8 April to 11 September 2022
Meier Building

In the early seventies, Teresa Lanceta (Barcelona, ​​1951) made the decision to weave as a means of artistic expression, forcing the limits of what is or is not considered art. Her approach to weaving focuses on formal elements, on what makes fabrics original and unique: the threads, materials, traditions and techniques. A way of making without a preliminary cartoon, in which subject and background, object and language, support and image are constructed simultaneously, without retracing her steps and accepting mistakes.

Weaving has allowed Lanceta to understand a primal and universal code with a clear inner law, a law that crosses physical, temporal and cultural boundaries, that feeds the creative imagination and from which to develop a personal language. Her work is not blind to ecological reflection and claims the utility of art and collective creation versus the idea of individual genius. Collective art is not to be considered as a unifying magma or a giant hand that encompasses everything, but as the result of the creativity of specific people, an open code that allows its reading, transformation and transmission.

This exhibition spans Lanceta’s entire career from the seventies to the present, and includes a wide selection of her tapestries, canvases, paintings, drawings, writings and videos, offering the most comprehensive approach to her work to date. In addition, Lanceta has invited other authors to contribute to the exhibition: La Trinxera, Olga Diego, Leire Vergara, Nicolás Malevé, Virginia García del Pino, Pedro G. Romero, Paula Crespo, Isabel Carballo and the project Els oficis del Raval, in collaboration with the IES Miquel Tarradell and the Museum’s Department of Education (2020–22).

The exhibition is a co-production of the MACBA Museu d’Art Contemporani de Barcelona and the Institut Valencià d’Art Modern (IVAM), curated by Nuria Enguita in collaboration with Laura Vallés.

Since the beginning, Lanceta has remained faithful to the loom and weaving as a way of expressing an artistic will. Her interest in repetitive forms – such as the stripe, triangle or rhombus – does not respond so much to their intrinsic expressive and symbolic qualities as to their ability to communicate a way of being in the world, of living and talking about life. The transmission and mutation of forms unites past and future, tradition and creativity, technique and thought. And that is where Lanceta’s original synthesis is produced, the heart of her work, which has led her to delve into historical and social issues including other techniques and ways of making, such as video, drawing and storytelling. The survival of the other, and the memory of the other, is present in almost all of her work. She is interested in women’s work by means of non-verbal communication of histories and affections or the different forms of community life. Throughout her career, fabric has been a motif, material and mode of creation, which has been transformed through various approaches and themes.

Curated by

Núria Enguita
My work is my body, my body is my work.
Helena Almeida