The installation was developed for the XIX International Biennial of Art of Cerveira, in Vila Nova de Cerveira, Portugal, with the theme From pop-art to trans-avant-garde, appropriations of popular art. The concept of appropriation served as a motto for reflecting on contemporary culture, and the lived aesthetic capitalism, the processes of creation and dissemination in the digital age.
Al-Andaluz Têxtil is made up of a white textile sculpture and a video (mapped video projection) that covers the textile object and expands through the surrounding exhibition space.
The installation Al-Andaluz Têxtil was exhibited for the first time in Silves, Portugal, in 2014. In 2017, the author revisited this installation. Moreover, this time, returning to the textile fragments, she ap- propriated the patterns, thinking about the fashion images that surround us in daily life, and using the techniques of the organic narrative of the fashion films, she created a video that wears the textile object, transporting it to other dimensions and materialities.
In Al-Andaluz Têxtil the intention is clearly to provide an experience of post-digital enjoyment, where the transparency/ubiquity of digital is sought explicitly by the video’s superimposition element wear- ing the textile object. The installation combines two issues specific to post-digital: the materiality of the tangible textile object vs. the re-materialization of these textiles through the projected cinema language; and the forms of appropriation in digital culture: the appropriation of textile techniques and patterns materialized in the textile object and the appropriation of cinema images to create an audio-visual com- position of video art.
The use of textile materials (fabrics) as the material of choice — even when the fabric materializes only on the screen or in the projection (as in the installation Al-Andaluz Têxtil), arouses the desire to touch, to know its texture, to feel the material, experience the reaction to touching and movement. The fabrics, by themselves or represented in different media, are suitable for haptic art.
Haptic vision and visual touch are characteristics/trends already present in the “traditional” figurative art. The concept of haptic visuality implies the transposition of the qualities of touch to the vision domain through a bodily operation, which involves the eyes and the brain, but the hands may not be part (except as a projection of the imaginary).
Al-Andaluz Têxtil is made up of a white textile sculpture and a video (mapped video projection) that covers the textile object and expands through the surrounding exhibition space.
The installation Al-Andaluz Têxtil was exhibited for the first time in Silves, Portugal, in 2014. In 2017, the author revisited this installation. Moreover, this time, returning to the textile fragments, she ap- propriated the patterns, thinking about the fashion images that surround us in daily life, and using the techniques of the organic narrative of the fashion films, she created a video that wears the textile object, transporting it to other dimensions and materialities.
In Al-Andaluz Têxtil the intention is clearly to provide an experience of post-digital enjoyment, where the transparency/ubiquity of digital is sought explicitly by the video’s superimposition element wear- ing the textile object. The installation combines two issues specific to post-digital: the materiality of the tangible textile object vs. the re-materialization of these textiles through the projected cinema language; and the forms of appropriation in digital culture: the appropriation of textile techniques and patterns materialized in the textile object and the appropriation of cinema images to create an audio-visual com- position of video art.
The use of textile materials (fabrics) as the material of choice — even when the fabric materializes only on the screen or in the projection (as in the installation Al-Andaluz Têxtil), arouses the desire to touch, to know its texture, to feel the material, experience the reaction to touching and movement. The fabrics, by themselves or represented in different media, are suitable for haptic art.
Haptic vision and visual touch are characteristics/trends already present in the “traditional” figurative art. The concept of haptic visuality implies the transposition of the qualities of touch to the vision domain through a bodily operation, which involves the eyes and the brain, but the hands may not be part (except as a projection of the imaginary).