ARTISTS
Linder: The Groom
Andr茅hn-Schiptjenko is pleased to announce Linder's fourth exhibition to be held from March 16 to May 6 which will feature previously unseen works.
For The Groom, Linder explores the elasticity of promise and resilience in the Cinderella fairy tale tradition, tracing its path from the story of Ye Xian in China 850, via tales such as the French classic Peau d鈥橝ne, through to contemporary culture鈥檚 fascination with 鈥渓iving happily ever after鈥� and the fascination for the instant 鈥渕ake over鈥� of both the body and the home. The exhibition comprises original photomontages ranging from sources as varied as film posters, Cinderella book series and glamour photographs taken by Chinese photographer Daisy Wu in the 1970s, as well as larger formats and reproduction techniques.
鈥淲ithout trying to prove it again, I take as my starting point the fact that fairy tales mirror collective unconscious material - which leads us to a further general question: if it is collective unconscious material, are there ethical problems in fairy tales?鈥�-Shadow and Evil in Fairy Tales, Marie-Louise von Franz, 1974.
By performing a visual biopsy of the Cinderella motif, Linder examines and reimagines the contemporary relevance of the fairy tale via her acquired print media collection which spans the last hundred years. The artist uses her surgeon鈥檚 scalpel and metzenbaum scissors (the former used for 鈥渟tab incisions鈥� and the latter for 鈥渃utting delicate tissue and blunt dissection鈥�) to open up the guts of the Cinderella tale metaphorically and literally. It鈥檚 a cultural postmortem of sorts which in turn opens up the corpus of the story catalogued in the Aarne-Thompson-Uther index of folk tales as type 510A or 鈥淭he Persecuted Heroine鈥�.
In The Groom Linder will be exhibiting her signature photomontages but also be exploring other techniques and formats.
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Andr茅hn-Schiptjenko is pleased to announce Linder's fourth exhibition to be held from March 16 to May 6 which will feature previously unseen works.
For The Groom, Linder explores the elasticity of promise and resilience in the Cinderella fairy tale tradition, tracing its path from the story of Ye Xian in China 850, via tales such as the French classic Peau d鈥橝ne, through to contemporary culture鈥檚 fascination with 鈥渓iving happily ever after鈥� and the fascination for the instant 鈥渕ake over鈥� of both the body and the home. The exhibition comprises original photomontages ranging from sources as varied as film posters, Cinderella book series and glamour photographs taken by Chinese photographer Daisy Wu in the 1970s, as well as larger formats and reproduction techniques.
鈥淲ithout trying to prove it again, I take as my starting point the fact that fairy tales mirror collective unconscious material - which leads us to a further general question: if it is collective unconscious material, are there ethical problems in fairy tales?鈥�-Shadow and Evil in Fairy Tales, Marie-Louise von Franz, 1974.
By performing a visual biopsy of the Cinderella motif, Linder examines and reimagines the contemporary relevance of the fairy tale via her acquired print media collection which spans the last hundred years. The artist uses her surgeon鈥檚 scalpel and metzenbaum scissors (the former used for 鈥渟tab incisions鈥� and the latter for 鈥渃utting delicate tissue and blunt dissection鈥�) to open up the guts of the Cinderella tale metaphorically and literally. It鈥檚 a cultural postmortem of sorts which in turn opens up the corpus of the story catalogued in the Aarne-Thompson-Uther index of folk tales as type 510A or 鈥淭he Persecuted Heroine鈥�.
In The Groom Linder will be exhibiting her signature photomontages but also be exploring other techniques and formats.
Artists on show
