Paul Durand-Ruel in his gallery in Paris, c1910. Photograph: Dornac/ AACV
“Wɖt hm, sd Mone, w wd’nt hv svîvd.
So ynivrsli popylr r ɖ Imprešnists tde, it’s hād t imajin a tîm ẇn ɖe wr’nt. Bt in ɖ ŕli 1870z ɖe strugld t b axptd. Šund bî ɖ ātistablišmnt, ɖe wr īvn lambastd az lūṇtcs bî wn critc.
Wn man, hvr, recgnîzd ɖer wrʈ fṛm ɖ bginñ. Pwl Dŭrã-Ruel, an ontṛpṛnŕı̣l ātdīlr fṛm Paris, dscuvrd ɖs grūp v yuñ ātists – includñ Mone, Degā, Mane, Renwā, Pīsaro n Sisle – n gambld.
Paul Durand-Ruel’s grand salon at Rue de Rome, with Renoir’s ‘Dance in the City’ on the left (Picture: Archives Durand-Ruel)
Riylîzñ ɖ fašnbl ptenšl v ɖer ḍrîdd imprešnz v ŕbn n sbŕbn lîf, Dŭrã-Ruel dedicetd ɖ rest v hiz lîf t bildñ an ōdı̣ns fr ɖer wrc – crietñ ɖ modn ātmācit in ɖ prôses.
Sč wz hiz prsviṛns, Dŭrã-Ruel nirli bancruptd hmslf twîs, bfr sxesfli glôblîzñ hiz oṗrešn wɖ âtposts in Lundn, Bruslz n Ny Ywc, n istablišñ ɖ wn-man šo az ɖ inṭnašnl nwm fr xbišnz.
Ɖ Imprešnists – a trm frst yzd ḍrogtvli bî critcs – wz t bcm ɖ hâshold nem ɖt standz tde.
Invntñ Imprešnizm fīčrz 85 mastrpìsz fṛm ɖ muvmnt, ol bt wn hvñ pást ʈru Dŭrã-Ruel’z handz, includñ ʈri v Renwā’z fems Dansz n fîv fṛm Mone’z Popḷrz siriz.”
The Sheepfold, Moonlight, 1856-60 by Jean-François Millet. Photograph: Alamy
Edouard Manet’s Boy with a Sword, 1861. Photograph: Alamy
Manet’s sketch for his 1882 work A Bar at the Folies-Bergère
Édouard Manet, Music in the Tuileries Gardens (1862) Photo: The National Gallery
Édouard Manet: The Battle of the U.S.S. “Kearsarge” and the C.S.S. “Alabama”, 1864
Claude Monet, The Thames below Westminster, about 1871. Oil on canvas. Picture: The National Gallery, London
The Artist’s Garden (detail), Monet, 1873 (Picture: Board of Trustees, National Gallery of Art, Washington DC)
The Ballet Class, Hilaire-Germain-Edgar Degas. Oil on canvas, about 1880. (Picture: Philadelphia Museum of Art)
Two Sisters (on the Terrace)’, 1881, by Pierre-Auguste Renoir
The daughters of Paul Durand-Ruel, Marie-Thérèse and Jeanne, Pierre-Auguste Renoir. Oil on canvas, 1882. (Picture: Chrysler Museum of Art, Norfolk, Virginia)
Pierre-Auguste Renoir, Dance in the Country, 1883, Oil on canvas (Picture: RMN-Grand Palais (musée d’Orsay) / Hervé Lewandowski)
Pierre-Auguste Renoir: Paul Durand-Ruel in 1910 (Archives Durand-Ruel)
Mary Cassatt: The Child’s Bath, 1893. Art Institute of Chicago
“A fngr pýzd on a camra – its ôpn bac rvilñ ɖ filmrol n mec̣nizm – sets ɖ sìn fr ɖs xibišn v fôtgrafs abt ftogṛfi. Smẇr btwn a filmdrctr, a picčreditr n an āthistwrı̣n, Americn ātist Crisṭfr Wiłmz (b.1956) invstigets ftogṛfi az ɖ dfînñ mīdı̣m v moḍnizm.
