“Lı̣nwra Carñtn invîts y t dscuvr ɖ fntastcl criešnz v ɖ pṛlific pêntr n inṭnašnli seḷbretd membr v ɖ sriylist muvmnt, Lı̣nwra Carñtn (1917-2011).
Ɖ xibišn xplorz Carñtn’z dvrs crietv practis, têcñ a ṣlẋn v ci pêntñz md ʈrt hr c̣rir az its stātñpýnt. A pṛlific pêntr, ɖ xibišn xplorz hâ Carñtn istablišt hr dstnctv têc on sriylizm. Wrcñ alñsd uɖr ci membrz v ɖ muvmnt, sč az Salvdor Dali n Max Ŕnst, hr pêntñz, fild wɖ xntric caṛctrz ẇč šift btwn plant, animl, hymn, objcts n evrʈñ in btwn, wl rmînd vizitrz unfmiłr wɖ hr wrc v hr btr nôn pirz.
Āğbli mr fems fr hr prsnl lîf ɖn hr āt, hr bîogṛfi z olmst az unyžl az hr māvḷs criešnz. Ɖ dwtr v a welʈi Britiš industrı̣list, in 1935 š trnd hr bac on hr upr-clas upbrññ in nwɖn Ñgḷnd aftr imbācñ upn a complicetd rlešnšp wɖ Ŕnst, n via sriylist srclz in Frans n Ny Ywc, istablišt a ynīc výs wɖn ɖ vîbṛnt crietv culčr v Mexico in 1941.
It wz in Mexico ɖt Carñtn’z practis bgan t xpand n ivolv. Š fild plez, šwt stwriz n txtîlz wɖ hr xtrōdnri wrldz, imbresñ set n costym dzîn fr pṛduẋns includñ hr ôn, Pneḷpi. Lı̣nwra Carñtn wl šôcês hr wrc in pêntñ alñsd xamplz v powtri, sculpčr, taṗstri n dzîn fr ʈiytr n film.
Leonora Carrington photographed by Chloe Aridjis in 1994
Leonora Carrington in her Mexico City house in 2000. Photograph: Daniel Aguilar/Reuters
Rfyzñ t b cnstrend or rstrictd bî cnvenšnl limitešnz, Carñtn’z xpandd practis hz md hr an inspirešn t mni cntmprri artists wrcñ acrs crietv čanlz n platfwmz. Hr pêtṛn Edwd Jêmz comntd in 1975 ɖt š hz nvr rlnqišt hr luv v xperimentešn, ɖ rzult biyñ ɖt š hz bn ebl t dvrsifî n xplor a hundṛd or mr tecnīcs fr ɖ xprešn v hr crietv pârz.”
“W r plizd t priznt ɖ frst YC sôlo xibišn v Eqdorı̣n ātist Oscar Santiyan (b.1980).
Dspt tučñ on culčrli pôtnt subjcts, fṛm filoṣfi t našnl prîd, ɖ xibišn ultiṃtli drwz ât ɖ obskr. Unxpctd ivnts ocŕ: ɖ dans v a ded filoṣfr z unveild, a hws lcs at hiz ôn rflẋn, nêčr n culčr c̣lîd.
Ɖ Wondrñ Cñdmz drwz on ɖ ltl nôn prôses v ɖ ŕli dokmntešn v brdcwlz. Ɖ wrc xistd frst az a pfwmns, ẇč md ɖ insṭlešn psbl. Sns ɖ rcwdñtecnoḷjiz in ɖ 19ʈ n ŕli 20ʈ Senčriz wr nt sūṭbl fr ɖ tasc v capčrñ ɖ sând v brdz in ɖ wîld, trênñ in myzicl comṗzišn wz rqîrd fr fīldrisrč in ōdr t ntet brdsoñ. Fr ɖ pfwmns, myzišnz wr hidn in ʈic wildrṇs, pleyñ myzic bêst on an ôpn-strucčrd comṗzišn in ẇč ɖ myzišnz bhev lîc brdz az ɖe cwl n ansr č uɖr ẇl ɖ sândz cīp on čenjñ. Ɖ sând z az ilusv az ɖ imijz on ɖ plêts – at frst w dtct onli ɖ načṛl, ɖen clôsr inspẋn bginz t rvil ɖ prezns v ɖ hidn myzišnz.
