Abstract Textiles and communication have a longstanding relationship, with many cultures using textiles as a vehicle for transmitting information.1 In this article, I present my analysis of Nevin Aladağ’s woven public sculpture, Screens I–III. This research forms part of my PhD project, “Materialising Migration: Transcultural Textiles in Germany.” My research seeks to examine how artists use textile processes to develop understanding of cultural transfer between the Middle East and Germany. Screens I–III consists of three freestanding stainless steel screens with repeat patterns created using granite and marble blocks (cobblestones). The piece was commissioned in 2016 by the public sculpture initiative KÖR (Kunst im öffentlichen Raum Wien) and was displayed in the pedestrian zone of Graben, Austria. Aladağ’s artistic practice is concerned with the notion of literal and metaphorical boundaries in this article. I examine Aladağ’s use of weaving to construct Screens I–III and the cultural differences between her Turkish and German identities. I argue that she subverts weaving to renegotiate polarizing views of different cultures, while challenging traditional perceptions of textiles.

中文翻译：

---

物质化迁移：在 Nevin Aladağ 的 Screens I–III (2016) 中编织 Mashrabiya

摘要 纺织品与交流有着长期的关系，许多文化使用纺织品作为传递信息的工具。1 在这篇文章中，我将展示我对 Nevin Aladağ 的编织公共雕塑 Screens I-III 的分析。这项研究是我博士项目“材料化移民：德国跨文化纺织品”的一部分。我的研究旨在研究艺术家如何使用纺织工艺来加深对中东和德国之间文化转移的理解。屏幕 I-III 由三个独立的不锈钢屏幕组成，带有使用花岗岩和大理石块（鹅卵石）创建的重复图案。这件作品于 2016 年由公共雕塑倡议 KÖR (Kunst im öffentlichen Raum Wien) 委托制作，并在奥地利地堑步行区展出。Aladağ 的艺术实践与本文中的字面和隐喻边界的概念有关。我研究了 Aladağ 使用编织来构建屏幕 I-III 以及她的土耳其和德国身份之间的文化差异。我认为她颠覆了编织，重新协商了不同文化的两极分化观点，同时挑战了对纺织品的传统看法。