Wiłmz’ xqizit prints rvil ɖ unxpctd byti n culčṛl reznns v cmršl, industrı̣l n instruẋnl ftogṛfi. Ofn wrcñ wɖ setdzînrz, modlz n tecnišnz, Wiłmz’ tecnicli prisîs picčrz rcwl Cold Wor ira imijri n 1960z advtîzñ, az wel az invocñ histriz v āt, ftogṛfi n siṇma. Hiz fôtgrafs r eḷmnts at ple in a ljr sistm includñ ācitecčr, xibišndzîn, bcs, pôstrz, vidioz, vitrīnz n sînij ɖt invstigets ɖ stêjsets v ɖ ātwrld n ɖ publisti strucčrz on ẇč ɖe rlî.
Fṛm hiz rnând 1989 studiz v btanicl spesimnz, Angola t Vietnam, t ɖ hîpŗiyl, culr-sačretd studiz v cičnwér md in 2014, ɖs frst srve v Wiłmz’ wrc in ɖ YC imrsz s in vižli inʈrwlñ n ṗlitcli reznnt lînz v inqîri.”
Standardpose [Standard Pose]
Bergische Bauernscheune
Clockwise from Manufacturer Name (Outer Ring)
Erratum by Christopher Williams. Photograph: Courtesy of David Zwirner, New York/ London and Galerie Gisela Capitain, Cologne
Fig. 2: Loading the film, 2012. Photograph: courtesy Galerie Gisela Capitain, Cologne; and David Zwirner, New York/London
Untitled (Study in Gray)
Mustafa Kinte (Gambia), Camera: Makina 67 506347 … Dirk Schaper Studio, Berlin, July 20, 2007 2008 Private Collection, London Image courtesy Galerie Gisela Capitain, Cologne and David Zwirner, New York/London
(Posted 7 May 2015. The text is in an older version of Ñspel.)
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“Paṛsol ynit fândešn fr cntmprri āt z dlîtd t priznt an xibišn v wrcs bî Kbn āt c̣lctv, Los Carpinteros (Marco Castiyo n Dagoberto Rodrīgez). Ɖs xibišn, ɖ dyo’z frst mêjr šo in a public Lundn instityšn, includz xtnsv insṭlešnz, sculpčrz, wōtrculr drōñz n a filmscrīnñ, ẇč em t xplor n inteṛget ɖ funẋnalti v ācitecčr, dzîn n ɖ evrde objct.
Ɖ deftli craftd – n ofn hymṛs – insṭlešnz n sculpčrz md bî Los Carpinteros me apir ẇimzicl at frst, yt evri pìs hz an eḷmnt v ṗlitcl comntri, mostli rletd t ɖer prsnl xpirı̣ns n contxt. Ɖs dcoṭmi pṛvîdz a vast rzws wɖ ẇč ɖe cn b bʈ plêfl n critcl. Ofn dscrîbd az inṭrogtv āt, ɖer wrc xaminz ɖ rlešnšp btwn āt n ssayti, fwm n funẋn, practcalti n frivḷsṇs.
