Yosi Anaya「HUIPIL, LAYERING SEQUENCE (1 & 2)」|永續時尚之旅

|Category:Clothing design
|Material:Synthetic organza and textile dye; thread
|Technique:Heat press transfer
|Year:2024 (ongoing project since 2015)
|City, Country:Xalapa, Mexico

Yosi Anaya_SUSFUTURE2024 國際永續時尚設計展

/Artist 藝術家/

Researcher at Instituto de Artes Plásticas-Universidad Veracruzana, delving into the crossings of traditional and contemporary arts. Publications regarding different voices in textiles. National Council for Arts and Culture Fellow. Recognition Award Riga Fibre Art Triennial-2023, 1st Prize WTA Biennial-2000. Curatorial and jury work, conceptual designer-Chair of VI WTA Biennial–Air in three cities of Mexico. 30 solo shows (Substance and Alusion 2024, ReVsit to Museo del Imaginario/imaginary museum 2023, Overlapping Boundaries 2021; Entre el Tejido Yacen Mis Huellas 2019; Continuity Reinscribed 2015). 150 group exhibitions (From Lausanne to Beijing Biennials, WTA Biennials, Lodz International Tapestry Triennial, BoND; International Shibori Symposiums; Textile Art Today!; Riga Fibre Art Triennials; Scythia Biennials). Collaborations in several indigenous regions of Mexico.

研究員於韋拉克魯斯州立大學藝術學院,探索傳統與當代藝術的交匯。發表了有關紡織品中不同聲音的出版物。獲得了國家藝術與文化委員會的研究員獎。獲得了里加纖維藝術三年展2023年的認可獎、WTA雙年展2000年的一等獎。擔任策展和評審工作,是第六屆WTA雙年展的概念設計師,該展在墨西哥的三座城市舉辦。舉辦了30個個人展覽(包括2024年的《物質與影射》、2023年《對想像博物館的重新訪問》、2021年的《重疊的邊界》;2019年的《在編織之間》、2015年的《連續重繪》)。參與了150個群展(從羅桑到北京的雙年展、WTA雙年展、羅茲國際織品三年展、BoND、國際絞染研討會、當代紡織藝術、里加纖維藝術三年展、斯基提亞雙年展)。與墨西哥幾個原住民地區合作。

Perspectives on Tradition and Future, Sustainability and Fashion, and Life.
關於傳統與未來、永續與時尚生活的看見

SUS Future: a vital and impactful series of events, dealing with pertinent issues, as the pace of life seems to head on without direction. Industrialization – technology – sustainability. How to find the thin balance? Perhaps, this is a space to pause and rethink, to observe the contributions of others, to contribute our diverse creativities, to combine views, and to form our own conclusions.

SUSFuture:一系列重要而有影響力的活動,處理著與時俱進的問題,因為生活的節奏似乎在沒有方向的情況下前進。工業化 - 技術 - 可持續性。如何找到脆弱的平衡?也許,這是一個停下來重新思考的空間,觀察他人的貢獻,貢獻我們多樣的創意,結合觀點,形成我們自己的結論。

Yosi Anaya_SUSFUTURE2024 國際永續時尚設計展

The Concept and Description of the Work
關於參展作品的創作動機與設計理念

Millennia-old quintessential Mesoamerican garment huipil embodies its provenance and weaver-wearer's writing. Such art holds the meanings of community and maker. As traditional cultures diminish, I face the question: How do I make Art with something that is already art, resignified and perfected over centuries? Huipil, meant for life, will not wear quickly nor change seasonally. Thus, a sustainable hand-woven textile, often of home-grown, handspun cotton. My path has been one of respect for traditions. In this case, I am the individual wearer from outside its community, attempting to add an additional re-inscription, not a borrowed identity, but a new layering onto threatened cultural heritage: my reinterpretation, a transmutation of the original, a phantoming of reality. 

千年來,極具代表性的中美洲服飾——織花裙(Huipil),體現了其產地及編織者的書寫。這種藝術承載了社區和製作者的意義。隨著傳統文化的衰退,我面臨一個問題:如何用已經是藝術的東西來創作,這種藝術經過數百年的再意義化和完美化?織花裙是為生活而設計的,不會迅速磨損,也不會隨季節改變。因此,它是一種可持續的手工織物,通常由家庭種植、手工紡織的棉花製成。我的道路一直是對傳統的尊重。在這種情況下,我是來自其社區外的個體穿戴者,試圖在受威脅的文化遺產上增添一層新的書寫,而不是借來的身份,而是對原有的重新詮釋,一種對現實的幻象重塑。