-by Ale Zapata (Curator / External Projects Coordinator at Improper Walls)

Erika and I met on a cold evening at my apartment, sharing tea while my (borrowed) cats wandered around us. We first crossed paths years ago in the music scene and, over time, found our way back to each other through the art world. This interview felt like a natural opportunity to catch up and dive into her current projects and creative process.

Erika Farina: “Miteinander Fransen” Photo: Barbara Graf

Ale: Can you tell me about your recent project, Symbionts and the exhibition Tentacular Diorama?

Erika: “Tentacular Diorama” was a collaborative project that combined my soft textile sculptures, “Symbionts,” with a performative intervention by Denise Ackerl. Together, we explored speculative narratives of multispecies kinship, creating an installation that invited visitors into a landscape where the boundaries between species, territories, and connections were fluid and reimagined.

The “Symbionts” themselves embody this theme; they are soft, textile-based creatures inspired by speculative biology and alternative evolutionary paths. These beings represent a vision of interconnectivity and mutual dependence, suggesting new ways of thinking about survival and coexistence.

The installation became a living ecosystem, and Denise’s performance enhanced this by creating a dynamic dialogue between the sculptures and the space itself. Her movements and soundscapes amplified the sense of interconnectedness, turning the installation into a breathing environment.

What was the concept behind the diorama in that work?

The diorama is a reinterpretation of traditional museum displays, which were often used for didactic purposes but came with colonial connotations. In this work, we used it to explore alternative evolutionary paths. The final form took on an aquarium-like appearance, representing the adaptability of beings and spaces.

How did concepts like kinship and queerness influence your work?

I see kinship as something that extends far beyond traditional family structures, embracing interspecies relationships and alternative forms of connection.

Much of this is inspired by Donna Haraway's book “Staying with the Trouble,” which explores speculative thinking and multispecies kinship. Her ideas about tentacularity and the importance of forming connections across species and systems deeply influenced my practice. Haraway’s concept of kinship isn’t about bloodlines or traditional relationships but about forging bonds and responsibility between humans, nonhumans, and the environment.

By drawing from Haraway and blending her theoretical insights with material experimentation, I aim to create a dialogue about how we define belonging and community in a complex, interconnected world.

Can you describe your recent exploration of materials and techniques?

Lately, I’ve been experimenting with different materials, for example, stitching on metal and working with latex. These processes allowed me to embrace open-ended, material-driven art, letting the material itself guide the creation process. It’s been liberating to move away from rigid concepts and simply explore.

What are your thoughts on current trends in textile art?

Textile art is experiencing a revival, blending traditional techniques with innovative approaches. I find it exciting to see how versatile and evolving this medium can be. For me, textiles offer endless possibilities for creative expression and conceptual exploration.

(Follow-up) Can you tell us more about your recent work, Ma lui un mostro non è?

This work is inspired by Guerrilla Embroidery and Katharina Cibulka’s “Solange” project. I embroidered a text onto a metal grid, resembling an oversized ‘Spruchtuch.’

The text comes from Elena Cecchettin’s powerful speech, delivered live on Italian TV on November 19, 2023. Her words addressed the femicide of her sister Giulia, who was killed by her ex-boyfriend. Elena Cecchettin dismantled the notion of the perpetrator as a “monster,” instead pointing out how patriarchy and rape culture are deeply ingrained societal issues.

Traditionally, ‘Spruchtücher’ carry embroidered sayings or moral messages, but this work recontextualizes that format. Cecchettin’s words serve as a necessary reminder to name the power structures enabling femicide and take active steps against them.

Are there plans to incorporate performance art in future projects?

I value performance art for its ability to integrate sound, movement, and sculpture, though it’s not my primary focus. I’m open to revisiting it in new and experimental ways if it aligns with the project’s goals.

What role does academia play in your practice?

Academia has been an invaluable resource for collaboration, critical exchange, and discovering new perspectives. That said, it also comes with exclusivity and political challenges, which I remain conscious of. Despite this, I deeply appreciate the creative and intellectual opportunities it provides.

Can you tell us about the album you’re working on with Manuel Cyrill Bachinger aka A_Phan?

Yes, of course! Manuel and I are releasing an album next year—it’s been such a long time coming. The project has been in the making for over seven years, which is why it’s titled 7Y. Some of the material is even older than that, but we’ve reworked it into new versions with fresh arrangements. It’s been an incredible journey. This project feels very personal as we first got to know each other through music.

As for the vibe, the album leans into electronic pop and ambient music. It’s not really something you’d dance to, but I think it has an emotional depth that listeners will connect with. I’m very much looking forward to playing the material live.

Music is a different kind of creative process compared to my visual and textile work, but I love how it offers another way to express ideas and emotions. It’s challenging to juggle this project with everything else I’m working on, but it’s incredibly rewarding.

Erika Farina (*1990, IT) is a textile artist based in Vienna. After training as a tailor and dressmaker, she worked for several Austrian fashion labels and started working in the fields of textile and fine arts. Her work moves from costume design to installation. farina is currently studying Art and Art Education with a focus on textile art at the University of Applied Arts Vienna.

INTERVIEW WITH ERIKA FARINA