TXtile Zine

🟥 A DAY AS A WITNESS by @monnalisa_salvati “Io, Testimone” (I, Witness) Zehra Doğan’s exhibition curated by Francesca Guerisoli and currently hosted at the MACTE in Termoli IT, cannot leave anyone indifferent. Not even the distracted eye of a casual visitor can fail to grasp the Artist’s cry of protest, as she bears witness to the suffering caused by war. A living witness, I would add, since as a correspondent she first reported on – and later paid with imprisonment for exposing .- the devastation of war. Accused and convicted over an artwork documenting the destruction of the Turkish city of Nusaybin, Doğan spent nearly three years imprisoned in Tarsus Prison. Deprived of any painting materials, she devised a way to use the backs of letters sent by a friend to create the work that later became part of the graphic novel presented as an installation opening the exhibition. 🟥 Read more in #TXtileZine ⤵️ /en/a-day-as-a-witness/ LINK IN BIO 📷 photo Gianluca Di Ioia – GDI STUDIO #txtilezine #textileartsplatform #zehradoğan #mactetermoli

🟥 A DAY AS A WITNESS by @monnalisa_salvati “Io, Testimone” (I, Witness) Zehra Doğan’s exhibition curated by Francesca Guerisoli and currently hosted at the MACTE in Termoli IT, cannot leave anyone indifferent. Not even the distracted eye of a casual visitor can fail to grasp the Artist’s cry of protest, as she bears witness to the suffering caused by war. A living witness, I would add, since as a correspondent she first reported on – and later paid with imprisonment for exposing .- the devastation of war. Accused and convicted over an artwork documenting the destruction of the Turkish city of Nusaybin, Doğan spent nearly three years imprisoned in Tarsus Prison. Deprived of any painting materials, she devised a way to use the backs of letters sent by a friend to create the work that later became part of the graphic novel presented as an installation opening the exhibition. 🟥 Read more in #TXtileZine ⤵️ /en/a-day-as-a-witness/ LINK IN BIO 📷 photo Gianluca Di Ioia – GDI STUDIO #txtilezine #textileartsplatform #zehradoğan #mactetermoli

🟥 UN GIORNO DA TESTIMONE di @monnalisa_salvati “Io, Testimone”, la mostra di Zehra Doğan a cura di Francesca Guerisoli, attualmente ospitata al MACTE di Termoli, non può lasciare indifferente. Nemmeno l’occhio distratto di un visitatore occasionale può non cogliere l’urlo di protesta dell’Artista, testimone, appunto, della sofferenza causata dalla guerra. Viva testimone, aggiungerei, visto che, in qualità di inviata ha prima raccontato e poi pagato con la prigionia, lo scempio della guerra. Accusata e condannata per un’opera che documentava la distruzione della città turca, Nusaybin, Doğan ha scontato nel carcere di Tarso quasi 3 anni di prigionia.  🟥 Leggi di più su #TXtileZine ⤵️ /un-giorno-da-testimone/ LINK IN BIO #zehradoğan #macte #termoli #txtilearts

🟥 STITCHING MEMORY AND BELONGING: IN CONVERSATION WITH SHAMILLA AASHA #shamillaaasha (Hwange, 1977) is a #zimbabweanartist and educator based in Bulawayo, whose practice unfolds at the intersection of painting, textile art, and mixed-media experimentation. Her work is distinguished by a richly layered and deeply symbolic visual language through which she explores themes of cultural identity, spirituality, memory, and the condition of women in contemporary Zimbabwe. Trained at the Bulawayo School of Art & Design, where she earned a Diploma in Textile Design in 2000, Aasha has developed an artistic practice that transcends traditional disciplinary boundaries, moving fluidly between painting, embroidery, assemblage, textile installation, and soft sculpture. Central to her research is the reclaiming of textile as a space of storytelling and cultural transmission — a process that gained renewed prominence in her work from 2018 onward, shaped by reflections on her multicultural identity as a woman of Shona and Indian heritage raised in the Matabeleland region. 🟥 Read more on #TXtileZine ⤵️ /en/stitching-memory-and-belonging-in-conversation-with-shamilla-aasha/ LINK IN BIO #textileartsplatform #textileartists 📷 Shamilla Aasha Quiet Revolutions Part 1, 2025 Sewing patterns, ink, fabric and thread on canvas