Fr ɖ Los Carpinteros xibišn at Paṛsol ynit, ɖ grândflor gaḷriz r dedicetd t lj-scêl insṭlešnz n sculpčrz, sč az Tomates, 2013. Ɖs xtnsv wōlinsṭlešn cnsists v mr ɖn 200 riyl tmātoz splatrd agnst ɖ gaḷrīwōl, on ẇč bytifli craftd pwṣlen tmātoz r instwld, ivocñ wɖ a pýňnt senṣtivti ɖ inṭple v a ṗlitcl uprîzñ. Olso xibitd z 17m, an insṭlešn cmprîzd v a 17-mītr-loñ cloɖñrêl on ẇč hañ mr ɖn tu hundṛd blac sūts puñčrd ʈrt bî a gêpñ star. Altoparlante Solimar (Solimar Lâdspīcr), 2008, z an inwms ebnīwŭd strucčr emyletñ Hvana’z Solimar apātmntbildñ, dzînd bî Manuel Copado in 1944 n wel-nôn fr its moḍnist dzîn, impozñ hît n its lj-scêl sîṇsýdl balc̣niz. Ɖ Los Carpinteros strucčr z a lj acūstc box, in ẇč č apātmnt hz bcm a lâdspīcr t rīpṛdys ɖ výsz v ɖ famliz livñ insd it. Ɖ târñ LEGO® brics cnstruẋn, Robotica, 2013, z bêst on ɖ Stêt Sạntific Sentr fr Ṛbotcs n Tecnicl Sîḅnetcs in St. Pītrzbrg, refṛnsñ fwmr Sôvı̣t cmemṛtv monymnts.
Los Carpinteros’ wōtrculr drōñz, svṛl xamplz v ẇč r includd in ɖ xibišn, ofn funẋn lîc ācitcčṛl blūprints fr cnstruẋnz ɖt r bilt t scêl n adaptd fr č ptklr xibišnspês. Ɖz wōtrculr drōñz ofr a welʈ v psbltiz n inspirešn fr ptenšl fabricešn v wrcs, olɖo sm onli rmen az fanṭsi, yt ɖe r an intrinsic pāt v ɖer practis, actñ az a cmynic̣tv tūl or on-gwñ dscušn btwn ɖ ātists.
In ɖ upr-flor gaḷriz z a siriz v wōtrculr drōñz alñ wɖ sm sml-scêl prôtotîp modlz, ẇč r bêst on priznstrucčrz n fabricetd yzñ Cwtn stīl. Sm v ɖ modlz hv mtirı̣lîzd intu lj-scêl rīdñrūmz fr uɖr cmišnd projcts. Scrīnñ ʈrt ɖ xibišn wl b ɖ film Conga Irreversible, 2012, a pfwmns orijinli cnsivd n pṛdyst bî Los Carpinteros ātc̣lctv on ɖ ocežn v ɖ 2012 Hvana Bîeňl.
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Ɖs xibišn, kretd bî Zība Āḍlan, Fândr/Drctr v Paṛsol ynit, z acumṗnid bî a rletd prôgram v edycešnl ivnts at ɖ fândešn.
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Ātist Bîogṛfi
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Kbn ātc̣lctv, Los Carpinteros (Ɖ Cāpntrz), cnsist v Māco Antonio Castiyo Valdez (b. 1971) n Dagoberto Rodrīgez Sančez (b. 1969). Ɖe stātd t wrc az a grūp ẇl studiyñ at ɖ Instituto Superior de Arte in Hvana in ɖ ŕli 1990z. Ɖer ŕvra okpîz an intrīgñ n ambiğs eria btwn conspčlizm, activizm n fwmlizm. Ɖer ʈri-dmnšnl wrcs r cómplimentd bî wōtrculrz n vidioz. Ɖ ātists liv n wrc btwn Mdrid, Spên, n Hvana, Kba.
Wrcs bî Los Carpinteros r in svṛl public n prîvt c̣lẋnz […]”
Ʈrt ɖ frst hāf v ɖ twentiiʈ senčri, š seḷbretd ɖ modn wrld v muvmnt, tecnoḷji n ŕbn lîf, xplorñ ny îdiyz abt culrʈiyri tgɖr wɖ hr huzbnd Robt Ḍlwne.
Ɖs wl b ɖ frst YC retṛspctv t ases ɖ bredʈ v hr vîbṛnt ātistc practis acrs a wîd renj v mīdia. It wl fīčr ɖ grândbrecñ pêntñz, txtîlz n cloɖz š md acrs a sixti-yir c̣rir, az wel az ɖ rzults v hr iṇvtv c̣laḅrešnz wɖ powts, coriogṛfrz n manyfacčrrz, fṛm Diagilev t Liḅti.
