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    Annette Lemieux
    broken • Berlin, 2019

    Annette Lemieux (born 1957 in Norfolk, Virginia, U.S.A.) studied at the Hartford Art School, University of Hartford, where she received her BFA in 1980. After graduating she moved to New York where she took part in the thriving local art scene.
    Since the 1980s she has dedicated her life to a form of art that makes use of various techniques, such as: painting, sculpture, photography and, above all, medium and large-sized creations.
    Her works were displayed in the 1987 and 2000 Whitney Biennial exhibitions at the Whitney Museum of American  Art and in 1990 in the ‘Open’ section of the Biennale di Venezia.   Notable solo shows include: the New Museum of Contemporary Art, New York; the Stichting De Appel,  Amsterdam; Castello Di Rivoli, Museo d'Arts Contemporanea, Turin, Italy; Kaiser Wilhelm Museum, Haus Esters, Krefeld,  Germany; Museo de Arte Carrillo Gill, Mexico City; and the Davis Museum and Cultural Center at Wellesley College.   Her works are also housed in the permanent collections of several museums of art, including the Museum of Modern Art, the  Metropolitan Museum of Art, the Solomon R. Guggenheim Museum and the Whitney Museum of American Art in New  York, the Victoria & Albert Museum in London, the Walker Art Center in Minneapolis, the Yale University Art Gallery in  New Haven, the New York Public Library, the Museum of Contemporary Art in Chicago, the Museum of Fine Arts in  Boston, as well as in many other museums around the world where she has participated in solo or group exhibitions.  She has also received awards and scholarships from the National Endowment for the Arts, the Mies van der Rohe  Stipendium from the Kaiser Wilhelm Museum and the Pollock-Krasner Foundation. In 2009 she received an Honorary PhD  in Fine Arts from the Montserrat College of Art.

    She is currently teaching at Harvard University. Lives and works in Boston.

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    27 September - 23 November 2019 / Eberswalder Str. 30, Berlin

    Galerie Mazzoli is pleased to announce the opening of the exhibition ​broken​, which presents the latest works by Annette Lemieux, the first solo show in Berlin by the American artist. 
    “I’m always taking objects from another place. (...) I don’t like the term appropriation, I call them duets.” This is how Lemieux  describes a characteristic element of her conceptual work: The use of found image material, which could more aptly be  described as researched material. Over the course of decades, Lemieux has collected newspaper clippings and pictures. Her  selection is characterized by the fact that she uses images from anonymous contexts as well as from public situations, including  personalities from politics and culture. In recent works, still frames from film classics are used. The immediate effect of the  works can be enhanced by the knowledge of the source of the image contents, but is not dependent upon it.  
    The works of Annette Lemieux from the eighties and nineties already posed the question: How strongly can aspects  of practical artistic activity still define the work if it is based on concepts and, moreover, when the use of found image material  is the focus? Lemieux fuses conceptualism with a studio practice in a unique way. She herself works in the studio, masters  various techniques develops an individual approach with regard to the broad spectrum of her artistic media. With all of the  objects, the great variety in their means of production is palpable and significantly shapes their interpretation.   The works in the exhibition ​broken ​are connected to her storehouse of recurring themes and motifs, represented with different  techniques in two- and three-dimensions. These include film history, cultivated nature, and the military arena, and thus,  concrete persons and things such as film stars, flags, motorcycles, weapons, and signs, as well as the artist herself.  
    Untitled (Flag) ​(2019) for example, depicts cinematic or photographic representation of a large fire consuming a  wooden house – an image that recalls concrete moments of American history. The artist connects several of these images of    Americana: The burning wooden house, the Star Spangled Banner, and a Harley Davidson as image-defining, interpenetrating  elements each have a strong aura; they are surrounded by a haze of contradictory emotions and meanings. In combination, they  radiate a virtually terrifying beauty.   The title series ​Broken ​(2019)​, ​on the other hand, can be seen as a development of the theme of the grid as used in  some of Lemieux’s older pieces. The modification of the portraits is no longer based on a superimposition of the image by a  graphic pattern, but on a chaotic destruction that confronts the different levels of already latent violated, confused, and  unsettling visual content with each other.  A less obvious and perhaps actual theme of the exhibition ​broken ​could ultimately be the immaterial. In the works,  we see eyes, gunmen, targets, a small tower, damaged pictures, an American flag. All of the people and objects that are  represented, though, are means and props for capturing what is actually invisible. We experience the shot from a weapon  whose bullet flies too fast for us to perceive it, the light of a fire or a signal, the still image of a film that is projected onto a  screen, images that are but a projection onto the eye’s retina, empty spaces in mangled images. Annette Lemieux offers  interstices that suggest a moment of suspension, an opening, even a liberation. Yet only too well do we know the senders,  observers, and triggers on the one side, and the receivers, targets, and victims on the other side of this space: only those who  ignore its boundaries can experience them as neutral.   

    Catalogue available, with critical essay by Frank Boehm

    Annette Lemieux
    + Annette Lemieux, broken - Mazzoli Gallery, Berlin 2019