Raisa Kabir

A collection of practice

"Gather your spools. Let your hair down for me. Gently. Here. Undo." 2021 Glasgow Centre for Contemporary Art

"Treadle softly. Tightening your warp. Weaving our weft. Binding her braids tightly..." 2019

"Build me a loom off of your back and your stomach..." Whitworth Gallery 2018

Jute  and Flax 2020 from Nil Nargis Blue Solo show 2020 Indigo + Madder London

Detail - "The body is a site of production... Resist! Resist! Resist!" 2017 The Tetley 

Detail from film performance ""Gather your spools. Let your hair down for me. Gently. Here. Undo." 2021

Still from "Nil Nargis Blue. Bring in the tide with your moon..." 2019 Cove Park

 

 

 

"Amar Desh....আমার দেশ. My country. My home. My land. My diaspora. My Motherland is a memory of unwoven dreams..."

Weaving detail 2017

"It must be nice to fall in love" 2017

 

 

 

 

Art in Manufacturing Residency film Queen Street Mill & John Spencer Textiles

 

 

 

 

British Textile Biennial 2021 - Art in Manufacturing Commission - RESISTANCES

 

 

RAISA KABIR from Wash Studio on Vimeo.

Detail of 'বুনন-শিল্প প্রতিরোধ ভাষা'

'The art and language of weaving resistance' 2021

A piece about the language of weaving, between border lands and the resistance of textiles in sites of conflict. Responding to the archives of John Forbes Watsons books: 'The Textile Manufactures of India' 1866, and creating a pattern of weaves that speaks back to the colonial archive. To all the textiles that were cut into fragments and sent around Britain to be subsumed into Britsh textile manufacturing and design education, this piece stays uncut. The colours evoke the boundaries and borders of saris and every combination was an imagining of the textiles I remember encountering in South Asian dress and textiles. And invoking the student textile weavings found in the archive at the Lanchashire textile industry archives.

The textile prints of the archives presented name Kashmir, Punjab, Sylhet, Herat, Lahore, Calcutta, Dhaka. Places that map the border lands that define partition in 1947, where colonial borders were created and exist to separate people in the name of nationhood. But many textile techniques of these places ares shared and are used across those sites of borderlands. The language of textiles crossing borders, shared culture and history.

The places affected by partition created large diasporas, where people had to leave and were invited to work in the British textile industry in East Lancashire. Where many communities have built their lives and families here since. Partition exists here today. We are part of these borders that do not only exist geographically but internally are reinforced and reinscribed.

 

 

 

 

 

 

Indian Art Fair 2020 - Indigo, Jute, Linen

Raisa Kabir: নীল. Nil. Nargis. Blue. Bring in the Tide With Your Moon

1 February 2020

2pm — 6pm, Outside the Auditorium, India Art Fair Grounds

 

 

নীল. Nil. Nargis. Blue. Bring in the Tide With Your Moon is a durational performance which will see Raisa Kabir dye linen and jute in natural indigo which is native to India. Making references to the historical connections between India and Scotland, the performance will shed light on the anxieties around globalised neo-colonial textile production and nationhood.

Raisa Kabir is an interdisciplinary artist, who utilises woven textiles, sound, video and performance to translate and visualise concepts concerning the politics of cloth, labour and embodied geographies. She addresses cultural anxieties surrounding nationhood, textile identities and the cultivation of borders; as well as examining the encoded violence in histories of labour in globalised neo-colonial textile production. Her weaving performances comment on power, production, disability and the body as a living archive of collective trauma. Kabir has participated in residencies and exhibited work internationally at The Whitworth, The Tetley, Raven Row, Cove Park, Textile Arts Center NYC, and the Center for Craft Creativity and Design U.S. Kabir has lectured on her research on South Asian textile cultures at Tate Modern, Institute of Contemporary Art London, London College of Fashion, The Courtauld, Royal College of Art, Manchester School of Art and Edinburgh College of Art.

https://indiaartfair.in/programme/raisa-kabir-%E0%A6%A8%E0%A7%80%E0%A6%B2-nil-nargis-blue-bring-in-the-tide-with-your-moon

