“M n Mîn z Lūsi Bìč’s frst mêjr sôlo xbišn in ɖ YC. Fôc̣st on ɖ wez in ẇč wimin cnstruct n ssten cmyṇtiz, ɖ wrc on šo at ɖ Haris Myziym z dveḷpt ât v Bìč’z xtndd bodi v rsrč arnd imošnl lebr n ɖ êjnsi v ɖ indivijl in a grūp. Ɖ raw mtirı̣lz fr ɖz riinactmnts r fabricetd fṛm fīldnôts; rsrč c̣lctd ʈru actv ingejmnt in wrcšops n netwrcñivnts; contxts ɖt dmand grūp̓fwmns ẇlst blŕñ ɖ bândriz btwn wrc n ple.
Sentṛl t ɖ xbišn z M n Mîn, Bìč’z most ambišs filmwrc t dêt (cmišnd bî Film n vidio Umbrela, 2015). Bìč cnstructs an inṭprsnl drama ɖt xaminz hâ ɖ so-cwld feminin vrtyz v emṗʈi n rlešnaḷti hv gênd incrīsñ cuṛnsi wɖn prīvı̣sli pêtriācl inḍstriz. Set btwn a tṛdišnl unḍtecrs n an aňl awōdseṛṃni, dfînd bî wn v its ptisipnts az ɖ nyclı̣s v ɖ fynṛl inḍstri’z fīmel revlušn, ɖ film foloz a fīmel unḍtecr az š ngošiets hr we ʈru ɖ šiftñ landscep v ɖ fynṛlbiznis, az wel az hr xpirı̣ns az a wmn amñ wimin. Ostensbli a studi v ɖ culčṛl n ic̣nomic fwsz srândñ ɖ biznis v deʈ, M n Mîn z cnsrnd wɖ îdiyz v trnzišn: btwn sošl grūps, prîvt n public wrldz, tṛdišn n iṇvešn, ɖ indivijl n ɖ grūp. Ɖ film demnstrets hâ ɖ reṭric v cmyṇti ɖt unḍlîz ppl’z piriodic apilz t ɖ ynivrsl vrtyz v hymn ssayti n inṭprsnl rlešnšps sits ambiğsli wɖ an incrisñli asrtv poḷtcs v ɖ slf.
Fīmel rlešnšps n grūpdnamics r frɖr xplord in Caniblz n ɖ dyl-scrīn wrc Berid Alîv (bʈ 2013). Bilt fṛm rsrč intu multīlevl mācitñscīmz, Caniblz fôc̣sz on an ol-fīmel ṣpwtgrūp Wimin Impârñ Wimin ɖt adoptd an īʈos v slf-čenj az a viycl fr a non-sstenbl biznismodl. Ɖs wrc trêsz hâ nošns v fīmel impârmnt cn oṗret az an oʈorittv brandñtūl. WEW imrjz in Caniblz az a tṛdišnl piṛmidscīm – a mîcṛcozm v a capitlist sistm, mirrñ an imij v unsstenbl grôʈ. Ɖ tírd strucčr z rfŕd t ʈru yf̣mizmz sč az aṗtîzr, mn cws n dzrt. Bfr ɖe īt, ɖ wimin ptisipet in imošnl srcițrênñ; ɖ bodi z tenḍrîzd in preṗrešn fr slfcnsumšn. Ɖ fiẋnl prôses dtirı̣rets ẇn wn v ɖ ptisipnts obzrvz ɖs sūdo-ʈeṛpytc prôses t b ītñ awe at itslf.
Xplorñ frendšp az a biznismodl, Berid Alîv z a multīscrīn wrc ɖt dokments a fictišs wrcšop in līdršp. Pleyñ wɖ fiẋnl îdiyz v imošnl ontṛpṛnŕšp in ẇč welbiyñ z srkletd az ɖ prinṣpl cmodti, ɖ filmz folo a grūp v wimin lrnñ t capiṭlîz on ɖer ôn xpirı̣nsz in ōdr t bild ɖer ôn homspun, ʈeṛpytc meʈdoḷjiz. Ɖ līdr z crietñ a seilzfws hu in trn trêd on ɖer prsnl c̣rizma n contacts t muv ɖ ʈeṛpytc prodct amñst a netwrc v frendz, famli n nêbrz.”
