{"id":23259,"date":"2015-07-24T15:03:49","date_gmt":"2015-07-24T13:03:49","guid":{"rendered":"https:\/\/www.sleek-mag.com\/?p=23259"},"modified":"2015-07-24T15:03:49","modified_gmt":"2015-07-24T13:03:49","slug":"lea-lublins-retrospective-homemade-politics","status":"publish","type":"post","link":"https:\/\/www.sleek-mag.com\/de\/article\/lea-lublins-retrospective-homemade-politics\/","title":{"rendered":"Lea Lublin&#039;s Retrospective: Homemade Politics"},"content":{"rendered":"<p class=\"size--small\"><img decoding=\"async\" class=\"size-full wp-image-23263\" alt=\"Installation view, photo by Lenbachhaus\" src=\"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2015\/07\/2015_Lea-Lublin__Presse_11_gross.jpg\" width=\"716\" height=\"477\" \/> Installation view, photo by Lenbachhaus<\/p>\n<p>The private is political \u2013 that was the mantra of the second wave of feminist movements in the late 60s. And yet in 1974 when artist Lea Lublin (1929 \u2013 1999) presented her own version of it with \u201cMon Fils\u201d(My son) at the Parisian Salon de Mai held in Mus\u00e9e d&#8217;Art Moderne, she was swiftly denounced for being too domestic. The installation depicted the artist interacting with her baby and despite the criticism from the male-dominated establishment of the time, it paved Lublin&#8217;s way for her deconstruction\u00a0of\u00a0art\u00a0historical imagery in France.<\/p>\n<p>The Lea Lublin&#8217;s retrospective at Lenbachhaus in Munich, presents an artist that understood and knew how to deal with the cultural boundaries in which she navigated as a Polish-born French-Argentine artist. The exhibition features photographs,\u00a0drawings,\u00a0wall\u00a0installations,\u00a0and\u00a0videos, that follow Lubin\u2019s abandonment of painting in favour of environments and actions, and the use of dialogue as an art form.<\/p>\n<p class=\"size--small\"><img decoding=\"async\" class=\"size-full wp-image-23265\" alt=\"R.S.I. - D\u00fcrer, Del Sarto, Parmigianino, 1983, Acrylic paint, gelatin silver print, ink, and paper on canvas and board 350 x 600 cm, Estate of the artist, Photo by: Alain Le Nouail \/ \u00a9 Le Quartier, Quimper 1995\" src=\"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2015\/07\/1983_Lublin_R.S.I.jpg\" width=\"716\" height=\"489\" \/> R.S.I. &#8211; D\u00fcrer, Del Sarto, Parmigianino, 1983, Acrylic paint, gelatin silver print, ink, and paper on canvas and board 350 x 600 cm, Estate of the artist, photo by: Alain Le Nouail \/ \u00a9 Le Quartier, Quimper 1995<\/p>\n<p>&nbsp;<\/p>\n<p class=\"size--small\"><img decoding=\"async\" class=\"size-full wp-image-23266\" alt=\"Installation view, Photo by: Lenbachhaus, St\u00e4dtische Galerie im Lenbachhaus und Kunstbau, M\u00fcnchen\" src=\"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2015\/07\/2015_Lea-Lublin__Presse_06_gross_01.jpg\" width=\"716\" height=\"476\" \/> Installation view, photo by: Lenbachhaus, St\u00e4dtische Galerie im Lenbachhaus und Kunstbau, M\u00fcnchen<\/p>\n<p>Lublin\u2019s celebration of the female experience was also particular in the sense that it simultaneously demonstrated her perception of the male body and of a male-centric art world. Yet, Lublin\u2019s perspective wasn\u2019t a polarising one. Instead she sought to harmonise the sexes. And by turning her environmental works into invitations to gather around one theme &#8211; art &#8211; Lublin offered her solution to the aggression in gender politics.<\/p>\n<p>From 1974 to 1979, Lublin went on tour with her project \u201cInterrogations sur l\u2019art. Discours sur l\u2019art\u201d: filming and photographing the reactions from the people on the streets of Antwerp, Neuenkirchen and Naples. Her aim with this long project was to confront the individuals with their own idea (or fantasy) of what art or an artist should be. Here again, her personal transgression of nationalities articulated itself by the means of language: Lublin was interested in listening to people express themselves in a variety of vernaculars.