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Title: ‘Armor’, back view Artists: Heringa/Van Kalsbeek
Year: 2015
Dimension: h220 x w231 x d65 cm Collection TextielMuseum / BK1187
Production: TextielLab/studio artist
Photo: Tommy de Lange commissioned by TextielMuseum 

ATTRACTIVE OR REPULSIVE?

Fringes of Beauty

3/12/2016-7/5/2017
Soft pink silicon sacks, linked together with hairy cords, squirm subtly. The movement intensifies, when one comes closer. Awkward feelings arise when you see this work by Bart Hess. It is an intense physical experience, that comes with a little discomfort, but at the same time fascinates immensely

Posted 25 October 2016

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Bart Hess is one of the artists that got commissioned by the TextielMuseum to develop new work. All works are balancing between attraction and repulsion. They seduce you to watch, but also evoke some mixed feelings. The commission policy of the TextielMuseum offers artists and designers the chance to do research and experiment. The results are shown in the exhibition ‘Fringes of Beauty’. This exhibition contains textile installations and interactive sculptures by Heringa/Van Kalsbeek, Bart Hess, Nan Groot Antink, Tanja Smeets and Karin van Dam. The works are all made in the TextielLab, the innovative in-house workplace of the TextielMuseum. 

Title: ‘Veins2’ Artist: Bart Hess
Year: 2015-2016
Collection TextielMuseum / BK1215
Production: TextielLab/studio artist
Photo: Josefina Eikenaar/TextielMuseum 

“Bart Hess’ visual inspiration was the soft pulse of testicles.”

Bart Hess
Multi-talent Bart Hess (1984) works in the fields of visual arts, (fashion)design and performance. At the TextielLab, he created interactive ‘skins’, that move subtly, reacting on sound and movement of the public. Visual inspiration was the soft pulse of testicles. The installation consists of three pieces that move, twist and fascinate. Bart Hess braided an enormous amount of cords in order to create
the basic structure. Together with the product developer, he discovered all new possibilities of braiding. At his own studio, the cords were coated with silicon that either forms a sack or covers the whole as a matt gloss skin. 

Title: ‘Veins1’ Artist: Bart Hess
Year: 2015-2016
Collection TextielMuseum / BK1214
Production: TextielLab/studio artist
Photo: Josefina Eikenaar/TextielMuseum 

Title: Bart Hess working in the TextielLab at the passementerie department.
Photo: Josefina Eikenaar/TextielMuseum 

Title: ‘Spine’ Artist: Bart Hess
Year: 2015-2016
Collection TextielMuseum / BK1216
Production: TextielLab/studio artist
Photo: Josefina Eikenaar/TextielMuseum 

Title: ‘Armor’ Artists: Heringa/Van Kalsbeek
Year: 2015
Dimension: h220 x w231 x d65 cm Collection TextielMuseum / BK1187
Production: TextielLab/studio artist
Photo: Tommy de Lange commissioned by TextielMuseum 

Heringa/Van Kalsbeek

Heringa/Van Kalsbeek (1966/1962) are known for their expressive, colourful sculptures, that have a strong physical presence. For their work at the TextielLab, the artists were inspired by their ethnographic collection and natural phenomena. Their monumental, playful sculpture ‘Armor’ consists of a metal construction, decorated with laser-cutted, resin coated wings of canvas, bright red pompons and multi-coloured tins. The image is derived from the largely decorated head ornaments of traditional Chinese brides. ‘Armor’ is appealing at first sight, but its back appears ‘raw and imperfect’. This tension, between front and back, between attraction and repulsion, is a main theme in the work of Heringa/Van Kalsbeek. 

Title: ‘Armor’, detail Artists: Heringa/Van Kalsbeek
Year: 2015
Dimension: h220 x w231 x d65 cm Collection TextielMuseum / BK1187
Production: TextielLab/studio artist
Photo: Tommy de 

Title: Maarten van Kalsbeek in the studio.
Photo: Heringa/Van Kalsbeek 

Title: ‘Armor’, detail Artists: Heringa/Van Kalsbeek
Year: 2015
Dimension: h220 x w231 x d65 cm Collection TextielMuseum / BK1187
Production: TextielLab/studio artist
Photo: Tommy de Lange commissioned by TextielMuseum 

Title: ‘Soft Machine’ Artist: Tanja Smeets
Year: 2015
Collection TextielMuseum / BK1190 Photo: Tommy de Lange commissioned by TextielMuseum 

Tanja Smeets

The installations by artist Tanja Smeets (1963) seem to grow along walls and ceilings. The modest white, and sometimes brightly coloured structures, remind you of moulds and mushrooms. Tanja Smeets discovered the possibilities of the laser- and knitting techniques at the TextielLab. With both techniques, she realised her installation ‘Nebula and the Soft Machine’. From industrial felt she cut irregular basic forms, from very small to a larger scale. The elements intertwine and crawl their way up. In the middle, the material seems to explode like a dust-cloud (‘Nebula’). The knitted part of the installation, 'Soft Machine', reminds you of a plant, with buds that diffuse randomly. The work leaves the impression it could develop into an infinite landscape. 