“Born in Caslfd, West Ywcšr, Henri Mur (1898–1986) z wn v ɖ most impwtnt artists v ɖ 20ʈ senčri. Đs mêjr xibišn, in c̣laḅrešn wɖ Ɖ Henri Mur Fândešn, têcs a freš aproč t Mur’z wrc bî cnsidrñ hiz pṛfând rlešnšp wɖ land, wč wz funḍmntl t hiz practis n fyld hiz vižl vcabylri.”
Ɖ mistri v ẇt z undr ɖ šrâd z smẇt acin t ɖ mistri in powtri. It z ɖs eḷmnt v ɖ uņon ɖt fasinets m in cevz n ɖ houlz in ɖ sîdz v hilz – y d’nt nô ẇt z ɖr untl y lc n xplor intu ɖm. Mistri plez a lj n inlîvnñ pāt in âr lîvz; nt nwñ bt wntñ t nô, wundrñ n gesñ, qesčnñ n xplorñ. (Henri Mur, 1974)
A fândñ pêtṛn v YSP, Mur wz cmitd t šowñ hiz wrc in ɖ ôpn er, n in ɖ rolñ hilz v ɖ fwmr Dírpāc in ptklr.
Ɖ xibišn nt onli xplorz ɖ ātist’s radicl nošn v plêsñ sculpčr in ɖ landscep – lj-scêl sculpčrz grīt ɖ vizitr on arîvl at ɖ Pāc n r dspled agnst ɖ bytifl n historic visṭz v ɖ Boʈīgādn – bt ɖ impwtns v ŕʈ in Mur’z crietv ʈncñ. Āčroc, Îsbrg, Roci Landscep n nymṛs uɖr drōñz, sm rerli sīn in public, alñ wɖ a renj v sculpčrz xplorñ scêl n ɖ inṭple btwn intrnl n xtrnl spêsz, emfsîz ɖ ātist’s constnt invstigešn v land, fṛm ɖ blac colsìmz v hiz homtân n ɖ rič jioḷji v Britn, t ɖ mistcl ênčnt fwmz v Stônhenj.
Ɖ xibišn olso priznts an oṗtyṇti t xplor ɖ man bhnd ɖ practis wɖ a cerfli ṣlctd dsple v prsnl āṭfacts, nôts, scečz n fôṭgrafs, kretd in c̣laḅrešn wɖ ɖ ātist’s dwtr, Mẹri Mur.
Renovation New York (CHERRY Makita), 2013. Installation view. Institute of Contemporary Art, University of Pennsylvania. Photo: Aaron Igler/Greenhouse Media
“Jêsn Roudz, For Rôdz z ɖ frst mêjr gaḷriexibišn v ɖ wrc v ɖs xpšnl ātist, hu dîd in 2006 at ɖ êj v 41. Roudz livd n wrct in Los Anjlīz.
Jêsn Roudz, For Rôdz okpîz BALTC’s tu ljst florz, wɖ for insṭlešnz t b navigetd bî for intrpṛtv paɖz or rôdz: Jêsn Roudz, Americn Ātist; Jêsn ɖ Mêsn, (a bạgraficl ʈred nemd fr a čîldhd nicnem); Sistmz (lanĝj, scêl, indxñ, icoṇmiz), n PīRôFôm. Bî fwgrândñ ɖz ʈīmz, ɖ xibišn emz t ôpn p fr invstigešn Roudz’z spectaklr, ovrlodd insṭlešnz. Imījtli axeṣbl n î-cačñ, ɖz wrcs r at ɖ sem tîm dīpli sisṭmatc, dīteld, n rwōdñ v cerfl ingejmnt. Yzñ nion, plastc bucits, pârtūlz, snêcñ wîrz, fiğrīnz, sând, n a vast renj v uɖr mtirı̣lz, includñ a V8 enjin, Roudz’z wrc brñz ɖ vywr in wɖ hymr, vîbṛnsi, n ɖ pṛvoc̣tv ōdaṣti v hiz vižn. Ɖ šo wl b ancrd bî for mêjr insṭlešnz.
