“Yes, yes, w clîm p n p, w imajin w r asndñ; evri step z abt 10 inćz hî, teṛbli tîrñ – n ẃr dz it ol gt s? Nẃr.”
“Wn v ɖ grt cnundṛmz v modn art. H z an artist huz wrc z az instntli recgnîzbl az enʈñ bî Salṿdor Dalí, yt hiz nem mīnz ltl t a Britiś ōdịns. Eśr wz nvr afilietd t eni grūp, rerli travlñ far fṛm hiz modist hom in ɖ Duć tân v Bārn, n fôc̣sñ xclusvli on grafic art. H wz a wn-man artmuvmnt hu crietd sm v ɖ most fems n popylr imijz in modn art, yt h rmenz a cmplit inigma.”
“Čiznhel Gaḷri priznts a mêjr ny cmišn bî ɖ Amstdam n Brlin bêst Crdiš ātist Āmet Ŕt. Fr Hapi Tgɖr: C̣laḅretrz C̣laḅretñ Ŕt stêjz a public dscušn at Čiznhel Gaḷri, brññ tgɖer ppl v verı̣s pṛfešnz n našnaltiz wɖ hūm h hz prīvı̣sli c̣laḅretd. Ɖ gaḷri z trnsfwmd intu a TV stydio fr ɖ jrêšn v ɖ xibišn wɖ a spešli cnstructd set yzd t stêj ɖ dscušn n, aftrwdz, t priznt a film dokmentñ ɖ ivnt. Ɖ projct ôpnz wɖ a pfwmns v Rīvrb, a conṣt bî ɖ ātist in c̣laḅrešn wɖ ɖ band Fīno Blendax, t welcm ɖ c̣laḅretrz t Čiznhel.
Hapi Tgɖr: C̣laḅretrz C̣laḅretñ z a ny wrc, cmprîzñ a lîv ivnt n a filminsṭlešn, bt it olso funẋnz az a fwm v retṛspctv, c̣lctvli fwmd ʈru ɖ memriz n xpirı̣nsz v Ŕt’s c̣laḅretrz. Ten c̣laḅretrz, includñ an ōẋniyr, a fîrfîtr, a herdresr, a stuntman, a liprīdr n a spwtscastr, hv bn invîtd t Čiznhel Gaḷri t šer ɖer xpirı̣nsz v c̣laḅretñ wɖ Ŕt. Ɖ c̣laḅretrz têc ɖ stêj ẇlst Ŕt pzišnz hmslf amñst ɖ ōdı̣ns. Rvizitñ past c̣laḅrešnz in ɖs ny wrc, h xplorz ɖ êjnsi v ɖoz hu ptisipet in a wrc’s pṛduẋn n ɖ nêčr v c̣laḅrešn itslf.
C̣lctvli, Ŕt’s c̣laḅretrz repriznt a ṣlẋn v hiz wrc spanñ olmst a deced. A Brlin-bêst bābr, Alixandr Pîcrt, repriznts ɖ ŕliist projct: Anɖr Prfct De, frst prizntd at Pist, Istanbŭl in 2006, wɖ subsqnt prezntešnz at ɖ 5ʈ Brlin Bienāle (2008) n Sfīa Cntmprri (2013). Pîcrt cut her bî ɖ lît v a môtrsîcl hedlît in a pfwmns ɖt md refṛns t ɖ crı̣tivti n impṛvîzešn implýd in ɖ evrde lîvz v ppl livñ n wrcñ in unstebl ṗlitcl n ic̣nomic invîrnmnts. Sm v Ŕt’s most rīsnt wrc z reprizntd bî Amstdam-bêst mixoḷjist Tes Postyms n Lundn-bêst myzišn Bora Ajnjturc v Fīno Blendax.