<\/p>\n<p class=\"size--small\"><img decoding=\"async\" class=\"size-full wp-image-23264\" alt=\"&quot;Fluvio Subtunal&quot;, 1969, Environment, Santa F\u00e9 (Argentina), photo by: Humberto Rivas, Barcelona \" src=\"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2015\/07\/000001ret_gross.jpg\" width=\"716\" height=\"480\" \/> &#8220;Fluvio Subtunal&#8221;, 1969, Environment, Santa F\u00e9 (Argentina), photo by: Humberto Rivas, Barcelona<\/p>\n<p>&nbsp;<\/p>\n<p class=\"size--small\"><img decoding=\"async\" class=\"size-full wp-image-23268\" alt=\"Dissolution dans l\u2019eau. Pont Marie, 17 heures, Performance, Paris, March 11, 1978, Photo: anonymous, Courtesy Estate of the artist\/ Collection Nicolas Lublin\" src=\"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2015\/07\/LeaLublin_Dissolution_dans_l_eau.jpg\" width=\"716\" height=\"479\" \/> Dissolution dans l\u2019eau. Pont Marie, 17 heures, Performance, Paris, March 11, 1978, photo: anonymous, Courtesy Estate of the artist\/ Collection Nicolas Lublin<\/p>\n<p>Lublin\u2019s work also signals the possibility of liberation through artistic performativity, as exemplified by the reconstruction of \u201cFluvio Subtunal\u201d which highlights participation as a way of caring for others. The different zones of this installation look like a cross between a playground and a ruin, in which the artist experimented with industrial and natural materials for a collective performance. However, performativity is only one part of Lublin\u2019s oeuvre. The artist, who remains largely unknown outside France, made the point of revisiting modernism with a fresher and playful attitude and with that she also succeeded in breaking down barriers between art and life.<\/p>\n<p><strong>Text by Maria In\u00e9s Plaza Lazo<\/strong><\/p>\n<p><strong>&#8220;Lea Lublin \u2013 Retrospective&#8221; is on show at <a href=\"http:\/\/www.lenbachhaus.de\/ausstellungen\/lea-lublin-retrospective\/\">Lenbachhaus<\/a> in Munich until 13 September 2015<\/strong><\/p>\n<p>Mehr: <a href=\"https:\/\/www.sleek-mag.com\/de\/showroom\/2015\/07\/vic-exhibition-at-insitu\/\">False Idols: Insitu Examines Celebrity<\/a><\/p>\n<p>Mehr: <a href=\"https:\/\/www.sleek-mag.com\/de\/showroom\/2015\/07\/sol-lewitts-wall-drawings-live-forever\/\">Sol LeWitt\u2019s Wall Drawings Live Forever<\/a><\/p>","protected":false},"excerpt":{"rendered":"<p>Installation view, photo by Lenbachhaus The private is political \u2013 that was the mantra of the second wave of feminist movements in the late 60s. And yet in 1974 when artist Lea Lublin (1929 \u2013 1999) presented her own version of it with \u201cMon Fils\u201d(My son) at the Parisian Salon de Mai held in Mus\u00e9e&#8230;<\/p>","protected":false},"author":3,"featured_media":23272,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_kad_post_transparent":"","_kad_post_title":"","_kad_post_layout":"","_kad_post_sidebar_id":"","_kad_post_content_style":"","_kad_post_vertical_padding":"","_kad_post_feature":"","_kad_post_feature_position":"","_kad_post_header":false,"_kad_post_footer":false,"_kad_post_classname":"","footnotes":""},"categories":[11856,139],"tags":[527,2928,2101,2929,2930,2931,1098,2932,2933,2430],"class_list":["post-23259","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-sleek-art","category-art","tag-feminism","tag-french-argentine","tag-gender","tag-lea-lublin","tag-lenbachhaus","tag-maria-ines-plaza-lazo","tag-munich","tag-musee-dart-moderne","tag-political","tag-retrospective"],"acf":{"main_category":null,"legacy":"1","exclude_from_ads":null,"hero_title":null,"subtitle":null,"hero":null,"teasers":null,"facebook_image":null,"related_articles":null,"next_article":null,"sleek_card_focus":null,"content":null},"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v19.1 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Lea Lublin&#039;s Retrospective: Homemade Politics Lea Lublin&#039;s Retrospective: Homemade Politics<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.sleek-mag.com\/de\/article\/lea-lublins-retrospective-homemade-politics\/\" \/>\n<meta property=\"og:locale\" content=\"de_DE\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Lea Lublin&#039;s Retrospective: Homemade Politics Lea Lublin&#039;s Retrospective: Homemade Politics\" \/>\n<meta property=\"og:description\" content=\"Installation view, photo by Lenbachhaus The private is political \u2013 that was the mantra of the second wave of feminist movements in the late 60s. 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