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Dorothy Iannone Lineage of Love 03.12.2016 – 29.01.2017

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Dorothy Iannone Lineage of Love 03.12.2016 – 29.01.2017 Dorothy Iannone Lineage of Love 03.12.2016 – 29.01.2017 A self-taught artist, Dorothy Iannone has been Als autodidact werkt Dorothy Iannone al steadily developing her singular body of work meer dan een halve eeuw ononderbroken een for over half a century now, working with issues eigenzinnig oeuvre uit waarbinnen ideeën rond of emancipation, sexuality, politics and spiritual emancipatie, seksualiteit, politiek en spirituele awakening. From 1967 she lived with Swiss- bewustwording centraal staan. Vanaf 1967 leefde German artist Dieter Roth for a number of years, ze samen met de Duits-Zwitserse kunstenaar initiating a thorough intertwining of her personal Dieter Roth en sindsdien vergroeide haar (and amorous) life with her artistic work. This persoonlijke (liefdes)leven met haar werk. Dit emphatically autobiographical and narrative sterk autobiografische en verhalende karakter aspect of her work is expressed in a wide range komt tot uiting in een veelheid aan media. De of media. Lineage of Love presents Iannone’s tentoonstelling Lineage of Love brengt zowel earlier works alongside her more recent practice. haar vroege als recente praktijk in beeld en The exhibition aims to paint the portrait of a tracht een portret te schetsen van een veelzijdig versatile artist who has continually been on the kunstenaar die altijd in beweging is geweest, move, looking for a symbiosis between art and her op zoek naar een symbiose tussen kunst en haar personal narratives and encounters. Her body of persoonlijke verhalen en ontmoetingen. Haar work reads as one tremendous, overwhelming ode oeuvre leest als één allesoverweldigende ode aan to love, a tantra infused with colour and energy de liefde, als een van kleur en energie overgoten which she has sung for more than fifty years. tantra die ze al meer dan vijftig jaar lang bezingt. Where in the 1960s Iannone produced In de jaren 1960 maakte Iannone abstract abstract expressionist works, from the 1970s expressionistisch werk, vanaf de jaren 1970 is ze onwards, she has developed in a more figurative echter een meer figuratieve richting uitgegaan direction with herself, her partner, and what she met als centrale onderwerpen zichzelf, haar calls ‘ecstatic unity’ as central subjects. partner en wat zij noemt de ‘ecstatic unity’. In her striving to penetrate to the very origin of Om zo dicht mogelijk bij de oorsprong van love, the ultimate union with the other and the liefde, bij de ultieme unie met de ander en self, she makes herself both subject and object of zichzelf, uit te komen maakt ze zich zowel her art. Iannone’s body, depicted as an ornately subject als object van haar kunst. Het lichaam bejewelled divine Matriarch, becomes entangled van Iannone, afgebeeld als een met weelderige with that of her Muse, Dieter Roth. Black lines juwelen overladen, goddelijke Matriarch, and colour fields define overwhelming mosaics verstrengelt met dat van haar muze, Dieter and two-dimensional tableaus of copulating Roth. Zwarte lijnen en kleurvelden vormen couples whose male and female parts become drukke mozaïeken en vlakke schouwspelen interchangeable in a spiritual oneness. Confident van copulerende koppels wier mannelijke en women firmly assume control and figure in vrouwelijke lichaamsdelen inwisselbaar worden a tale of love, sex and power. The sexual act is en opgaan in een spiritueel samenzijn. emphasized and celebrated, much as it was in De vrouwen nemen zelfverzekerd de teugels in Antiquity. handen en brengen een verhaal van liefde, seks The artist’s many travels in Asia and Europe en macht. De seksuele daad wordt benadrukt en also left traces in her techniques and motifs. gevierd, net zoals dit in de Oudheid gedaan en The perspectiveless compositions are reminiscent verbeeld werd. of Japanese woodblock prints, Greek vases or Ook Iannone’s vele reizen doorheen Azië Middle-Eastern erotic paintings; her colourful en Europa sijpelen door in haar werk, en laten mosaics and mandala shapes recall Buddhist, sporen na in zowel techniek als motieven. Byzantine or 17th-century Baroque traditions. De perspectiefloze composities doen denken Iannone’s work has often been subjected to aan Japanse houtdrukken, Griekse vazen of censorship and has long been neglected. With erotische schilderijen uit het Midden-Oosten, the turn of the millennium, however, this has de kleurrijke mozaïeken en mandala-vormen changed and her work has since been exhibited aan het Boeddhisme, het Byzantijnse rijk of de at various prominent venues. 