Wɖ ɖs hîli xperimntl xibišnfwmat, Ŕt rvizits sm v ɖ wrc fr ẇč h z bst nôn. Fr Faṛnhît 451: Rīprintd (2013), Ŕt rvrst ɖ rôl v ɖ fîrfîtrz in Re Bradbri’z iponims novl fṛm 1953: instd v brnñ bánd bcs, ɖe wr printd n dstribytd fṛm a rīprṗst fîrtruc bî membrz v ɖ Fîrdipātmnt fṛm Espo, nir Helsnci, wn v hūm – Yācó Łesivoró – têcs pāt in ɖ ivent at Čiznhel. Ɖ Sîḷnt Ynivrsti z a nolijxčenj platfwm inišietd bî Ŕt in 2012 n oṗretd bî asîḷmsīcrz n refyjīz hu r līġli privntd fṛm cariyñ ât ɖer pṛfešnz in ɖ cuntriz ẇr ɖe r cuṛntli bêst. It z reprizntd at Čiznhel bî Mŭlūgeta Ficadu, an Eritriyn-Kbn fizioʈeṛpist bêst in Lundn.
Ŕt ofn implýz hymr t adres complx išuz, wīvñ lūs naṛtvz ɖt cnct c̣lctv memriz, lôcl histriz n culčṛl îdnttiz. Hiz wrc z rūtd in ɖ riaḷti v evrde lîf n h yzz ɖ simtmz v sošl n ṗlitcl îdioḷjiz, sistmz n histriz t pṛdys ambišs projcts ɖt inact sutl šifts in pspctv. In Hapi Tgɖr: C̣laḅretrz C̣laḅretñ, Ŕt fwgrândz ɖ stêṭs n valy v lebr wɖn ɖ pṛduẋn v āt, pṛvocñ a critcl conšsṇs ɖt cwlz intu qesčn ɖ eʈicl n rlešnl implicešnz v ɖ rôl v ɖ ātist n ɖer wrc wɖn ɖ wrld.
Āmet Ŕt (born 1981, Diyābacir, Trci) z a Crdiš ātist livñ n wrcñ in Amstdam n Brlin. Rīsnt sôlo xibišnz includ Fwd!, Van Abbemuseum, Îndhovn (2015); Aṗreṭsz v Sbvršn, Horst-Janssen-Museum, Oldnbrg; Stratjiz fr Radicl Dmocṛsi, Ɖ Blacwŭd Gaḷri at Ynivrsti v Ṭronto (bʈ 2014); n Faṛnhît 451: Rprintd, Čecpýnt Helsnci (2013). H hz ptisipetd in nymṛs grūpxibišnz, includñ 8ʈ Šenzn Sculpčr Bienāle (2014); Pfwma 13, Ny Ywc (2013); 7ʈ Livpul Bîeňl (2012); n ɖ 12ʈ Istanbŭl Bîeňl (2011). Ŕt wz ātist in rezidns at ɖ Rijksakademie, Amstdam, 2007–2008, n at Delfīna Fândešn, Lundn, in c̣laḅrešn wɖ Têt, 2012. H hz twt in Duč Āt Instityt, Neɖrḷndz, 2012 n ɖ Fíniš Acaḍmi v Fîn Āts, Fínḷnd, 2011 n 2013. Hiz sôlo xibišn, Fwd, ôpnz at ɖ Van Abbemuseum, Îndhovn, in Māč 2015.
Ɖ public dscušn at Čiznhel Gaḷri z čerd bî Andria Filips, Rīdr in Fîn Āt n Drctr v FD prôgramz in ɖ Ātdipātmnt at Goldsmiʈs. Ɖ film v ɖ ivnt z pṛdyst bî ɖ YC edycešnl čaṛti WRLDrait, ẇč incurijz yuñ ppl t yz film n ny mīdı̣tecnoḷjiz.
Ɖs z ɖ frst sôlo xibišn in a YC public instityšn bî Āmet Ŕt n z cmišnd az pāt v Hâ t wrc tgɖr, a šerd prôgram v cntmprri-āt cmišnñ n rsrč dvîzd bî Čiznhel Gaḷri, Ɖ Šôrum n Stydio Volter…”
“Mālen Dūmā z wn v ɖ most prominnt pêntrz wrcñ tde. Hr intns, sîc̣lojicli čājd wrcs xplor ʈīmz v seẋuaḷti, luv, deʈ n šem, ofn refṛnsñ arthistri, popylr culčr n cuṛnt aferz.