Title: ‘Nebula’ Artist: Tanja Smeets
Year: 2015
Dimension: hX x wX cm ø Collection TextielMuseum / BK1190
Production: TextielLab/studio artist
Photo: Tommy de Lange commissioned by TextielMuseum 

Title: Tanja Smeets working in the TextielLab at the knitting department.
Photo: Josefina Eikenaar/TextielMuseum 

Title: ‘Soft Machine’, detail Artist: Tanja Smeets
Year: 2015
Collection TextielMuseum / BK1190
Production: TextielLab/studio artist
Photo: Tommy de Lange commissioned by TextielMuseum 

Title: 'Vezels, bindingen en verfplanten' (Fibers, Bindings and Dye Plants) Artist: Nan Groot Antink
Year: 2015-2016
Dimension: h280 x w60 cm (per panel) Collection TextielMuseum / BK1197
Production: TextielLab/studio artist
Photo: Josefina Eikenaar/TextielMuseum 

“Nan Groot Antink asked all male workers of the museum to hand in their morning urine, so that she could use it to attach the dye strongly to the fabric.”

Nan Groot Antink
The emphasis of Nan Groot Antink’s (1954) work lies on dyeing with natural pigments. Since 1990, she has made her own dye from native and foreign plant dyes. She paints with it, using her surroundings as an inspiration for choosing the plants. For this commission, the artist selected eight plant dyes, based on the original vegetation of the museum’s site. The weaving of fabrics with different kind of natural yarns, was a new step in her work. She used urine for the dyeing process, inspired on the story of her grandmother. She told her that the textile workers from Tilburg used to walk through town with their jug of urine. In the past they used the urine for the dyeing process at the textile factories. Therefore, Nan Groot Antink asked all male workers of the museum to hand in their morning urine, so that she could use it to attach the dye strongly to the fabric. The installation, consisting of seven strips of fabric, shows subtle colour shades and raises a serene silence. 

Title: 'Vezels, bindingen en verfplanten' (Fibers, Bindings and Dye Plants), alder buckthorn Artist: Nan Groot Antink
Year: 2015-2016
Dimension: h280 x w60 cm Collection TextielMuseum / BK1197
Production: TextielLab/studio artist
Photo: Josefina Eikenaar/TextielMuseum 

Title: Nan Groot Antink working in the TextielLab at the weaving department.
Photo: Josefina Eikenaar/TextielMuseum 

Title: 'Vezels, bindingen en verfplanten' (Fibers, Bindings and Dye Plants), birch Artist: Nan Groot Antink
Year: 2015-2016
Dimension: h280 x w60 cm Collection TextielMuseum / BK1197
Production: TextielLab/studio artist
Photo: Josefina Eikenaar/TextielMuseum 

Title: ‘Traveling Cities anno 2014' Artist: Karin van Dam
Year: 2014
Collection TextielMuseum / BK1100
Production: TextielLab/studio artist
Photo: Tom Haartsen 

Karin van Dam

The sculptures and installations of Karin van Dam (1959) often look like dream-like figures or strange satellites in space. Her building blocks are industrial materials, in combination with PVC and textile. In ‘Fringes of Beauty’ she shows her installation ‘The Polyp Form of the Red Eye Medusa 2’. It is inspired by a seductively beautiful, but very poisonous jellyfish, the Red Eye Medusa. Black, shell- like forms, made out of monofilament, that Karin van Dam developed in the TextielLab, are the core elements of this work. The installation is a pretty, but apocalyptical image that floats through the room, crawls on the floor and nestles in bars.
On the occasion of the exhibition ‘Fringes of Beauty’ the TextielMuseum will publish a book of the same title by curator Suzan RĂ¼sseler. This publication can be bought for € 12,95 at the TextielShop. 

See Agenda>

TEXTIELMUSEUM
Goirkestraat 96,
NL-5046 GN Tilburg, Netherlands
+31 (0)13-5367475
www.textielmuseum.nl

Title: ‘The Polyp form of the Red Eye Medusa 2’ Artist: Karin van Dam
Year: 2013/2016
Loan: Karin van Dam
Production: TextielLab/studio artist
Photo: Tom Haartsen 

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