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Opening hours

Tuesday to Sunday

10 am to 6 pm




November 15, 2024 to May 4, 2025

Liliane Lijn
Arise Alive

Liliane Lijn. Arise Alive

Curated by Manuela Ammer

Liliane Lijn (b. 1939 in New York) has been working at the intersection of visual art, poetry and science for over six decades. Her category-defying work takes its starting point in the late 1950s, in the context of kinetic art, and in experiments with light, energy and movement. These early works demonstrate the artist’s ongoing interest in innovative materials and technologies, as well as the latest scientific findings. In the 1980s, Lijn created multimedia sculptures in which she explored the human body and alternative conceptions of the feminine. Combining the cosmic with the personal and mythology with high-tech, these interactive works give a contemporary form to female archetypes. Arise Alive is the artist’s most comprehensive institutional solo presentation to date. 

Liliane Lijn. Arise Alive is jointly organized with Haus der Kunst München, in collaboration with Tate St Ives. In conjunction with the exhibition, a comprehensive monograph on Lijn’s work will be co-published.

Pompeii Commitment. Archeological Matters – Digital Fellowship
Release: Thursday, November 14, pompeiicommitment.org

mumok is pleased to announce that, coinciding with the opening of Liliane Lijn. Arise Alive, the artist’s contribution to Pompeii Commitment. Archeological Matters – Digital Fellowship will be launched on pompeiicommitment.org. The project is part of the first long-term, contemporary art programme established by the Archaeological Park of Pompeii.

pompeiicommitment.org

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Liliane Lijn, Liquid Reflections / Series 2 (40”), 1968
1/8

Liliane Lijn, Liquid Reflections / Series 2 (40”), 1968
Courtesy Liliane Lijn und Sylvia Kouvali, London/Piräus
Photo: © Maximilian Geuter, München, Haus der Kunst München
© DACS/Artimages, London; Bildrecht, Wien 2024

 

Letraset on painted steel drum, black wood and hardboard box/frame, motor
2/8

Liliane Lijn
Get Rid of Government Time, 1962
Courtesy Liliane Lijn and Rodeo, London / Piraeus
Photo: Richard Wilding © Bildrecht, Wien 2023

 

Liliane Lijn Arise Alive, 1965
3/8

Liliane Lijn
Arise Alive, 1965
Private collection
Courtesy Liliane Lijn and Rodeo, London / Piraeus
Foto: Richard Wilding © Bildrecht, Wien 2023

 

Acrylic drum containing water, turntable and projector lamp, acrylic balls
4/8

Liliane Lijn
Liquid Reflections/ Series 2 (32"), 1968
Courtesy Liliane Lijn and Rodeo, London / Piraeus
Photo: Stephen Weiss © Bildrecht, Wien 2023

 

Liliane Lijn Electronic Goddess, 1971
5/8

Liliane Lijn
Electronic Goddess, 1971
Courtesy Liliane Lijn and Rodeo, London / Piraeus
Photo: Lewis Ronald © Bildrecht, Wien 2023

 

Liliane Lijn Heshe, 1965
6/8

Liliane Lijn
Heshe, 1980
Private collection
Courtesy Liliane Lijn and Rodeo, London / Piraeus
Photo: Stephen Weiss © Bildrecht, Wien 2023

 

Two mixed media performing sculptures enact a computer controlled 6 minute drama which includes movement, song, the transformation of sound to light, and a laser display
7/8

Liliane Lijn
Conjunction of Opposites: Lady of the Wild Things and Woman of War, 1986
Courtesy Liliane Lijn and Rodeo, London / Piraeus
Photo: Thierry Bal © Bildrecht, Wien 2023

 

Liliane Lijn Earth Medusa, 1986
8/8

Liliane Lijn
Earth Medusa, 1986
Courtesy Liliane Lijn and Rodeo, London / Piraeus
Foto: Eileen Tweedy © Bildrecht, Wien 2023

 

Catalogue | 2024
Liliane Lijn. Arise Alive

Words to Walk On (1993)

Liliane Ljins work is on display on the external staircase leading up to entrance of the mumok building, having been adapted especially for the venue. Ljin has also regularly made works in the realm of applied arts, creating, for example, jewelry, furniture, and carpets. A text work is exhibited on the steps of the staircase, an artwork that is based on a carpet design from 1993, Words to Walk On. Ljin interweaves key terms from her artistic practice—such as „she“ „flow“ or „light“—into the carpet´s design and merges these with the motif of flowing water. This works constitutes a striking example of the significance afforded to language and poetry in Ljins oeuvre, and how she expands these into physical space. It also serves as a prime example of the countless works realized by the artist in public spaces throughout the course of her career.