Sutter’s Mill, 2013. Installation view. Institute of Contemporary Art, University of Pennsylvania. Photo: Aaron Igler/Greenhouse Media
…
1993, Garage Renovation New York (CHERRY Makita). Photo: Colin Davison
Fucking Picabia/Picabia Car with Ejection Seat. Photo: Colin Davison
The Creation Myth. Photo: Colin Davison
Jêsn Roudz, For Rôdz z ōġnîzd bî ɖ Instityt v Cntmprri Āt, Ynivrṣti v Penṣlveňa n kretd bî ICA Čīf Kretr, Ñgrid Šefnr. Ɖs xibišn z md psbl bî Ɖ Py Sentr fr Āts n Heritij n z a cooṗrešn btwn ɖ Instityt v Cntmprri Āt, Ynivrṣti v Penṣlveňa, BWLTC Sentr fr Cntmprri Āt n Kunsthalle Brêmn”
The Creation Myth, 2013. Installation view. Institute of Contemporary Art, University of Pennsylvania. Photo: Aaron Igler/Greenhouse Media
Nʈñ z evr riyli az it sīmz: fand metl sīmz weitls n frajîl: inwms bilowñ pîlz v led sīm cinetc; n ɖ ātist hrslf sīmz t b constntli čalinjñ s t criet âr ôn mīnñz rgādñ abstract fwmz. – It’s Nîs Ɖt
Ɖ Hepẉʈ Wêcfīld priznts ɖ YC’s frst myziymsrve v wrc bî Grīc-Americn ātist n feminist îcon Linda Benglis. Ɖs hîli antisipetd xibišn wl b ɖ ljst prezntešn v Benglis’ wrc in ɖ YC, fīčrñ aproxiṃtli 50 wrcs ɖt wl span ɖ intîṛti v hr pṛlific c̣rir t dêt.
Êjd 73, Benglis z wn v America’z most significnt livñ ātists. Born in 1941 in Luīziana, YSA, š wz heṛldd az ɖ ér t Poḷcbî Lîf maġzīn in 1970, n imrjd az pāt v a jeṇrešn v ātists fwjñ ny apročz t sculpčr n pêntñ in ɖ wêc v Abstract Xprešnizm, Miniṃlizm n Popāt.
Cântñ Andi Wōhol, Sol LeWit n Bānit Nymn amñ hr frendz n pirz, Benglis istablišt hr c̣rir wɖn a mêl-dominetd āt wrld n bcem fems nt onli fr hr radicl riinvižnñ v sculpčr n pêntñ ʈru hr ŕli wrcs yzñ wax n pord lêtx, bt olso fr hr wrcs dīlñ wɖ feminist poḷtcs n slfimij.
BÎOGṚFI
Born in Lêc Čālz, Luīziana in 1941, Linda Benglis muvd t Ny Ywc Siti in ɖ lêt 1960z. Š nâ rzîdz in Ny Ywc n Santa Fe, Mexico, n z ɖ rsipı̣nt v a Ggnhîm Felôšp n tu Našnl Indâmnt fr ɖ Āts grants, amñ uɖr comndešnz. Hr wrc z held in impwtnt public c̣lẋnz n hz bn xibitd at Têt Modn, Ɖ Myziym v Modn Āt n ɖ Ẇitni Myziym.
Benglis wz ɖ subjct v a 2010–11 inṭnašnl retṛspctv ɖt travld t Ɖ Îriš Myziym v Modn Āt, Dublin; Ɖ Von Aḅmŭzeum, Indôvn; L’Conswsium, Dīžõ; Ny Myziym, Ny Ywc; n ɖ Myziym v Cntmprri Āt, Los Anjlīz. Most rīsntli, in ŕli 2014, Benglis šôcêst a siriz v ny sramic wrcs in a sôlo xibišn at Čîm n Rīd, Ny Ywc, n Toms Dên Gaḷri, Lundn.”
