Lubaina Himid avec Magda Stawarska
Attendre ensemble
novembernov 6 - december – dec 6
© Matt Savage ©
© Marc Domage ©
© Lubaina Himid ©
Friday november 6
13h - 19h
Saturday november 7
13h - 19h
Sunday november 8
13h - 19h
Wednesday november 11
13h - 19h
Thursday november 12
13h - 19h
Friday november 13
13h - 19h
Saturday november 14
13h - 19h
Sunday november 15
13h - 19h
Wednesday november 18
13h - 19h
Thursday november 19
13h - 19h
Friday november 20
13h - 19h
Saturday november 21
13h - 19h
Sunday november 22
13h - 19h
Wednesday november 25
13h - 19h
Thursday november 26
13h - 19h
Friday november 27
13h - 19h
Saturday november 28
13h - 19h
Sunday november 29
13h - 19h
Wednesday december 2
13h - 19h
Thursday december 3
13h - 19h
Friday december 4
13h - 19h
Saturday december 5
13h - 19h
Sunday december 6
13h - 19h
Wednesday december 9
13h - 19h
Thursday december 10
13h - 19h
Friday december 11
13h - 19h
Saturday december 12
13h - 19h
Sunday december 13
13h - 19h
Wednesday december 16
13h - 19h
Thursday december 17
13h - 19h
Friday december 18
13h - 19h
Saturday december 19
13h - 19h
Sunday december 20
13h - 19h
Artist Lubaina Himid, with Magda Stawarska.
Curated by Clément Dirié.
Alongside the exhibitions
Full programme of talks, lectures and events at festival-automne.com
In December, a special discussion between Lubaina Himid and Griselda Pollock, moderated by Clément Dirié
Le Festival d’Automne à Paris is the producer of the exhibitions, in partnership with the Musée d’Art Moderne de Paris and the Chapelle Saint-Louis de la Salpêtrière/AP-HP Sorbonne Université.
With the support of Sylvie Winckler and Philippe Chiambaretta / PCA-STREAM.
Heralding the return of the Festival d’Automne to the Chapelle Saint-Louis de la Salpêtrière, Lubaina Himid brings us, in collaboration with Magda Stawarska, a unique installation the scale of which is in keeping with the building itself. Encompassing paintings, sound, textiles and engravings, her project links overall history to individual identities based on the universal theme of waiting.
Since the mid-1980’s, Lubaina Himid (born in 1954, Tanzania) has been undertaking a polymorphous, sensitive, in-situ body of work. The principal axes of her research are the portrait genre and how it can be brought up to date in keeping with the contemporary era, the alternative reading of the history of (British) art, the bringing to the forefront of the experiences of the diaspora, the question of belonging and, finally, the representation of much neglected cultural histories and figures—notably those relating to black culture and women – that were the vehicles of a great emancipatory power.
Within her practice, she articulates critical thought, first-person narratives and iconographic research, notably in relation to the history of textiles and motifs as transnational objects. Architecture also plays a major part in it, with questions such as: "In what types of buildings would women like to live and work? Has anyone ever asked us that question?". Her figurative works, elaborated with great precision, are accessible but also bring with them a profound reflection on the transformatory potential of art.
Since the late 2010’s, she has been collaborating on a regular basis with Magda Stawarska (born in 1976, Poland), the work of whom explores the resonances between memory, place and introspection by means of soundscapes and “interior listening” mechanisms. Together, they create multimedia installations in which listening, the imaginary and the movement of spectators within the space are central elements.
At the Salpêtrière, in dialogue with the classical, monumental architecture of the place itself and its multiple historical strata, Lubaina Himid and Magda Stawarska concoct a “waiting room”, full of presences, voices and stories to be heard, deciphered and identified with. A place for waiting, and listening, together.
In parallel, the Musée d’Art Moderne de Paris presents A Fashionable Marriage (1986), a key element in Lubaina Himid’s early work within the British Black Arts Movement. Forty years after it was created, this installation continues to be emblematic in terms of its practice by virtue of its precise articulation between the re-reading of art history—in this instance, the English satirical tradition not unlike that of William Hogarth and from which came the inspiration for the characters—and contemporary commentary on the state of British society.
See also