Affiliation:
1. Aesthetics and Culture , Aarhus University , Denmark
Abstract
Abstract
In 2020, Trapholt (a Danish museum of modern art, craft and design) and textile designer Iben Høj launched a grand collaborative art project involving almost 800 embroiderers. The project, named Stitches Beyond Borders, was part of the centenary celebratrions of Denmark’s reunification with Southern Jutland, and participants were asked to embroider their personal vision of borders. By using a mixed method approach we firstly analyse how Stitches Beyond Borders, as a collaborative art project, created a strong sense of community and cultivated creative agency. Secondly, we focus on the discursive nature of the female public created by the art project. Taking into account the rich and complex history of embroidery as an underestimated female activity tied to repressive power mechanisms, we discuss whether the project ends up merely (re)creating an innocuous female public by favouring a personal take on the border theme.
Reference26 articles.
1. Barber, E. W. (1994). Women’s work: The first 20,000 years: Women, cloth, and society in early times. W. W. Norton & Company.
2. Bennett, W. L., & Segerberg, A. (2012). The logic of connective action. Information, Communication & Society, 15(5), pp. 739-768. https://doi.org/10.1080/1369118X.2012.670661
3. Berlant, L. (1988). The Female Complaint. Social Text. 19(20), pp. 237-259. https://www.jstor.org/stable/466188?seq=1&cid=pdf-reference-references_tab_contents10.2307/466188
4. Berlant, L. (2008). The Female complaint. Duke University Press.
5. Bishop, C. (2012). Artificial Hells: Participatory Art and The Politics of Spectatorship. Verso.
Cited by
3 articles.
订阅此论文施引文献
订阅此论文施引文献,注册后可以免费订阅5篇论文的施引文献,订阅后可以查看论文全部施引文献