Propeller (Air Pavilion), 1937, at Tate Modern. Photograph: Tim Ireland/AP
A nocât šo. (Êdrı̣n Srl, Ɖ Gādı̣n)
Ɖs šo mcs a pârfl āğmnt fr Ḍlwne az a tru radicl: ahd v hr tîm, ṣprīmli reḷvnt t ârs. (Ben Lūc, Īvnñ Standd)
Ḍlwne z wn v ɖ crūšl refṛnspýnts in modn āt n dzîn. VÔG”
Yellow Nude 1908 Musée des Beaux-Arts de Nantes, Nantes
Bag from beach set, 1922-3
Coat for Gloria Swanson, 1923-24. Photograph: Private Collection
Simultaneous Dresses (The three women), 1925. Museo Thyssen-Bornemisza, Madrid
Day coat, 1925
Court shoes, 1925. Photograph: Les Arts Décoratifs, Musée de la Mode et du Textile, Paris
Rhythm Colour no. 1076, 1939
Syncopated rhythm, so-called The Black Snake 1967 Musée des Beaux-Arts, Nantes, France
Train Landscape, 1940. Photograph: Aberdeen Art Gallery & Museums Collections
Hurricane in Flight, c1942.
“…a jý fṛm stāt t finiš (Ɖ Teḷgraf)
…ɖ Sŭrā v Susx” Lwra Cumñ (Ɖ Obzrvr)
Fṛm ɖ stāt w si an ātist fîndñ jý in ɖ unxpctd (Nansi Duṛnt, Ɖ Tîmz)
Ɖ frst mêjr xibišn t srve wōtrculrz bî seḷbretd Britiš ātist Eric Rviłs (1903–42). Wel nôn fr hiz îconic wrc fr Wejwŭd, Rviłs z wîdli cnsidrd wn v ɖ ci figrz in mid-20ʈ senčri Britiš dzîn, bt h wz olso wn v ɖ fînist wōtrcuḷrists v ɖ senčri.
Hiz astonišñli pṛlific c̣rir spand pīs n wor. Wɖ ɖ âtbrec v Wrldwor II, Rviłs wz asînd t ɖ Royl Nêvi az wn v ɖ frst Ofišl Worātists, fîndñ ny wez t capčr n prizrv ɖ flītñ recwd v pasñ tîm.
Ovr 80 wōtrculrz wl b on dsple – includñ fems wrcs lîc Trênlandscep n Westbri Hws, az wel az rerli sīn wrcs fṛm prîvt c̣lẋnz pṛvîdñ an inspîrñ lc at hiz wrc btwn ɖ mid-1920z n hiz deʈ in 1942. Sd t b inspîrd bî ɖ filmz v Alfrid Hičcoc, Rviłs’z imijz rerli cnten figrz n yt hiz šadôi intirı̣rz n strenj pspctvz ofn criet a sens v hymn prezns.
Olɖo h dîd at ɖ êj v onli 39, Rviłs wz ljli rsponsbl fr ɖ rvîvl v Ñgliš wōtrculrpêntñ. H stātd ât undr ɖ tyṭlij v Pwl Naš at ɖ Royl Colij v Āt n, olɖo h wz hyjli vrṣtîl, it wz pêntñ ɖt Rviłs sw az hiz tru vcešn; it wz ɖs wrc ɖt h xibitd, n h cerd dīpli abt its rspšn bî felo ātists lîc Mur n Jon Pîpr.
Ɖ xibišn z kretd bî Jêmz Rusl, a līdñ spešlist on Eric Rviłs, huz bcs on ɖ ātist includ ɖ popylr siriz Rviłs in Picčrs (2009-12).”
