Galerie Nathalie Obadia
Cloître Saint-Merri, Paris
Tapisseries: 1970 – 2011
Saturday 10. September 2016 | 6 – 8pm
11. September – 29. October 2016
3 rue du Cloître Saint-Merri
75004 – Paris – France
Colors coneguts (Couleurs connues) 1980
Wool, cotton, jute and synthetic fibres
190 x 205 cm (74 3/4 x 80 3/4 in.)
Wednesday, 7. September 2016 | 6 – 8pm
Lost and Found 2016, Assorted objects 93 x 55 cm (36 5/8 x 21 5/8 in.)
Ornament and Crime 2016, Mixed media 100 x 80 cm (39 3/8 x 31 1/2 in.)
Galerie Nathalie Obadia Paris
Valérie Belin, Power Girl (série All Star), 2016, pigment print, 177 x 134 cm.
This one-day retrospective of the films of Maria Lassnig is presented during the closing weeks of the Austrian artist’s exhibition at Tate Liverpool. Known for her radical experiments in self-portraiture, Lassnig pioneered a new expression of subjective bodily experience through an approach she defined as ‘body awareness’. Her 16mm films are a direct extension of this approach, exploring themes of female representation, perception and the body’s relationship to machines.
Lassnig’s films were produced between 1971 and 1976 during her time in New York. Her first works were created in the context of her studies at the School of Visual Arts (1970–2) where she was enrolled in an animation course. She later joined the artist collective Women/Artist/Filmmakers, Inc., an all-women film production workshop which included Carolee Schneemann, Martha Edelheit and Rosalind Schneider among its members. Lassnig’s animated film works were created on makeshift stands she built herself and employed various combinations of felt-tip pen drawings, cut-and-paste collage and sprayed stencil drawings. Several works also integrated live action footage, as seen in Iris 1971 and Baroque States1970–4. Together, this body of work can be seen to retain the sharp feminist and subjective quality of her autobiographical paintings from this period while expanding on her explorations of optics, prosthetics and representation through the lens and through time.
Selfportrait, United States / Austria 1971, 16mm, colour, sound, 5 min
Chairs, United States / Austria 1971, 16mm, colour, sound, 4 min
Iris, United States / Austria 1971, 16mm, colour, sound, 10 min
Shapes, United States / Austria 1971, 16mm, colour, sound, 10 min
Couples, United States / Austria 1972, 16mm, colour, sound, 10 min
Palmistry, United States / Austria 1973, 16mm, colour, sound, 10 min
Baroque States, United States / Austria 1970–4, 16mm, colour, sound, 16 min
Art Education, United States / Austria 1976, 16mm, colour, sound, 16 min
Programme duration: 81 min
Maria Lassnig (1919–2014, Austria) is an artist and filmmaker known for her work in self-portraiture. In the 1950s, Lassnig worked closely with Arnulf Rainer and the Viennese artist group Hundsgruppe (‘Dog Pack’), which had been heavily influenced by abstract expressionism. She relocated to Paris in the 1960s and New York later in the decade, and during this time moved away from abstraction to focus solely on the body. In 1980, she returned to Austria to become a professor at the Vienna University of Applied Arts and represented her country at the Venice Biennale together with Valie Export the same year. In 1982, Lassnig established the only Austrian teaching studio for animated film, and participated in documenta 7. In 2013, Lassnig was awarded the Golden Lion for Lifetime Achievement at the Venice Biennale.
This programme is supported by the Austrian Cultural Forum London.
Tate Film is supported by LUMA Foundation.
MARIA LASSNIG EXHIBITION TOUR WITH HANS WERNER POSCHAUKO
18 May – 18 September 2016
Liverpool L3 4BB
THE EY EXHIBITION: WIFREDO LAM
14 SEPTEMBER 2016 – 8 JANUARY 2017
Level 3 West Bankside
London SE1 9TG
In September 2016, Tate Modern will present a retrospective of the Cuban modernist painter, Wifredo Lam (1902–1982), the first museum exhibition in London since 1952. Including over 200 paintings, drawings, photographs and prints, the exhibition will trace his sixty-year career from the 1920s to the1970s, confirming his place at the centre of a cosmopolitan modernism. His work defined new ways of painting for a post-colonial world and was greeted with both consternation and acclaim during his lifetime. As a Latin American artist of Chinese, Spanish and African heritage, Lam lies between East and West, combining traditional practices, surrealist ideas and complete originality. In an increasingly connected world, Lam’s work brings a historical perspective to contemporary issues.
