all's well that ends well.

At the moment, the entire world is feeling a sense of dislocation. It's surprising how presciently this 1966 play nestles into contemporary consciousness -- even as the mysteries in Albee's tale keep a line open to the absurd.

We find ourselves in the tony home in a wealthy suburb that Agnes and her husband, Tobias (a bracingly convincing Terry Beaver), share with volatile Claire. Perched in Arena's Crystal City space, Rosenthal's light-filled set all but smells of old money, down to the demitasse cups and tapestry hanging in the hallway, and costume designer Ilona Somogyi dresses the women, from blowsy Claire to sleek, buttoned-up Agnes, to perfection.

Agnes opens the play, commenting about someday losing her mind, and from there on we get the escalating idea of everything around her coming apart.

The childishly exhibitionist Claire seems to be slowly drinking herself into oblivion. Agnes and Tobias's unpleasant, eternally unsettled daughter Julia (Carla Harting) turns up, a refugee from her fourth failed marriage.

Then, most curiously, into the driveway pulls the car of Agnes and Tobias's best friends, Edna and Harry (Helen Hedman and James Slaughter), who have arrived uninvited and soon make it clear they have no plans to leave.

The choreography of understated responses to Edna and Harry's outrageous condition -- they experienced some type of existential crisis in their own house, and now are too frightened to go back -- is handled in crackerjack fashion by MacKinnon and her cast.

The dread they've brought into the house is swept to the side in the spirit of hospitality. Or perhaps it's only vaguely acknowledged because Edna and Harry have violated a taboo, bringing the terror everyone secretly harbors into the open.

Hedman and Slaughter niftily maintain the traumatized couple's sociable air, as if their imposing on Agnes were as expected as showing up for cocktails at 5. You laugh at first because everybody's been there, with the guests who wouldn't leave.

As you watch further, however, they become less funny, more harrowing. Despair always leaves you with that certain feeling in the pit of your stomach.

Albee threads through the play's three acts the battle between Claire and Agnes, a conflict the actresses treat as a delightful blood sport. Behind her hooded eyes, McLaughlin vibrantly portrays Claire as a wounded thing, rebelling against her sister's sense of propriety and yet holding back some ammunition, for fear of doing more harm to Agnes than she intends. Chalfant's droll ripostes to the wilder Claire are so dry you think the paint might spontaneously start to peel.

Harting envelops Julia in an aptly sour perfume of failure; as with Claire, Edna and Harry, Julia's taking shelter with Agnes and Tobias is a way of shutting out the world and in her particular case, a world of disappointment. But as the play reveals, awful truths pursue you, and walls have a way of closing in, no matter how beautifully they're decorated.

A Delicate Balance, by Edward Albee. Directed by Pam MacKinnon. Lighting, Allen Lee Hughes; sound, Timothy Thompson; wigs, Chuck Lapointe. About 2 hours 55 minutes. Through March 15 at Arena Stage in Crystal City, 1800 S. Bell St., Arlington. Visit www.arenastage.org or call 202-488-3300.

Taken From WashingtonPost.com