At the beginning, it was only practical, utilitarian, close to our bodies and in the space of our homes. It accompanied us in the public sphere; then, it also became a decorative form, decorating walls and furniture, but it was still subordinate, secondary, dependent. Finally, it was released…
The path to textile art becoming an individual, superior means of artistic expression was a long one and – I guess one could say – also quite bumpy. I will skip the centuries-old tradition (having its origins in the fifth millennium BC) that laid the foundations for (modern) textile art, instead going straight to the years (in Poland, this was the 1950s, but more broadly it was the 1960s) when so-called fibre art (in the sense of art) ceased to be merely something with which the tapestries of the painterly masters were realized and – thanks to the already famous Lausanne exhibition, when the breakthrough occurred – became an independent form of imagery and expression.
According to historical studies, these changes started in 1961. At that time, several new rules were introduced (with the support of museum directors and Lausanne politicians) by CITAM (Centre International de la Tapisserie Ancienne et Moderne) which significantly affected the nature of the works presented at the first and one of the most important international exhibitions of artistic textiles. A lot has happened since then. Many exhibitions have been held and numerous institutions dedicated to textile art have been established. Let’s take a look at what’s happening today…
How is textile art today after many revolutionary turns? Where is it going? What is it talking about? What message does it carry? What does it express? Through textile art, can we weave stories of the past, provide information, inform about everyday life, foretell the future, talk about uncomfortable social topics (in micro and macro terms) or, analogously to protest songs, express opposition?
As within other fields of fine arts, in the area of contemporary textile art there are different trends and creative research paths. In view of this, how is it currently shaping up? Which themes stand out? What dominates the salons of the most important shows, exhibitions and competitions of contemporary textile and fibre art in Poland and abroad? Do the issues raised by fibre art practitioners resonate with contemporary world issues?
PROPOSED TOPICS AREA:
1. Textile art as an area of collective consciousness, common knowledge and experience.
2. Textile art in the world of technology: BioTech Textile Art / Smart Textile Art.
3. Textile art as a form of activism.
4. Textile art in the idea of eco.
5. Textile art in the sphere of contemporary educational practice.
6. Current creative research attitudes related to contemporary textile art.
Being aware of the current dynamic development and unique branching of the various areas related to contemporary textile art, we are also open to texts that address other issues, as well as texts dedicated to selected artistic attitudes and individual artists.
We invite researchers from different areas of science, art theorists, curators or artists to submit articles.
Size of texts: 20-40 thousand characters with spaces.
PREPARING A PAPER
“Zeszyty Artystyczne” journal is registered by the Ministry of Education and Science on the list issued on February 9th, 2021, with 20 points.
The assigned discipline is art studies in the field of humanities. Every issue is theme oriented, with articles meeting the aims and scope of the Call for Papers (CFP).
The editorial board reserves the right to make abbreviations and changes in the submitted texts (including titles).
Authors are required to sign the license agreement and to acknowledge that no fees are payable for published texts. Authors are also required to obtain written permission to reuse any third-party materials (illustrations, figures, tables, diagrams, etc.) in their articles.
As of 2023, articles submitted to “Zeszyty Artystyczne” should be prepared in accordance with the Chicago Manual of Style standard: https://www.chicagomanualofstyle.org/tools_citationguide/citation-guide-1.html
Articles (20,000–40,000 characters, including spaces) should be sent by email
SUBMISSIONS SHOULD ALSO COUNTAIN:
– abstract (up to 300 words) and 6 relevant keywords;
– author details (bio up to 700 characters with spaces, affiliation, main publications, field of interests, ORCID number);
– attached bibliography in Chicago standard.
Uniwersytet Artystyczny im. Magdaleny Abakanowicz w Poznaniu
“Zeszyty Artystyczne” journal
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Le collectif Fiber.