{"id":50964,"date":"2023-08-29T14:51:28","date_gmt":"2023-08-29T12:51:28","guid":{"rendered":"https:\/\/cycladic.gr\/ektheseis\/lynda-benglis-in-the-realm-of-the-senses-2\/"},"modified":"2024-04-18T10:03:46","modified_gmt":"2024-04-18T08:03:46","slug":"lynda-benglis-in-the-realm-of-the-senses-2","status":"publish","type":"exhibition","link":"https:\/\/cycladic.gr\/en\/ektheseis\/lynda-benglis-in-the-realm-of-the-senses-2\/","title":{"rendered":"Lynda Benglis In the Realm of the Senses"},"content":{"rendered":"
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Lynda Benglis
In the Realm of the Senses <\/i><\/h1>

CONTEMPORARY ART<\/p>

NOVEMBER 22, 2019 UNTIL MARCH 15, 2020<\/p><\/header>

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THE EXHIBITION<\/h2> <\/header>\n\n \n
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\n Exploring Lynda Benglis\u2019s (b. 1941) intensely original output as a whole, this was the American-born artist\u2019s first solo museum exhibition in the country that has long played a major role in her life, identity and creative vision: Greece.\n <\/div>\n \n \n<\/div>\n\n <\/div>\n
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Across a span that covers half a century \u2013from 1969 onwards\u2013 the thirty-six sculptures in this concise retrospective displayed Benglis\u2019s diverse imagery, ideas and methods. The show also presented three key ancient artefacts generously lent by the Museum of Cycladic Art itself.<\/p>\n

Benglis\u2019s distinctive materials include beeswax, bronze, aluminium, latex, ceramics, paper, fabrics and glass. Her stylistic repertoire encompasses the iconic early \u2018fallen paintings\u2019, \u2018knots\u2019, \u2018lagniappes\u2019, \u2018torsos\u2019, \u2018pleats\u2019 and \u2018fountains\u2019. Throughout, the selection stresses visual conversations, as it were, between textures (liquid-looking, delicate, strongly metallic, and so forth), color (gold\u2019s uniform glow versus the multi-hued papers layered over wire armatures) and orientation (flowing horizontals that oppose totemic verticals). Often, a sense of sparse solemnity mingles with a deliberate, almost gaudy playfulness. Thus Benglis ever defies conventional boundaries between ‘high’ and ‘low’ aesthetic categories.<\/p>\n

In the Realm of the Senses<\/em> celebrated a maverick artist who began her career as a female pioneer of Post-Minimalism in the late 1960s and still works with joyous freedom in the twenty-first century. Describing Benglis\u2019s first wax reliefs, as early as 1968 a New York critic noted that \u201cskin, pull, sensuousness\u201d ranked among her primary concerns. Such intense corporeal sensations continue into the present \u2013 as Benglis\u2019s achievement constantly shifts between fixity and movement, nature and flesh, surfaces and interiors, with a virtuosity both graceful and bold.<\/p>\n\n \n <\/div>\n\n <\/div>\n <\/div>\n<\/section>\n\n

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