El Lissitzky Beat the Whites with the Red Wedge! 1919–1920. Van Abbemuseum, Eindhoven
“Ɖs epic šo têcs Cazimir Małevič’z radicl pêntñ v a blac sqr – frst šôn in Ruša 100 yirz ago – az ɖ embḷm v a ny āt n a ny ssayti. Ɖ xibišn fīčrz ovr 100 ātists hu tc p its leġsi, fṛm Buenos Îres t Tehran, Lundn t Brlin, Ny Ywc t Tel Aviv. Ɖer pêntñz, fôṭgrafs n sculpčrz simḅlîz Moḍnizm’z ytôpı̣n aspirešnz n brêcdânz.
Installation view. Photo: Steven White
Installation view. Photo: Steven White
Installation view. Photo: Steven White
Installation view. Photo: Steven White
Installation view. Photo: Steven White
Installation view. Photo: Steven White
Installation view. Photo: Steven White
Installation view. Photo: Steven White
Installation view. Photo: Steven White
Installation view. Photo: Steven White
Prizntd croṇlojcli ɖ šo foloz for ʈīmz:
Ytôpia z xprest ʈru Małevič’z blac sqr, ɖ pṛjenitr v ny isʈetc n ṗlitcl hrîznz, sizd bî ātists fṛm Vladimir Tatlin t Eliu Oičisīca.
Ācitectonics priznts flôtñ jioṃtriz ɖt pṛpoz ny sošl spêsz az imajind bî Łubov Popovā or Pīt Mondrian n Liym Gilic.
Cmynicešn spredz ɖ mesij t ɖ masz in manifstos n avãgād grafics.
Ɖ Evrīde imbedz rūtīnz n objcts in ɖ isʈetcs v prôgres az obzrvd in a txtîl bî Sôfi Tâbr-Āp or ɖ abstract mtifs pêntd on Ṗrūvı̣n loriz capčrd bî Armando Andrade Tudela. Midl Īstn ātists sč az Nazgol Ansarinia lnc Moḍnizm wɖ Aṛbic n Pršn decṛtv āts; ẇl Westn ātists sč az Luis Balts, Pītr Hali or Jeni Holtsr critīc ic̣nomic n ṗlitcl abstraẋn. Advnčrz v ɖ Blac Sqr xplorz hâ abstract āt hz travld wrldwîd, prmietñ âr lîf n tîmz.”
Black Quadrilateral, undated, by Kazimir Malevich. Photograph: Greek State Museum of Contemporary Art – Costakis Collection, Thessaloniki
Dan Flavin’s ‘Monument’ for V. Tatlin, 1966-9. Photograph: Tate Max Bill’s Simultaneous Construction of Two Progressive Systems, 1945-51. Photograph: Private collection, courtesy of Annely Juda Fine Art Facebook Twitter Pinterest Homage to the Square: Post Autumn, 1963 by Josef Albers. Photograph: Jack Kirkland Collection Facebook Twitter Pinterest
Swatch of Snap Fasteners 11, 1964 by Bela Kolárová. Photograph: Estate of Bela Kolárová
Max Bill’s Simultaneous Construction of Two Progressive Systems, 1945-51. Photograph: Private collection, courtesy of Annely Juda Fine Art
Homage to the Square: Post Autumn, 1963 by Josef Albers. Photograph: Jack Kirkland Collection
Left: Light Signs #1 (Korea) (1995) by Gabriel Orozco; right: Black and White, Suprematist Composition (1915) by Kazimir Malevich. Photograph: Marian Goodman Gallery, New York/Moderna Museet, Stockholm
Left: Composition with Yellow, Blue and Red (1937) by Piet Mondrian; right: Metaesquema 464 (1958) by Hélio Oititica. Photograph: Tate/courtesy Hélio Oititica
Sir Francis Chantrey: Queen Victoria, 1838 – 1841. Royal Collection Trust
“Pârfl, bytifl n invntv, ɖ Victorı̣n ira wz a goldn êj fr sculpčr. Têt Britn’z xibišn Sculpčr Victorı̣s seḷbrets sm v ɖ most astonišñ n laviš wrcs pṛdyst in ɖs grândbrêcñ pirı̣d.
