Until June 25, the spaces of the Andito degli Angiolini of Palazzo Pitti in Florence host a small retrospective entitled Maria Lassnig Woman Power curated by Wolfang Drechsler and promoted by the Gallerie degli Uffizi, the Albertina Museum and the Maria Lassnig Foundation.
The exhibition presents a selection of about 25 works from the sixties to the thousand from which the whole universe of Maria Lassnig (1914-2014) emerges, offering the visitor the opportunity to reconstruct her evolutionary genesis
Always linked to a self-referential, self-centered, self-reflective, introspective art, Lassnig’s poetics analyzed the human condition through her own, experiencing the body as the place of the most discerning manifestations, of lacerations and pains mediated by a sensitivity that I would call “radiographic”, able to permeate the epidermal surface to reach the core of one’s own feeling. This approach has therefore become a constant, a fil rouge that has gone through her entire research by offering her the critical ability to question her status as a woman before and as an artist then.
With the precision of the expert surgeon, Lassnig separates the most hidden and visceral moods, adopting a self-image not narcissistic or even less of a sexy apse, to build violent atmospheres, begging for suffering where self-representation of sorrows oblites one’s being in the world through the cynical and ruthless ego. Hence, the so-called Strichbilder or Painting of Lines, usually of large format, where the determined sign and the lysergic colors proceed for thickening, pressure and tension points, modifying in dilations and conjunctions of shapes. These forms will be the source of a series of works from the ’70s onwards, which will direct Lassnig to the discovery and analysis of the Körpergefühl concept, or of bodily sensation.
At the same time, in those years she was approaching animation films by starting a short, but profitable collaboration with Walt Disney Production, for which she independently created short films and films, more narrative than her paintings, which won numerous awards for the festivals of avant-garde cinema closer to the more lively feminist movements.
Only then her research – as the exhibition demonstrates – opens, without ever creating casualties with the past, new atmospheres and new surveys linked to rural life, or to the deepening of the relationship between the “inside and outside the canvas” to land in the early nineties with the Malflüsse series where color streams become energy generators that cross the entire construction of the work. The exhibition concludes with some works of the first two thousand, from which the idea of suffering linked to old age and the inexorable time that inevitably weakens the physic but not the mind, is a sort of premonition expressed by Untitled (crutches, broken leg), 2005.
Maria Lassnig Woman Power a cura di Wolfang Drechsler
Untile June 25, Andito degli Angiolini di Palazzo Pitti Firenze
A letto con una tigre, 1975. Olio su tela, 106.5×127 cm. The Albertina Museum, Vienna. Prestito a lungo termine da Oesterreichische Nationalbank
Senza titolo (stampelle, gamba rotta), 2005. Olio su tela, 125×100 cm. The Albertina Museum, Vienna. The Essl Collection