🟥 STITCHING MEMORY AND BELONGING: IN CONVERSATION WITH SHAMILLA AASHA #shamillaaasha (Hwange, 1977) is a #zimbabweanartist and educator based in Bulawayo, whose practice unfolds at the intersection of painting, textile art, and mixed-media experimentation. Her work is distinguished by a richly layered and deeply symbolic visual language through which she explores themes of cultural identity, spirituality, memory, and the condition of women in contemporary Zimbabwe. Trained at the Bulawayo School of Art & Design, where she earned a Diploma in Textile Design in 2000, Aasha has developed an artistic practice that transcends traditional disciplinary boundaries, moving fluidly between painting, embroidery, assemblage, textile installation, and soft sculpture. Central to her research is the reclaiming of textile as a space of storytelling and cultural transmission — a process that gained renewed prominence in her work from 2018 onward, shaped by reflections on her multicultural identity as a woman of Shona and Indian heritage raised in the Matabeleland region. 🟥 Read more on #TXtileZine ⤵️ /en/stitching-memory-and-belonging-in-conversation-with-shamilla-aasha/ LINK IN BIO #textileartsmagazine #textileart 📷 Shamilla Aasha Sorority 2, 2026 woven fabric and netting 45¼ x 39⅜ in. 115.00 x 100.00 cm

🟥 CUCIRE MEMORIA E APPARTENENZA: IN CONVERSAZIONE CON SHAMILLA AASHA Shamilla Aasha (Hwange, 1977) è un’artista e docente zimbabwese residente a Bulawayo, la cui pratica si sviluppa all’intersezione tra pittura, arte tessile e sperimentazione di tecniche miste. Il suo lavoro si distingue per un linguaggio visivo stratificato e profondamente simbolico, attraverso il quale esplora temi legati all’identità culturale, alla spiritualità, alla memoria e alla condizione femminile nello Zimbabwe contemporaneo. Formatasi presso la Bulawayo School of Art & Design, dove nel 2000 ha conseguito un Diploma in Textile Design, Aasha ha sviluppato nel tempo una pratica artistica che trascende i tradizionali confini disciplinari, muovendosi fluidamente tra pittura, ricamo, assemblaggio, installazione tessile e soft sculpture. Centrale nella sua ricerca è il recupero del tessile come spazio di narrazione e trasmissione culturale – un processo che, a partire dal 2018, ha assunto una nuova centralità nel suo lavoro, alimentato da riflessioni sulla propria identità multiculturale di donna di origine shonae indiana cresciuta nella regione del Matabeleland. 🟥 leggi l'articolo completo su @tx_tilezine ⤵️ /cucire-memoria-e-appartenenza-in-conversazione-con-shamilla-aasha/ LINK IN BIO #shamillaaasha #TXtileZine #textileartist #zimbabwe #txtilezine 📷 Shamilla Aasha Sorority 1, 2026 woven fabric and netting 43¼ x 39⅜ in. 110.00 x 100.00 cm

🇬🇧 FLORENCIA MARTINEZ WITH PUERTAS Y PAREDES AT GILDA CONTEMPORARY ART, MILAN What is the nature of a threshold? To what extent can seemingly univocal elements such as a door or a wall be reinterpreted as symbolic devices, capable of redefining the relationships between space, body, and perception? These questions underpin Puertas y Paredes, an installation and performance project by Florencia Martinez, presented by Gilda Contemporary Art as part of the Fuorisalone del Mobile 2026. The work investigates the concept of the boundary, understood not as a fixed condition but as a dynamic field between separation and the possibility of crossing. 🔴 Read more on @TXtileZine 👇 /en/florencia-martinez-with-puertas-y-paredes-at-gilda-contemporary-art-milan/ LINK IN BIO #txtilezine #textileartsplatform #florenciamartinez #milan #gildacontemporaryart

