Manchester's Whitworth Gallery is currently playing host to an exhibition of textile art works imbued with pointed socio-cultural concepts. Pictured: Abakan Rouge III, by Magdalena Abakanowicz, 1970–71. Courtesy Toms Pauli Foundation

曼彻斯特的惠特沃斯画廊刚刚完成今年早些时候推出的MUMA翻新工程，目前正在主办一场纺织品展览，该展览将把手工艺领域的交叉变成了艺术。这个新展览以Magdalena Abakanowicz、Tracey Emin、Grayson Perry、Ghada Amer和Kimsulja等艺术家为特色，专门收集用来表达社会、政治或艺术思想的纺织品-正如策展人指出的那样，这种做法自20世纪60年代以来一直在增长。令人敬畏的作品-比如Faith Wilding‘s的网站-就像Crocheted Environment(又称“子宫房”)，代表了女权主义艺术家的浪潮。20世纪70年代，传统的国产工艺品创造了微妙的颠覆性艺术品；而安妮·威尔逊(Anne Wilson)精心缝制、破损的锦缎布片(第27号)和Ghada Amer刺绣的带有文字的日落-RFGA则展示了当代艺术家如何继续受到这些早期开拓者的影响。

其他的艺术作品涉及身份和国家的政治，以及数字时代手工制作的价值。例如，劳伦斯勒莫阿纳的织物和刺绣作品-我没有参加贫穷的斗争-是一个由非洲人国民大会旗帜组成的标志，它重新诠释了非洲人国民大会前通信主管斯穆茨·恩冈山(Smuts Ngonyama)在2007年被指控为不公平商业行为时发表的一份备受引用的声明。

除了老一套的才艺之外，该节目还引入了一些新的名字，比如玛丽·西班德(MarySibande)，她的作品探讨了南非种族隔离后的身份和围绕黑人女性身体的

纺织品是表达当前政治和社会问题的有力媒介。馆长詹妮弗·哈里斯(Jennifer Harris)说，他们对本地和全球的价值提出了质疑，使他们成为批评全球资本主义和生产同质化的理想工具。他们的历史以及与女性和国内手工艺品的密切联系，证明了在一个高速、数字化的时代，人们对手工制作和触觉的兴趣恢复了。世界各地的女权主义问题也有了新的紧迫性，使人们重新审视上世纪70年代和80年代的女权主义作品。

The show draws on the museum's 20,000-strong collection of dress and textile objects from across the world

Key themes include issues of feminism and politics of identity and nationhood, as well as the value of the handmade in the digital age. Pictured left: Sophie Velucia and Madame CJ Walker, by Mary Sibande, 2009. Courtesy of the artist and Gallery Momo, Johannesburg. Right: Dispersions (no. 27) (detail), by Anne Wilson, 2014. Courtesy Toms Pauli Foundation

The creation of textiles made to express social, political or artistic ideas is a practice that, as the curators note, has been growing since the 1960s

Lawrence Lemaoana’s fabric and embroidery work is a sign made of the African National Congress flag that reinterprets the much-quoted statement made by former head of communications for the ANC. Pictured: I Did Not Join The Struggle To Be Poor, by Lawrence Lemaoana, 2015. Courtesy the artist and Afronova, Johannesburg

Pieces like Dorothea Tanning's De Quel Amour and Faith Wilding's web-like Crocheted Environment, represent the new wave of feminist artists who reappropriated traditional domestic crafts to create subversive artworks in the 1970s. Pictured left: De Quel Amour, by Dorothea Tanning, 1970. Courtesy Centre Pompidou and Musee National d'Art Moderne. Right: Crocheted Environment, by Faith Wilding, 1972/1995. Photography: Charles Mayer. Courtesy Institute of Contemporary Art, Boston

Artists like Wilding and Tanning paved the way for contemporary names such as Ghada Amer, who's embroidered Sunset with Words – RFGA is emblazoned with the words “Nobody gives you power you just take it”, across a rainbow background. Pictured: Sunset With Words – RFGA, by Ghada Amer, 2013

keywords:Tracey Emin, Textiles, Manchester

关键词：Tracey Emin，纺织品，曼彻斯特