In this timely guest post, Katharina Krause shares her reflections on the social meanings of the hand-sewn protective mask during the global 2020 COVID-19 outbreak. Read more here...
What value do conflict textiles have for those who created them? And in what ways has the process of the Stitched Voices exhibition itself been valuable? Read our discussion of these questions here.
Related to the question discussed in previous posts of whether the pieces in our exhibition were “art”, there was some contestation around whether conflict textiles have an aesthetic value as such, whether what counts is the story of their origin/the story they tell, or whether they are also a form of testimony about human rights abuses that the respective perpetrators try to sweep under the carpet. Let's discuss!
This week, we continue our discussion of whether Conflict Textiles are arts, crafts or something else, and take a specific look at the reluctance of people inhabiting the "arts world" to take them seriously. Why so? And does it matter?
After sharing our experiences in organising and realising the Stitched Voices exhibition, we now turn to some deeper questions that arose in the process. One of those is whether Conflict Textiles are arts or craft or maybe something completely different, and whether it matters.