Cover Image:
Sagrado (Sacred)
Paloma Castillo, hand embroidery with cotton threads on osnaburg, 132 x 64cm, 2017
神聖
CASTILLO:
PALOMA
EMBROIDERING
THE EVERYDAY
刺繡日常 30TH SEPTEMBER - 22TH OCTOBER 2022
Karin Weber Gallery is proud to announce the first solo presentation of Chilean textile artist Paloma Castillo. ‘Embroidering the Everyday’ represents a selection of Castillo’s signature stitched canvases, capturing the curious blend of personal and intimate, yet provocative and pop-cultural that represents the essence of her work.
Originally trained as a designer, Castillo followed in the footsteps of her mother and grandmother, both skilled seamstresses, to embrace textile and hand embroidery. Her medium of choice allowed her to fuse her designer’s eye and focus on imagery and the visual with the challenging craftsmanship and the meditative process of stitching.
The resulting artworks can be read as miniature ‘mind maps’, processing Castillo’s observations of daily and political life in Chile alongside her personal experiences, with an added layer of mythology and a playful sense of humour. They bustle with life as superheroes, insects and flowers jumble alongside biblical figures, everyday objects such as power cables, and Chilean icons like maraquetta bread rolls and guatero hot water bottles.
Femininity and the power of the female are crucial themes in Paloma Castillo’s textile compositions. The figure of Eve, as life giver, but also as ostracized sinner, recurs frequently – as the already-crucified figure, about to trigger the downfall of Man, in Costilla de Adan (2016), as a lonely provider goddess in Deidad (2021), equally abandoned, chastised and instrumentalised in Madres I-III (2015-16). Castillo brings her own views on female empowerment (or the lack of) in Chilean society into play. In traditionally religious communities, there is often no tolerance for ‘fallen’ or, likewise, overly powerful women.
Science meets spirituality in curious juxtapositions throughout the work. Power cables in several works not only symbolize the literal seizing or connecting to power, but also its potential for corruption. Hence the subject of Sagrado Enchufe (2017) is a male figure combusting from the snake-shaped power cable within, linking the science back to a core biblical theme. Lightbulbs present in Madres II (2016) and in the hand of the El Ego (2017) figure (a parody of ex- US President Donald Trump) serve to illuminate conflict and loss.
A third theme recurring throughout Castillo’s textiles is socio-political commentary, both on a local and global scale. Brigada uses some of
INTRODUCTION 4
Castillo’s favourite animals such as frogs as metaphors for opportunistic citizens, amphibian style. Pan, once again a single male figure in a sickle T-Shirt clutching a handful of maraquetta rolls resonates with elements of socialist realism, and the single mother – goddess figure in Deidad clutches at the cross that suggests she has been declined for government support during the pandemic.
Textile art has only recently gained prominence and popularity in the global art world. Traditionally regarded as a craft, primarily in the female and domestic domain, it took 20th century Western – and also female –artists such as Anni Albers in Bauhaus Germany and Louise Bourgeois in Paris and New York to reinvent the world of textile as a medium of artistic expression. More recently, inter-disciplinary artists like Faith Ringgold and Kiki Smith, both in the US, have integrated textile into their practice in the form of quilts and tapestries. Paloma Castillo has mastered an established medium which is already receiving more focus and interest in new, fresher interpretations.
Karin Weber Gallery, October 2022
‘Embroidering the Everyday’ Installation photo, Karin Weber Gallery, Hong Kong, 2022
