Standorte des BLMK

Cottbus (CB)

Dieselkraftwerk

Uferstraße/Am Amtsteich 15
03046 Cottbus Deutschland
Tel: +49 355 4949 4040
Öffnungszeiten:

dienstags bis sonntags
11 bis 19 Uhr

Sonder­öffnungs­­zeiten an Feier­tagen
Eintrittspreise

Alle Ausstellungsräume, der Veranstaltungssaal und das mukk. sind über Aufzüge barrierefrei zu erreichen.

Frankfurt (Oder) (FF)

Packhof

Carl-Philipp-Emanuel-Bach-Straße 11
15230 Frankfurt (Oder) Deutschland
Tel: +49 335 4015629
Öffnungszeiten:

dienstags bis sonntags
11 bis 17 Uhr

Sonder­öffnungs­­zeiten an Feier­tagen
Eintrittspreise

Die Ausstellungsräume sind barrierefrei: Besuch bitte nur mit Begleitperson.

Frankfurt (Oder) (FF)

Rathaushalle

Marktplatz 1
15230 Frankfurt (Oder) Deutschland
Tel: +49 335 28396183
Öffnungszeiten:

dienstags bis sonntags
11 bis 17 Uhr

Sonder­öffnungs­­zeiten an Feier­tagen
Eintrittspreise

Die Ausstellungsräume sind barrierefrei über eine Rampe erreichbar: Besuch bitte nur mit Begleitperson.

Else Mögelin

Ich wollte, gegen alle Hindernisse, weben / I wanted to weave, against all obstacles

02/12/23—03/03/24

 

Despite her extensive work spanning a total of eight decades, which includes textile and practical art as well as painting and graphics, the work of the artist Else Mögelin (born 1887 Berlin, died 1982 Kiel) has not yet been appreciated in detail. As a student at the Weimar Bauhaus, weaver and workshop manager in the Gildenhall artists‘ settlement near Neuruppin, and head of textile classes in Stettin and Hamburg, she worked at the most influential institutions of the 20th century. In the solo exhibition, her textile and painting work is presented on a larger scale for the first time in over 30 years.

 

With an ongoing passion, the artist depicted plants and animals from her immediate surroundings: she has been painting and weaving migratory birds, grazing horses and mother animals in peaceful coexistence since the early 1920s. Similar to Franz Marc, Mögelin also saw the animal as the epitome of originality and innocence. Inspired by her travels to Italy, Israel, Norway and Greece, she devoted herself to the topic of landscape and its cultural use by humans. In connection with her depictions of selected biblical and mythological stories as well as the processing of personal experiences such as grief, farewell and hope, her oeuvre reveals a form of (natural) spirituality. This worldview, which was shaped by her Christian environment and the life reform movement of the 1920s, is inscribed in the artist’s entire work.

 

“Of course, I was particularly interested in weaving fabrics and I dreamed of picture fabrics.”

 

Else Mögelin created her “picture fabrics” almost exclusively on a flat loom. In comparison to traditional picture weaving, in which the motifs are created using different colored weft threads, the artist made use of the language of textiles. By combining different materials such as wool, silk and raffia in a wide variety of color nuances and the lively change of binding techniques, she created complex, figurative representations with unique weaving structures that go far beyond the repetition of simple patterns and ornaments.

 

In addition to tapestries and classical commercial art, not only preliminary studies on paper were created, but also free, artistic works in the form of gouaches and watercolors. Stylistically, the artist is hard to grasp, as she oscillates masterfully between constructivism, expressionism, realism and naive art. Although she sometimes reacted to the respective period styles and interiors of her clients, she also always developed her own, innovative image solutions.

 

The exhibition is a cooperation with the National Museum Stettin/Muzeum Narodowe w Szczecinie.

 


Glossary (2nd floor)

 

Textile art

Textile art encompasses a variety of techniques for creating works of art from textile materials. These include weaving and knitting, in which a flat fabric is created.

Weaving is one of the oldest cultural techniques that emerged in various regions of the world thousands of years ago. In European modernism, weaving experienced new artistic impulses, particularly in the context of the Werkbund and the Bauhaus. The art of weaving had its heyday especially in the Middle Ages and the Renaissance in Europe.

The artist Else Mögelin was a virtuose in both techniques.