Night Sherbert A, 1968. Dayglo pigment, phosphorescence and poured polyurethane foam
Wing, 1970. Cast aluminum
Photo: Jonathan Pow
Proto Knot, 1971 Wire mesh, cotton bunting, plaster, gesso and sparkles
Zanzidae: Peacock Series, 1979. Wire mesh, enamel, glass and plastic
With work from the Peacock series, India, 1979
The Graces, 2003/2005 Cast polyurethane, lead, stainless steel
Photo: Jonathan Pow
Ghost Dance/Pedmarks, 1995-96. Photo: Jonathan Pow
“Ɖ YC’z ljst evr xibišn v ɖ influenšl n enigmatc fašnftogṛfr Gi Bŭrdĩ, fīčrñ ovr 100 wrcs n prīvı̣sli unsin mtirı̣l fṛm ɖ ftogṛfr’z istet, fṛm 1955 t 1987. Ɖs mêjr šo čāts Bŭrdĩ’z dstnĝšt 40-yir c̣rir, fṛm Man Re’z proṭže t ftogṛfīreṿlušnri in hiz ôn rît, n xplorz hiz psyt v pfẋn. Ɖ xibitd wrcs xmplifî ɖ craftsmnšp bhnd hiz imijz, fṛm pṛduẋn t publicešn, n ɖer indyrñ qoḷti az a consiqns.
Gi Bŭrdĩ’z editwrı̣l n advtîzñ imijri repriznt a hîpýnt in lêt twentiiʈ senčri fašnftogṛfi. Hiz wrc tc ɖ bêsic funẋn v ɖ fašnfôṭgraf – t sel cloɖñ, byti n axeṣriz – n md it intu smʈñ rič n strenj. Bŭrdĩ dd ɖs wɖt rzwtñ t xotisizm; instd, h istablišt ɖ îdīa ɖt ɖ product z secndri t ɖ imij. Fṛm hiz pṛfešnl dêby fr Paris Vôg in ɖ 1950z, Bŭrdĩ dveḷpt a dstnctv stîl v vižl stwrītelñ, ẇč cntinyz t srv az a sws v inspirešn t cntmprri fašnftogṛfrz fṛm Tim Wōcr t Nic Nait.
Kretd bî Alister O’Nīl wɖ Šeli Vertīm, ɖ xibišn includz ovr 100 culr xibišnprints v Bŭrdĩ’z most significnt wrcs, az wel az ŕli n lêt wrcs in blac n ẇît ɖt srv t čalinj Bŭrdĩ’z repytešn az a culrftogṛfr. Ɖs z complimentd bî a renj v uɖr fôṭgrafic mtirı̣lz: ynīc Pôḷrýd testšots, dubl-pêj spred lêâts, contactšīts n trnspaṛnsiz māct fr comṗzišn ɖt xplor Bŭrdĩ’z craftsmnšp az an imijmêcr n ɖ prôsesz involvd in pṛdysñ stātlñ n pṛvoc̣tv imijri in a prīdijitl êj. It olso hîlîts Bŭrdĩ az a paynir v fašnfilm, šôcêsñ a renj v Sūpr-8 filmz h md at ɖ sem tîm az hiz on-lcešn fôtôšūts.
Ɖ xibišn olso fīčrz a ṣlẋn v pêntñz, wrcñdrōñz, scečz n nôtbcs, nt sīn in ɖ YC bfr, ẇč infwm hiz aproč az a comṗzišnl imijmêcr n mtikḷs draftsmn. A hîlît z ɖ Wōcñlegz siriz – a campen cmišnd bî Šāl Žŭrdã in 1979 xibitd in its intîṛti fr ɖ frst tîm wɖ a yt unsin acumṗniyñ fašnfilm.”