Xplorñ ɖ orijinl tecnīcs n mtirı̣lz dveḷpt jrñ ɖs tîm, ɖ xibišn brñz t lît ɖ injňwti n crı̣tiṿti v ɖ Victorı̣n êj. In a pirı̣d v unpaṛleld iṇvešn acrs inḍstriz, Victorı̣n sculpčr profitd fṛm grândbrêcñ ny mtirı̣lz n meʈdz ɖt crietd a ʈrilñ n cutñ-ej invîrnmnt fr Victorı̣n sculptrz.
Ɖ xibišn includz mni xtrōdnri objcts, fṛm magnifisnt mābl, lîmwŭd n ṣramic sculpčr šôn at ɖ Grt Xibišnz, t xqizit jlri n silvrwrc, n ōnet cāvñ v byti n wundr sč az Monti’z Veild Vestl. Wrcs fṛm ɖ xibišn tuč on ol aspcts v Victorı̣n lîf, xplorñ dmestc poḷtcs, ɖ rīč v ɖ empîr, n ɖ impact v ɖ sạntific n industrı̣l êj.
Rvird wrcs sč az Fredric Lêtn’z An Aʈlīt Reslñ wɖ a Pîʈn n Hîṛm Pârz’z Ɖ Grīc Slev r t b injýd alñsd lsr-nôn ātists sč az Mẹri Wots n Wiłm Renldz-Stīvnz. Az wel az ofrñ an oṗtyṇti t xplor sm v ɖ Victorı̣n ira’z most čerišt n grândbrêcñ wrcs, Sculpčr Victorı̣s pṛvîdz an in-depʈ xpḷrešn v ɖ ātistc n historicl dveḷpmnts v wn v Britn’z most pṛlific iṛz n z a fīst fr ɖ îz.”
“Fīčrñ wrcs bî ātists includñ Picaso, Henri Mur, Edẉd Bura, Windm Luis n Jon Āmstroñ, amñst uɖrz, ɖs xibišn wl rvil hâ a jeṇrešn v Britiš ātists wr drwn intu ɖ Spaniš Sivl Wor. Ẇl mni went t fît in ɖ wor ɖmslvz, uɖrz crietd pôstrz campenñ fr êd fr refyjīz, or crietd wrcs ɖt md firs ṗlitcl stêtmnts.
Ɖ Spaniš Sivl Wor (1936–9) wz wn v ɖ most significnt conflicts v ɖ twentiiʈ senčri. Ẇl Britiš litrri riaẋnz t ɖ conflict hv bn mč xamind, ɖs xibišn, in pātnršp wɖ Paḷnt Hâs Gaḷri, z ɖ frst t xplor ɖ rspons v Britiš vižl ātists.
Ɖ Spaniš Sivl Wor wz fwt btwn ɖ Spaniš Rpublic n a rebl Našnlist fws, led bî Jenṛl Franco. It ynîtd ɖ abstract n riylist ātists v ɖ tîm t criet a dvrs ātistc rspons t ɖ fît agnst fasizm.
Wn v ɖ most fems wrcs on šo z Picaso’z Wīpñ Wmn (1937.) Ɖs z on dsple alñsd mtirı̣l dītêlñ ɖ impact in Britn v ɖ ātist’s îconic pêntñ, Guernica, ẇč travld t ɖ YC in 1938.
Ɖ xibišn includz lounwrcs fṛm bʈ public n prîvt c̣lẋnz in a renj v mīdia, includñ pêntñ, printmêcñ n sculpčr.”
Cold Dark Matter (An Exploded View), 1991. Photo: David Levene
“Ɖ Ẇitẉʈ riôpnd on 14 Febrri 2015 wɖ a mêjr sôlo xibišn fṛm wn v Britn’z most aclemd cntemprri ātists, Cwnīlia Pācr – n hr wrc invîts y t witṇs ɖ trnsfmešn v ōdnri objcts intu smʈñ cmpelñ n xtrōdnri.