Secndhand imijz, š hz sd, cn jeṇret frsthand imošnz. Dūmā nvr pênts drctli fṛm lîf, yt lîf in ol its cmplx̣ti z rît ɖr on ɖ canvs. Hr subjcts r drwn fṛm bʈ public n prsnl refṛnsz n includ hr dwtr n hrslf, az wel az recgnîẓbl fêsz sč az Êmi Wînhâs, Neymi Cambl, Prinses Dîana, īvn Osama bin Lādn. Ɖ rzults r ofn intiṃt n at tîmz contṛvršl, ẇr poḷtcs bcm irotc n pwtrits bcm ṗlitcl. Š plez wɖ ɖ imajinešn v hr vywrz, ɖer prīcnspšnz n firz.
Born in 1953 in Cêptân, Sâʈ Africa, Dūmā muvd t ɖ Neɖrḷndz in 1976, ẇr š cem t prominns in ɖ mid-1980z. Ɖs lj-scêl srve z ɖ most significnt xibišn v hr wrc evr t b held in Yṛp, čātñ hr c̣rir fṛm ŕli wrcs, ʈru seminl pêntñz t ny wrcs on pêpr.
Ɖ tîtl v ɖ xibišn z têcn fṛm Ɖ Imij az Brdn 1993, a sml pêntñ dpictñ wn figr cariyñ anɖr. Az wɖ mni v Dūmā’z wrcs, hr čýs v tîtl dīpli afcts âr intrpṛtešn v ɖ wrc. It hints at ɖ sens v rsponṣbiḷti fêst bî ɖ artist in čuzñ t criet an imij ɖt cn trnzlet îdiyz abt pêntñ n ɖ pzišn v ɖ artist. Fr Dūmā it z impwtnt t gv mr atnšn t ẇt ɖ pêntñ dz t ɖ imij, nt onli t ẇt ɖ imij dz t ɖ pêntñ.
In an êj dominetd bî ɖ dijitl imij n masmīdia, Dūmā čerišz ɖ fizicaḷti v ɖ hymn tuč, wɖ wrc ɖt z a tesṭmnt t ɖ mīnñ n pôtnsi v pêntñ.”
(Posted 27 January 2015. The text is in an older version of Ñspel.)
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“Pītr Pwl Rūbnz hz bn dscrîbd az ɖ prins v pêntrz. A bold clem? Juj fr yrslf at ɖs, ɖ frst mêjr ovrvy v hiz wrc n leġsi.
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‘The Garden of Love’ (c. 1633), by Peter Paul Rubens
Rūbnz n Hiz Leġsi brñz tgɖr mastrpìsz pṛdyst jrñ hiz lîftîm, az wel az mêjr wrcs bî grt ātists hu wr inflụnst bî hm in ɖ jeṇrešnz ɖt folod. W si ɖ inflụns v Rūbnz in ɖ prints v Picaso n Rembrant, in ɖ pwtričr v Van Dîc, in ɖ huntñsìnz n dvošnl wrcs v Deḷqā, n in ɖ landsceps v Cunsṭbl n Gênzbra. It z a far-rīčñ n rmāc̣bl leġsi.
Rūbnz, bst nôn fr hiz fleši nyd wimin, olso imbrest a brwd are v subjcts, fṛm rlijs n myʈ̇lojcl sìnz t landsceps n pwtrits. W lc at č v ɖz erı̣z ʈru ɖ lenz v six ʈīmz; pâr, lust, cmpašn, eḷgns, powtri n vayḷns.
Set t b wn v ɖ bgist specṭclz v 2015, ɖs z an unpreṣdntd oṗtyṇti t si mastrpìsz bî Rūbnz sîd bî sîd wɖ ɖ wrc v hiz ātistc érz.
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La Peregrina
Cntemprri wrcs t jýn Rūbnz n Hiz Leġsi
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Az pāt v ɖs landmāc xibišn, seḷbretd ātist n Royl Acaḍmišn Jeni Savil hz kretd La Peregrina, a prsnl n cntmprri rspons t Rūbnz n Hiz Leġsi.
