Nicola L

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Nicola L.
Nicola L. with The Giant Foot, 1969. © Nicola L. Collection and Archive.jpg
Nicola L. with The Giant Foot, 1969
Born1932 (1932)
DiedDecember 31, 2018 (aged 85–86)
NationalityMoroccan born - French
Education
Known forConceptual artist, video artist, filmaker, performance artist
Websitenicolal.com

Nicola L. (born Nicola Leuthe, 1932 – 2018) was a visual artist who developed a multidisciplinary practice that playfully merged the principles of art and design. Born in Morocco to French parents, the artist was initially associated with Pop Art and went on to work across five decades, creating interactive sculptures, radical performances, and collage-like paintings, as well as films and plays. Responsive to the counter-cultural movements that originally framed her practice, Nicola L.'s expansive body of work was united through an engagement with feminist politics, and the ideals of equality and collectivity. The artist became particularly known for her witty, anthropomorphic sculptures that fused female bodies and domestic objects, materializing the objectification of women. The artist described her work as "an ephemeral monument to freedom."[1]

Career[edit]

Nicola L.'s interest in art led her to Paris in 1954, where she studied abstract painting at the École nationale supérieure des Beaux-Arts, mentored by the painter Jean Souverbie who encouraged her to "cut the body up in the same way that light was cutting the live model". During this period she became friends with the critic Pierre Restany, and met Fred Lanzenberg, whom she married in 1956. Lanzenberg later opened an art gallery in Brussels in 1966, initially collaborating with the influential dealer Ileana Sonnabend on exhibitions of American Pop artists. During her studies, Nicola L. became aware first-hand of the prejudice faced by female artists and stopped using her surname, later adding the initial 'L' in the 2000s.

The beginning of the 1960s was a transformative moment for Nicola L. The artist became close to the French New Realist group, which advocated that art should comment on society using existing objects and materials. Instigated by Restany, the movement also included Yves Klein, Jean Tinguely, Christo and Niki de Saint Phalle. In 1964, now working between Paris and Ibiza, Nicola L. met the conceptual Argentine artist Alberto Greco. Having recently returned from New York, where he had encountered Marcel Duchamp, Greco repeatedly questioned Nicola L.'s pursuit of painting. "I burned all of my abstract paintings and made The Screen for Three People: Homage to Alberto Greco," she later reflected. "This marked the beginning of a new and totally different body of work for me, inspired by skin, which Pierre Restany called Pénétrables." These hybrid forms consisted of rectangles of stretched canvas into which viewers could insert their arms, legs or heads, becoming literally at one with art. They would often allow for multiple participants, who would appear together as a single organism. One of her most iconic works from Pénétrables, an eleven-person garment titled Red Coat (1969), was first activated in a historic performance at the Isle of Wight festival in 1970, with musicians Caetano Veloso and Gilberto Gil, members of the Neo-concrete movement in Brazil. "At the end of the performance we were distributing gloves on which was written 'same skin for everybody', and people started chanting the phrase."

Although the artist's work made reference to both male and female bodies, the nude feminine form became a recurring motif, as it was for counterparts in her circle such as Carolee Schneemann, Valie Export, Rosalyn Drexler and Marisol. Terming much of her sculpture "functional art," Nicola L. made objects akin to furniture that were based on the artist tracing real bodies, exaggerating and over-simplifying their contours. In La Femme Commode (1969 - 2014) lacquered wood cabinets are arranged in the shape of a body, in which eyes, mouths and breasts become drawers. The artist's 1969 sculpture Little TV Woman: 'I Am the Last Woman Object' takes the form of an oversized female form with a television monitor for a stomach, which periodically displays a message: "I am the last woman object. You can take my lips, touch my breasts, caress my stomach, my sex. But I repeat it, it is the last time." The soft, pliable forms in The Giant Foot (1967) and White Foot Sofa (1968) - works that were meant to be opened up and sat upon - marked the artist's first experiments with vinyl, a fabric that transformed her practice.

In 1975, Nicola L. began to concentrate on film projects. In 1977, she directed the feature film Les Têtes sont Encore Dans L'île (The Heads are Still in the Island) with Terry Thomas and Pierral, shot in Ibiza. In 1979, Nicola L. moved to New York, where she continued to focus on film-making. Her first documentary captured the punk-rock band Bad Brains at the Lower East Side nightclub CBGB. It was followed by a 1981 documentary about activist Abbie Hoffman. The artist's final film was Doors Ajar at the Chelsea Hotel (2011), where she had lived for nearly three decades.