Ɖ Intrudr repriznts ɖ hîist inč v Ñgḷnd. At a glans it z sīmñli insignificnt n yt ɖ mtirı̣l z cerfli prizntd. Scêlñ ɖ 3028ft v ɖ mântin Scwfel Pîc in ɖ Lêc District t mc ɖ wrc, ɖ ātist sjsts ɖt an intîr nêšn’z hît cn b modifîd bî mīnz v a sngl cerfl aẋn. Ɖ wrc rflcts on ɖ we in ẇč hymnz hv impozd ɖer culčṛl caṭgriz ovr nêčr: ɖ twlist, ɖ ljst, ɖ dīpist n so on. [Dy t ɖ qontti v rīsnt mīdia atnšn n rqsts, a stêtmnt fṛm ɖ ātist z includd at ɖ end v ɖs txt]
In a lj ny insṭlešn tîtld Aftrwrd, Santiyan cncts eḷmnts az dvrs az filoṣfr Frīdrih Nīča, a dfctv tîpraitr, n dans. Az hiz sît bgan t fêl, Nīča aqîrd a tîpraitr. Ɖ Raitñbwl wz a cutñej dvîs dveḷpt bî ɖ Dêniš invntr Razṃs Melñ-Hensn. Nīča’z Raitñbwl arîvd dfctv dy t damij jrñ šipñ, līdñ it t pṛdys a grt mni mstecs. Dspt hiz fṛstrešnz, Nīča tîpt mr ɖn 70 dokmnts yzñ it. Sm wr abandnd, bt mni wr c̣rctd n fîṇlîzd wɖ incrisñli ajitetd penṣlmācs ovr ɖ errz. Fasinetd bî ɖ fṛstrešnz v wn v ɖ wrld’z grtst filoṣfrz, Santiyan hz pṛdyst a comṗzit v ol ɖ penṣlmācs fṛm ɖz obskr dokmnts. Ɖ rzult z an xpresv n jesčṛl drōñ, acumṗnid bî a compilešn on a sngl pêj v ol v ɖ errz ɖt Nīča md yzñ hiz ḅluvid Melñ-Hensn.
Part of the installation ‘Afterword’ (2015), slide projection
Bî hiz ôn acânt, Nīča spent aurz tīčñ hiz fngrz t dans wɖ ɖ Melñ-Hensn. H rout v dansñ hmslf az f smʈñ sūṗnačṛl ecod ât v hm. A senčri aftr ɖ filoṣfr’z deʈ, a fragmnt v pêpr fṛm wn v Nīča’z tîpt manyscripts wz yzd az a pýnt v cnẋn in a filmd seans. Ɖ sîcic mīdı̣m wz asct t poz onli wn qesčn t ɖ filoṣfr: Ẇt wz yr dans lîc?
Oscar Santiyan (Eqdor, 1980) rsivd an MFA fṛm Vjiňa Comnwelʈ Ynivrṣti (YS) n sns ɖen hz atndd rezidnsiz at Delfina Fândešn (YC), Jan van Eyck Acaḍmi (Neɖrḷndz), Ratti Fândešn (Iṭli) n Scâhīgn (YS). Hiz wrc hz bn xibitd at ɖ Bonnefanten Museum (Neɖrḷndz), Carrillo Gil Myziym v Āt (Mexico), STUK Kunstcentrum (Beljm), Poli/grafic Trîeňl (Puerto Rīco), ICO Fândešn (Spên), Centraal Museum (Neɖrḷndz), Pierogi’z Býlr (YS), Marilia Razuk Gaḷri (Bṛzil), amñ uɖrz.