Cove Park Craft Residency Summer 2019

Cove Park Craft and Design Residency  Summer Programme 2019  https://covepark.org/artists/raisa-kabir/ 

Raisa Kabir is an interdisciplinary artist and weaver, who utilises woven text/textiles, sound, video and performance to translate and visualise concepts concerning the politics of cloth, labour and embodied geographies. She addresses cultural anxieties surrounding nationhood, textile identities and the cultivation of borders; as well as examining the encoded violence in histories of labour in globalised neo-colonial textile production. Her (un)weaving performances comment on power, production, disability and the body as a living archive of collective trauma.  Her practice currently looks at the weaving processes of gesture, repetition, tension and production. In particular how there is always a need for tension in order to enable production, and how might a weaving/healing/embodied practice ultimately resist those ideas of bodily production in a capitalist system that relies on ‘functioning’ bodies and disregards others. Gendered bodies. Racialised bodies. Disabled bodies. Queer bodies. Undocumented bodies. Weaving as a methodology for resistance.

She has participated in residencies and exhibited work at The Whitworth, The Tetley, Raven Row, Textile Arts Center NYC, and the Center for Craft Creativity and Design U.S. 

 

 

"The Body is a Site of Production" - BODYWORKSHOP residency at The Tetley 2017

 

 

 

"The body is a site of production" 2017                                                               (resist, resist, resist)
Weaving as a methodology, as a tool to use 'un-weaving' as a strategy to undo models of production/productivity, and re-situate the disabled body, and the racialised body so bound up with labours it cannot remove itself from. To spend 10hours weaving, building a loom, using the body as a loom, only to not produce cloth for any purpose or function. What does it mean to exist in this world and feel like your gender is unfunction, how trauma disables the body; the same body is a living archive, a geography of pain and trigger points. The body is a site of production. Resist resist resist.

 

Photo credits Julian Lister 

'Warping the borders, fringes; fractured...' Raisa Kabir video piece

 

Warping the borders, fringes; fractured... Raisa Kabir 2016 Whitworth gallery from Raisa Kabir on Vimeo.

This is a performance piece where I unravel balls of white cotton - grown and spun in India, as well as using Bangladeshi spun yarn - around a series of warping posts that map out lines of geographical borders, partitions, links, and routes of pre partition colonial India. A series of windings that then draw red yarn across sites and boundaries of India, Pakistan, Kashmir and then the creation of Bangladesh through the conflict between West Pakistan and East Pakistan, a later by product of the borders created in 1947. Mapping conflict across these plains with warping a psyche geography. The piece is set in the Whitworth Art garden and is a site specific performance installation. The warping posts are inscribed with collected information in Bengali, news paper clippings documenting unrest, and also poems and written vignettes of memories, and affect of partition related to family trauma.

The accompanying film 2017  is of myself during the performance, walking around and around these borders and outlines in the white yarn, a use of my disabled body and the ongoing labours to create the piece. I then begin to slowly add the red yarn to re trace the lines of partition or noted historical areas of violence. It is instead of making a textile cloth out of the yarns themselves, the film and moving image documents the yarn itself becoming the artwork. The warps are later peeled off the pegs, and becomes woven in it's self, tangled and sculptural. It is the labour encapsulated in the collected yarn, that becomes the symbol of energy spent and recycled labour, unwinding, re-warping, re-stepping, retracing lines of actions and cauterisations. This collected entanglement of poems, Bengali writing on the posts enmeshed within the yarn, is pulled through the Art garden, and Whitworth gallery as a cathartic action to gather these political borders and colonial trauma many South Asians carry with them in their bodies through generational memory. The wounds of partition are still felt with religious and ethnic minorities caught on either sides in on going conflicts, still today. 

"Warping the borders, fringes; fractured..." 2016

Being shown as part of Beyond Borders, Whitworth Gallery, May 2017 - June 2018

 

"By the light of the daytime moon, dusk falling, we said our goodbyes..." All imagery Raisa Kabir Bangladesh 2016

All photograph credits to Raisa Kabir 2016

Bangladesh 2016, colour research imagery and photo essay process investigation.

 

Work in Progress Artist residency at The Whitworth Gallery, Manchester

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Photo credits: David Oates

Weaving Residency - Oaxaca Mexico