In the 1990s, Nicola L. returned to feminism through series of paintings and works on paper. For Poems by Dorothy Parker (1994), she created collages on wood that included a snail form along with a snippet of a poem. The Femme Fatale paintings (1995), made from painted bed sheets accompanied by images and texts, explored women who had died tragic or violent deaths, among them Marilyn Monroe, Billie Holiday and Ulrike Meinhof.

Towards the end of her life, the artist continued to develop her Penetrables series, with several public performances, including The Blue Cape, which premiered in Cuba in 2002, followed by performances on the Great Wall of China (2005) and the Venice Biennale (2016). The artist's Red Coat was most recently performed in London on the occasion of the work's display at Tate Modern in 2015.

Nicola L.'s work has been acquired by international collections including Centre Pompidou, Paris; FRAC Bretagne, France; Gallery of Modern Art, Glasgow; Musée d'Arts Plastiques, Brussels; Museum of Contemporary Art, Antwerp; and MAMCO, Geneva [2]

Selected exhibitions[edit]

  • Made in L.A. 2020: a version, Hammer Museum, Los Angeles, California, USA, 2020.
  • She-Bam Pow POP Wizz! The Amazons of Pop, (MAMAC) Musée d'art moderne et d'art contemporain, Nice, France, 3 October 2020 - 28 March 2021.
  • Comfort, Friedman Benda, New York, USA, 9 January - 15 February 2020.
  • Nicola L. : Silence, Nina Johnson, Miami, Florida, USA, 5 April - 11 May 2019.
  • Nicola L. : Works, 1968 to the Present, Retrospective, SculptureCenter, New York, USA, 18 September - 18 December 2017.
  • Body and Soul, Palazzo Pisani, Piano Nobile, Venice Biennial, Venice, Italy, 13 May - 26 November 2017.
  • Nicola L. and the New Millennium: The Head, LaTête, La Cabeza, Il Capo, Der Kopf - A long day's journey to the end of the skin, Elga Wimmer PCC, New York, USA15 September – 15 October 2016.
  • A Modest Proposal, Hauser & Wirth, New York, USA, 23 June - 29 July 2016.
  • The World Goes Pop, Tate Modern, London, UK, 17 September 2015 to 24 January 2016.
  • EXQUISITE CORPUS, SECCA, Winston-Salem, USA, 15 December 2014 - 10 March 2015.
  • Nicola L. : Atmosphere in White, Liverpool Biennial, UK, July - October 2014.
  • ARTEVIDA : politica / corpo, Museu de Arte Moderna et Casa Franca, Rio de Janeiro, Brazil, July - September 2014.
  • The Blue Route : Journeys and beauties from the Mediterranean to China, Villa Empain - Boghossian Foundation, Brussels, Belgium, 23 September 2013 - 9 February 2014.
  • Body Language under the Sun and Moon, Gallery Broadway 1602, New York, USA, 4 May - 22 June 2013.
  • A top-hat, a monocle, and a butterfly, Établissement d'en face, Brussels, Belgium, 2013.
  • re.act.feminism #2 - A Performing Archive, Fundació Antoni Tàpies, Barcelona, Spain, 16 November 2012 - 17 February 2013.
  • elles@centrepompidou, Centre Pompidou, Paris, France, 27 May 2009 - 21 February 2011.
  • The Death of the Audience,Vienna Secession, Austria, 3 July - 30 August 2009.
  • Nicola L., Planet Eye , Galerie Pierre-Alain Challier, Paris, France, 15 May - 14 June 2008.
  • Retrospective Nicola L. (films), MEP Maison Européenne de la Photo, Paris, France, 2007.
  • Nine Historic Hysteric Women, Galerie Patricia Dorfmann, Paris, France, 11 May - 24 June 2006.
  • “Bad Brains at CBGBs”, Rock For Light”, and “Reignition”, film screening, BAM Brooklyn Art Museum, New York, USA 2005.
  • Nicola L. Invitée d’Honneur, Musée de Châteauroux, Châteauroux, France 2005.
  • Nicola L. retrospective 1968-2002, Curated by Luis Miret, La Casona Galeria, Havana, Cuba, 2002.
  • Nicola L. (Group Show), (MAMAC) Musée d'art moderne et d'art contemporain, Nice, France, 1997.
  • Vraiment Féminisme et Art, curated by Laura Cottinghan, Le Magasin, Grenoble, France, 1997.
  • American Art Today: Clothing as Metaphor, The Art Museum, Florida International University, Miami, Florida, USA, 8 January - 20 February 1993
  • Words and Images, Museum of Modern Art, Antwerp, Belgium, 1992
  • The Story of Heads, Art et Industrie, Retrospective 1965 -1975, 56 Bleeker Gallery, New York, USA, 1989.
  • Nicola: Penetrables, Museo de Arte Contemporáneo de Ibiza, Spain, September 1976.
  • Pénétrables, ICC, Antwerp, Belgium, Belgium, 28 February - 28 March 1976.
  • JE’/NOUS, Musée d’Ixelles, Ixelles, Belgium, 1975.
  • Nicola: Giants,Richard Foncke Gallery, Ghent, Belgium, April 1973.
  • Gallerie Apollinaire, Milan, Italy, 1970.
  • Nicola: Vinyl Sculptures, Galerie Kontakt, Antwerp, Belgium, February 1969.
  • Daniel Templon, Paris, France, 1969.
  • Galerie Verannenman, Brussels, Belgium, 1969.

