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Lee Lozano, No title, 1960 © The Estate of Lee Lozano. Courtsey Hauser & Wirth. |
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Lee Lozano, No title, 1962 © The Estate of Lee Lozano. Courtsey Hauser & Wirth. |
Lee Lozano, No title, 1962 © The Estate of Lee Lozano. Courtsey Hauser & Wirth.
Lee Lozano, No title, 1961 © Moderna Museet.
Lee Lozano, No title, ca 1963 © The Estate of Lee Lozano. Courtsey Hauser & Wirth. |
Moderna Museet This is the first retrospective exhibition in the Nordic region of Lee Lozano (1930-1999), the American artist whose original and challenging work is still largely unknown, especially in Europe. Lozano was part of the 1960s art scene in New York, an artists’ artist in the midst of the avant-garde of the time. On the border between minimalism and conceptual art, she created a powerful and individualistic body of work in a completely male-dominated environment. “Confinement is the near root of all my rage.” — Lee Lozano in her notebook on December 20, 1969 Some sixty paintings and hundreds of works on paper and text-based works from the period 1960-1972 are featured in this exhibition, which is produced by Moderna Museet: the early “surrealist” paintings, sexually evocative and charged with both humour and aggressiveness, on to her gigantic so-called tool paintings, some of which are up to six metres long, and The Wave Series. Some of Lozano’s conceptual “language pieces”, representing her development towards immateriality, are also included in this presentation in the main hall of Moderna Museet. "All Verbs: ream, spin, veer, span, cross, ram, peel, charge, pitch, verge, switch, shoot, slide, cram, goad, clash, cleave, fetch, clamp, lean, swap, butt, crook, split, jut, hack, break, stroke, stop.“ — Lozano notebook page dated 1964/67. Lee Lozano was an idiosyncratic artist, largely going against the grain of her contemporary scene. In 1971, for instance, she caused controversy with her boycott of women – a project in the form of an “examination”. The Drop Out Piece (1972) was Lozano’s defection from the New York art scene. In recent years, there has been a renewed interest in her unique artistic oeuvre, in acknowledgement of its width and depth. After her death, Lee Lozano’s work has been shown in several solo and group exhibitions in the USA and Europe, including at the P.S.1 Contemporary Art Center in New York and documenta 12 in Kassel. “I paint stoned” — Lee Lozano, 29 March 1969 Curator of the exhibition is Iris Müller-Westermann. Catalogue authors: Jo Applin, Lucy Lippard, Benjamin Meyer-Krahmer, and the exhibition curator, Iris Müller-Westermann.
Lee Lozano, 1964 © William S Wilson.
Lee Lozano, Punch, peek & feel, 1967-70 © The Estate of Lee Lozano. Courtsey Hauser & Wirth. |
Lee Lozano, Slide year, 1965 © The Estate of Lee Lozano. Courtsey Hauser & Wirth. |
Lee Lozano, No title, ca 1963 © The Estate of Lee Lozano. Courtsey Hauser & Wirth. |
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Maria Nepomuceno, Spiral Hammocks, installation view. |
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Maria Nepomuceno, Spiral Hammocks, installation view. |
Maria Nepomuceno, Spiral Hammocks, installation view.
Maria Nepomuceno, Spiral Hammocks, installation view. |
Magasin 3 Maria Nepomuceno allows her sculptures to spread across the exhibition space like vegetation in a mysterious garden. She uses rope and necklaces as raw material for her work, letting them take on their natural spiral form. For Nepomuceno the metaphor for the body and nature is central. She describes rope as a line, an umbilical cord, and every bead as a fertile point and a possible beginning that can be multiplied infinitely. In one work a giant bead rests in a hammock while another sculpture is filled with thousands of small glittering beads. Every time she exhibits a sculpture she changes it and combines a part of it with another or takes it apart completely. Nepomuceno is inspired by ancient traditions and materials giving them new form and content. In Latin America hammocks are places of sleep, birth and death but the artist is also interested in the movement, the rocking motion. The artist will let her sculptural hammocks suspend across the exhibition space at Magasin 3. Magasin 3 Stockholm Konsthall is installing four hammocks and opening the spring season on January 23 with a young Brazilian artist. She says of her work, “I want to create a situation that feels like transiting from the beginning of our culture to the present.” Maria Nepomuceno has re-worked existing sculptures and created new ones for the space. The exhibition at Magasin 3 is her second European solo show. She was born in 1976 and lives and works in Rio de Janeiro, Brazil. With a background in industrial design and art she has been actively exhibiting since 1999, most recently in her hometown at A Gentil Carioca (2009). Curator of the exhibition is Elisabeth Millqvist. |
Maria Nepomuceno, Spiral Hammocks, installation view. |
Maria Nepomuceno, Spiral Hammocks, installation view. |
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Sol LeWitt, Seven Wall Drawings, Installation view. |
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Wall Drawing #422, November 1984, The room (or wall) is divided vertically into fifteen parts. All one-, two-, three-, and four part, combinations of four colors, using color ink washes. Color ink wash, Courtesy Estate of Sol LeWitt, First installation: Stedelijk Museum, Amsterdam, the Netherlands, First drawn by: A. Sansotta, M. Schouten, W. Starkenburg, W. Wolff, photographer Martin Runeborg. |
Wall Drawing #422, November 1984, The room (or wall) is divided vertically into fifteen parts. All one-, two-, three-, and four part combinations of four colors, using color ink washes. Color ink wash. Courtesy Estate of Sol LeWitt, First installation: Stedelijk Museum, Amsterdam, the Netherlands, First drawn by: A. Sansotta, M. Schouten, W. Starkenburg, W. Wolff, photographer Martin Runeborg.
