_{CELINA ECEIZA                                                              
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Mar. 27. - 28.Survival Strategies IV. – “Subversive Stitch”

Link to participate: https://lehetosegektere.hu/en/programok/survival-strategies-iv-subversive-stitch/


The fourth part of our Survival Strategies, the winter art workshop series of the Space of Opportunity, will be centred around the concept of the ‘social fabric.’

For a long time, making textiles and needlework were considered occupations or a form of folk art practised exclusively by women. The 1960s and 1970s saw an increasing number of female artists question this attitude and adopt textiles or various forms of needlework as the chief medium of their messages. While forgotten female oeuvres are being rediscovered and using textiles has become a vital trend in art, the form has not been widely acknowledged or admitted to the artistic canon.

When it comes to the collective traditions of working with textiles, the spinning rooms in the villages were the most important places for non-urban social life in wintertime up to the advent of modernization in the 20th century. In addition to being opportunities for working in company and for passing on skills (spinning, weaving, embroidery) from one generation to the next, these occasions were also important for the cultivation of connections, the exchange of information and entertainment – including for the men who dropped by. While the modern lifestyle has mostly deprived needlework of its usefulness, women’s activist groups around the world keep rediscovering this tradition – often in archaic women’s communities – and use it as a means of community action against social injustices.

The expression, ‘social fabric’ likens the structure of society to that of a textile composed of threads. The threads that make up this fabric are the institutions that define the confines within which society can or must function, as well as the invisible connections, norms and unwritten rules that hold it together. This year’s programme focuses on the socio-cultural environment that shapes identity, as well as on the need for collective care and protective spaces. The textile- and needlework-based methods introduced by the artists we have invited will allow participants to represent personal and collective stories. The sessions are also meant to facilitate the creation of momentary or permanent communities through the act of collective creation. You do not need any experience in needlework to participate in the workshop; we will create a space where anyone can work with textiles, regardless of their gender/affiliations/interests.

(1) The title refers to a 1984 book by British feminist art historian Rozsika Parker, in which she shows how, historically, needlework has been associated with femininity and the role of the passive housewife, and how, from the 19th century onwards, it became a means of resistance and self-expression for women.

March 27, 2026, 18.00 – 19.30 Presentation by Celina Eceiza
March 28, 2026, 11.00 – 17.00 Workshop with Celina Eceiza

“Drawing: the oldest, the most modern, the most difficult, and the cheapest means of expression in the world.”*

This statement, articulated in 1979 by América Sanchez (Buenos Aires, 1939) and Norberto Chaves (Buenos Aires, 1942 – Barcelona, 2024)—two Argentine designers, educators, and drawing enthusiasts living in Barcelona, who that same year wrote Promoción internacional para el estudio y la práctica autodidacta del dibujo (International Promotion for the Study and Self-Taught Practice of Drawing)—provides the conceptual framework for this workshop.

Is it possible to identify a practice shared by all human beings? While not universally cultivated, drawing is arguably one of the most widely experienced forms of expression. At some point, most people have used a pencil to sketch, trace, or doodle in order to communicate something that exceeded the limits of language.
Over time, drawing often becomes associated with skill, talent, or specialization, leading many to abandon it. This workshop challenges that assumption. It begins from the premise that drawing is not a matter of expertise but of gesture: a fundamental human capacity grounded in the movement of the hand.
No prior experience is required. We will approach drawing from its most elementary dimension — as a physical act that produces marks in space. By foregrounding gesture over representation, the workshop seeks to reposition drawing as a shared and accessible practice.

Participants will collectively construct a temporary textile architecture that functions both as environment and medium. The space itself will become the surface for inscription. Windows and doors will be outlined, baseboards will host small-scale interventions, and the soft walls will receive marks that extend according to the reach and scale of the body. Through these actions, drawing will operate not only as image-making but as spatial articulation.

Working collectively also introduces critical questions: Where does one gesture end and another begin? How is authorship negotiated on a shared surface? What forms of responsibility emerge when drawing becomes a relational act? Rather than conceiving drawing as imitation or reproduction, this workshop proposes it as a practice through which shared space is constructed and negotiated. The site of the workshop, located in direct contact with the street, further expands this inquiry. It invites consideration of permeability between interior and exterior, and raises the possibility of extending the drawing beyond the confines of the workshop space, engaging passersby as potential participants.

In this sense, drawing is approached not merely as a technique, but as a collective practice that redefines space, authorship, and participation.

*https://clubdeldibujo.com/…/09/01-CdD-Sanchez-Chaves.pdf




DIBUJO TE AMO



Ofrenda at HALLE FÜR KUNST Steiermark. Coproduction: Museo de Arte Moderno de Buenos Aires 25.10.2025–18.1.2026.https://halle-fuer-kunst.at/ausstellungen/celina-eceiza-ofrenda/#presse
Photo: kunst-dokumentation.com





Del 20 de septiembre al 23 de noviembre estoy participando de la 18 Bienal de Estambul con la obra “Un nido es una fruta que se hincha /A nest is a fruit that swells”. 2025



Punto de Fuga, muestra que celebra los 10 años de Móvil, curada por Sylvie Fortín, Solana Molina Viamonte y Alejandra Aguado. 




Ya quedo inaugurada mi muestra ¨Ofrenda¨, curada por Jimena Ferreiro en el Museo de Arte Moderno de Buenos Aires. Foto Josefina Tomassi.





Art Omi soft sculpture Museum. Residencia Art Omi , junio-julio 2024.





  

Desvelo. Curada por Carla Barbero; Moria galería, junio-julio 2023. Foto: Santiago Orti

Algunos cuerpos no tienen sombra. Abril 2023, en Mundo Dios, Mar del plata, Argentina

La vida terrenal reconquista al soñador [Earthly Life Reconquers the Dreamer], 2022. Site-sensitive installation: chalk on canvas, hand-dyed fabric, embroidery, burlap, carpets, soft sculptures and polychrome plaster sculptures, dimensions variable. View of the exhibition I don’t know you like that: The Bodywork of Hospitality at UB Anderson Gallery, Buffalo, NY, 2022 —2023. Curated by Sylvie Fortin. Courtesy of the UB Art Galleries, Buffalo. Photo: Biff Henrich/IMG-INK.