The work of Lili Dujourie provokes an astutely intellectual yet poetic engagement with the world around us through various mediums, from painting and sculpture, to photography, collage, video and installation. Described as an 'Old Master in Postmodern Garb', Dujourie operates at the intersection of minimalism and conceptualism, consistently and systematically challenging the subject position of the viewer through clever experimentation with material and form. After making her debut with sculptures made of natural materials in the late 1960s and early 70s, Dujourie's practice shifted into photography and the experimental realm of video art in the 1980s. With these new media, she embraced not only painterly and sculptural considerations but also the gender and identity-related issues of the time. The duality of movement and standstill inherent to film - as well as other juxtapositions - fed her later three-dimensional work. By transforming the physically and culturally determined properties of certain materials - such as velvet, marble, plaster, iron, lead and clay - the artist created sculptural forms that prompted deeper epistemological engagement. Indeed, all of Dujourie's work questions the 'truth' value attributed to observation, suggesting instead that reality involves both acts of revealing and concealing, not only that which we can see but also that which is hidden from us.Read More
Dujoure's work features in numerous collections worldwide and has been the subject of important solo exhibitions, including Folds in Time, held concurrently at S.M.A.K., Ghent, Belgium and Kunstmuseum aan Zee, Ostend, Belgium (2015); La naturaleza es sabi, Abadía Benedictina de Santo Domingo de Silos, Burgos, Spain (2011); Le Creux de L'enfer, Centre Centre d'Art Contemporain, Thiers, France (2008); Jeux de Dames, Bozar, Brussels, Belgium (2005); and Videos 1972-1981, Centro Andaluz de Arte Contemporaneo, Sevilla, Spain (2004), amongst others. Her work was recently featured in the group exhibition The House of the Sleeping Beauties at Sotheby's S|2 Gallery in London, with participation in other notable group exhibitions including Sanguine. Luc Tuymans on Baroque, Fondazione Prada, Milan, Italy; Feminist Avant-Garde of the 1970s, Zentrum für Kunst und Medien, Karlsruhe, Germany; Virginia Woolf - An Exhibition Inspired By Her Writings, Tate St. Ives, Cornwall, UK; Superposition: Equilibrium and Engagement, 21st Biennale of Sydney, Art Gallery NSW, Australia (all 2018); as well WACK!: Art and the Feminist Revolution at MOCA, Los Angeles, CA, USA (2007), the first institutional exhibition to comprehensively examine the influence of feminism in contemporary art.
Text courtesy Richard Saltoun Gallery.
The aim here is to champion contemporary female artists, and to usher in a new wave of equality in an art world largely dominated by wealthy white men. Both artists represented by Richard Saltoun and those without representation altogether will feature in the 12-month programme, which will encompass exhibitions, events, lectures, films and art...
One is "The Kiss," a lovely wall-mounted sculpture of undulating red velvet and a black wooden triangle, made in 1984 by the excellent and still underappreciated Flemish artist Lili Dujourie. There are also several kitsch rehashes of historical motifs, including Nadia Naveau's clownish plaster busts of Figaro or a curly-haired courtier...
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