Teresa Giarcovich

This series is part of a site-specific intervention commissioned for the façade of the Museo del Traje, as part of a program titled El Museo Vestido, directed by Vicky Salías in 2022.

For the friezes/tapestries, the artist worked with photographs from the museum’s collection and books from its library, using them to generate the silhouettes that would form “a kind of floating, nebulous history of color,” taking the Dior pink of the historic building’s façade as a starting point.

Composed of four large pieces and several individual figures conceived in response to the architecture, the friezes remained installed outdoors for more than six months.

A connection can be drawn, through their horizontal format and the shared idea of a frieze or comic strip, to the Bayeux Tapestry, the largest and best-preserved tapestry from the Middle Ages. In fact, it is an embroidery, as the scenes are also stitched (rather than woven) onto linen. At the time, similar pieces were used as decoration or to cover walls. Regardless of how they were made, they were known as tapis or tapisserie.