“Soñ fr Col z bytifl, plêfl n enigmatc. Evri tîm I si it I fînd smʈñ ny ɖt I hd’nt īvn nôtist ɖ last tîm. Pāt c̣lîḍscôp, pāt cʈīdṛl rôzwindo, wɖ vôcl myzic ɖt z bʈ reẓlutli seklr n krı̣sli spiričl. Vri prâd t hír ɖ gwjs výsz v ɖ Cwrs v Opra Nwʈ in ɖs pìs.
Dominic Gre, Projcts Drectr at Opra Nwʈ.
Ɖs hîli ivoc̣tv c̣lîḍscopic wrc, instwld in ɖ bytifl n cntmpḷtv 18ʈ senčri čapl, xplorz ɖ fizicl n culčṛl proprtiz v col ʈru rič imijri n soñ.
Soñ fr Col têcs a fwm bêst on ɖ flamboynt trêsri v ɖ apoc̣liptc rôzwindo v Sainte Chapelle, Paris. Brôcn dân intu 152 sepṛt panlz, č sẋn v ɖ rôz hôsts indivijl filmz ɖt três col fṛm ɖ cāḅnifṛs t ɖ pôstindustrı̣l.
Ɖ hymn výs z a sentṛl n pârfl eḷmnt in ɖ comṗzišn v ɖs wrc. Wrcñ wɖ Opra Nwʈ, Cro n Rwlinsn hv crietd a plênsoñ, bêst on Ɖ Colcaṭcizm (1898) bî Wiłm Jaspr Niclz.
Ɖ ātists hv wrct wɖ ɖ c̣lẋn v ɖ Našnl Colmainñ Myziym n Drax Pârstêšn, bʈ wɖn a fy mîlz v YSP, in filmñ sẋnz v ɖ wrc. Ɖe hv olso implýd ɖ rer practis v canlcol carvñ t criet objcts n fiğrīnz ẇč wr lêtr brnd in frunt v ɖ camra.
Nic Cro n Iyn Rwlinsn wrc c̣labṛtvli btwn stydioz in Brlin n Mančestr. Ɖer wrc z primṛli cnsrnd wɖ ɖ lanĝj v pâr, wɖ its gramr n wɖ its reṭric. Ɖer projcts adres qesčnz arnd fêʈ, poḷtcs, našnl îdntti n ɖ invîrnmnt. Rīsnt projcts includ xibišnz at Nwɖn Gaḷri v Cntmprri Āt, Sunḍḷnd, n VlpsVlps, Lundn, n a cmišn fr Ɖ Ẇitẉʈ Ātgaḷri, Mančestr. Ɖ ātists wr ṣlctd fr ɖ Nwɖn Ātprîz in 2009.”
“Ɖs z ɖ frst sôlo xibišn v wrc bî Nastiu Mscītu, imrjñ t b wn v ɖ most xîtñ ātists v hiz jeṇrešn.
Rūtd in ɖ brwdcastinḍstri, ẇr Mscītu wrct prīvı̣sli az drctr n camṛmn, hiz ātistc practis z xtrōdnri fr its eṇji, intelijns n wit. It z az funi az it z confṛntešnl, az candid az it z îronic, ṣtiricl n cūl. It imbresz film n myzic, ʈiatricl pfwmns, vidio n insṭlešn, ofn rqîrñ ɖ c̣laḅrešn v uɖrz, most nôṭbli Spaniš ātist Vic Ṗrêró. Frīqntli apirñ in conṣts n myzicfestivlz, Mscītu hz olso pfwmd wɖn ɖ contxt v vižl āts prôgramz n mntenz a lîvli onlîn prezns.