Fr La Peregrina, Savil hz čozn a ṣlẋn v wrcs bî mêjr 20ʈ n 21st senčri ātists. Az wel az pêntñz bî Wiḷm d’Cūnñ, Pablo Picaso, Fransis Bêcn, Sẹra Lūc̣s, Lūšn Frýd n uɖrz, y cn si xtrōdnri ny wrc crietd bî Savil ispešli fr ɖs ocežn.
Jeni Savil z bst nôn fr hr lj-scêl ýlpêntñz v fīmel figrz. Wɖ hr dīp fasinešn in ɖ palṗbiḷti v fleš, xtreṃtiz v anaṭmi n ɖ gṛtesc, Savil’z ātwrc invocs ɖ inflụns v Rūbnz. Ɖ renj v wrcs š hz brwt tgɖr rflct bʈ hr prsnl rspons n dīp undrstandñ v wn v ɖ grt mastrz v āthistri.
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Ẇɖr y ʈnc y lîc Rūbnz or nt, hiz inflụns runz ʈru ɖ paʈwez v pêntñ. Lîc Wōhol, h čenjd ɖ gem v āt. Jeni Savil RA”
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Edwin Landseer: The Hunting of Chevy Chace, 1825-6
Peter Paul Rubens: Tiger, Lion and Leopard Hunt, 1616
Eugène Delacroix: Lion Hunt, 1858
Peter Paul Rubens: Pan and Syrinx, 1617
François Boucher: Pan and Syrinx, 1759
Attributed to Anthony van Dyck: Drunken Silenus Supported by Satyrs, c. 1620
Peter Paul Rubens: Evening Landscape with Timber Wagon, 1630–40
Peter Paul Rubens: The Triumph of Henri IV, 1630
Eugène Delacroix: : The Triumph of Apollo (Apollo Vanquishing the Serpent Python), c. 1853
“Ɖ Ẇîtčapl Gaḷri priznts a ny cmišn bî Duč ātist Bāt Lôḍvx. Ɖ xibišn z ɖ culminešn v a c̣labṛtv projct xplorñ drōñ az a sošl practis, in ẇč ɖ ātist wrct wɖ grūps v lôcl yuñ ppl.
Yzñ ŕbn invîrnmnts arnd ɖ wrld az a canvs fr hiz abstract čwcdrōñz, Lôḍvx wrcs acrs a wîd renj v contxts – fṛm rezidnšl bildñz in qayt sbrbn nêḅhdz t strītsrfisz in buslñ metṛpolitn sitīsentrz.
Stêtñ ɖt hiz lînz r md bʈ v čwc n trust h z intrestd in hâ drōñ cn b a sošl prôses bilt on conṿsešnz wɖ indivijlz or cmyṇtiz. Ẇl ɖ drōñz ofn diṣpir, ɖ stwriz n incântrz wɖ a plês r capčrd ʈru hiz raitñ.
Ɖ xibišn includz a siriz v ny čwcdrōñz md in rspons t ɖ gaḷrīspês n its srândñz n a ṣlẋn v ācîvl mtirı̣l fṛm past projcts.
T acumṗni ɖ xibišn a nyzpêpr dzînd in c̣laḅrešn wɖ ROMA Publicešnz dokments Lôḍvx’ rīsnt wrc in īst Lundn. Ɖ publicešn olso fīčrz imijz fṛm ɖ ātist’s c̣labṛtv wrcšops wɖ lôcl yuñ ppl, ẇr h fând ât abt hâ ɖe rlet t ɖ public n prîvt spêsz arnd ɖm.
Bāt Lôḍvx (1972) bgan mcñ wōldrōñz at Ɖ Acaḍmi v Āt n Dzîn St. Ywst in Brêdā n ɖ Pīt Zvāt Instityt, bʈ in ɖ Neɖrḷndz. H hz wrct on projcts in Lizbn, Pwtu, Vilemštat, Ronsa, Riu di Žneru, Slîgo n Gent.
In ɖs māvḷs xibišn, Vīvian Sasn z ls fašnftogṛfr, mr cntmprri ātist. Hr fwmz r ofn sculpčṛl, bt most strîcñ z hr breʈtecñ culrpalit.
