Liliane Lijn

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Liliane Lijn
Lijn in Vienna, April 2025
Born (1939-12-22) December 22, 1939 (age 85)
New York, United States
NationalityAmerican and British
MovementKinetic art
Spouses
Takis Vassilakis
​
​
(m. 1961; div. 1970)​
Stephen Weiss
​
(m. 2016)​
Websitelilianelijn.com
Inner Light, in Reading, UK

Liliane Lijn (born 1939)[1] is an American-born artist who was the first woman artist to work with kinetic text[2] (Poem Machines), exploring both light and text as early as 1962; and in addition, she is in all likelihood the first woman artist to have exhibited a work incorporating an electric motor.[3] She has lived in London since 1966.[4]

Utilising original combinations of industrial materials and artistic processes, Lijn is recognized for pioneering the interaction of art, science, technology, eastern philosophy and feminine mythology.[5] She is known for her cone-shaped Koan series.[6] In conversation with Fluxus artist and writer, Charles Dreyfus, Lijn stated that she primarily chose to "see the world in terms of light and energy".[7]

Early life

Lijn was born in

Surrealist painter.[8]

Career

In 1958 Lijn studied archaeology at the Sorbonne and Art History at the École du Louvre, in Paris.[8] At the same time Lijn began to draw and paint, (although she did not attend art school), while taking part in meetings of the Surrealist group, where she met the French writer, poet and theorist André Breton.

Lijn had already begun a lifelong interest in unusual materials. In 1960 she had used molten Tefon-Stift (polymer-based ski wax) vibrating it to make fine lines on Perspex sheets. In 1961 Lijn lived in New York, where she first worked with plastics, experimenting with reflection, motion and light, and conducted her first research into invisibility at

MIT. Lijn began also working directly with manufacturers – a tradition that she has continued to this day. In 1961, Lijn married the Greek artist Takis.[1]

Lijn's Poem Machines incorporating rotating movement and text (initially cut from newspapers and then Lettrasetted text and poems) were invented in 1962 and exhibited at the Librairie Anglaise in Paris, in November 1963.[9]

"Lijn’s emphatic desire for the words to be blurred by movement privileges the moving text over the static one for, although the objects are elegant and mysterious when still, these artworks are machines that need to demonstrate their purpose, in order to succeed as artworks".[10]

The American poet John Ashbery described the show at the Libraire Anglaise: "Electric lights flash on and off Plexiglass constructions, creating a tangle of transparent shadows called ‘Echo Lights’ by the artist. Her ‘Vibrographs’ are wheels revolving too fast for you to read the words printed on them, but perhaps they affect you unconsciously like subliminal advertising".[11]

The writers and poets

William Burroughs, Gregory Corso, Sinclair Beiles and Brion Gysin were in the same circle as Lijn, and their book on ‘cut-ups’ entitled Minutes to Go had previously been launched at the Librairie Anglaise in 1960. In Art of the Electronic Age (p. 20) the art critic Frank Popper described Lijn as being "important among the artists who, through their practical and theoretical researches, established the passage from the mechanical to the electronic in art".[12]

Lijn frequented the world of the

Beat poets and worked with the English poet Nazli Nour (see Get Rid of Government Time, 1962). At the same time the concrete poetry and music magazine, Cinquieme Saison became a platform for demonstrating renewed experimentations with the word in the neo-Dada atmosphere at the end of the fifties and the beginning of the sixties. Lijn was also interested in the work of other kinetic artists working with light and movement in Paris such as the Groupe de Recherches Visuelles.[citation needed
]

The first space orbit by the Soviet cosmonaut, Yuri Gagarin not only paralleled her interest in orbiting forms and her involvement with NASA today, but also her preoccupation with the weightless body and her reading of Buddhist texts. As the curator and art historian Dr Sarah Wilson notes: "Takis took Lijn to Greece – an éblouissment - a dazzling encounter with land, light and sea: with ancient mythologies, with the skin and surface of things versus oracular depth, with passionate love and loss".[13] Lijn is also known for her drive to "re-encounter the archaic Greek as a form of Western primitivism, as a primordial field of culture and representation for contemporary techno-culture".[14] In the mid-sixties Lijn and Takis designed and built a circular house at Gero Vouno near Athens, combining many aspects of her work, philosophy and life.

In 1965, Lijn began work with cone-shaped Koans which continue to this day. As Lijn stated to video poet and visual philosopher Sarah Tremlett, her aim with her text-based Poem Machines and Koans is to use kinesis to "re-energise the word, to give it back power and fresh meaning".

Zen Buddhism meaning a puzzling, often paradoxical statement or story, used as an aid to meditation and a means of gaining spiritual awakening. The conic shape also refers to the Greek hearth goddess Hestia’s conic symbol – a mound of white ash. After reading Robert Graves "The Greek Myths early in 1961, Lijn became intrigued by a "feminist mythography which countered patriarchy".[16] A White Koan is displayed at the University of Warwick, where it has played a role in many of campus’ myths and legends – it was allegedly the nose-cap of the Blue-Streak Missile (a failed Apollo mission), a supposed quick escape route for senior staff, and even a signalling device for aliens in outer space.[17]
The Koan Worshipping Society, led by the Koanists, believe the Koan is “the earth-bound manifestation of the immortal Koan, the creator of the universe”.[17]

In 1966, Lijn and

quantum and solid-state physics
inspired her to write Crossing Map, an autobiographical prose poem which tracks an invisible human travelling at the speed of light and is illustrated by organic drawings.