Wifredo Lam travelled extensively, living on both sides of the Atlantic during periods of great political change. The exhibition will begin with works produced during Lam’s early years as an artist in Spain following his training in Havana and Madrid. From classically inspired studies such as Self-Portrait 1926, Lam moved towards works engaging with the European avant-garde movements such as cubism and surrealism, evident in works such asComposition I 1930. Following the tragic death of his wife and son from tuberculosis, Lam enlisted into the Republican cause during the Spanish Civil War. Forced to leave in 1938, Lam departed for Paris where he met Pablo Picasso and continued to experiment with avant-garde techniques, particularly inspired by ancient Greek and African art such as in Figure 1939 and Young Woman on a Light Green Background 1938. Forced to flee again to Marseille following Paris’s occupation in 1940, Lam joined André Breton and other surrealists, participating in collaborative artistic projects such as Collective Drawing 1940, designs for a surrealist pack of Tarot cards, and his own sketch series Carnets de Marseille 1941.
The exhibition will reappraise Lam’s major works within the cultural and political context after he returned to Cuba in 1941. After 18 years abroad and two forced exiles, Lam was disappointed to find corruption, racism and poverty in his homeland and responded by seeking out ‘Cubanness’, influenced by his friendships with contemporary thinkers and academics. He created works that combined animal, plant and human forms, using symbols borrowed from Cuban Occultism and Afro-Cuban beliefs, exemplified by The Eternal Present (An Homage to Alejandro García Caturla) 1944, The Wedding 1947, and The Threshold 1950.
In 1952, Lam left Cuba once more for Europe where he exhibited frequently alongside the CoBrA artists. He was particularly close to Asger Jorn, who introduced Lam to Albissola, a town on the Italian coast where he would create works until the end of his life. During the 1960s, he worked beside Lucio Fontana and the Situationists, experimenting with new materials such as terracotta. Lam created almost 300 ceramics in 1975 alone, using symbols derived from his painting and drawing. During this final period, he made prints to illustrate many works by poets and writers, such as René Char, Gherasim Luca and Jean-Dominique Rey.
The EY Exhibition: Wifredo Lam is curated by Matthew Gale, Head of Displays, Tate Modern and Catherine David, General Curator, Centre Pompidou / Musée national d’art moderne, Paris with Katy Wan, Assistant Curator, Tate Modern. The exhibition is organised by the Centre Pompidou, Musée National d’Art Moderne, Paris, in collaboration with the Tate Modern and the Museo Nacional Centro de Arte Reina Sofía, Madrid.
Wifredo Lam born 1902 [- 1982]Surrealist painter born in Sagua la Grande, Cuba, of a Chinese father and a mother of mixed African, Indian and European origin. Studied at the Academy of San Alejandro in Havana 1920-3, then went in 1924 to Madrid where he worked in the studio of Fernando Alvarez de Sotomayor, the Director of the Prado, and also in the evenings at the Free Academy. Left Spain in 1938 after taking part in the defence of Madrid, and moved to Paris. First one-man exhibition in Paris at the Galerie Pierre Loeb 1939. Friendship with Picasso, who enthusiastically encouraged him, and with Breton and the Surrealists. Became interested in African sculpture. Fled in 1941 to Martinique with Breton, Masson and Lévi-Strauss, then returned to Cuba where his work was influenced by savage rituals and the tropical jungle. Visited Haiti in 1945 and 1946 and discovered the Voodoo cult; later in 1946 met Gorky and Duchamp in New York and returned to Paris. 1947-52 in Cuba, New York and Paris; left Cuba in 1952 to live in Paris. Since 1960 has also worked regularly at Albisola Marina, Italy. Awarded the Guggenheim and Marzotto Prizes 1964-5. Lives in Paris and Albisola Marina.
Ronald Alley, Catalogue of the Tate Gallery’s Collection of Modern Art other than Works by British Artists, Tate Gallery and Sotheby Parke-Bernet, London 1981, pp.404-5
The EY Exhibition
The EY Exhibition: Wifredo Lam is part of a six year arts partnership between EY and Tate. The arts partnership has already supported a catalogue of hugely successful and widely acclaimed exhibitions, all of which shed new light on major figures and moments in art history. These include: The EY Exhibition: Paul Klee – Making Visiblein 2013, The EY Exhibition: Late Turner – Painting Set Free in 2014, The EY Exhibition: Sonia Delaunay in 2015, and The EY Exhibition: The World Goes Pop also in 2015. This will continue with two further exhibitions at Tate Britain and Tate Modern in 2017 and 2018. The partnership makes EY one of the largest corporate supporters of Tate, but this support is also extended through corporate memberships at Tate Liverpool, Tate St Ives, and a number of the Plus Tate partners around the country.
