MÓNICA GIRON


Ajuar para un conquistador (Pullover and gloves for Imperial Shag of blue eyes), 1993 - on going. 
Merino wool and buttons.





 
        In the art world, evolution is constant. Styles, mediums, and perspectives shift over time, reflecting the ever-changing landscape of human expression. With that, some artists are subject to the inescapable growing pains of society. Monica Giron is a renowned Argentinian artist whose work Trousseau for a Conquero” has evolved in meaning and value over time. Her use of a traditional medium intertwines the worlds of knitting and cultural reflection. Women in society, colonialism, the patagonian ecosystem and care are just a few elements that arise when reflecting on this work. In a recent conversation with Ragna Froda, Giron spoke about her journey with a focus on one powerful statement: "Flexibility and adaptability are all in a mesh; it is all knitted together."





Ajuar para un conquistador (Pullover and socks for Spinus magellanicus, Burrowing Parrot, big Petrel and Andean Flamingo), 1993 - on going
Merino wool and buttons. 79 x 415 cm





        Giron’s Trousseau for a Conqueror is a collection of pullovers for birds that travel through Patagonia made of merino wool (1993). A piece that explored themes of colonization, identity, and the impact of Western civilization on indigenous cultures. However, Giron points out that when she originally created the collection, though it was valued as art for its aesthetic virtues, it wasn’t given the monetary value that other mediums did in the commercial art world. “In the early years, the piece was shown worldwide”. But as Giron explains: “I didn’t have a gallery; it was a bit too hot to keep knitting and I wasn’t selling it for real price. It was like knitting for nothing. The piece wasn’t getting the credit that Art and galleries give through value in the commercial system. So, I stopped”. She attributes this discrepancy to the valuation of knitting and wool as a medium. Knowledge that she herself inherited from her mother. 

 In 2018 a curator in Buenos Aires approached Giron, expressing the importance of introducing this work to the new generation of audience. As a result, Giron created new pieces that weren't in the first Trousseaus. She knitted them with new models and added them to the original collection. Giron says “The piece evolves while I knit. The piece is thinking and emotionally standing on different grounds.” This places Giron’s work in an interesting space where it’s rebirth and revaluation allowed it to in itself evolve, not just through other’s interpretation.







Ajuar para un conquistador (Pullover for Burrowing Parrot), 1993 - on going
Merino wool and buttons.
Ajuar para un conquistador (Pullover for Chucao), 1993 - on going
Merino wool and buttons.
Ajuar para un conquistador (Pullover and socks for Spinus magellanicus, Chucao, Imperial Shag of blue eyes, Grey Headed Cauquen), 1993 - on going
Merino wool and buttons. 82 x 390 cm





        This reintroduction of the piece led to a new perspective “People now view knits in the art world through a different lens than in the '90s. Back then, I sold pullovers for a mere $100, scarcely covering the cost of the wool. Today, it can be rightfully considered an art piece, even with my identity as a Latin American woman. I believe it's the perfect time for the piece to regain prominence to a certain extent."



1994, National Museum Palace of Fine Arts, La Habana. Cuba. V Biennial de La Habana. 
Ajuar para un conquistador, 1993, exhibition view.



      First, The "Trousseau for a Conqueror” was about identity, nation-building, and politics and today it is more about adaptability to change. 




Ajuar para un conquistador (pullover and gloves for big Petrel), 1993 - on going
Merino wool and buttons.
Ajuar para un conquistador (pullover and gloves for big Petrel), 1993 - on going
Merino wool and buttons.




www.monicagiron.com
@tallermonicagiron






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