***** Īvnñstandd
“Aṇlema: Fašnftogṛfi 1992–2012 z ɖ frst Lundn prezntešn v wrcs bî Dučborn ftogṛfr Vīvian Sasn (b. 1972), wn v ɖ most xîtñ n crietv figrz wrcñ acrs cntmprri āt n ftogṛfi tde.
Woč âr inṭvy wɖ Vīvian.
Fr m, fašn z wn bg plêgrând, a plês t xperiment. Bt I hv olwz hd ɖs luv/hêt rlešnšp wɖ it.
Vīvian Sasn, inṭvy wɖ ɖ Gādı̣n, 2013
Hr hîli dstnctv stîl rflcts an iṇvtv n dînamic aproč t ɖ mīdı̣m, pṛdysñ imijz ɖt fwgrând an xpresv ys v culr n tôn, unyžl vypýnts n a sculpčṛl cnsrn wɖ fwm n šêp ɖt ofn lendz a sriyl qoḷti t hr comṗzišnz.
Ɖs xibišn fôc̣sz on hr fašnwrc n fīčrz arnd 350 imijz ɖt sbvrt ɖ limits n cnvnšnz v ɖs žãra. Sasn hz cnsivd an imrsv insṭlešn fr Ɖ Ftogṛfrz’ Gaḷri, prizntñ hr imijz az a siriz v dînamic lūpt pṛjẋnz ẇč swīp ovr n acrs ɖ Gaḷri wōlz n flor. Mirrz n spešli dfînd pṛjẋnerı̣z dsct ɖ fôṭgraft bodiz n dstrb ɖ vywrz’ sens v gravti n vywñxpectešnz.
Ɖ tîtl Aṇlema rfŕz t an astṛnomicl trm dscrîbñ an êtšept crv, ẇč maps ɖ pzišn v ɖ sún in rlešn t tîm. Hír it ivocs ɖ tranzı̣nt sīznl flo v fašn, az wel az ecowñ ɖ constntli muvñ pṛjẋnz in ɖ spês.
Sasn’z wrc z caṛcṭrîzd bî an unwilñṇs t cnfwm t privelñ côdz n cnvnšnz, ispešli ɖoz ɖt hv cm t dominet ɖ wrldz v fašn n advtîzñ. Hr intrest z in a vižl frem drivn bî šêp n siluet, volym n lîn. Ilabṛt leyrñ v bodiz, txčrz, bacgrândz n culrz fwm pāt v a dsctnct isʈetc, wɖ modlz’ limz ofn obskrd, mrjd or trnsfwmd intu tūdimnšnl patnz. Ʈru ɖs xūbṛnt fwṃlizm, in ẇč fiğṛtv n abstract cnsrnz rmen in constnt daylog, hr subjcts apir unristrend, wɖ ɖ flex̣biḷti t b réd az fizicl n grafic fwmz.
Fašn itslf têcs a secndri rôl t hr pârfl imajinešn… Sasn’z stātlñ n xperimntl vižn… z wn wɖt rstrent.
Dezd Dijitl
Vīvian Sasn studid Fašndizîn n Ftogṛfi at Hogeschool voor de Kunsten, Ytrect, n at Ateliers Arnhem in ɖ Neɖrḷndz. Š hz wrct on awōdwinñ campenz fr Stela MCātni, Adīdas, Miu Miu, n Mișoni, n fr maġzīnz sč az, i-D, Prpl, AnUɖr Maġzīn, Dezd n Cnfyzd n POP. Š hz bn awōdd ɖ Pri d’Rom (2007), ɖ ICP Infiṇtı̣wōd fr Aplîd n Fašn Ftogṛfi (2011) n in 2013 xibitd at ɖ Venis Bienāle.
A fŭli iḷstretd caṭlog t acumṗni ɖ xibišn z aveḷbl fṛm âr bcšop.”