It z an xtnsv xibišn, wn ɖt fīčrz a wîd renj v wrc md jrñ Pācr’z c̣rir, fṛm hr sigṇčr pìs Cold Dāc Matr: An Xplodd Vy (1991) alñsd tu impwtnt ny cmišnz n mni uɖr ny wrcs.
Ahd v hr ny Ẇitẉʈ xibišn, Cwnīlia Pācr wrct clôsli wɖ sayntists at ɖ Ynivrṣti v Mančestr, most nôṭbli Costia Novozelov, hu, wɖ Andre Gem, wz awōdd ɖ Nôbel Prîz fr ɖ dscuvri v grafīn – ɖ wrld’z ʈinist n strongist mtirı̣l. Wrcñ wɖ gaḷrīstaf, Novozelov tc mîcṛscopc samplz v grafît fṛm drōñz in ɖ Ẇitẉʈ’s c̣lẋn bî Wiłm Blêc, Trnr, Cunsṭbl n Picaso, az wel az a penṣl-ritn letr bî Sr Ŕnist Ruɖ̇fd (hu split ɖ atm in Mančestr). H ɖen md grafīn fṛm ɖz samplz, wn v ẇč Pācr hz md intu a wrc v āt t māc ɖ ôpnñ v ɖ gaḷri n xibišn. A Blêc-grafīn sensr, activetd bî ɖ breʈ v a fizisist, set of a fîrwrc dsple ẇč rtrnd aynmītı̣rît intu ɖ Mančestr scî. Ɖs mītioršâr wz a spectaklr ôpnñ t ɖ ny Ẇitẉʈ.”
“Ɖ ātist Tsî Ĝo-Čiañ wz born in Čîna n nâ livz in Ny Ywc. H z bst nôn fr hiz rmāc̣bl projcts yzñ gunpâdr, includñ ɖ fîrwrc dsplez fr ɖ ôpnñ n clozñ seṛṃniz v ɖ 2008 Bêžñ Olimpcs. Hiz insṭlešn, Unmand Nêčr (2008), ẇč includz a 45 mītr-loñ, for mītr-hî gunpâdr drōñ, z ɖ frst ātwrc t b šôn in ɖ Ẇitẉʈ’s ny landscêp gaḷri. It z olso ɖ frst tîm ɖt ɖ insṭlešn – frst cmišnd bî ɖ Hirošima Siti Myziym v Cntemprri Āt – hz bn šôn âtsd Jpan.
It z olso ɖ frst šowñ v ɖ insṭlešn enẇr in ɖ wrld âtsd ɖ Jaṗnīz siti v Hirošima – ɖ wrc wz orijinli cmišnd bî ɖ Hirošima Siti Myziym v Cntemprri Āt, n wz šôn in an xibišn ɖt māct Tsî Ĝo-Čiañ’z dezignešn az ɖ rsipı̣nt v ɖ Sevnʈ Hirošima Ātprîz. Ɖ prîz z awōdd evri ʈri yirz t an ātist hu hz md ɖ grtst contribyšn t pīs in ɖ fīld v āt.
Ɖ prôses v mcñ gunpâdr drōñz z xtrōdnri. Aftr leyñ ât lj šīts v pêpr on ɖ flor, Tsî Ĝo-Čiañ arenjz gunpâdr, fyzs n cādbwd stenṣlz t criet fwmz on ɖ pêpr’z srfis. Ɖ sponṭneyti v ɖ rzultñ xpložn, flemz n fymz z cntrold ʈru ɖ ys v wŭdn bwdz, rocs n verı̣s uɖr mtirı̣lz, ẇč inflụns ɖ impact v ɖ xpložnz ɖt criet ɖ fîṇl wrc. Ɖ landscêp fwmz v Unmand Nêčr refṛns 14ʈ senčri Čînīz ñcnwoš pêntñz, ẇl ɖ scêl v ɖ insrclñ insṭlešn paṛlelz Mone’z Wōtrliliz.
