Klara Debeljak
Tkane skupnosti: Tekstilni obredi post-periferij
Raziskovalka in umetnica Klara Debeljak se v publikaciji, nastali v sklopu bienala tekstilnih umetnosti BIEN 2025, posveča intimnim portretom posameznikov, katerih življenjske poti in delo so tesno prepleteni z dediščino tekstilne proizvodnje v Sloveniji in zamejstvu. Publikacija prinaša pet profilov iz petih mest: Darja Okorn (Kranj), Vanda Klemenc in Aleksandra Džajić (Jesenice), Matjaž Rešek (Škofja Loka), Carolina Piccolomini Lantieri (Gorica) ter Edi in Slavka T. (Idrija).
Slovenija z zamejstvom zaradi svoje geografske, ekonomske in družbene specifike omogoča vpogled v preobrazbo skupnosti in urbanih prostorov, ki so se iz tekstilnih perifernih naselij razvili v sodobna mesta. Avtorica jih označi kot post-periferna mesta, ki danes znova vzpostavljajo odnose z globalnimi tokovi preko dediščine in sodobnih praks. V ospredje postavlja obrtne geste – klekljanje, vezenje, šivanje – kot protiutež avtomatiziranemu in odtujenemu ustvarjanju.
Vključeno vizualno gradivo je ustvarjeno v tehnikah globokega tiska, ki se čedalje bolj umikajo hitrim, digitalnim metodam. Publikacija odpira prostor refleksiji o vrednosti ročnega dela, subjektivnih zgodb in vmesnih prostorov, ki jih standardizirane produkcije prezrejo. Tkane skupnosti niso le dokumentacija nekdanjih praks, temveč povabilo k razmisleku o prihodnosti: kako lahko iz pozabljenih niti stkemo nova razmerja: med sabo, med materialnimi izročili in zgodbami prepletenih skupnosti ter prostori, ki jih naseljujemo.
Publikacija je nastala v produkciji Zavoda Carnica, ustanovitelja Bienala tekstilne umetnosti BIEN, in je sofinancirana s strani Evropske unije v sklopu projekta 101173725 — Knots and Patterns — CREA-CULT-2024-COOP.
EN BELOW:
Klara Debeljak
Woven Communities: Textile Rituals of the Post-Periphery
In this publication, created as part of the textile arts biennial BIEN 2025, researcher and artist Klara Debeljak presents intimate portraits of individuals whose lives and work are deeply intertwined with the heritage of textile production in Slovenia and its border regions. The publication features five profiles from five towns: Darja Okorn (Kranj), Vanda Klemenc and Aleksandra Džajić (Jesenice), Matjaž Rešek (Škofja Loka), Carolina Piccolomini Lantieri (Gorizia), and Edi and Slavka T. (Idrija).
Due to its specific geographical, economic, and social context, Slovenia and its cross-border territories offer a unique perspective on the transformation of communities and urban spaces, which have evolved from peripheral textile settlements into contemporary towns. Debeljak defines them as post-peripheral cities, which today are reestablishing connections to global currents through heritage and contemporary practices. She foregrounds artisanal gestures—bobbin lace-making, embroidery, sewing—as a counterpoint to automated and alienated forms of production.
The included visual material was created using intaglio printmaking techniques, which are increasingly being replaced by faster, digital methods. The publication opens a space for reflection on the value of manual labor, personal narratives, and the in-between spaces that standardized production often overlooks. Woven Communities is not just a documentation of past practices but an invitation to consider the future: how we might reweave new relationships from forgotten threads—between ourselves, material legacies, the stories of intertwined communities, and the spaces we inhabit.
The publication was produced by Zavod Carnica, the founder of the BIEN textile art biennial, and co-funded by the European Union within the framework of the project 101173725 — Knots and Patterns — CREA-CULT-2024-COOP.
