Lorna Simpson: 1957-2009
299 épreuves gélatino-argentiques, 12,7 x 12,7 cm chaque (taille de l’image).
Rennie Collection, Vancouver
© Lorna Simpson
MUNICH • Haus der Kunst • 25 October 2013 - 2 February 2014
|First seen earlier this year at the Jeu de Paume in Paris, this show presents thirty years of Lorna Simpson’s work. For this Afro-American artist, born in Brooklyn, New York, in 1960, the synthesis between image and text is profound and intimate. If one were to consider Lorna Simpson as a writer, the textual element of her works could have an autonomous life as prose poems, very short stories or fragments of scripts. And yet, her texts are inseparable from her images; there is a dynamic between the two that is both fragile and energising, which links them unfailingly.|
Lorna Simpson became known in the 1980s and 90s for her photographs and films that shook up the conventions of gender, identity, culture and memory. Throughout her work, the artist tackles the complicated representation of the black body, using different media, while her texts add a significance that always remains open to the spectator’s imagination.
In her recent work, Lorna Simpson has integrated archive images, which she reinvents by positioning herself in them as subject.
As the artist underlines: “The theme I turn to most often is memory. But beyond this subject, the underlying thread is my relationship to text and ideas about representation.” (Lorna Simpson)
The exhibition gathers her large format photo-texts of the mid 1980s, which brought her to the attention of the critics (Gestures / Reenactments, Waterbearer, Stereo Styles), her work in screenprints on felt panels since the 1990s (Wigs, The Car, The Staircase, Day Time, Day Time (gold), Chandelier), a group of drawings (Gold Headed, 2013), and also her “Photo Booths”, ensembles of found photos and drawings (Gather, Please remind me of who I am…).
The Paris exhibition is also an opportunity to discover her video installations: multivalent narratives that question the way in which experience is created and perceived more or less falsely (Cloudscape, 2004, Momentum, 2010), among them, Playing Chess, a new video installation made especially for the occasion.
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