Performances[edit]

  • 2017: Blue Coat of (R)Evolution, Venice Biennale, Venice
  • 2015: The Red Coat - Same Skin for Everybody, Tate Modern, London
  • 2013: The Ghosts of the Chelsea Hotel, French Institute Alliance Française (FIAF), New York
  • 2012: The Blue Cape 10th Birthday, with Centro de Arte Contemporaneo, Wifedro Lam, Havana Biennial, Cuba
  • 2009: The Cape of the Blues, Saint-Sulpice, Paris
  • 2008: The Blue Cape of Human Rights, European Parliament, Brussels
  • 2008: The Red Coat for 11 People (1969), Performance for Canal+ at Galerie Favardin & de Verneuil, Paris, France
  • 2007: Performance “The Cape of Blues”, A3/Saint-Sulpice, Paris
  • 2005: The Blue Cape with 20 Chinese artists on the Great Wall of China (dedicated to the inhabitants of Beijing), Beijing
  • 2004: The Blue Cape, The Robert Berman Gallery, Santa Monica, California
  • 2003: The Blue Cape of Cinema, Musée d'Art moderne et contemporain (Genève) (MAMCO), Geneva (on the theme Aimer, travailler, exister (Living, working, existing) Community Proposition after 1968, featuring James Lee Byars, Judy Chicago, Lygia Clark, Jörg Immendorff, Gordon Matta-Clark, Lygia Pape
  • 2002: The Blue Cape in Havana, (Performance and film produced by the Ludwig Foundation)
  • 1998: The Banquet of the Beheaded, Lab Theater at La Mama and Public Theater, New York
  • 1996: Nine Femmes Fatales in Their Own Words, Theater La Mama, New York and Musée d'art moderne et d'art contemporain, Nice
  • 1992: Same Skin for Everyone, with Fernando Arrabal on the streets of New York City
  • 1975: The Red Coat, The Charlotte Moorman 12th Avant-Garde Festival, New York, USA
  • 1971: The Red Coat and Same Skin for Everyone, performances on the streets of London; Amsterdam; Brussels; Cologne; Paris; Barcelona; Ibiza and New York
  • 1970: The Red Coat for Eleven People, Isle of Wight Festival 1970, Isle of Wight, UK

Films[edit]

  • 2013: Doors Ajar at the Chelsea Hotel
  • 2010: New Yorkers with a French Accent
  • 2010: Around the World in 80 minutes
  • 2000: Quien es?
  • 1994: Sand Sea Sky
  • 1986: Reignition & Rock for Light (Bad Brains)
  • 1981: My Name is Abbie Orphan of America
  • 1980: Bad Brains at CBGB : My Picture in your Movie Baby
  • 1979: Eva Forest from the Popular Front of the Basque Country
  • 1977: The Heads are still on the Island

Awards and distinctions[edit]

  • Nominated for the AWARE Prize 2018
  • Guest of Honour at Musée de Châteauroux, France, 2005

External links[edit]

References[edit]