These galleries defy the trend, A show at ICA, Boston, celebrates clashing patterns and exuberant design, An exhibition at the Met, New York, displays the renowned architect’s designs for interiors, Artist Joana Vasconcelos has designed a vibrant swimming pool with mystical significance, Nina Leger, Jenny Hval, Elvia Wilk and Sophie Mackintosh offer an eerie counterpoint to the traditionally male-dominated genre of weird literature, From rituals and identities to fun and humour, a show at The Photographers’ Gallery, London, traces the history and impact of food in photography, Roxy Lee’s new photobook offers an insight into an irreverent and politically-charged world, A new book and exhibition celebrates contemporary Black photographers working across art and fashion, What Can a Surgeon Learn from a Tailor? As with all her work, here, Ryggen is vigilant in the face of war, using art as an accountant of injustice. View Hanna med teppe by Hans Ryggen on artnet. Tapestry, 1.9 x 2m. A rogue woman living without electricity or running water, Ryggen used her knowledge of paints to create natural pigments from foraged goods (birch leaves, bark moss, rosemary, and even urine). Hannah Ryggen (1894-1970) was the artist for whom Else Marie Jakobsen had the most admiration and respect. Even after WWII, Ryggen’s commitment to peace remained steadfast. His brains splatter on the floor while a demonic angel, Adolf Hitler, flies above Norway shitting oak leaves (a symbol of Germany) from above. ", "The Hannah Ryggen exhibition at Modern Art Oxford is wonderful. Hannah Ryggen (21 March 1894, Malmö – 2 February 1970) was a Swedish-born Norwegian textile artist. 6. oktober 1942 (6 October 1942, 1943), for instance, refers to the date that martial law was declared in Trondheim by occupying powers, and depicts the tragic execution of prominent citizens. Hannah Ryggen (b. Mussolini is represented with his decapitated head impaled on a spear. See more ideas about Tapestry, Weaving, Tapestry weaving. It seems astonishing that some of the most fiercely critical accounts of 20th century history could be woven from a small, rural farm on a Norwegian fjord. The artist’s intense relationship to the world around her forms the heart of this exhibition, which celebrates both her vibrant tapestries and the processes involved in creating them. Soon after completing her artistic education, the artist felt the “urgent desire to make something by hand,” and taught herself how to weave. Increasingly, though, the expressive works of Hannah Ryggen—which she wove right on the loom, without making any preliminary sketches, using hand-spun, plant-dyed wool—are drawing the attention of the contemporary art world. Still, she shrugged off the Nazi threat, displaying her anti-fascist tapestries on a clothesline outside her house during the occupation. The development of this exhibition was supported in part by an Art Fund Jonathan Ruffer Curatorial Research Grant.