Triennale Internationale de la Tapisserie et des Arts du Tissu de Tournai.
Collective Exhibition 06/14/2008> 08/31/2008 - Tournai - Belgium
This year's edition, entitled "Italy, the fiber sensitive" and under the high patronage of Their Majesties the King and Queen of the Belgians, will grow in 7 prestigious places of the ancient city of Tournai: the Musee de la Tapisserie, the Textiles Market, the Maison de la Culture, the Museum of Fine Arts, the Fort Rouge, the Cathedral (XI and XII sec.) and the bell tower of the Belfry (XII sec.), part of the World Heritage. Tournai, one of the oldest cities in Belgium and prestigious location and production center dell'Arazzeria High-warp, will show the works of a score of prominent contemporary Italian artists: Giuliana Balbi, Heidi Bedenknecht De Felice, Teodolinda Caorlina, Vito Capone, Domenico Carella, Wanda Casarile, Cicuttin Paola, Elena Cologni, Kela Cremaschi, Alba D'Urbano, Laura Facchini, Lucy Flegg, Rosanna Gallo, Luciano Ghersi, Pina Inferrera, Federica Luzzi, Mauro Molinari, Gina Morandini, Anna Moro-Lin, Monica Notarbartolo, Lucy Pagliuca, Anna Pontel, Lydia predominate, Sarah Seidmann, Mario Tudor, Ivano Vitali.
GIULIANA BALBI Suits and finds
Giuliana Balbi uses the plot as the foundation of his artistic work; mix of elements that constitute a single tissue, in constant motion evolutionary therefore relates to the "fiber art".
elements are not thread, yarn or otherwise of any nature in any way attributable to the traditional practice of interlacing warp and weft. They are thin strips of photographs intertwined. Giuliana first picture, then cut the strips and then again made accessible to form a support structure that becomes a habit, or - according to a later version, which envisions the garment recovered from some disaster - "finding."
In the back-ground of the creative process there are two practices - and two passions - different: one for weaving, learned at the Art Institute of Trieste and one for photography. And this latter becomes functional at first. Not that Julia intends to destroy, cut, the photographs, they bear witness to the contrary, in the rich harvest so imaginary, an atmosphere, a situation, fragments of reality, which ultimately characterize and build a sense of the dress, or labor thus created. That is, the photographic evidence, albeit altered, is the substratum apparel or "finding" that it is nourished by purchasing from time to time on different meanings.
So there are clothing items, and recorded in camouflaged apparel belonging to a number of people in the portraits - of course in small strips - Form the backbone of the Abbot 
or the habit that spreads fragrance because it is made with images of flowers and scented plants that produces the aromatic essences. 
But there is also "Sincerely from East Berlin", a garment called decidedly unsettling. A light silver cape made of postcards from the city - sent during the Cold War period, when the sentences were to be given to cross the rigid political controls - then becomes historical memory. But it goes without further clarification about the language and its metamorphosis. In addition to f
oto strips are reduced in the abundant strands of nylon, so that help to strengthen the flimsy plot, but also become an aesthetic element, but with references to inner motivations, tangles and knots visible on the surface of the soul . 
Species in the findings, the wires stretch, dripping, enriched with silicon, as if they were the last remnant of a dress worn. And the way of plot, as Julie works, you change, it is easy, breezy take on a stellar performance, consolidate in a practice that is becoming more fluent and safe. 
As in the recent habit of water (part of an installation in progress) where the strips of photographs splashed by all parties, are transformed into gushing fountains of magical or sudden bursts of cascading. Maria Campitelli
