Lost in Lace

Twenty leading international artists present radical, theatrical and spectacular new work which explores textiles and space.

Lost in Lace will see 20 leading international artists take over the Gas Hall at Birmingham Museums & Art Gallery (BMAG) this Winter. Running 29th October 2011 to 19th February 2012, this exhibition will explore the relationship between textiles—specifically lace—and space through a series of dramatic and ambitious new site sensitive installations. Produced in partnership by BMAG and the Crafts Council, the exhibition brings together both leading and emergent artists and makers—many of whom will be exhibiting in the UK for the first time. From the intricate to the monumental, these contemporary works will challenge the viewer's existing notions of space, encouraging them to renegotiate the mysterious new environments and blurred and shifted boundaries that emerge. The work exhibited spans a diverse range of materials, practices and inspirations. Atelier Manferdini, supported by Swarovski, will present a stunning inverted crystal cathedral hanging from ceiling to floor. Other large-scale works include acclaimed Japanese artist Chiharu Shiota's web of interlacing black thread, eerily entrapping a white staircase. French artist Annie Bascoul's dual installation evokes a sensual environment: an intricate cotton screen casts shadows across the floor as a delicate bed of feathers floats above the text of an erotic poem.

Opening photo: Tamar Frank (Netherlands) will create an enclosed space within the exhibition. A regular
lighting of the initially dark space will result in the installed grid of
phosphorescent threads glowing for a few minutes afterwards to
reveal a number of 3D parabolic shapes. Above: Atelier Manferdini (USA / Italy)
will create an inverted crystal cathedral using one
tonne of crystal, including over 600 strands of Swarovski elements. Multiple
strings of crystals will descend from a
7x7 metre space on the ceiling to create a structure that will hang down to
the floor, referencing the Italian expression ‘punto in aria’—stitching the air. — Opening photo: Tamar Frank (Netherlands) will create an enclosed space within the exhibition. A regular lighting of the initially dark space will result in the installed grid of phosphorescent threads glowing for a few minutes afterwards to reveal a number of 3D parabolic shapes. Above: Atelier Manferdini (USA / Italy) will create an inverted crystal cathedral using one tonne of crystal, including over 600 strands of Swarovski elements. Multiple strings of crystals will descend from a 7x7 metre space on the ceiling to create a structure that will hang down to the floor, referencing the Italian expression ‘punto in aria’—stitching the air.

Leading British maker Michael Brennand Wood will explore his anti-militaristic sentiments in his series of red and black aluminium roundels, connected in a constellation-like pattern. Lise Bjørne Linnert's Fences also raises political issues, as each photograph depicts an area of fence she has embroidered to highlight a hole. Often undertaken in conflict zones, her work investigates the notion of these contentious boundaries.

Piper Shepard (USA) has taken a piece of historic point de gaze lace from the BMAG
Collection as the starting point for a black hand-cut vellum piece that will be
installed between two internal gallery columns and opposite Bascoul’s large
white Moucharabieh screen — Piper Shepard (USA) has taken a piece of historic point de gaze lace from the BMAG Collection as the starting point for a black hand-cut vellum piece that will be installed between two internal gallery columns and opposite Bascoul’s large white Moucharabieh screen

The exhibition will also see a number of artists that employ detailed scientific process and knowledge in their work. Tamar Frank's grid of phosphorescent threads glow to reveal complex 3D parabolic curves, whilst the lace-like pattern stencilled onto Alessia Giardino's photo-catalytic concrete panels develops through exposure to airborne pollution, and Kathleen Rogers uses new microscopy equipment to expose thread structures. These, alongside many other new and exciting works, will provide an immersive and multi-sensory experience for the viewer, and reveal the radical new approaches to textile and space made by artists and makers around the world. The exhibition is accompanied by a fully illustrated catalogue containing background information and interviews with the participants, edited by exhibition curator Lesley Millar MBE. Parallel to Lost in Lace, BMAG presents an exhibition focussing on the research, reinterpretation and redisplay of their historic lace collection.

