The thesis explores tapestry exhibitions in Piran from the opening of the Piran Gallery in 1962 until the year 1986 with a special emphasis on international exhibitions and the biennial of tapestry. The thesis gradually develops the main topic: from the broader context of tapestry as an artistic medium to the presentations of individual exhibitions.
First, I outline the historical context of tapestry as an artistic medium, its characteristics and role in art. I describe how it changes and I mention the main centres of tapestry exhibitions. Then I discuss tapestry in Slovenia in the 20th century, mentioning the development and a few production centres. I also list some of the important tapestry exhibitions in our country during that period and the spaces for which artists created tapestries. In the next chapter, I highlight tapestry as a women’s medium. Then, I present a short history of Atelje 61 from Novi Sad, its role in tapestry production in former Yugoslavia, and its contribution to tapestry exhibitions in Piran. This is followed by a short history of Piran Coastal Galleries, where I write about their beginnings, development and their role in the context of tapestry exhibitions. Then, in individual chapters, divided by year, I present tapestry exhibitions, mentioning the participating artists and the artworks. I address the challenges the artists and curators came across due to the specific nature of tapestry as a medium.
The material used for the thesis comes primarily from the archives of Piran Coastal Galleries, The Museum of Modern Art in Ljubljana and Atelje 61 in Novi Sad. The archival material includes books, exhibition catalogues, newspaper articles, interviews, letters and photographs.
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