2023-07-15 19:44:55
Published on July 15, 2023 at 9:44 p.m. Modified on July 15, 2023 at 9:48 PM.
THE Abakans are there, fully, intensely. Suspended from the ceiling of the second floor of the Cantonal Museum of Fine Arts (MCBA) in Lausanne, unrolling their flexible “leaves”, their “wings”, their “growths”, their root or umbilical “cords”, in a protective half-light that evokes the atmosphere of a vast cave or undergrowth. They are huge, monochrome reds, oranges, yellows, browns, blacks, woven with sisal, wool, rope, sometimes covered with iron wires. They convene a time of silence, a time before writing, before estrangement from nature, imposing a kind of quiet solemnity. They envelop you, stand before you like strange teepees, like giants’ cloaks, like trees with wide and tormented trunks.
These are flexible, woven, thick, sometimes moving sculptures, which bear the mark of the Polish artist Magdalena Abakanowicz (June 20, 1930 – April 20, 2017). When she presented her first three-dimensional “tapestries”, the effect was so striking that an art critic baptized them “abakans”, following their creator. She will take it back. But how did we get here? What thread leads us to this exhibition entitled Magdalena Abakanowicz. Territoires textiles that is being held at the MCBA right now?
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