Michel Driessen, Arts Sponsor Partner & TAS Markets Leader, UK & Ireland, EY, said:
“Wifredo Lam was an artist whose work was strongly inspired by the intersection of culture, politics and religion, most notably in Cuba – his country of birth. Lam, a close friend of Picasso, influenced and was influenced by, artistic movements and renowned 20th century painters around the world. He left a legacy that stimulates the mind and challenges existing perceptions about modern art. By supporting the arts, we offer institutions such as Tate scope for growth, innovation and delivery of their ambitious programmes to an ever-wider audience helping to make the art world work better.”
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Image: Wifredo Lam’s Umbral (Seuil) 1950. Photo: Georges Meguerditchian/Centre Pompidou, MNAM-CCI/Dist. RMN-GP ©Adagp, Paris
Press View: 24 October 2016
24 October 2016 – 5 March 2017
Supported by the Paul Nash Exhibition Supporters Group and Tate Patrons
Open daily 10.00 – 18.00 pm
London SW1P 4RG
This autumn Tate Britain will presentPaul Nash, the largest exhibition of the artist’s work for a generation. Paul Nash is one of the most distinctive and important British artists of the 20th century. Renowned as a war artist in both the First and Second World Wars, the exhibition will further reveal Nash’s work from his earliest drawings through to his final visionary landscapes. Nash was fascinated with Britain’s ancient past and spent time in southern England exploring the downs and coastal areas. The exhibition will look at how these landscapes influenced his work and provided a stage for his engagements with international modern art movements such as surrealism.
The most evocative landscape painter of his generation, the exhibition will cover all the significant developments of Nash’s career, opening with his early Symbolist watercolours exploring the mystic life-force of trees, and the powerful shattered landscapes of the First World War. Nash became an Official War Artist in 1917, expressing the waste of life through the violation of nature. He created some of the most iconic images of the First World War such as We Are Making a New World 1918.
On his return, Nash’s landscape paintings focused on places of particular significance to him including Dymchurch where a series of works such as The Shore 1923 reflected on his war experience and evoked the bleak beauty of the Kent coast. In the 1930s Nash drew on surrealist ideas to interpret the British landscape in a way that made connections between modernism and tradition. He explored the idea of a life force in inanimate objects from monoliths and trees to stones and bones. These ideas were realised through the juxtaposition of found objects with landscape to create mysterious encounters, in paintings such asEvent on the Downs 1934 and Equivalents for the Megaliths 1935.
Photography became an important part of Nash’s working practice in the 1930s, combined with natural objects in assemblages such as Only Egg 1936-7. This way of working was similar to that of Eileen Agar with whom Nash worked closely during this period and the two artists’ work will be shown together in the exhibition. In the late 1930s Nash’s landscape paintings increasingly explored the boundary between dream and reality such as Landscape from a Dream 1936-8. At the end of his life the Wittenham Clumps in Oxfordshire stimulated a series of visionary landscapes inspired by the seasonal cycles of the equinox and the phases of the moon including Landscape of the Vernal Equinox 1943.
The exhibition will be the first to examine Nash’s position at the centre of developments in British modernism and his dialogues with international artists as one of the leading figures in British surrealism. It will show his contributions to major exhibitions of the 1930s, such as the International Surrealist Exhibition of 1936 and the Unit One exhibition which toured across the UK in 1934-5. Nash was a founder member of this British modernist group of painters, sculptors and architects which included John Armstrong, Barbara Hepworth, Tristram Hillier, Ben Nicholson, Henry Moore and Edward Wadsworth. The exhibition will show works by Nash alongside those of fellow Unit One members, exploring the debates about abstraction and surrealism in which Nash participated during this period. The exhibition will examine how Nash’s work was both an imaginative response to the natural world and at the centre of developments in modern art in Britain.
Paul Nash is curated by Emma Chambers, Curator, Modern British Art and Inga Fraser, Assistant Curator, Modern British Art. The exhibition will be accompanied by a fully illustrated catalogue and a special publication on Paul Nash’s photography from Tate Publishing.