|
Lea Lublin (born 1929, Brest, Poland, died in 1999, Paris, France〔(【引用サイトリンク】url=https://www.centrepompidou.fr/cpv/resource/cAnXgG5/rGbggEp )〕) was an Argentine-French performance artist. Her involvement with feminist movements and themes included the WACK! Art and the Feminist Revolution in Los Angeles in 2007. ==Life and work == Lea Lublin emigrated with her family to Argentina in 1931 and grew up in Buenos Aires.〔Lea Lublin: Retrospective 2015, p. 158〕 There she attended classes at the Prilidiano Pueyrredón National School of Fine Arts from age 12 on and graduated in 1949.〔(【引用サイトリンク】url=http://www.reactfeminism.org/entry.php?l=lb&id=219&e=t )〕 She began her artist life as painter. However, in mid-1960 after her move to Paris, she began her interest in exploration of new media and materials. This interest lead her to cooperation with Centro de Artes Visuales of the Institute Torquato di Tella, Argentinean center for experimental and avant-garde art. She began by activating her works, as she mounted over painted reproductions of famous, iconographic paintings such as the Mona Lisa behind glass, onto which she installed windshield wipers. The audience was invited to squirt water on the painting, which would be cleared again by the wipers.〔Lea Lublin: Retrospective 2015, p. 96〕 Large scale Installation art works followed. Here she made the audience immerse into several parts of the work, using made-to-specs inflatable tubes and objects, as well as black light and dark rooms or heaps of tiny plastic balls in which audience members could sit in and cover themselves. Her performance - social action "Mon fils" (1968) that she had performed in Paris, in which she participated in the respectable May Exhibition by taking her baby son to the museums (during the regular exhibition hours), exhibiting him and herself by doing the very normal care of changing diapers, breast feeding and putting her son to sleep in his bed that she had brought with them. It brought public attention to the main material of her work exploring social and gender roles. Until the end of the 1960s, she had more performances of this kind in Argentina and Chile. Her next work the "Terranauts" made in 1969 was deeply influenced by French feminism, and had eventually caused her moving permanently to Paris. She worked and lived there until her death in 1999. In her art work, leaving flat canvas behind that she had used as painter, she became part of movement of the 1960s that used art as a means for involved active social dialogue and acted for deleting the division on art and the life building on Borges' believe that "art is a form of breathing". And her stand in it was feminist, involving the audience, critical but open for different receiver's groups. From the 1970s on she left the museum and went into the general public. There she asked questions to passers by, originally regarding art, later the role of the women. Therefore, she put provocative questions on large cloths, hosted like flags to engage the audience. By setting up closed circuit TV cameras alongside, she gave contributors the air of speaking as pundits on TV, breaking with role expectations and their own personal experience. Beginning in the 1980s and until her last works in the mid 1990s, she went back to interacting with iconographic works, particularly Renaissance paintings. She deconstructed them, such as removing the child from different paintings of Madonna with the child, and exploring the role of the baby and his mother in those paintings by inevitably male painters. Following psychoanalytical patterns she identified the painter with the child looking for an eroticized image of the mother in the works. When she returned to her former home Buenos Aires briefly in 1989, she investigated the brief stay of Marcel Duchamp in the city in 1918-1919. She got access to his former apartment and noticed that both the old windows and the obviously still mostly original colors of some walls, matched exactly those of Duchamps iconic 1920 work of windows which he made after returning to Paris. And she discovered that the female alter ego he used after 1920, ''Rose Sélavy'', matched advertizing in a Buenos Aires newspaper that he was known to have read. When she left, she stole the dilapidated letter box of Duchamp's former house and exhibited it later, thus mocking his Readymade works. Her interactions with Duchamps continued when she deconstructed the Rose advertizing as well as his famous pissoirs in several of her own works, shifting them into a dispute with feminist statements. She is considered to be part of the artists generation such as Lygia Clark and Allan Kaprow. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Lea Lublin」の詳細全文を読む スポンサード リンク
|