Ʈiatricli, Mscītu têcs sentrstêj in hiz wrc. H ofn asymz rôlz, ʈru mimicri, in ōdr t xpres îdiyz ocŕñ t hm, nt so mč az hiz ôn čerišt ḅlifs bt rɖr obẓvešnz on hymn foli manifstd in modn lîf. Ɖ distns btwn hiz acčl îdntti n sč caṛcṭrîzešnz ineblz hm t xpres hmslf verı̣sli az biyñ trnzgresv, cūl, sinicl, pṛfen n vulgr. Nāstia, a nô-it-ol wɖ a Rušn axnt – a monstr injendrd bî ɖ Cold Wor – ipiṭmîzz ɖs tendnsi, n ofn mcs an apiṛns. At ɖ hāt v ɖ xibišn z Nāstia’z Manifsto (2008), a srklr pṛjẋn sspndd jst abv ɖ flor, bêst on ɖ cīwrdz Hiṗcritcl, Îronic n D Nt Gv a Fuc.
Nástia’s Manifesto (2008). Video, 4:10.
In a vrayti v wez Mscītu z an ātist pýntñ s twdz a fyčr in ẇč clir dstnẋnz md btwn ātfwmz, btwn popylr culčr n fîn āt, n ɖ caṭġrîzešn v culčṛl îdnttiz wl hv bcm îɖr rdundnt or ireḷvnt. Hiz slf̣werṇs az smwn in ɖ ātwrld sits alñsd hiz cnsrnz wɖ Africn poḷtcs, ispešli ɖoz ptenñ t Angola – az it dīlz wɖ ɖ leġsi v a loñ n bludi sivl wor – sẋl poḷtcs, rampnt cnsyṃrizm n uɖr simtmz v glôḅlîzešn.
3 Continents (2010) Video, 7:45’
Ɖ dvîs v procḷmešn, v prīčñ or peḍgoji, z dplýd wɖ îronic nowñṇs. In 3 Continnts (2010) w incântr ɖ cnd v confidns ɖt caṛcṭrîzz ɖ nūvo rīš stumblñ intu sičuešnz ɖe d’nt riyli undrstand. Acts (2012), a mr rīsnt wrc bî Nastīvišs (Mscītu n Ṗrêró), z ls naṛtv. In for pāts, w si hm in siluet agnst bacgrândz v vivid culr, pfwmñ cuvrz v soñz sč az I Šot ɖ Šerif n Prpl Rên, inṭsprst bî xwtešnz in Pwčgīz. Ɖz r cmbînd wɖ ilectronic drônz n dijitl ifcts t cunjr p a vižn ɖt z az wirdli omiṇs az it z abstract.
Acts (2012) Video, 12:17’
Plīz nôt eḷmnts v ɖs xibišn cnten adultcontent n ṗrentl gîdns z advîzd. Ɖ xibišn z acumṗnid bî a publicešn, prîst £10, wɖ txt bî indipndnt kretr, raitr n ātist Gabi Ncôbo. Vizit Îcon’z onlîn šop fr ɖ fl renj v Îcon’z caṭlogz n limitd idišnz.
Îcon, in c̣laḅrešn wɖ Nuova Icona, priznts a projct cmbînñ Nastiu Mscītu’z filmz n pfwmnsz at ɖ 56ʈ Bienāle di Venezia (Me–Ōġst 2015) at ɖ Oratorio di San Ludovico, S. Basilio.
“Recgnîzd az a ci figr v avãgād cntmprri juwlri, Bernhāt Šrbñr’z sbvrsv aproč t mcñ spanz mr ɖn forti yirz n hz ŕnd hm a repytešn fr rbełs iṇvešn. Hiz wrc scilfli trnsfwmz dscuvrd objcts intu pìsz ɖt alud t past n preznt, prešs n left-ovr.
Smʈñ v an alc̣mist, Šrbñr gaɖrz n prôsesz ol manr v matr, ẇč frīqntli includz dscādd dtrîṭs. Fṛm culrd penslz, spent nic̣rilastc, prešs stônz, comz or worn irezrnubz, t cýnz, dîmndz, pricli swfîlz or pýznbotlz – sč scavinjd mtirı̣lz r ol swsz v isʈetc n fizicl ričṇs. At wns anācic n c̣lcṭbl, Šrbñr’z wrc ynîts ɖz mtirı̣lz t criet hîbrid juwlz ɖat irevṛntli xpres ɖer provnns ẇl čalinjñ cnvnšnl histriz v bodı̣dwnmnt.”