17e-eeuwse Barok. Het werk van Iannone was regelmatig het voorwerp van censuur, waardoor het lange tijd onderbelicht bleef. Met de start van het nieuwe millennium kwam daar verandering in en sindsdien werd haar oeuvre door meerdere toonaangevende kunstinstellingen getoond. www.kioskgallery.be Iannone graduated with a Bachelor of Arts Van 1953 tot 1957 studeerde Iannone aan de Universiteit 1 and majored in American Literature at van Boston, waar ze een Bachelor of Arts behaalde in Boston University (1953-1957). Then she went to Brandeis University from 1957-1958 de Amerikaanse Letterkunde. In 1957-1958 volgde ze Steadfast, Perilous, for Graduate Studies in English Literature. een postgraduaat Engelse Letterkunde aan Brandeis Enticing & After her studies she married the painter University, waarna ze trouwde met schilder James Upham Unyielding, from James Upham and moved to New York. en naar New York verhuisde. In de jaren 1960 reisde het the series FLOW- Throughout the sixties, the couple travelled koppel samen door Azië en Europa, waar Iannone tijdens extensively in Asia and Europe. During a stay ER ARRANGE- of several months in Kyoto, Iannone created hun maandenlange verblijf in Kyoto de serie Flower MENTS, 1962, the Flower Arrangements series of collages Arrangements maakte. In deze collages komen invloeden 4 collages with in which influences of traditional Japanese van de traditionele Japanse papierkunst, oriëntaalse hand-made paper art, oriental elements, and the abstract elementen en de abstract expressionistische schilderijen Japanese paper & expressionist paintings of the New York van de New York School samen. Ook haar vroege School come together. Her early painting gold leaf, and sculpture was also characterized by this schilderijen en sculpturen worden gekenmerkt door het 48 x 40 cm blending together of different styles and in elkaar overlopen van verschillende stijlen en culturen. cultures. The Oriental philosophy of unity Het Oosterse eenheidsdenken heeft haar creatieproces Steadfast, proved a lasting influence on her creative blijvend beïnvloed. Bevriend kunstenaar Robert Filliou Perilous, Enticing process. In 1984, artist Robert Filliou, a friend introduceerde haar in 1984 tot de praktijk van het of Iannone’s, introduced her to the practice of & Unyielding, Tibetan Buddhism and the Indian notion of Tibetaans Boeddhisme en ‘Dharma’, een Indiaas begrip uit de FLOWER ‘dharma’: the essential nature of things. voor ‘de wezenlijke natuur van iets’. ARRANGE- MENTS serie, “Dharma practice has changed me, in the sense “Het beoefenen van Dharma heeft me veranderd, in de 1962, 4 collages that an almost abstract longing for unity has been zin dat een haast abstract verlangen naar eenheid nu een given a hitherto unimaginable ‘form’. So if I’m met handge- changed, my work must be too. (…) My work has ‘vorm’ heeft gekregen die tot nog toe ondenkbaar was. Ben ik maakt Japans always reflected my spiritual journey and at the veranderd, dan moet mijn werk dat ook wel zijn. (…) Mijn papier & same time, it seems, illuminated that path.” werk is altijd een weerspiegeling geweest van mijn spirituele bladgoud, reis, en heeft dat pad tegelijkertijd schijnbaar ook steeds 48 x 40 cm (“Interview with Dorothy Iannone”, verlicht.” by Noa Jones, in Tricycle, spring 2013.) (“Interview with Dorothy Iannone”, door Noa Jones, in Tricycle, lente 2013.) Portrait of Dorothy Iannone in Kyoto, 1962. Portret van Dorothy Iannone in Kyoto, 1962. From the mid-1960s onwards, human figures Vanaf midden jaren 1960 verschijnen er steeds vaker 2 and other narrative motifs start to take an ever menselijke figuren of andere narratieve motieven in more prominent place in Iannone’s dense, Iannone’s abstracte schilderijen. In 1959 begint ze als abstract paintings. She had started teaching DARK LIPS, herself to paint in 1959, applying the paint autodidact te schilderen door verf aan te brengen met haar 1964, paper with her fingers or with a palette knife in vingers of met een paletmes, de abstract expressionisten collage, oil and the manner of the abstract expressionists. achterna. Tegelijkertijd maakt ze ook pentekeningen met acrylic paint on During that same period, she also created ornamentele figuratie zoals plantvormen, geïnspireerd canvas, pen drawings with ornamental figuration, door haar reizen, de Indische erotische kunst, Henri such as plant forms, inspired by her travels, 165 x 151,5 cm Indian erotic art, Henri Matisse and Fernand Matisse en Fernand Léger. Ze vult haar canvassen vaak Léger. Often, she also adds quotes from texts ook verder op met citaten uit teksten van schrijvers die ze DARK by writers she admires to her canvases. In bewondert. Tussen al deze inspiratiebronnen in zoekt ze LIPS, 1964, this confluence of inspirations, she searches naar haar persoonlijke stem en nieuwe creatievormen met papiercollage, for her individual voice and new creative behulp van levendige kleurstructuren en autobiografische forms through vibrant colour structures olie- & acrylverf and autobiographical references. Already referenties. Haar
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