Hiz wrc z in public n prîvt c̣lẋnz inṭnašnli, includñ ɖ Caldic C̣lẋn (Neɖrḷndz), Balanz Capital (Ājntīna), Carrillo Gil Myziym v Āt (Mexico), Colección Franc Vila (Spên), Centraal Museum (Neɖrḷndz), ĀtNxs – Sīła Brbragr (YS), Bieke n Tanguy van Quickenborne C̣lẋn (Beljm), amñ uɖrz.
The Wandering Kingdoms (detail), Toyobo printing plates, publication, audio
The Wandering Kingdoms, Toyobo printing plates, publication, audio
Still from video, part of the installation Afterword (dancing clairvoyant)
Part of the installation ‘Afterword’ (2015), print
Part of the installation ‘Afterword’ (2015), print
Part of the installation ‘Afterword’ (2015), slide projection
Dy t ɖ qontti v rīsnt mīdia atnšn rsivd bî Ɖ Intrudr, a stêtmnt fṛm ɖ ātist foloz:
C̣lctñ a pebl at ɖ bīč or a strenj-lcñ roc jrñ hîcñ z a vri comn senṣtv ʈñ ppl d gîdd bî krioṣti.
Ŕlı̣r ɖs munʈ I hd ɖ pležr v travlñ t ɖ Lêc District n consiqntli t Scwfel Pîc t mc mî wrc. Ɖ vy fṛm ɖ top wz trūli muvñ. Mî intnšn wz t criet a wrc ɖt rflcts ɖ we in ẇč hymnz hv impozd ɖer culčṛl caṭgriz ovr nêčr: ɖ twlist, ɖ ljst, n ol cndz v mežrmnts.
No damij, vanḍlizm, čizlñ, or iṇproprı̣t bhevyr twdz nêčr tc plês in ɖ mcñ v ɖs wrc. I d emṗʈîz wɖ ɖoz hu r trūli cnsrnd wɖ ɖ consvešn v ɖ Britiš mântinz. Hôpfli ɖs cntrovsi bcmz an oṗtyṇti t brñ atnšn t ɖz impwtnt cnsrnz, rɖr ɖn dbetñ abt a wn-inč stôn. Ɖ gaḷri hz rsivd īmeilz v ṣpwt includñ ɖs mesij fṛm a nêtv Cumbrı̣n xplenñ ɖs sem pýnt:
I nô Scwfel Pîc’s pīc n it z strūn wɖ lūs roc. I’m šr ɖt Oscar wz mr rspctfl v ɖ feltop ɖn mni v ɖ ptisipnts v ɖ čaṛtiivnts (…) hu reğlrli mstrit ɖ ẹria bî līvñ litr n yzñ it az a týḷt. Mântinresk hv výst ɖer cnsrn ovr hâ mč clīnñ p nīdz t b dn aftr sč ivnts. (- S. Wōtn, Cumbria)
“Deric Eḷnd z a multīmīdia ātist hūz wrc z prîmṛli fôc̣st on ingejñ wɖ ppl abt ẇt it z lîc t b hymn in stresfl n dfclt sičuešnz. H z intrestd in ɖ ys v ɖ ritn wrd, ptklrli in a dijitl êj, t axes riyl imošnz n ʈts. Mč v hiz wrc z crietd on lcešn, ptklrli ʈru ɖ ys v Dîrīrūmz, n ɖen rīcntxčlîzd in a gaḷrīsetñ.
In 2011 h wrct az an ofišl Wōrātist imbedd wɖ ɖ Britiš Āmi in Helmnd, Afganistan. Dîrīrūmz dscrîbz ɖ rzults v Deric’s tîm ɖr. H vizitd Afganistan t criet a Dîrīrūm xpirı̣ns fr fruntlîn soljrz, bʈ Britiš n Afgan, bî pṛvîdñ ɖm wɖ blanc cādz n ofrñ ɖm ɖ oṗtyṇti t rait dân ɖer imījt ʈts.
