 previous article in this issue | next article in this issue  |
Preview first page |
Document Details : Title: Tapta - Simone Guillissen-Hoa Subtitle: Collaborations et dépassements des frontières, entre arts textiles et architecture Author(s): VRANKEN, Apolline , MAMET, Virginie Journal: Tijdschrift voor Interieurgeschiedenis en Design Volume: 46 Date: 2024 Pages: 105-120 DOI: 10.2143/GBI.46.0.3293686 Abstract : In Belgium, during the interwar period, the first architects and weavers trained at La Cambre began to practice as professionals. Taking into account the historical context of the binarisation of genders (men/women) and disciplines (architecture/decorative arts; major arts/minor arts), the study of the relationship, both friendly and professional, between two important women artists from the same generation will explore the scales of artistic creation as well as the gender-related implications at stake in the relationship between sculpture, textiles and architecture, as well as the networks between female artists, enabling the circulation of creative ideas, solidarity in the professional field and access to commissions. The practitioners in question are the architect Simone Guillissen-Hoa (née Simone Hoa; Beijing, 1916 - Brussels, 1996) and the sculptor Tapta (née Maria Irena Boyé; Kościan, 1926 - Brussels, 1997). An analysis of three of Tapta’s work-objects – bridge objects in her relationship with Guillissen-Hoa – will shed light on the evolution of Tapta’s work and, more generally, on the changing status of textile arts and 'women’s arts'. The analysis approaches their productions and collaborations from a multi-scalar perspective, breaking down the strict boundaries that traditionally separate utilitarian objects from works of art, and furniture from architecture. In order to move beyond bicategorisation (in all senses of the term) and retrace constellations that have until now been 'forgotten' – as women’s artistic production and qualities were long legitimised by summoning male names – the mobilisation of the theoretical field articulating gender and art will allow us to apprehend and understand the conditions of production and the emergence of these artists and their work. Finally, the study of unpublished archival material reveals an as yet unexplored interpersonal history. |
|
