CHROACHYM AND MENTIS: Musings on Art and Fibre

On an incredibly hot day this past June, I strolled around the former industrial district in Athens and stumbled upon a rare gem: A happy marriage between Art and Fiber.
It was the very last day of an exhibition called Chroachym by Chrysanthi Koumianaki, as I read on the front door of the old Mentis factory - so I walked inside.

Chrysanthi Koumianaki, a greek artist, collaborated and got inspired by a small scale brocade factory called Mentis in Athens - which today houses the Centre for the preservation of traditional textile techniques of the prestigious Museum Benaki in Greece.

In the small booklet that served the role of a little catalogue one can read: 
“The artist entered into the microcosm of the factory: dense with sounds, colours and textures. She observed the internal landscape of the small industrial space; she watched, listened and noted and with every notation, every repetition a shift occurred. The machines’ language became movement, as dancers became carriers of her linguistic game, from code to code. The game is selective and it is personal; as personal as the story of Mentis itself and their legendary brocade business from its heyday to now.”

The brocade factory opened in 1867 to dress King Otto, the first King of Greece’s shortlived Monarchy. Later the factory's production expanded as a silk factory and it became one of Greece’s most famous producer of passementarie - the embellisments that decorated courtains of couture houses, traditional costumes, theater production and even army wear for over half a century. Today it survives as a reference to a by-gone era, less as a necessary production line but as a symbolic gesture, a cultural and historic heritage site.

Wonderful tassels, cords and edgings fill up the space everywhere and can be admired in midst all the industrial beauty of the old machines and tools. And there, right between the busy silk heaps, there are Koumianaki's delicate floating pieces of work: Intertwined, as if they always were a part of the setting. Listening with feminine attentiveness and speaking to us about the factory in a poetic and soft voice. Her work asks us to see the factory’s particularities - to see and to hear them anew, as they truly are - and that IS Art in my opinion. It makes people think and feel and challenge and decide and observe.
Making us more "human", I guess - and I love this feeling, even if I encounter it seldom!
Thank you Chrysanthi for this experience.

Since most of my own pictures are from the factory/museum itself, you can see more of the actual exhibition here, on Chrysanthi's site.

Just as a general side note: I have to mention here that I don’t take the word “Art” lightly and that I myself have never applied it, when referring to knitting, spinning or weaving. I also have to admit that I am always cringing when I read or hear this new linguistic construction called a “Fibre Artist”…
But I digress... this is quite a huge subject and we can discuss it in the comments or in another moment, if you wish.

Anyway, ranting or musing aside… in this very specific instance there was something happening that truly resonated with me and that for the first time gave the words “Fiber Artist” a meaning that rang true - even in my personal strict, narrow and very specific view of fibre and art!

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