This exhibition will explore the relationship between textiles and space through a series of dramatic and ambitious new site sensitive installations

Annie Bascoul will display two existing pieces that work together as an
installation. Viewers enter the installation through a doorway in
Moucharabieh, a large-scale cotton screen created using the Alençon
lace technique. As they enter they will see Jardin de lit, lit de jardin, a
cotton and feather bed that floats above a brass wire version of the
erotic 16th century poem Le May — Annie Bascoul will display two existing pieces that work together as an installation. Viewers enter the installation through a doorway in Moucharabieh, a large-scale cotton screen created using the Alençon lace technique. As they enter they will see Jardin de lit, lit de jardin, a cotton and feather bed that floats above a brass wire version of the erotic 16th century poem Le May

Lost in Lace is the first exhibition programmed through the Crafts Council's biennial Fifty: Fifty scheme, through which the Crafts Council co-funds and co-produces an exhibition with a partner organisation chosen by open selection. Rosy Greenlees, Executive Director, Crafts Council said of the partnership: 'We are thrilled to be working with BMAG on this exciting inaugural Fifty:Fifty exhibition. Lost in Lace will encourage people to think about the fabric of the spaces we live in through extraordinary textile pieces created by prolific international artists. We believe this will draw new audiences to see the sort of contemporary craft that they may have never seen before.'

Rita McLean, Head of Museums & Heritage Services, BMAG added: 'BMAG is proud to be the first partner in the Crafts Council's new Fiffy:Fifty programme. We hope that Lost In Lace will increase public awareness of contemporary craft, regionally and nationally, through the exciting worldclass work it will present.'

Michael Brennand Wood (UK) will create a new work for the <i>Lost in Lace</i> exhibition.
The work will consist of a number of aluminium roundels that
incorporate military symbols such as planes, bombs and artillery. These
roundels, coloured red and black, will be fixed on to the wall and connected
using threads to create a constellation-like lace pattern — Michael Brennand Wood (UK) will create a new work for the *Lost in Lace* exhibition. The work will consist of a number of aluminium roundels that incorporate military symbols such as planes, bombs and artillery. These roundels, coloured red and black, will be fixed on to the wall and connected using threads to create a constellation-like lace pattern

The exhibition is curated by Lesley Millar MBE, Professor of Textile Culture at University for the Creative Arts. Millar received a Crafts Council Spark Plug Curator Award in 2009 to develop an ambitious, innovative and high quality exhibition concept and used the award to develop Lost in Lace. Millar explains: 'In this exhibition I have asked an international group of artists, makers, and designers to move beyond their usual margins of practice. My challenge was: how to shape the perception of the potentially radical relationship between the structure of lace networks and architectural space? Their responses have been to question the ways in which we move through space and the nature of boundaries and thresholds. With no defined narrative path through the exhibition, visitors will be encouraged to confront the same questions, as they are invited to move freely within, through and around the works.'

Chiharu Shiota (Japan) will construct a 9x9 metre web of interlacing black thread that will
feature a number of embedded white steps ‘trapped’ within the
calligraphic network. Visitors will be able to walk through the piece and
explore its spaces — Chiharu Shiota (Japan) will construct a 9x9 metre web of interlacing black thread that will feature a number of embedded white steps ‘trapped’ within the calligraphic network. Visitors will be able to walk through the piece and explore its spaces

29.10.2011—19.02.2012
Lost in Lace
Gas Hall at Birmingham Museum & Art Gallery
Chamberlain Square, Birmingham

Diana Harrison (UK) will present a six metre-length of cloth with each metre
representing a decade of her life. Harrison will burn, print and stitch the cloth
to expose the underlying structure and display it slightly proud of the gallery
wall to cast a pattern of shadows — Diana Harrison (UK) will present a six metre-length of cloth with each metre representing a decade of her life. Harrison will burn, print and stitch the cloth to expose the underlying structure and display it slightly proud of the gallery wall to cast a pattern of shadows

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Lost in Lace

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