Ɖ stwriz n coments ritn on ɖ cādz r rw, onist n vẹrid, fṛm ɖ rmāc̣bl t ɖ munden, ɖ xtrōdnri t ɖ evrīde. Ɖ riaḷti v evrīde lîf fr trūps sits alñsd imošnl acânts ritn in ɖ imījt aftrmaʈ v batl. Dîrīrūmz priznts a c̣lctv slfpwtrit v indivijl xpirı̣nsz on ɖ fruntlîn v a cntmprri conflict – wɖ soljrz ofn rfŕñ t tu worz, wn involvñ bŭlits n bomz n ɖ uɖr ẇč gz on in a soljr’z hed ẇn evrʈñ gz qayt.”
“Duncn Cambl (born Dublin, 1972) hz bn nominetd fr hiz contribyšn t Scotḷnd’s pviłn at ɖ Venis Bienāle. Rspondñ t Cris Mācr n Aḷn Rezne’z 1953 film Stačuz Olso Dî, Cambl’z It fr Uɖrzincludd ny wrc bî coriogṛfr Mîcl Clāc.
Cambl mcs filmz abt contṛvršl figrz sč az ɖ Îriš ṗlitcl activist Brṇdet Devlin or ɖ qixotc car manyfacčrr Jon D’Lwrịn. Bî mixñ ācîvfŭtij n ny mtirı̣l, h qesčnz n čaḷnjz ɖ dokmntri fwm.
H’z a riyli cmpelñ film-mcr. I’v nôtist ɖt ẇn hiz filmz r šôn in gaḷriz ppl wl sit ʈru 45 minits n nwn wl līv.
Jenifr Higi, Frīz editr
Cira Filips hz bn nominetd fr hr sôlo xibišn at Ɖ Šôrūm, Lundn.
Filips wrcs wɖ ol cndz v prints: fṛm scrīnprints n txtîlz t fôtoz n wōlpêntñz. Š ofn wrcs c̣labṛtvli, trnsfwmñ ɖ gaḷri intu a wrcšop n involvñ uɖr ātists, dzînrz n lôcl cmyṇti grūps. Filips hz têcn inspirešn fṛm C̣rīta Cent (1918–1986), a pạnirñ ātist, edycetr n activist, hu riintrpṛtd ɖ advtîzñslôgnz n imijri v 1960z cnsymrculčr.
Fr ɖ xibišn ɖt wun hr ɖ nominešn, š trnd Lundn’z Ɖ Šôrūm gaḷri intu a printwrcšop, invîtñ dzînrz, ātists n lôcl wimin’z grūps t cm n mc prints wɖ hr. Born in Caṇda in 1976, š nâ livz in Glazgo.
Filips z a briłnt print-mcr hu imbyz ɖ mīdı̣m wɖ a frešṇs ɖt z rmāc̣bl, in pôstrz, prints n txtîlz.
Jêmz Ričdz hz bn nominetd fr hiz contribyšn t Ɖ Insîcḷpīdic Paḷs at ɖ 55ʈ Venis Bienāle.
Ričdz wīvz tgɖr hiz imotv filmz fṛm a dvrs renj v fând n orijinl fŭtij t xplor ɖ pležr v ɖ act v lcñ. Fând VHS vidio n ny imijri undrgo vẹriyñ levlz v mnipylešn n reṗtišn n, wɖ an acumṗniyñ sândtrac, hîtn ɖ imošnl n sîc̣lojicl renj v ɖ orijinl.
Born in 1983 in Cādif, Ričdz wz nominetd fr Rôzbud, ẇč includz clôsups v ātbcs in a Tôcio lîbrri – ɖ jenitelia scračt ât t cmplî wɖ sensršp lwz.
Ričdz jeṇrets mīnñ ʈru abundns, bî we v alužn, ilipsis n yṇti v tôn, ɖ lac v lejibiḷti cântrbaḷnst bî a stroñ sens v mūd.