In 1969 Lijn decided to make London her base with photographer and industrialist Stephen Weiss, with whom she had two children, Mischa (b. 1975) and Sheba (b1977). Mischa married Ilse Spies and together they had two children, Leah and Sebastian. Sheba has had one daughter, Joy. By 1971 she began receiving commissions to design and make large

16mm film, What Is The Sound Of One Hand Clapping?. Lijn's early works were primarily concerned with light and text, but in 1979 she began to make larger than life ‘biomorphic’ goddesses which symbolize female energy and power – see her work Conjunction of Opposites comprising Lady of the Wild Things (1983) and Woman of War (1986). With particular reference to Lijn's figures and works from her own body Hilary Spurling states that: "Lijn’s work can be read on many levels as a dialogue between contemporary and classical form, decay and growth, death and rebirth, constraint and liberation".[20]

From 1983 to 1990 she became a member of the Council of Management of the

Byam Shaw Art School. In 1986 she exhibited the computer-controlled drama entitled Conjunction of Opposites at Arte e Scienza at the prestigious Venice Biennale
XLII. During the nineties, Lijn turned her attention inward, using her own body often with video functioning as memory encapsulated in light.

Guy Brett, an early curator of kinetic art, states that much of Lijn's work is an attempt to "integrate light (neon, video, fire) with bronze. To transmute a traditional material into a new and vibrant element by juxtaposing it with new technologies". In 1992, Lijn's work The Inner Light was erected on a site overlooking the River Kennet in Reading, England.[21][22]

In 2005, Lijn received an Honorary Degree, Doctor of Letters, from the University of Warwick and an ACE International Artist Fellowship - a residency at the Space Sciences Laboratory, University of California, Berkeley, in partnership with NASA and the Leonardo Network. From 2005 to 2009 Lijn developed, in collaboration with astronomer John Vallerga, Solar Hills, a large scale solar installation in the landscape. Further outcomes of Lijn's NASA residency were Stardust Ruins; installations using aerogel and video projections; an exhibition at Riflemaker, London in 2008 and Inner Space Outer Space, a digital film made with Richard Wilding using interviews with scientists both at SSL and NASA, and previewed at the AV festival in Newcastle upon Tyne, March 2010.[23]

She had two solo shows in 2018, Lady of the Wild Things in Rodeo London and Cosmic Dramas in Rodeo Piraeus.[24] Lijn is Artist in Residence at Universe 02, Astroparticle and Cosmology Laboratory, Paris since 2017. Lijn was commissioned by University of Leeds for a major sculpture, Converse Column, a nine-meter high kinetic text work.[25]

References

  1. ^
    ISBN 978-1-85743-122-3
    .
  2. ISBN 978-0714878775
    .
  3. doi:10.3390/arts7020021
    .
  4. ^ "Artist biography". Tate. Retrieved 15 August 2014.
  5. ^ Tate (1981). "Liquid Reflections (1968)". Tate. Retrieved 5 October 2015.
  6. ^ David Hodge (March 2015). "Space Display Koan, 1969". Tate. Retrieved 5 October 2015.
  7. ^ Liliane Lijn in conversation with the art critic Charles Dreyfus. 1997. Koans exhibition catalogue. Paris: Galerie Lara Vincy
  8. ^
    ISSN 0962-0672
    . Retrieved 2019-09-30.
  9. ^ Tate. "Introducing Liliane Lijn – Look Closer". Tate. Retrieved 2019-09-30.
  10. ^ John Hurrell, Curator, Govett-Brewster Art Gallery. 1998. Exhibition catalogue for Liliane Lijn – Poem Machines and other book works. New Zealand: Govett-Brewster Gallery and the National Gallery Library
  11. ^ John Ashbery, Herald Tribune, November 21st , 1963 in: Sarah Wilson, 2006. Body, Line, Fire. exhibition catalogue for Liliane Lijn: Selected Works 1959-2005. London: Austin Desmond Fine Art. p. 4
  12. ISBN 0-500-27918-7
    .
  13. ^ Sarah Wilson, 2006. Body, Line, Fire. exhibition catalogue for Liliane Lijn: Selected Works 1959-2005. London: Austin Desmond Fine Art. p. 4
  14. ^ David Alan Mellor (2005). Liliane Lijn: Works 1959-80. Warwick: Mead Gallery, University of Warwick. p. 17.
  15. ^ Liliane Lijn in conversation with Sarah Tremlett, 2010
  16. ^ #Mellor, 2005 p. 43
  17. ^ a b Mitchell, Ellie. "Koan has returned to Warwick Arts Centre". The Boar.
  18. ^ Jasia Reichardt. 1987. Imagine the Goddess. London: Fischer Fine Art exhibition catalogue
  19. ^ Light and Memory, 2002 p. 25
  20. ISBN 0-500-97620-1
    .
  21. ^ Guy Brett. 2002. Ibid. Interview with Liliane Lijn. P. 79
  22. ^ Fort, Hugh (3 November 2015). "Reading's artworks: What they are, who made them and what they represent Southern". getreading.co.uk. Archived from the original on 12 December 2018. Retrieved 12 December 2018.
  23. ^ "Art and Energy Talks: Liliane Lijn - Future Memory". March 2010. Archived from the original on 2010-03-11.
  24. ^ "Solo Exhibitions". Liliane Lijn. Retrieved 29 December 2019.
  25. ^ "The words on the street – new public artwork for University of Leeds". Nexus. 5 July 2019. Retrieved 29 December 2019.

Further reading

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