 

The weaving

When weaving, two thread systems are crossed together: warp threads (warp) and weft threads (weft). Warp threads are elongated threads that are tightly stretched in a loom. Weft threads are guided through the warp threads from one edge to the other using a shuttle and extend over the entire weaving surface. A comb presses the individual weft threads together and compacts the fabric. While the warp threads determine the format and basic structure of the woven piece, the weft threads form the surface texture.

In order to expand the range of textures in the fabric, weaving is done with different thread materials, various thread thicknesses or multi-colored threads. Traditionally, fibers of plant origin (cotton, viscose, raffia, flax) and yarns of animal origin (wool, silk) are used as weaving threads; today, yarns from synthetic production or fabric strips are also used.

 

Weaving is usually done on a loom, either mechanically by hand or automated using weaving machines for the industrial production of fabrics. When weaving on hand looms, which are primarily used in textile art, a distinction is made between flat and high looms. In a flat loom, the warp threads are stretched horizontally and the weft threads are guided vertically through the warp threads. In the high loom, however, the warp threads are drawn in vertically and the weft threads are moved horizontally through the warp threads.

 

The picture weaving

In picture weaving, a shuttle is not shot over the entire weaving surface, as is the case with weaving. The weft threads are only moved back and forth within a limited area with an image motif between the warp threads. In the art of weaving, fine details, ornaments or figurative representations are worked out. Schematic designs are often placed on cardboard underneath the weaving surface. The products of picture weaving are called tapestries or gobelins if they were made in the Paris gobelin factory.

 

It is not always clear to what extent textiles are based on the technique of weaving or knitting images. In textile art, both practices can be combined in one fabric.

 

The types of binding in weaving

Types of binding refer to the diverse ways in which the thread systems are connected during weaving. The basic weave types include canvas, twill and satin weave, which can be modified in various ways. The individual bonds can be recognized by specific patterns in the fabric. The types of weave can also change in a woven piece.

 

Plain weave

In plain weave, the weft threads are passed alternately over and under the warp threads, creating an even, solid fabric with a checkerboard pattern. Plain weave is the simplest and most common type of weave, which developed from braiding. Panama weave is a special form of plain weave in which two or more parallel warp threads cover at least two or more weft threads.

 

Twill weave

In twill weave, the weft threads run across at least three warp threads, creating a pattern with diagonal grooves, called ridges, in a sturdy fabric. The twill weave is often used for denim fabrics, such as jeans. The zigzag twill or pointed ridge twill is a variant of the twill weave in which a zigzag pattern is created by changing the direction of the ridge.

 

Atlas binding

In satin weaving, at least five weft threads are threaded under one warp thread, creating a strong, shiny fabric. The satin weave is primarily used for fine satin fabrics.


Do you want to try weaving? Try the loom on the 2nd floor!

 

1. Choose a ball of thread you want to weave with.

You can find a selection directly in the box next to the loom.

 

2. Wind the thread several times on the shuttle holder and then cut the end of the thread. You have now prepared your weft thread for weaving.

 

3. Pull the shuttle with your weft thread through the stretched warp threads – directly under the top row of threads and from side to side. Then you have already woven a row of thread yourself.

 

4. Lift the loom and pull the comb forward toward you until you reach your row of threads. Apply light pressure so that the thread lies close to the previous weft threads.

 

5. Pull the comb back and place the comb back in the holder: If the comb was previously in the upper notch, the comb now goes into the lower notch. If the comb was in the lower notch, the comb goes into the upper notch.

 

6. Pull your shuttle back through the warp threads to the other side and weave a new row of threads using the same principle. Make sure that you change the position of the weaving comb in the holder after each weaving process.


Do you want to create your own design for a fabric?

 

Then grab the pens and take a piece of graph paper and draw your very own pattern.

 

Let yourself be inspired by Else Mögelin’s fabrics in the exhibition: Should it be a composition of simple abstract shapes – for example a surface with a circle, square or triangle, as the artist learned at the Bauhaus? Or do you want to depict small animal figures, human bodies or a landscape scene, as Else Mögelin increasingly does in her later textile works of art?

 

The boxes on the paper help you give structure to your composition. Fill the boxes with your own personal motifs in the colors of your choice. Once you have completed your design, give your design a title.

 

You are welcome to take your draft with you. In this case, don’t forget to leave us a photo of your design. In addition, if you share your work online, please don’t forget to connect with us

 

Instagram: @blmk_museumfuermodernekunst

Facebook: @blmk.cb.ff

#ElseMögelin #blmk