Ɖ Ẇît Rvy
“OU: Finding Chopin”, 2012. Performance at Roskilde Museum of Contemporary Art, Roskilde 13 January 2012. Courtesy the Artist, Cabinet, London and Jan Mott, Brussels
Tris Vona-Mišel hz bn nominetd fr hiz sôlo xibišn Pôstscript (Brlin) at Jan Mot, Bruslz.
Ʈru fast-pêst spôcn-wrd lîv pfwmnsz n ōdiôricwdñz Vona-Mišel (born Sâʈend, 1982) telz srkiṭs n multīleyrd stwriz. Acumṗnid bî a vižl script v slîdpṛjẋnz, fôtôcopiz n uɖr ifīṃra, hiz wrcs r caṛcṭrîzd bî fragmnts v inf̣mešn, dīturz n dedendz.
Sm or ol v ɖ ivnts in ɖz absrd têlz me nvr hv ocrd, yt ol r nretd wɖ a breʈls pswesvṇs so az t sīm tenttvli riyl.
“Rspondñ t ɖ Eža Trîeňl Mančestr 14 (ETM14) ʈīm v conflict n cmpašn, ɖs xibišn wl b sīn fṛm an inṭnašnl pspctv, riixaminñ ɖ conflicts az wel az ɖ hāṃni v Čîna, or indd, ɖ Grtr Čîna, n ɖt v Eža n ɖ wrld.
In ɖ past ʈri decêdz, Mênland Čîna hz xpirı̣nst unpreṣdentd ṗlitcl rfwm, ic̣nomic dveḷpmnt n rapid ŕḅnîzešn. Ɖs uphivl tgɖr wɖ ol its consiqnsz – includñ ɖ handovr v Hoñ Coñ – hz amalġmetd intu dêli lîf. Ɖ inṭnašnl pres rpwt mni sošl išuz n čalinjz in n bynd ɖ cuntri, includñ Cros-Streit n inṭnašnl rlešnz. Rspondñ t ETM14’z ʈīm, Conflict n Cmpašn, ɖ kṛtwrı̣l fôc̣s v ɖ SFČCA projct apaṛntli priznts no conflict bt rɖr, olmst ṗetcli, a hāmoňs ssayti (hexie shehui). In ɖs xibišn, Hāmoňs Ssayti z riintrpṛtd in Čînīz instd az tianxia wushi, litṛli, nʈñ (hz hapnd) undr ɖ hevnz. Ɖ tîtl, prisîsli, z dirîvd fṛm ɖ cuṛnt sôsio-ic̣nomic vižn n ɖ ṗlitcl proṗzišn v Čîna’z rêžīm sns 2005, ẇlst its Čînīz vršn oltrṇtvli xtndz its culčṛl n fiḷsoficl coṇtešnz t b psivd in ɖ glôbl contxt (tianxia).
It z xpctd t b a platfwm fr ōdı̣ns, ātists n kretrz, t dscus ɖs ira v xtrōdnri sošl, îdı̣lojicl n culčṛl transfmešn, ʈru ɖer indivijl memriz, prsnl rflẋnz n imajinešnz, n t jeṇret nt onli critcl, bt mr impwtntli, crietv ʈncñ, n ny undrstandñz v âr tîm.
HAN DÎṆSTI VĀZ WĐ CÔC̣CÔLA LÔGO │ Fôto: India Rôpr-Evnz
‘HE XIE’ / SÌ V PWṢLÊNCRABZ │ Fôto: India Rôpr-Evnz
“Ɖs ōtm, Blenm Paḷs sīz ɖ lwnč v ɖ ny Blenm Ātfândešn, ẇč brñz an xîtñ ny prôgram v cntmprri āt bî līdñ inṭnašnl ātists t ɖ Paḷs. Ôpnñ on 1st Octobr, seḷbretd Čînīz ātist Ai Weiwei’z ljst YC xibišn lwnčz ɖ fândešn in Ai Weiwei at Blenm Paḷs, wɖ mr ɖn 50 ny n îconic ātwrcs on dsple ʈrt ɖ paḷs n its grândz.
