“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 25^th 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, PhD

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