🇬🇧 FLORENCIA MARTINEZ WITH PUERTAS Y PAREDES AT GILDA CONTEMPORARY ART, MILAN What is the nature of a threshold? To what extent can seemingly univocal elements such as a door or a wall be reinterpreted as symbolic devices, capable of redefining the relationships between space, body, and perception? These questions underpin Puertas y Paredes, an installation and performance project by Florencia Martinez, presented by Gilda Contemporary Art as part of the Fuorisalone del Mobile 2026. The work investigates the concept of the boundary, understood not as a fixed condition but as a dynamic field between separation and the possibility of crossing. 🔴 Read more on TXtileZine 👇 /en/florencia-martinez-with-puertas-y-paredes-at-gilda-contemporary-art-milan/ LINK IN BIO #txtilezine #textileartsplatform #florenciamartinez #milan #fiberartist

🇮🇹 FLORENCIA MARTINEZ CON PUERTAS Y PAREDES A GILDA CONTEMPORARY ART DI MILANO Qual è la natura di una soglia? In che misura elementi apparentemente univoci come una porta o una parete possono essere reinterpretati come dispositivi simbolici, capaci di ridefinire le modalità di relazione tra spazio, corpo e percezione? A partire da tali interrogativi si sviluppa “Puertas y Paredes”, progetto installativo e performativo di Florencia Martinez, presentato da Gilda Contemporary Art nell’ambito del Fuorisalone del Mobile 2026. L’opera è un’indagine sul concetto di limite, inteso non come condizione statica ma come spazio dinamico tra separazione e possibilità di attraversamento. 🔴 Leggi di più su @TXtileZine 👇 /florencia-martinez-con-puertas-y-paredes-a-gilda-contemporary-art-di-milano/ LINK IN BIO #TXtileZine #florenciamartinez #gildacontemporaryart #milano #fuorisalone2026

🇬🇧 IN VENICE, LAURA MEGA’S TEXTILE INSTALLATIONS AND THE RECOMPOSITION OF CONTEMPORARY FEELING The exhibition WHERE MY SOUL COMPILES presents works by Laura Mega and Daniel Pešta at Garibaldi Gallery in Venice, curated by Chiara ModIca Donà dalle Rose and promoted by Fondazione Donà dalle Rose in collaboration with MuMo – Museum Montanelli, Prague. The project develops an existential and psychological inquiry into the idea of a place – real or symbolic – where the soul gathers, recomposes itself, and ultimately expresses its deepest truth. In a present marked by fragmentation, instability, and widespread conflict, this reflection takes on particular urgency, pointing to the need for an inner space of stillness, emotional clarity, and genuine belonging. The title emerges from the intersection of an archaic spiritual imagination and the contemporary language of “code compilation,” a technical process through which heterogeneous elements are organized into a coherent and functional system; in this sense, the exhibition proposes a reading of human experience, both individual and collective, as a potential for the harmonious recomposition of memories, emotions, and values. [...] Within this framework, Laura Mega’s practice occupies a central position, unfolding through textile installations that create immersive environments in which the materiality of fabric—soft, vulnerable, and layered—becomes a narrative and emotional device. The gestures of sewing, embroidering, and assembling translate into a practice that intertwines intimate experience with collective memory, evoking processes of care and repair. 🔴 Read more on @tx_tilezine 👇 /en/in-venice-laura-megas-textile-installations-and-the-recomposition-of-contemporary-feeling/ LINK IN BIO 📷 HEAL YOUR HEART Padded and embroidered fabric 2026 Photo credit Vinicio Ferri #lauramega #TXtileZine #venice #textileartsplatform #txtilezine