Ātwrcs wl renj fṛm fôṭgrafs têcn bî Ai Weiwei ẇlst livñ in Ny Ywc jrñ ɖ 1980z, ʈru t a lj cāpit md ispeṣ̌li fr ɖ xibišn, ẇč wl b on dsple in ɖ Grt Hwl. Frɖr ātwrcs wl includ a tebl fwmd fṛm wŭd rclemd fṛm templz dêtñ t ɖ Ciñ Dîṇsti (1644–1911), intric̣tli hand-pêntd pwṣlenplêts, n Srcl v Animlz / Zôdiachedz: Gold, Ai Weiwei’z riintrpṛtešn v ɖ lejndri bronz zôdiached stačuz ɖt wns srândd ɖ fântincloc at Emprr Yuwnmñ Yuwn’z Bêžñ impirı̣l rtrit. Âr nyli rfrbišt rūm lcetd in ɖ Stêblz Cwtyād wl, fr ɖ frst tîm, b yzd az a gaḷrīspês.
Abt Ai Weiwei
Born in 1957 in Bêžñ, Ai Weiwei z wn v ɖ most influenšl culčṛl figrz v ɖ 21st senčri. A pṛlific ātist n sošl activist, bêst in Bêžñ, h hz bn a vôcl critc v dmocṛsi n hymn rîts [sic] in Čîna. Ai wz arstd in 2011 n held fr 81 dez wɖt čāj, spācñ glôbl prôtest. Hiz pāspwt wz confiscetd n h z cuṛntli dtend in Čîna, ẇr h livz n wrcs in rstrictd cndišnz.
Đ lwnč v ɖ Blenm Ātfândešn z a vri xîtñ mmnt fr Blenm Paḷs. W r dlîtd t b ebl t hôst an ātist v ɖ calibr n eminns v Ai Weiwei at Blenm n hôp ɖt âr ny prôgram v cntmprri āt, bginñ wɖ ɖs xibišn, wl čalinj n inspîr âr vizitrz.
VELIMIR CLEBŇICOV: FÊTS V NÊŠNZ: Đ NY ƮIYRI V WOR. TÎM, DMENŠN V Đ WRLD, BATLZ AT SÌ OCŔ EVRI 317 YIRZ OR MULTIPLZ ĐEROV, NEMLI 317 x 1, 2, 3, 4, 5, 6…….│2011–14
“Ovr ɖ last deced, âr sngl-ātist šoz hv capčrd ɖ imajinešn v ɖ public. Olwz lj in scêl, ambišs in scôp n astonišñ in xikšn, w’v sīn ātists includñ Aniš C̣pur n Dêvid Hocni têc on âr Mn Gaḷriz. Nâ, ɖs ōtm, it’s ɖ trn v a man dscrîbd az a c̣loss v cntmprri āt t mc hiz māc: Anselm Cīfr.
Ɖs wl b ɖ most significnt xibišn v ɖ Jrmn ātist’s wrc evr held in ɖ YC, spanñ hiz intîr 40-yir c̣rir n unvelñ ny wrc crietd in drct rspons t âr spêsz.
Cīfr’z xtrōdnri bodi v wrc includz pêntñ, sculpčr n qt simpli monymntl insṭlešnz. Uncompṛmîzñ in ɖ subjctmatr h taclz, Cīfr’z wrc pârfli capčrz ɖ hymn xpirı̣ns n drwz on histri, miʈoḷji, litṛčr, filoṣfi n sayns.
Fl v brev n pṛvoc̣tv wrc, ɖs xibišn wl b a tesṭmnt t ɖ c̣rir v a man drivn t cnfrunt hmslf n ɖ ōdı̣ns wɖ ɖ bg n complx išuz v âr wrld’z past, preznt n fyčr.”
