Summarize this content to 2000 words in 6 paragraphs in Arabic Unlock the Editor\u2019s Digest for freeRoula Khalaf, Editor of the FT, selects her favourite stories in this weekly newsletter.Sadler\u2019s Wells East, a new dance centre for the UK in London\u2019s Queen Elizabeth Olympic Park, opens its doors next month after much anticipation. Architects O\u2019Donnell and Tuomey have created a tactile brick building, fitted out with wood and glazed ceramics, and hung with a neon entrance sign. But step inside and arguably the most impressive details are the two magnificent tapestries hanging either side of the central atrium. Titled \u201cThe In Breath\u201d and \u201cThe Out Breath\u201d, they feature a vibrant woven pattern on a deep black background \u2014 hints of figures through an archway open out on one of them, while a rippling coloured sun is on the other. They fill the space with warmth and movement.\u00a0\u201cI felt these curtain walls deserved a tapestry,\u201d says the Irish artist behind the pieces, Eva Rothschild. She was inspired by John Piper\u2019s tapestries in Chichester Cathedral and Graham Sutherland\u2019s spectacular tapestry dominating the north end of the new\u00a0Coventry Cathedral. \u201cTapestries have warmed, softened and humanised our communal spaces throughout history,\u201d she says. Many contemporary artists and makers are in agreement and are creating works that are reframing the medium.\u00a0\u00a0Rothschild created her pieces with the Tapestry Studio at West Dean College of Arts and Conservation. In 2016, she had been the first artist to benefit from their open call and had created \u201cThe Fallowfield\u201d (2018), now in the collection of the Tate. Her own gallery, Modern Art, had funded a further project, \u201cRings of Saturn\u201d (2019), and through this, she had both developed her own proprietary colours \u2014 the vibrant red, bright green, purplish blue and emphatic egg-yolk yellow seen in the Sadler\u2019s Wells tapestries \u2014 and chosen for the warp and much of the background a profound black. She loves that wool is non-reflective: \u201cIt completely absorbs the gaze, so that it creates a world of its own.\u201d\u00a0These are the largest tapestries that West Dean College, one of only two professional tapestry studios in the UK and known for its collaborations with artists including Howard Hodgkin, Tracey Emin and Martin Creed, has ever made, says its studio leader Philip Sanderson.\u00a0In the early years of the studio, from 1976 through the 1980s, their primary clients were large corporations seeking to soften their monolithic steel, concrete and glass headquarters. Le Corbusier, the founding Modernist architect, had long seen the potential for tapestries\u00a0 \u2014 \u201cnomadic murals\u201d, as he called them \u2014 to work amicably with modern architecture. But more recently, artists themselves have led the trend. Sanderson has seen an upsurge of interest in tapestry from both collectors and makers; and there are plenty of places to appreciate it in the coming months. White Cube gallery often showcases tapestry, and a number of pieces by the late artist Etel Adnan, who worked with the renowned Pinton tapestry mill in Aubusson, France, are on show in its New York space in the exhibition Etel Adnan: This Beautiful Light until March 1. A tapestry by another of the gallery\u2019s represented artists, Michael Armitage\u2019s \u201cJohn Barry, O Kelly, Sonny and Richard Moore (\u2018Everyday Heroes\u2019) 2022\u201d, also woven at West Dean, was recently acquired by the National Portrait Gallery. Liverpool-born artist Chila Burman has designed a tapestry for her solo show at Manchester\u2019s Imperial War Museum North, on display until August 31.Meanwhile, as part of her solo show at South London Gallery (until May 11), Christina Kimeze, winner of the 2022 Denis Mahon Award, will include a tapestry. This was woven by Dovecot Studios, in Edinburgh, which has been creating artist-led tapestries since 1912.Director Celia Joicey explains that after almost collapsing at the end of the 1990s, the studios were rescued by philanthropists Alastair and Elizabeth Salvesen, who were determined \u201cto keep the weavers working\u201d. In 2008, Dovecot opened new studios in an old Victorian bath house, and is now the biggest tapestry studio in the UK, operating high-warp looms in the Arts and Crafts tradition of William Morris rather than the Renaissance-style, low-warp looms of the famous older Gobelins and Aubusson centres in France.\u00a0Commissions come from both private and public institutions (such as the RB Kitaj and Patrick Caulfield tapestries for the British Library, in 1996-97 and 2005 respectively, and the recent Royal Museums Greenwich collaboration with Alberta Whittle), as well as philanthropists and artists. Last year Dovecot collaborated with Rachel Maclean and Tania Kovats, among\u00a0others, with Maclean\u2019s piece\u00a0created for the Paris Olympics. The studio has just warped the loom for a major commission with artist Hurvin Anderson for Lincoln College Oxford.Joicey traces the resurgence of interest in tapestry back to 2017 and the exhibition of the monumental piece \u201cThe Caged Bird\u2019s Song\u201d by Chris Ofili at London\u2019s National Gallery. Created with the support of The Clothworkers\u2019 Company, the idea that \u201ca contemporary tapestry made by a contemporary studio in collaboration with a contemporary artist should be shown in this prestigious central London venue\u201d was a game-changer.\u00a0This new enthusiasm, among artists and audiences alike, is driving a vibrant renaissance.Find out about our latest stories first \u2014 follow @ft_houseandhome on Instagram<\/p>\n","protected":false},"excerpt":{"rendered":"
Summarize this content to 2000 words in 6 paragraphs in Arabic Unlock the Editor\u2019s Digest for freeRoula Khalaf, Editor of the FT, selects her favourite stories in this weekly newsletter.Sadler\u2019s Wells East, a new dance centre for the UK in London\u2019s Queen Elizabeth Olympic Park, opens its doors next month after much anticipation. Architects O\u2019Donnell<\/p>\n","protected":false},"author":1,"featured_media":190033,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[65],"tags":[],"class_list":{"0":"post-190032","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-culture"},"_links":{"self":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/190032","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/comments?post=190032"}],"version-history":[{"count":1,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/190032\/revisions"}],"predecessor-version":[{"id":190034,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/190032\/revisions\/190034"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/media\/190033"}],"wp:attachment":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/media?parent=190032"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/categories?post=190032"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/tags?post=190032"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}