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由此產生的作品可以被理解為藝術家的「思維導圖」，將她對智利日常生活和政 治的觀察與個人經歷結合起來，加上了神話故事和幽默感。他們當中有超級英 雄、昆蟲、花朵、宗教人物、日常生活物件例如電線、智利流行的豬仔包和熱水 袋。
女性主義和女性力量是 Castillo 的紡織作品中重要的主題。夏娃是生命賦予者， 但同時亦是被放逐的罪人，經常重現為-已被處死的形象，在《 亞當的肋骨》 (2016年)，將會引致男性的沒落，在《神》(2021年) 中作為孤獨的賦予女神， 亦同樣在《母親I-III》( 2015-16 年)中被放逐、懲罰和被工具化。 Castillo 以幽默 的方式去表達她對女性在智利社會中被奪去的權力的看法。在傳統的宗教社會， 並沒有對失去或擁有權力的女性的寬恕。
科學與靈性在 Castillo 的作品中有著奇怪的並列。幾件作品中的電線不止象徵著 字面上掌握或連接著電源，更代表潛在的腐敗。《神聖的連繫》(2017年)的主題 是一個男人由內裏的蛇形電線引起燃燒，將科學連回聖經的中心思想。在《母親 II》(2016年)中的燈泡和在《自我》(2017年)中人物(對前美國總統特朗普的戲謔 性的模仿)手上的燈泡顯現出衝突。
第三個主題常見於 Castillo 的作品是對於本地以至國際社會政治的評論。《 大 隊》以 Castillo
凱倫偉伯畫廊榮幸地舉行智利紡織藝術家Paloma Castillo的首次個展。展覽「刺 繡日常」精選了 Castillo 標誌性的刺繡，捕捉了她作品中的精髓，融合了私密、 挑釁性和流行文化 。 Castillo 最初是一名設計師，展轉間跟隨同為熟練的裁縫的祖母與母親的腳步， 擁有紡織和手工刺繡的技能。她利用設計師的眼光專注於圖像及視覺，與刺繡過 程融為一體。
一些最喜歡的動物，例如青蛙比喻成機會主義者。《麵包》再次 以一個穿著鐮刀T恤、拿著一堆豬仔包的男性形象去呼應社會主義者的現實主義 元素。而在《神》中而女神形象呈現的單親母親舉著的交叉標記代表她在疫情時 於政府的援助中被排除。 紡織藝術直到最近才在全球藝術界嶄露頭角並廣受歡迎。傳統上被認為是一種「 手工藝」，尤其在女性和家庭領域中非常重要，20世紀西方女性藝術家，如德國 包豪斯的安妮·亞伯斯和巴黎及紐約的路易絲·布爾喬亞，將紡織重塑為藝術表 達的媒介。最近，跨領域藝術家如同樣來自美國的林戈德和奇奇·史密斯，均將 紡織融入棉被與掛毯。Paloma Castillo精通這已經獲得了更多關注的媒介，並帶 出新鮮的詮釋。 凱倫偉伯畫廊，2022年10月 引言 7
ARTWORKS PALOMA CASTILLO
10 Pan (Bread) 麵包 hand embroidery with cotton threads 84 x 55cm 2020
11 (Bread) 麵包 threads and sequins on osnaburg 55cm 2020
12 Brigada (Brigade) 大隊 hand embroidery with 46.5 x 2021
13 (Brigade) 大隊 cotton threads on jute 99cm 2021
14 Deidad 神 hand embroidery with cotton 106 x 2021
Deidad (Deity) 神 cotton threads on linen 57cm 2021 15
Eva (Eve) 夏娃 hand embroidery with cotton 125 x 2021 16
(Eve) 夏娃 cotton threads on linen 66cm 2021 17
Madres I (Mothers 母親 hand-embroidery with cotton 120 x 2015 18
(Mothers I) 母親 I cotton threads on osnaburg 84cm 2015 19
20 Madres II (Mothers 母親 hand-embroidery with cotton 88 x 93cm 2016
(Mothers II) 母親 II cotton threads on osnaburg 93cm 2016 21
Madres III (Mothers 母親 hand-embroidery with cotton 94 x 92cm 2016 22
(Mothers III) 母親 III cotton threads on osnaburg 92cm 2016 23
Costilla de Adán 亞當的肋骨 hand-embroidery with cotton 100 x 108cm 2016 24
Adán (Rib of Adam) 亞當的肋骨 cotton threads on osnaburg 108cm 2016 25
El Hombre
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Cósmico 宇宙男人 hand embroidery with 40 x 39cm 2021
27 Cósmico (The Cosmic Man) 宇宙男人 cotton threads on jute 39cm 2021
El Ego (The 自我 hand embroidery with cotton 53 x 86cm, 92 x 2017 28
(The Ego) 自我 cotton threads on osnaburg x 52cm diptych 2017 29
Vanitas 虛無 hand embroidery with 52 x 41cm 2020 30
(Vanity) 虛無 cotton threads on jute 41cm 2020 31
32 Mr. Músculos 威猛先生 hand embroidery with cotton 82.5 x 2019
(Mr. Muscles) 威猛先生 cotton threads on cotton fabric 57cm 2019 33
Sagrado 神聖 hand embroidery with cotton 132 x 2017 34
(Sacred) 神聖 cotton threads on osnaburg 64cm 2017 35
Sagrado Enchufe (Sacred 神聖的聯繫 “hand embroidery with cotton 85.5 x 2017 36
(Sacred Connection) 神聖的聯繫 cotton threads on osnaburg 46cm 2017 37
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‘Embroidering the Everyday’ Installation photo, Karin Weber Gallery, Hong Kong, 2022
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‘Embroidering the Everyday’ Installation photo, Karin Weber Gallery, Hong Kong, 2022
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‘Embroidering the Everyday’ Installation photo, Karin Weber Gallery, Hong Kong, 2022
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‘Embroidering the Everyday’ Installation photo, Karin Weber Gallery, Hong Kong, 2022
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‘Embroidering the Everyday’ Installation photo, Karin Weber Gallery, Hong Kong, 2022
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ARTIST
PALOMA CASTILLO
Born in 1965, in Antofagasta, Chile
Currently lives and works in Santiago, Chile Education 1986
Bachelor in Visual Arts, ARCIS Institute, Santiago, Chile
Solo Exhibition 2022
‘Embroidering the Everyday’, Karin Weber Gallery, Hong Kong 2021