MC EVRƮÑ LÎC IT’S YR LAST – GUN, 2013, fôto: Mātin Āgiroglo
IMAJINIYRÑ, 2013, fôto: Mātin Āgiroglo
I Z… (IV), I Z… (V), I Z… (VI), 2013, fôto: Patric Qêl
NÔT T SELF. RĪƮÑC EVRƮÑ, 2012, fôto: Diêgo Beruecos
C++, 2013, fôto: Mātin Āgiroglo
CM ON! ƮÑC! 2011, fôto: Iła Rbaṇvič
MAGṆS ÔṖS, 2013, fôto: Mātin Āgiroglo
Đ RETINL ACÂNT, OR N ẆN Y R OLDR Y WL G AWE, Y’L SI INJUSTIS N Y’L SI PÊN, 2014
“Mc evri šo lîc it’s yr last, z a mêjr xibišn v wrc bî rnând Britiš cnspčl ātist, Rayn Gandr. Đs šo z pāt v an inṭnašnl turprôgram, bt wl têc on a spešl ny fwm ẇn it z stêjd in Mančestr, prizntñ ny wrc n wrc prīvı̣sli unsin in ɖ YC.
Gandr studid in Mančestr fr hiz undrgrajt dgri n wl b iḷstretñ hiz clôs cnẋn t ɖ siti ʈru ny wrc crietd xclusvli fr s. Đ xibišn wl xplor tu rīsnt ʈīmz in Gandr’z wrc; Imajinirñ n Culčrfīld. Brññ tgɖr verı̣s mīdia t hîlît ɖ ātist’s plêfl wit, ɖ ātwrcs in ɖs xibišn wl xplor ɖ rlešnšps btwn ōʈr, wrc n vywr ẇr ɖ rūlz r constntli rīdifînd.”
“In a ynīc wrc crietd fr ɖ Srpntîn, ɖ inṭnašnli aclemd ātist Mrīna Abraṃvič wl pfwm in ɖ Gaḷri fr ɖ jrešn v hr xibišn: 10am t 6pm, 6 dez a wīc. Crietñ ɖ simplist v invîrnmnts in ɖ Gaḷri spêsz, Abraṃvič’z onli mtirı̣lz wl b hrslf, ɖ ōdı̣ns n a ṣlẋn v props ɖt š me or me nt yz. On arîvl, vizitrz wl bʈ litṛli n meṭforicli līv ɖer bagij bhnd in ōdr t entr ɖ xibišn: bagz, jacits, ilectronic iqipmnt, wočz n camṛz me nt acumṗni ɖm.
Ɖ public wl bcm ɖ pfwmñ bodi, ptisipetñ in ɖ dlivri v an unpresdentd mmnt in ɖ histri v pfwmnsāt.
Mrīna Abraṃvič z a pạnir v pfwmns az an ātfwm, yzñ hr ôn bodi az subjct n objct, š hz pšt ɖ fizicl n mentl limits v hr biyñ. Ɖs z ɖ frst mêjr pfwmns bî Abraṃvič sns hr monymntl pìs Ɖ Ātist z Preznt, at ɖ Myziym v Modn Āt, Ny Ywc, in 2010, in ẇč vizitrz wr invîtd t sit in sîḷns oṗzit ɖ ātist n gêz intu hr îz fr an unspesifîd amânt v tîm. Abraṃvič pfwmd ɖs wrc evri de fr ʈri munʈs.
Ɖ perd-dân nêčr v ɖs xibišn corispondz t Abraṃvič’z intrest in ɖ historicli wel-istablišt rlešnšp btwn āt n nuʈñṇs; vižl ātists includñ Roḅt Bari, Jon Cêj, Mẹri Eḷn Caṛl, Roḅt Ŕwin, Ìv Clîn, Gŭstav Metsgr n Yôco Ôno (t nem onli a vri fy) hv ol xplord ɖ nošn v mtirı̣l absns wɖn ɖer practis. Ɖ îdīa v emtiṇs – v miniṃlizm, rduẋn n simpliṣti – plez an intrinsic rôl in Abraṃvič’z ôn wrc, n hz incrisñli led t mr n mr v ls n ls, a loñstandñ em ɖt š rcwdd in hr Ātist’s Lîf manifsto v 2009. It z ɖs jrni twdz iṃtiriaḷti ɖt hz led hr t ɖs ynīc mmnt in hr wrc, ẇr š wl cmit t an unscriptd n impṛvîzd pfwmns in ɖ gaḷrīspês.