🇬🇧 IN VENICE, LAURA MEGA’S TEXTILE INSTALLATIONS AND THE RECOMPOSITION OF CONTEMPORARY FEELING The exhibition WHERE MY SOUL COMPILES presents works by Laura Mega and Daniel Pešta at Garibaldi Gallery in Venice, curated by Chiara ModIca Donà dalle Rose and promoted by Fondazione Donà dalle Rose in collaboration with MuMo – Museum Montanelli, Prague. The project develops an existential and psychological inquiry into the idea of a place – real or symbolic – where the soul gathers, recomposes itself, and ultimately expresses its deepest truth. In a present marked by fragmentation, instability, and widespread conflict, this reflection takes on particular urgency, pointing to the need for an inner space of stillness, emotional clarity, and genuine belonging. The title emerges from the intersection of an archaic spiritual imagination and the contemporary language of “code compilation,” a technical process through which heterogeneous elements are organized into a coherent and functional system; in this sense, the exhibition proposes a reading of human experience, both individual and collective, as a potential for the harmonious recomposition of memories, emotions, and values. [...] Within this framework, Laura Mega’s practice occupies a central position, unfolding through textile installations that create immersive environments in which the materiality of fabric - soft, vulnerable, and layered - becomes a narrative and emotional device. The gestures of sewing, embroidering, and assembling translate into a practice that intertwines intimate experience with collective memory, evoking processes of care and repair. 🔴 Read more on @tx_tilezine 👇 /en/in-venice-laura-megas-textile-installations-and-the-recomposition-of-contemporary-feeling/ LINK IN BIO 📷 WALK ALL OVER ME Padded fabric and gold paint 3×2 m 2026 Photo credit Vinicio Ferri #lauramega #TXtileZine #venice #textileartsplatform #txtilezine

🇮🇹 A VENEZIA LE INSTALLAZIONI TESSILI DI LAURA MEGA E LA RICOMPOSIZIONE DEL SENTIRE CONTEMPORANEO La mostra WHERE MY SOUL COMPILES presenta le opere di Laura Mega e Daniel Pešta presso la Garibaldi Gallery di Venezia, a cura di Chiara Modìca Donà dalle Rose e promossa dalla Fondazione Donà dalle Rose e da MuMo – Museum Montanelli di Praga. Il progetto sviluppa un’indagine esistenziale e psicologica attorno all’idea di un luogo, reale o simbolico, in cui l’anima si raccoglie, si ricompone e giunge a esprimere la propria verità più profonda. In un presente segnato da frammentazione, instabilità e conflitti diffusi, tale riflessione assume un carattere di particolare urgenza, richiamando la necessità di individuare uno spazio interiore di quiete, lucidità emotiva e autentica appartenenza. Il titolo nasce dall’incontro tra un immaginario spirituale arcaico e il linguaggio contemporaneo della “code compilation”, processo tecnico attraverso cui elementi eterogenei vengono organizzati in un sistema coerente e funzionale;  la mostra propone dunque una lettura dell’esperienza umana, individuale e collettiva, come possibilità di ricomposizione armonica di memorie, emozioni e valori. In quest’ottica, la ricerca di Laura Mega si articola attraverso installazioni tessili che costruiscono ambienti immersivi in cui la materialità del tessuto, nella sua dimensione morbida, vulnerabile e stratificata, diventa dispositivo narrativo ed emotivo. Il gesto del cucire, del ricamare e dell’assemblare si traduce in una pratica che intreccia dimensione intima e memoria collettiva, evocando processi di cura e riparazione. 🔴 Leggi di più su @tx_tilezine 👇 /a-venezia-le-installazioni-tessili-di-laura-mega-e-la-ricomposizione-del-sentire-contemporaneo/ LINK IN BIO 📷 I’LL TAKE CARE OF YOU Embroidered burlap sacks filled with sand 2025 Photo credit Vinicio Ferri #TXtileZine #lauramega #venezia #textileartsplatform #txtilezine