Wall Drawing #123, 1972, Copied lines. The first drafter draws a not straight vertical line as long as possible. The second drafter, draws a line next to the first one, trying to copy it. The third drafter does the same, as do as many, drafters as possible. Then the first drafter, followed by the others, copies the last line drawn until both, ends of the wall are reached, Pencil, Courtesy Addison Gallery of American Art, Philips Academy, Andover, Massachusetts. 1991.20 gift of the artist, Addison Art Drive.
Wall Drawing #51, June 1970, All architectural points connected by straight lines. Blue snap lines. Courtesy LeWitt Collection, Chester, CT, First installation in Sperone Gallery, Turin, Italy and Museo di Torino, Turin, Italy, First drawn by: P. Giacchi, A. Giamasco, G. Mosca, photographer Martin Runeborg. |
Magasin 3 It’s all about the drawn line. 10 000 straight lines, 22 meters of scribbles and indigo snap lines cover the walls from floor to ceiling at Magasin 3. For six weeks 14 artists and art students have drawn full time. They have realized this exhibition of seven wall drawings by the American artist Sol LeWitt. The exhibition includes drawings executed in pencil as well as ink washes mixed to the deepest of purples and burnt umber. Every drawing is based on verbal or written instructions; no decisions are made in the process. LeWitt’s role can be likened to that of a composer, the person from his studio in charge of the work is the conductor and the artists executing the work make up the orchestra. ”The descriptions and instructions sound bone dry but the result is startling. It is beautiful, chaotic and overwhelming. The finished wall drawing shows the inadequacies of language in describing what we can expect to see”, says the curator of the exhibition, Elisabeth Millqvist. With his wall drawings rendered directly onto the wall LeWitt changed our concept of what art is — its appearance and who creates it. He succeeded in the challenging task of combining art that puts the idea first with an exciting visual form and continues to be a central figure for young artists to this day. LeWitt was a pioneer among the Minimalists and Conceptual artists who were so groundbreaking at the end of the 60s and beginning of the 70s. In 1968 he made his first wall drawing in graphite and restricted himself to horizontal, vertical and diagonal lines. Right up to his death he investigated every line combination imaginable while over the years expanding his formal language to encompass geometric shapes and color. This is the most extensive exhibition of LeWitt’s wall drawings in Scandinavia to date. The American artist was born in 1928 and passed away in 2007. A number of retrospective exhibitions focusing on his wall drawings have taken place in the USA since 2000, most notably at the San Francisco Museum of Modern Art (2000), Dia Beacon, New York (ongoing) and the ambitious large-scale presentation at Massachusetts Museum of Contemporary Art, North Adams (2008-2033). In Europe the Stedelijk Museum in Amsterdam presented a retrospective with LeWitt’s wall drawings in 1984, which was followed by an exhibition at Kunsthalle Bern in 1989. In Sweden individual wall drawings have been shown at Galleri Aronowitsch, Stockholm (1982), Moderna Museet, Stockholm (1984), Galleriet, Lund (in 1983 and 1987) and at the Nordic Watercolour Museum, Tjörn, Gothenburg (2002) amongst others.
Wall Drawing #715, February 1993, On a black wall, pencil scribbles to maximum density, Pencil, Courtesy Estate of Sol LeWitt, First installation: Addison Gallery of American Art, Phillips Academy, Andover, MA, First drawn by: S. Abugov, S. Cathcart, A. Dittmer, F. Dittmer, L. Fan, C., Hejtmanek, S. Hellmuth, D., Johnson, A. Moger, A. Myers, J. Noble, G., Reynolds, A. Ross, A. Sansotta, J. Wrobel. (Varnished by John Hogan).
Wall Drawing #85, June 1971, Four color composite/pencil. A wall is divided into four horizontal parts. In the top row are four equal divisions, each with lines in a different direction. In the second row, six double combinations; in the third row, four triple combinations; in the bottom row, all four combinations superimposed. Courtesy LeWitt Collection, Chester, CT, First installation: LeWitt residence, New York, First drawn by: Sol LeWitt. |
Wall Drawing #111, September 1971, A wall divided vertically into five equal parts, with ten thousand lines in each part: 1st) 6" (15 cm) long; 2nd) 12" (30 cm) long; 3rd) 18" (45 cm) long; 4th) 24" (60 cm) long; 5th) 30" (75 cm) long. Pencil, Courtesy Estate of Sol LeWitt, First installation: John Weber Gallery, New York, NY, First drawn by: R. Cutrone, P. Graf, S. Kato, J. Marasco, J. Nyeboe, M. Stamos, B. Walker, R. Watanabe, M. Wheeler, photographer Martin Runeborg. |
Wall Drawing #85, June 1971, Four color composite/pencil. A wall is divided into four horizontal parts. In the top row are four equal divisions, each with lines in a different direction. In the second row, six double combinations; in the third row, four triple combinations; in the bottom row, all four combinations superimposed. Courtesy LeWitt Collection, Chester, CT, First installation: LeWitt residence, New York, First drawn by: Sol LeWitt. |
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