‘Ad Hominem’, Isabel Croxatto Galería, Santiago, Chile 2020
‘Ex Post’(Afterwards), Isabel Croxatto Galería, Santiago, Chile 2019
‘Nadie nos sacó a bailar’, Galería AQUÍ, Santiago, Chile 2018
‘¡He aquí el hombre!’(Behold the Man), Galería de Arte Posada del Corregido, Santiago, Chile 2016
‘Paisaje doméstico’(Domestic Landscape), Galería PANAM, Santiago, Chile 2015
‘Bordados’(Embroideries), Galería Café Bolonia, Santiago, Chile
Group Exhibition 2022
Fine Art Asia, Karin Weber Gallery, Hong Kong ‘Festín de Arte N°22’, Isabel Croxatto Galería, Santiago, Chile 2021
‘Cuir’(explore),Isabel Croxatto Galería, Santiago, Chile
‘Art Central Capsule’, Isabel Croxatto Galería, online exclusive 2020
‘El Mundo al Instante N°1’, Isabel Croxatto Galería, Santiago, Chile ‘arteBA - Special Edition’, Isabel Croxatto Galería, online exclusive ‘otra feria’, Isabel Croxatto Galería, online exclusive 2019
‘Quatre artistes chiliens’(4 Chilie Artists), La Fenêtre Atelier d’Arts, Saint-Julien-du-Sault, France
‘Art Paris’, Galerie des Petits Carreaux, Paris, France
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2018 ‘Cuerpos cavernosos’, Galería Taller Emilio Vaisse, Santiago, Chile 2017
‘Día de la Mujer’, Corte Suprema de Justicia, Santiago, Chile ‘CGC’, Galería Puerta Azul, Santiago, Chile ‘America!’, Galerie des Petits Carreaux, Saint Briac, France 2016 ‘Hilando fino’(Fine Stitching), Espacio O, Santiago, Chile ‘Festival de Arte Erótico’, Santiago, Chile 2013 ‘Muestra Colectiva’(Collective Exhibition), Galería Trece, Santiago, Chile
Collections Private Collections
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CASTILLO
1965年生於智利安托法加斯塔
現生活並居住於智利聖地牙哥
學歷 1986 畢業於智利聖地牙哥ARCIS藝術文學士
個展 2022 「刺繡日常」，香港凱倫偉伯畫廊 2021
「人身攻擊」，智利聖地牙哥Isabel Croxatto Galería 2020 「之後」，智利聖地牙哥Isabel Croxatto Galería 2019
「Nadie nos sacó a bailar」，智利聖地牙哥Galería AQUÍ 2018 「看這個人」，智利聖地牙哥Galería de Arte Posada del Corregido 2016 「國內景觀」，智利聖地牙哥Galería PANAM 2015 「刺繡」，智利聖地牙哥Galería Café Bolonia 聯展 2022 典亞藝博，凱倫偉伯畫廊
「Festín de Arte N°22」，智利聖地牙哥Isabel Croxatto畫廊 2021
「探索」，智利聖地牙哥Isabel Croxatto畫廊
「Art Central Capsule」，Isabel Croxatto畫廊線上展覽 2020
「El Mundo al Instante N°1」，智利聖地牙哥Isabel Croxatto畫廊
「arteBA - Special Edition」，Isabel Croxatto畫廊線上展覽
「otra feria」，Isabel Croxatto畫廊線上展覽
La Fenêtre Atelier d’Arts
Art Paris」，法國巴黎Galerie des Petits Carreaux
Cuerpos cavernosos」，智利聖地牙哥Galería Taller Emilio Vaisse
Día de la Mujer」，智利聖地牙哥Corte Suprema de Justicia
CGC」，智利聖地牙哥Galería Puerta Azul
Galerie des Petits Carreaux
Espacio O
Festival de Arte Erótico」，智利聖地牙哥
PALOMA
2019 「智利藝術家聯展」，法國聖于連迪索
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2018 「
2017 「
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「美國！」，法國聖布里亞克
2016 「精美的刺繡」，智利聖地牙哥
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53 2013 「聯合展覽」，智利聖地牙哥Trece畫廊 收藏 私人收藏
Established in 1999 by German-born Karin Weber and now in its 23rd year, Karin Weber Gallery is one of Hong Kong’s oldest contemporary art galleries. Situated on Aberdeen Street, in the heart of SoHo, the gallery presents a yearround program of curated exhibitions, talks, and collector events.
As unique network of partners based in London and Mumbai allows us to source emerging and established contemporary art from around the world. We are equally passionate about presenting works by local artists. The gallery assists artists through exhibitions, art fairs, and residency programs throughout the world. Small in size, yet global in outlook, Karin Weber Gallery is one of Hong Kong’s truly international boutique galleries.
凱倫偉伯畫廊在1999年由德國的Karin Weber女士創立，今年踏入第23年，是香港 其中一間最具歷史的當代藝術畫廊。畫廊位於蘇豪區鴨巴甸街，我們每年策劃不同的 展覽、講座及活動給藏家參與。
我們的合夥人於倫敦和孟買有辦事處，使我們能夠幾乎遍布世界各地為客戶提供服務 並蒐尋新晉和有豐富經驗的藝術家。我們熱愛把香港本地的藝術推介給全球的藏家。
我們畫廊代表的藝術家通過藝術博覽會，與其他畫廊的交流，還有駐留計畫發展自己 的事業。面積雖不大，但放眼全球，凱倫偉伯畫廊是香港真正國際化的精品畫廊之 一。
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