A Woman bathing in a Stream (Hendrickje Stoffels?), 1654
The Anatomy Lesson of Dr Joan Deyman, 1656, Amsterdam Museum, Oil on canvas, 100 x 134 cm
Portrait of a Lady with an Ostrich Feather Fan, c. 1658/1660, oil on canvas transferred to canvas, Widener Collection, 99.5 x 83cm
The Syndics (1662), Rijksmuseum, Amsterdam
Portrait of a Lady with a Lap Dog, about 1662-5, Art Gallery of Ontario, Toronto
Joseph and Potiphar’s Wife, 1655, Gemäldegalerie, Staatliche Museen zu Berlin-Preussischer Kulturbesitz, Scala, Florence / Bildagentur für Kunst, Kultur und Geschichte, Berlin. Photo: Jörg Anders
The Suicide of Lucretia, 1666, The Minneapolis Institute of Arts, Minnesota, oil on canvas, 109 x 93 cm
The Jewish Bride, oil on canvas (circa 1665-1669). Photograph: Alamy
The Conspiracy of the Batavians under Claudius Civilis. Photograph: The Royal Academy of Fine Arts, Sweden
Self Portrait at the Age of 63, 1669, oil on canvas. Photograph: The National Gallery
Self Portrait with Two Circles, circa 1665-9. Photo: English Heritage
(Posted 15 October 2014. The text is in an older version of Ñspel.)
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“Rembrant’s lêtr yirz wr trbylnt n māct wɖ cntrovsi, bt ɖe olso pṛdyst sm v hiz most soulfl, dīpli mūvñ n strîcñli modn wrcs.
Hvñ olrdi sufrd ɖ ŕli los v hiz wîf n ʈri v ɖer čildṛn, Rembrant’s lêtr yirz wr brdnd wɖ bancrupsi, acrimoňs līgl pṛsidñz wɖ a fwmr luvr, n ɖ los v hiz comnlw wîf n onli rmenñ son. Hvr, far fṛm diminišñ az h êjd, Rembrant’s crı̣tiṿti gaɖrd ny eṇji.
Fṛm ɖ 1650z untl hiz deʈ in 1669, Rembrant psyd an ātistc stîl ɖt wz xpresv n radicl. Hiz bold mnipylešn v printñ n pêntñ tecnīcs n pṛgresv intrpṛtešnz v tṛdišnl subjcts inspîrd jeṇrešnz v ātists, ŕnñ hm a repytešn az ɖ grtst mastr v ɖ Duč Goldn Êj.
Ʈru fems mastrpìsz n rer drōñz n prints, Ɖ Lêt Wrcs xaminz ɖ ʈīmz ɖt priokpîd Rembrant az h gru oldr: selfscrūṭni, xperimentešn, lît, obẓvešn v evrīde lîf n īvn uʈr ātists’ wrcs; az wel az xprešnz v intiṃsi, contmplešn, conflict n recnsiliešn.
Īvn ʈri-n-a-hāf senčriz aftr hiz deʈ, Rembrant cntinyz t astoniš n amez. Hiz tecnicl invnšnz, n hiz pṛfând insît intu hymn imošnz, r az freš n reḷvnt tde az ɖe wr in ɖ 17ʈ senčri.
Rembrant: Ɖ Lêt Wrcs, ōġnîzd bî ɖ Našnl Gaḷri, Lundn, n ɖ Rîcsṃseum, Amsṭdam, ofrz y an oṗtyṇti t xpirı̣ns ɖ pašn, imošn n iṇvešn v ɖ grt mastr.”
RĪCNSTRUCŠN V 26 RU DU DEPAR, PARIS, bêst on 1926 fôto bî Pwl Delbo
“Duč pêntr Pīt Mondrian (1872–1944) z rnând az wn v ɖ most impwtnt cntribytrz t ɖ dveḷpmnt v abstraẋn at ɖ bginñ v ɖ 20ʈ senčri, n hiz stunñ n influenšl wrcs r recgnîzd bî evrwn fṛm ātluvrz t stydnts v ācitecčr n grafic dzîn. Bt ẇt v ɖ man hmslf? Ẇt factrz led hm t dveḷp ɖs fmiłr sigṇčr stîl?
