LINDER at Zona Maco, February 8-12 2017, Mexico City
Andréhn-Schiptjenko at Zona Maco, Mexico City, February 8-12, 2017
Andréhn-Schiptjenko proudly announces their fifth participation in Zona Maco in Mexico City. We look forward to welcoming you in booth ZMS4 where we will be premiering a presentation of work by Linder, who has been invited to Zona Maco Sur by Luis Silva and João Mourão, co-directors and curators at Kunsthalle Lissabon, Portugal.
Linder is an internationally celebrated artist who applies the principles of collage to the visual languages of graphic design, popular culture, fashion and fine art in the production of photomontages, performances and installations. The core of her work is a continuous exploration of desire, cultural expectations and the female body as commodity. Occasionally referring to her works as biopsies, Linder’s collages manipulate, disrupt and play with porn and glamour, exposing the latter as something we should be wary of. Examining the way that women are depicted across visual culture, these collages draw attention to institutionalised misogyny. Denouncing the artificiality of groomed and tame femininity and revealing the performative aspects of gendered and social differences, the works are sometimes provocative – and also funny.
At Zona Maco works from different series will be shown. The most recent Post-Mortem (2016) series of photomontage conflates early twentieth century photographs of the Russian Ballet with photographs of natural history from the same period. The resultant danse macabre series reflects upon the nature of human mortality, as well as the estimated 150 – 200 species of plant, insect, bird and mammal that become extinct every 24 hours. Using predominantly female dancers, it alludes to the death and the maiden motif that first developed from the danse macabre during the Renaissance.
In contrast, the full colour ”rose and glamour model” series incorporates found images from the late 1970s onwards, acting as eros to the inherent thanatos of the Post-Mortem sequence. The contrived erotic charge of the imagery taken from men and women’s soft core pornography magazines is allowed to play out in full. The addition of rose imagery – a universal symbol of love and romance – both obfuscates and amplifies the pornographic image.
Linder, born 1954 in Liverpool, initially rose to fame as an artist and musician in the punk/post-punk arts and music scene in Manchester in the mid 1970s. Recent institutional exhibitions include Linder: femme/objet, at the Musée d’Art Moderne de la Ville de Paris, Kestnergesellschaft, Hannover and Tate St. Ives (2013) and Pretty Girl. No.1, Baltic Centre for Contemporary Art, Gateshead and PS1/Museum of Modern Art, New York (2007).
For more information and images, please contact Ebba von Beetzen at firstname.lastname@example.org.
At the fair we can be reached on the following numbers:
Ciléne Andréhn +46 707445418
Cuno Andréhn Bärtås +46 760822364