Tsî Ĝo-Čiañ’z wrc, wɖ its rīdñz v gunpâdr nt onli az a wepn bt olso az a mīdı̣m v spiričl crı̣tiṿti n trnsf̣mešn, z vri tîmli az w cmeṃret ɖ sentīnri v ɖ Frst Wrldwor. Hiz Unmand Nêčr insṭlešn wl cnct t an xibišn at âr sisṭrōġnîzešn in ɖ siti, Mančestr Ātgaḷri. Ɖ Senṣri Wor 1914-2014 wl xplor hâ ātists hv intrpṛtd n cmynicetd ɖ impact v wor on ɖ hymn sensz, ɖ bodi, mînd n ɖ wîdr invîrnmnt ovr ɖ last senčri.”
“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.”
The opening gallery of Transmitting Warhol at Tate Liverpool. Photograph: Christopher Thomond for The Guardian./Christopher Thomond
Campbell’s Soup, 1968. Photograph: Christopher Thomond
Do It Yourself (Seascape), 1962. Photograph: 2014 The Andy Warhol Foundation for the Visual Arts, Inc. / Artists Rights Society (ARS), New York and DACS, London
‘The Velvet Underground & Nico’ album cover design (1967)
‘Marilyn Diptych’ (1962)
Dance Diagram 1: Fox-Trot, The Double Twinkle Man, 1962
Large Flowers, 1964-5
Self-portrait in Interview T-Shirt, 1977-8
Andy Warhol
“Dscuvr ɖ man hu trnsfwmd ɖ modn ātwrld. Trnzmitñ Andi Wōhol brñz tgɖr mr ɖn 100 ātwrcs fṛm wn v ɖ most influenšl, contṛvršl n ntwrı̣s ātists v ɖ twentiiʈ senčri. Ɖ xibišn pṛvîdz a ny insît intu ɖ bredʈ v Wōhol’z ātistc prôsesz, hiz filoṣfiz, az wel az ɖ sošl, ṗlitcl n isʈetc implicešnz v hiz grândbrêcñ practis.
It wz Wōhol’z deṃcratc ḅlif ɖt āt šd b fr evrwn. Trnzmitñ Andi Wōhol xplorz hâ ɖ ātist imbrest ɖ masmīdı̣mz v hiz tîm – publišñ, film, myzic n brwdcast – t trnzmit hiz îdiyz n imijri t az mni ppl az psbl. In dwñ so, Wōhol radicli rīdifînd axes t culčr n āt, čaḷnjñ tṛdišnl nošnz v hî n lo culčr, prîvt n mas xpirı̣ns.
In hiz dzîr t mc āt public, Wōhol’z practis spand ɖ wrldz v āt, mīdia, myzic, fašn n ṣlebṛti. Xibišnhîlîts includ ɖ Marilin Diptic 1962, Dansdaygram 1962 n D-it-Yrslf 1962 pêntñz. Ɖz r šôn alñsd Wōhol’z teḷvižncmršlz, faṣ̌niḷstrešnz fr Vôg n Hāpr’z Bzar, conṣtpôstrz, hiz TV šo n a dazlñ dsple v hiz trêlblezñ ṣlebṛti maġzīn Inṭvy. Ɖ xibišn olso includz ɖ mč luvd wrcs Ʈri Brilo Sôp̓ad Boxz 1964/68 n Cambl’z Sūp 11968.
Trnzmitñ Andi Wōhol z xibitd alñsd Grêčn Bendr n Ɖ Srvñ Lîbrri t fwm Têt Livpul’z ōtm/wintr sīzn – Mcñ Ʈñz Public. Acrs ɖ gaḷri y r invîtd t xplor hâ ātists fṛm dfṛnt jeṇrešnz hv rspondd t n xperimentd wɖ ɖ pvesv inflụns v mas n brwdcast mīdia.
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