Tania Berta Judith
Barcelona, 1988
I'm an artist based in Madrid
taniabertajudith@gmail.com
Bio: eng / esp
Instagram

Selected Projects:

In the name of the father
07/06 — 24/09 2019
Curator Rosa Martínez
in Museu Picasso, Barcelona
with Cristina Lucas, Daniel García-Andújar,
Eulalia Valldosera, Miquel Barceló,
Pilar Albarracín, Rogelio López Cuenca and Elo Vega,
Santiago Sierra and the family of the cantaor Enrique Morente
Press release 1 2 3 4 5 6 7 8
The exhibition In the Name of the Father explores the artistic and vital legacy of Pablo Picasso from different perspectives but always as an inescapable reference and included in the line of research of the relationship of current contemporary artists with the work and the figure of Pablo Picasso. There will be works by various artists who highlight their connection with Picasso. This exhibition aims to analyse and celebrate the survival of Picasso in today’s art. I participated with:
Minotaur
This piece was placed in one of the porticoes of the building, allowing the reverse to be seen from the street, thus getting the figure of the minotaur to go outside and be confused with the people.
178x244 cm



Constellation Malta
12/10 — 09/12 2018
Curator Rosa Martínez
in various heritatge sites of Malta
with Austin Camilleri, Chiharu Shiota,
Eulalia Valldosera, Kjungjin Cho,
Saskia Calderón, Yoshitomo Nara,
and Marina Abramovic
Press release
The project Constellation Malta proposes a series of artistic interventions throughout the geography of the Maltese archipelago with the desire of creating fruitful dialogues between historical heritage, popular culture and contemporary art. I participated with three pieces:
Woman Awake
Women Awake is the embroidered representation of Hipogeo Hal Saflieni, which is one of the oldest temples in Europe as well as the only subterranean one. It is a labyrinth of decorated chambres with large coils of ochre, which, with intermittent light, give the effect of the movement of dancing spirals. It was in this temple that archeologists discovered a figurine known as the Sleeping Lady, a woman in a prehistoric cot. In my own representation, in the corresponding location where the Sleeping Lady was discovered, I embroidered a shape with 24 carat golden thread: a small gem of light to wake this woman (as well the rest of us).
In the National Archeological Museum of Malta in Constellation Malta, the piece was placed directly in front of the Sleeping Lady.
163x188 cm


Named
The Neolithic Maltese peoples sculpted the majority of their anthropomorphic figures without sexual features. This is a new prehistoric paradigm that shows us new ways to understand gender in the past. My eight pieces from Named are embroidered representations of selection of these figures in which I have embroidered non-binary names on the inverse side of the fabric. With this my aim is to remark on the illegibility of the past and the ways in which we create subjective constructs about it according to our beliefs.
In Constellation Malta these items were placed within glass cases in the National Archeological Museum, being exhibited alongside their original pieces.
15x11cm each one


267
This piece was exhibited in the Ta'Kola Windmill Museum, positioned on top of a bed and beneath a hanging cradle, as if to look after it.
208x228 cm



Un Rayo de Sol
The remnant of a sheet used for cleaning by my grandmother and which was accidentally died in the washing machine. Seashells collected by my grandmother.
I embroidered, as if it were a mantra, the title of the famous song by Los Diablos, which we used to sing every day in the summers when I was a kid on the way to beach:
Un rayo de sol, oh oh oh
me trajo tu amor, oh oh oh
Un rayo de sol, oh oh oh
a mi corazón, oh oh oh
68x40 cm

Ariadna and Minotaur
On the necessity to transform and adapt myths. It is essential to find our voices with new interpretations and alter the characters to achieve one’s own catharsis.
244x178 cm



Rosas
This series is comprised of cross stitch kits from
Framecraft Minuatures Ltd,
designed by
Ailsa Carradus
I follow the established pattern in the stem and on the leaves and I break it in the flower, where I complete it with other leaves, thus mutating the shape. My aim is to highlight the importance of preserving our traditions and ancestral knowledges, as well as to demonstrate their permeability with respect to our always varying perspectives and realities.
8x8 cm each one


Pañuelos
Handkerchiefs inherited from my grandmothers where I have embroidered:
1
The "cortijo" plant where one of my grandmothers was born and lived, drawn by her.
32x32 cm

2
The prayer I repeated with one of my grandmothers before going to bed when I was young, written by her.
27.5x27.5 cm

3
The cradle of one of my grandmothers, chair and basket made by my great grandfather, drawn by her.
22.5x22.5 cm

4
Great Grandmother baker Ana's colored anise cake, as drawn by my grandmother.
21x20.5 cm

5
"Sad body, go back where you came from", a phrase used when going to sleep in an unmade bed. That's what I said to Grandmother Julia before she died, knitted on a crochet sample of hers.
14x15 cm


267
This one of the sheets from my grandmother's trousseau that I repurposed by embroidering on it the names of the female ancestors from my family tree.
1500
Anna
Maria
Cathalina
(...)
Eloisa
Ana
Luisa
2017
There are many names that are nearly impossible to trace (even more so for women), but in all there are 267. This was thanks to my fathers research, which uncovered the names of our ancestors dating back to the 16th century.
208x228 cm




Manteles
A series of two cross-stitched tablecloths put to use during the Christmas holidays of 2017.
The first one is made by my grandmother in the eighties and repurposed by me with 7 bees, based on a pattern of a French magazine inherited from her.
150x200 cm




The second one is an individual tablecloth from an old canvas of my grandmother, repurposed extracted from my own poem:
"Mi abuela
tierra mojada
sube
tierra blanda
cantando
tierra y tierra
hasta casa
tierra santa"
and applying the sample book of my great grandmother.
66x44 cm


Mujeres Tortilla
21/11 — 21/01 2016
Curator Adriana de la Rosa
La Casa Rosa, Oaxaca
Based on my experiences living with women from two Mazatec families in Huautla de Jimenez (Oaxaca, Mexico), I embroidered a huipil as a storytelling device.
This is the piece that lead me to use embroidery as a means for research and made me aware of our responsibility to conserve the knowledges of our ancestors.
90x50 cm



Tania Berta Judith 2019
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