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Descargar Publicación En PDF Download Publication In , 2008. 72 x 44.7 cm base diameter. Acid Lava Koan 1969 - 1975, 61 x 41 cm base diameter. / 1969 - 1975, 61 x 41 cm base diameter. See Thru Koan II , 1966. 27.50 x 17.50 cm base diameter, 39.50 x 25.50 cm base diameter. / 39.50 x 25.50 cm base diameter. , 1966. 27.50 x 17.50 cm base diameter, Hiway Cones Liliane Lijn 26 / 01 / 2018 - 13 / 04 / 2018 unas lecheras gigantes repartidas por verdes prados o, en una de sus imágenes, un campo de fút- as conductors, the copper wires speak silently of microwave signals, telecommunications. Yet they LILIANE LIJN. Espiral de energía: divino equilibrio bol. Como los Koans, tienen algo de aparición acechante (Industrial Magic, 1969). Trabajando con LILIANE LIJN Energy coil: divine balance retain an archaic, almost sacred presence. Like the fluted stripes made by the sun on the fat Doric Ser ella misma implica meterse en la piel de todo lo demás y no limitarse ni cerrarse a lo que cree lápices de colores sobre ampliaciones fotográficas o sobre fotocopias de recortes de periódico, Lijn Being herself means entering into the skin of everything else, not limiting or closing herself off to what columns of the Acropolis, the ‘line’ becomes light to orchestrate the hieratic, an intimation of anima... ser. Sujeta a un cambio cíclico, deviene en objeto de sí misma. Es un filtro, un espejo, un prisma, creó un retrato familiar que abarca desde unas apretadas filas de torres de refrigeración de Yorkshire, she thinks she is. Subject to cyclical change, she becomes her own object. She is a filter, a mirror, From the giganticism of Battersea Power Station’s columns to the microcircuit: Lijn’s una espiral de energía. Es sujeto y objeto, activa y pasiva. Descubre que es punto de encuentro de a estructuras que sobresalen con formas geométricas puras por entre el batiburrillo arquitectónico y a prism, an energy coil. She is subject and object, active and passive. She finds herself the meeting little-known drawings such as Tension (1971) use Letraset electronic symbols as ready-made ele- contrarios. Que en su interior lleve la contradicción de los contrarios y no explote al instante en un la cacofonía de las señales callejeras de un anodino arrabal londinense (Ghostly Cooling Towers, point of opposites...To carrying within oneself the contradiction of opposites and not instantly explode ments. I recall Francis Picabia’s mechanical drawing copies: the sparkplug inscribed For-Ever, titled destello luminoso, es un hito de divino equilibrio.(Liliane lijn, Crossing Map, 1983[1]) Acton, 1970/1971). in a flash of light is surely a feat of divine balance.(Liliane Lijn, Crossing Map 1983[1]) Portrait of an American Girl in a State of Nudity, 1915, and the Surrealists’ magnetic fields (André Un periplo de descubrimiento en el tiempo y el espacio: se nos invita aquí a explorar una La Battersea Power Station, la entrañable central eléctrica de Londres, ha inspirado A voyage of discovery in time and space: we are invited here to explore a surprising Breton and Phillippe Soupault’s desire-led writing experiment, Les Champs Magnétiques, 1920). Li- sorprendente selección de la obra de Liliane Lijn, que arranca de su periodo parisino de mediados de también a Lijn. Sus grandiosas columnas aparecen miniaturizadas en fotografías en blanco y negro range of Liliane Lijn’s work from her Paris period of the mid 1960s through to 2011: the evolution from jn’s Paranoia (1971) and the Neurogrammes (1971) drawings take the electric circuits inside the los sesenta y llega hasta 2011: del difuminado mecánico de imágenes por acción de la velocidad, a la de la artista. Ese juego entre forma geométrica, escala y presencia es la clave de sus Linear Light the mechanical blurring of images at speed to the dissolution of words in light and movement; from head where indeed they teem within each of us. The same relationship between the mechanical, the disolución de las palabras en luz y movimiento; de sus líneas en el espacio, a la “fotografía industrial”; Columns, unos cilindros de acero recubiertos de cobre colocados sobre unas plataformas giratorias lines in space to ‘industrial photography’; from the diagram and graph to almost traditional landscape. ‘scientific’ and the sexual are at play; indeed, these works were made in 1971 to accompany the poet, del diagrama y el gráfico, a un paisaje casi tradicional. motorizadas que apuntan, una vez más, al high tech de los sesenta: en su condición de conductores, La Madeleine(1964), uses a Bakelite-based turning mechanism where postcard strips Sinclair Beiles’ manuscript Deliria. La Madeleine (1964) usa un mecanismo girante de bakelita que, al girar, transforma los hilos de cobre aluden en silencio a las señales microondas, a las telecomunicaciones… Sin em- of La Madeleine church in Paris spin into feathery light rays. Looking back in time however, Proust’s