A woman caring for her baby at a museum. To the unobservant outsider this scene may seem commonplace, but for conceptual artist Lea Lublin, this action was extraordinary. In 1968 Lublin performed “Mon Fils” in Paris, caring for her infant son during regular museum hours thus acknowledging gender and social life as major materials of her work. The performance also acknowledged Lublin’s major aim as an artist: to bridge the gap separating art and life.From June 25-September 13 Lenbachhaus in Munich will present the first-ever Lublin retrospective dedicated to the Argentine-French artist (1929-1999). The exhibition will display a large body of key works from the artist’s estate spanning three decades, many on view for the first time in 20 years including a reconstruction of Lublin’s monumental “Fluvio Subtunal” environment installation. Through photographs, drawings, wall installations, and videos her legacy is revealed to a new generation, a legacy still largely unknown to a broader international audience.Originally a painter in Buenos Aires, Lublin sought a form of expression that allowed for agency and participation from its audience. Her work was highly academic in its themes, giving life to critical theory, philosophy, and art of the time. She was also highly influenced by the French feminist movement, eventually moving and settling in Paris. According to Lenbachhaus, “Seeking dialogue and confrontation, Lublin’s approach was at once sensual and didactic, challenging yet egalitarian.”The exhibition will largely focus on her move from painting to conceptual forms of expression, the use of dialogue as an art form, the deconstruction of art historical imagery from a psychoanalytical and feminist standpoint, and her inquiry into Marcel Duchamp’s sabbatical in Buenos Aires.“Lea Lublin- Retrospective” is on view at Lenbachhaus in Munich from June 25-September 13.
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