Mondrian n hiz stydioz mācs ɖ 70ʈ anivrsri v ɖ ātist’s deʈ n cnsidrz nt onli Mondrian’z significns, bt olso ɖ srcmstansz (in bʈ lîf n pêntñ) ɖt led hm t mc ɖ swič fṛm sxesfl fiğṛtv ātist in hiz hômland t inṭnašnl radicl iṇvetr. Têcñ vizitrz ʈru Paris, Lundn n ivnčli Ny Ywc, ɖ xibišn tracs Mondrian’z prsnl n isʈetc jrni, n fîndz ʈredz btwn ɖ tu: a mêjr hîlît z ɖ imrsv lîfsîz rīcnstruẋn v hiz Paris stydio, ẇč alâz vizitrz t inhabit nt onli Mondrian’z crietv wrld bt olso a ʈrīdimnšnl vršn v hiz culrfl xperimnts in pêntñ.
Hiz frst muv – môtivetd bî ɖ psyt v mr frtîl crietv grând – sw hm līv Hoḷnd fr Paris in 1911 n brwt abt cnsidṛbl čenj. Mondrian dropt ɖ secnd A fṛm ɖ Duč spelñ v hiz nem (Mondriaan) az a signl v intnt n imrst hmslf in ɖ Ṗrizı̣n avãgād cmyṇti, bt incântrñ Picaso’z xperimnts wɖ kbizm wd pruv īvn mr mmnṭs.
Hîlîtñ ɖ trnsfmešnl impact v Picasso on Mondrian n hiz wrc, ɖ xibišn includz pìsz sč az Ɖ Tri A 1913 ẇč demnstrets hâ h bgan t šift fṛm fiğṛtv pêntñz n muv twd abstraẋn. It wz in Paris (ẇr h bgan t yṭlîz culrpleinz on hiz wōlz) ɖt Mondrian’z īvlušn twd ɖ astonišñ wrc h z so wîdli recgnîzd fr tde bgan in ŕnist, culminetñ in ɖ pṛduẋn v ci nioplastc wrcs. Mondrian n hiz stydioz priznts ɖ ljst c̣lẋn in ɖ YC t dêt v ɖz îconic gridd wrcs.
Līvñ Paris n hiz seḷbretd Rue du Départ stydio bhnd, Mondrian ɖen muvd t Lundn ẇr, acwdñ t Bābra Hepẉʈ, wns agn hiz wundrfl sqrz v prîmri culrz clîmd p ɖ wōlz. Đo nt insignificnt, hiz ste in Lundn pruvd brīf (1938-1940). Līvñ ɖ YC vîa Livpul fr America, ɖ xibišn includz ɖ pasnjrlist berñ Mondrian’z nem, n pýňntli, hiz dpāčrpýnt cn b vyd ât v ɖ gaḷrīwindo.
Muvñ t Ny Ywc wd pruv hiz fînl advnčr (h dîd in Manhatn, êjd 71). Nâ in hiz lêt 60z, Mondrian stl hd tîm t incwṗret īvn mr fŭli ɖ snc̣petd riɖm v jaz, n būgīwugi in ptklr, intu hiz practis. Includñ recwdslīvz, ɖoz vîbṛnt trêdmāc culrpleinz fṛm hiz stydiowōlz n a film md bî hiz frend n ér Hari Holtsmn, ɖs xibišn ofrz p tanṭlîzñ glimpsz v ɖ mastr v abstraẋn’z nxt crietv destinešn.
Têt Livpul hz bn wrcñ clôsli wɖ PlusTêt pātnr Trnr Cntmprri ʈrt Mondrian n hiz stydioz. Trnr Cntmprri, bêst in Māget, priznts ɖ xibišn Mondrian n culr in c̣laḅrešn wɖ ɖ Bucerius Kunst Forum, Hambrg untl 21 Septmbr 2014. Mondrian n Culr xplorz ɖ ŕli pirı̣d v ɖ ātist’s c̣rir, tracñ ɖ pêntr’z ys v culr fṛm fiğrešn t ŕli abstraẋn. Tgɖr, ɖ xibišnz wl fôc̣s ɖ YC’z atnšn on ɖs pạnir v abstract āt, tîmd t côinsîd wɖ ɖ 70ʈ anivrsri v hiz deʈ.”
