With the anti-monument as a prism, embodied truths are replaced with a multitude of alternatives. In this publication, the curators and invited authorsexplore the dialogues that take place between Hannah Ryggen's tapestries and the contemporary artists's woks in the triennale exhibitions, also mediated through a rich selection of images.
Hannah Ryggen's attitude toward hierarchical constructions is still confrontational. Her art invites dynamic readings, at the same time as it punctures fascist ideologies and literally outlasts structures in reinforced concrete. This is the strength and potential of her textile anti-monument.

 

[publisher's note]