Often the relationship between the scientific and the auratic involves an elemental beau- unas tiras de tarjetas postales de la iglesia de La Madeleine de París en ligeros rayos de luz. Pero bargo, conservan una presencia arcaica, sagrada casi. Como el sol que resalta en las acanaladuras famous madeleine comes to mind: hence the dissolution of images in memory their potential recall. ty. In the Liquid Reflections (1967-8), Perspex balls roll on a circular base rich with prismatic light, volviendo la vista atrás, nos viene a la memoria la famosa magdalena de Proust, de ahí la disolución de las gruesas columnas dóricas de la Acrópolis, la “línea” se vuelve aquí luz para inyectar vida en Time Forces Split (1965), is a more classic rotating machine, its blinking with the words of the poet like so many planetary ellipses. The later Crystal Clusters (1972) have a darker past. They rehouse de imágenes en la memoria, su potencial evocador. Time Forces Split (1965) es una máquina gir- una insinuación de anima en lo hierático… Nazli Nour, who asked her friend if she could ‘make her poems move’. Lijn recalls this memory in the the periscope prisms that served as the eyes of Centurion tanks: the main British battle tank produced atoria más clásica: parpadea con las palabras de la poeta Nazli Nour, que en una ocasión preguntó Del gigantismo de las columnas de la Battersea Power Station al microcircuito. Algunos context where ‘I grew up in a family that spoke six languages’: the cosmopolitan Paris of the early from 1943 to 1962, deployed to kill all over the world. Periscopes signal escape from enclosure, light a su amiga si sería capaz de “dar movimiento a sus poemas”. Lijn sitúa, contextualiza ese recuerdo: dibujos poco conocidos de Lijn, como Tension (1971), emplean símbolos electrónicos de Letraset al 1960s was likewise exhilaratingly polyglot.[2] Changing countries and languages involves the simul- in darkness. Arriving wrapped in 1942 newspaper, crackling with fear and death, Lijn’s prisms are “Crecí en una familia que hablaba seis idiomas”, igual que el París cosmopolita de principios de los modo del readymade. Me traen a la mente las copias de aparatos técnicos de los dibujos mecánicos taneity of influences and discoveries that for native dwellers would be a question of evolution and given new life. They become precious, producing rainbows. Enclosed in hand made boxes they speak sesenta, que era estimulantemente políglota.[2] Ir cambiando de países y lenguas supone ir simulta- de Francis Picabia: la bujía con la inscripción For-Ever del Portrait of an American Girl in a State of change. At the moment of the rise of Op, Pop and Kinetic Art (La Madeleine is optical, uses popular again to surrealist precursors like Joseph Cornell’s Taglioni’s Jewel Casket, 1940 with its crystal neck- [9] neando unas influencias y hallazgos a las que el habitante local solo llegaría mediante la evolución Nudity de 1915, o los campos magnéticos de los surrealistas (Les Champs Magnétiques, 1920, el postcards and is kinetic) it was her school-friend Nina who brought her into the milieu of the brilliant lace and small glass cubes, my favourite. y el cambio. En un momento marcado por la emergencia del Op art, el Pop art y el Arte Cinético (la experimento de escritura conducida por el deseo de André Breton y Phillippe Soupault). Los dibujos critic Alain Jouffroy, who was living and writing the surrealist movement’s swansong. Nina and her Liliane Segall became Liliane Lijn, lady of line: but her lines are never just lines. Like her propia Madeleine es óptica, usa postales y es cinética), fue su amiga del colegio, Nina, quien intro- de Lijn Paranoia (1971) y Neurogramme (1971) llevan los circuitos eléctricos al interior de la cabeza mother Manina’s friend, Jean-Jacques Lebel, Lijn’s boyfriend and mentor, (the fiery revolutionary of precursors in the fields of geometry and biomorphism the Armenian Leon Tutundjian or the English dujo a Lijn en el círculo del brillante crítico Alain Jouffroy, que a la sazón vivía el canto de cisne del de hecho, los tenemos dentro de cada uno de nosotros. La misma relación entre lo mecánico, lo 1968) had, like Liliane, experienced a New York childhood, and been taken to school with Aube, the Paule Vézelay lines, even Letrafilm lines may assume character. They acquire playful titles, likeEasy surrealismo y escribía sobre él. Tanto Nina como Jean-Jacques Lebel, amigo de su madre Manina y “científico” y lo sexual entra aquí en juego, como prueba que ambas piezas fueran creadas en 1971 daughter of surrealist leader André Breton. A new and complex world of passions, art and literature Does It (1971) (are we speaking to a line?) As in the Forcefield (1971) series, where Letrafilm is novio y mentor de Lijn (además de furibundo revolucionario del 68), habían pasado, como Liliane, su para acompañar al manuscrito Deliria del poeta Sinclair Beiles.
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