In ɖ ŕli 1970z, az a yuñ ātist in Belgred, Abraṃvič bgan xplorñ ɖ rlešnšp btwn ātist n ōdı̣ns. Sns 1978 š hz cnductd a siriz v wrcšops wɖ ātstydnts, yzñ a siriz v simpl xsîzz t incris fizicl n mentl awerṇs. Ovr ɖ cws v hr c̣rir, Abraṃvič hz cntinyd t dveḷp ɖz wrcšops, xpandñ ɖer scôp t rīč a jenṛl public, ʈru ɖ Mrīna Abraṃvič Instityt.
Ɖ xibišn bî Ed Atcinz têcs plês cncuṛntli at ɖ Srpntîn Saclr Gaḷri, brññ tgɖr tu xtrōdnri ātists fṛm dfṛnt jeṇrešnz hu fôc̣s on pfwmns, ɖ bodi n lanĝj.”
RED SQR (PÊNTRLI RIYLIZM V A PEZNTWMN IN TU DMENŠNZ), 1915
ṢPRĪṂS NR. 50, 1915
ṢPRĪṂS NR. 55, 1916
BLAC CROS, 1915
Đ 0.10 XIBIŠN IN PETṚGRAD, 1915
ṢPREṂTIST COMṖZIŠN, 1916
HED V A PEZNT, 1928-9
ṢPREṂTIST PÊNTÑ (WĐ BLAC TṚPĪZỊM N RED SQR), 1915
WMN WĐ RÊC, 1930-2
GRL WĐ RED POL, 1932-3
WMNWRCR, 1933
“Cazimir Małevič, an ātist az influenšl az h wz radicl, cast a loñ šado ovr ɖ histri v modn āt. Ɖs, hiz frst retṛspctv in ʈrti yirz n ɖ frst evr in ɖ YC, ynîts wrcs fṛm c̣lẋnz in Ruša, ɖ YS n Yṛp t tel a fasinetñ stwri v revlušnri îdiylz n ɖ pâr v āt itslf.
Małevič (1879–1935) livd n wrct ʈru wn v ɖ most trbyḷnt pirı̣dz in twentiiʈ-senčri histri. Hvñ cm v êj in Zarist Ruša, Małevič witṇst ɖ Frst Wrldwor n ɖ Octobr Revlušn frst-hand.
Hiz ŕli xperimnts az a pêntr led hm twdz ɖ invnšn v sūpreṃtizm, a bold vižl lanĝj v abstract jı̣mtric šêps n stāc culrz, ipiṭmîzd bî ɖ Blac Sqr. Wn v ɖ dfînñ wrcs v Moḍnizm, ɖ pêntñ wz rvild t ɖ wrld aftr munʈs v sīcṛsi n wz hidn agn fr olmst hāf a senčri aftr its crietr’z deʈ. It sits on a par wɖ Dūšã’z redi-md az a gemčenjñ mmnt in twentiiʈ-senčri āt n cntinyz t inspîr n cnfând vywrz t ɖs de.
Stātñ fṛm hiz ŕli pêntñz v Rušn landsceps, agriculčṛl wrcrz n rlijs sìnz, ɖ xibišn foloz Małevič’z jrni twdz abstract pêntñ n hiz sūpreṃtist mastrpìsz, hiz temprri abandnmnt v pêntñ in fevr v tīčñ n raitñ, n hiz mučdbetd rtrn t fiğṛtv pêntñ in lêtr lîf.
Brññ tgɖr pêntñz, sculpčrz, ʈiytr n an unpreṣdentd c̣lẋn v drōñz it ofrz a cmplit vy v hiz c̣rir, seḷbretñ sm v ɖ most pṛgresv āt evr md.”
