Awards for Artists
Image of Linder
Photo credit: Emile Holba

Linder

Linder (born 1954) has been working with the principle of collage for over four decades. Since the mid-1970s, as a well-known figure in the Manchester punk and post-punk scene, Linder has explored the terrain of socially and culturally reinforced norms and expectations of gender identity, sexual commodification and represented desire. She has consistently embraced radical feminist perspectives rethinking the cultural treatment of the female body in particular, tracing an evolution of pornography’s popular forms, along with its architectures and social demographics.

More recent works have seen experimentation with pigments on found photographs, as well as experimenting with the scale and texture of photomontages. Since 2013, Linder has exhibited intimately scaled physical works alongside lavishly printed lightbox transparencies, the latter mimicking the vernacular of the department store and the airport lounge.

She has also continued to experiment within the realms of performance, most ambitiously with Destination Moon. You must not look at her (2016), hosted by the Institute of Contemporary Arts, which features a collaboration with musicians and performers from vastly differing backgrounds over a five hour period.

Linder has exhibited worldwide, including: Musée d’Art Moderne de la Ville de Paris, Paris; Kestnergesellschaft, Hannover; Tate St. Ives, Cornwall; The Hepworth Wakefield, Yorkshire; Stuart Shave/Modern Art, London; Blum & Poe, Los Angeles; dépendance, Brussels; Andréhn-Schiptjenko, Stockholm.

The timing of the Paul Hamlyn Foundation award is auspicious, arriving at a time when my practice is at its most expansive ever. This generous award will usher in larger scale creative possibilities, some of which have been patiently waiting for decades to be realised. At the heart of the above is the need for what Virginia Woolf described as “a room of one’s own”, in my case a studio space of my own, large enough to house an archive of over four decades of work, as well as offering infinite opportunities for the development of solo and collaborative projects.

Examples of work


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Superautomatisme Grand Jeté VI, 2015

Superautomatisme Grand Jeté VI, 2015

Enamel on found photo, 28 x 21.5 cm. Stuart Shave / Modern Art, London; dépendance gallery, Brussels.


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Daughter of the Waters, 2017

Daughter of the Waters, 2017

Photomontage, 55.5 x 52.5 cm. Stuart Shave / Modern Art, London; Andréhn-Schiptjenko, Stockholm.


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Post-Mortem: Tamara, 2016

Post-Mortem: Tamara, 2016

Photomontage, 26 x 20.5 cm.Stuart Shave / Modern Art, London; Andréhn-Schiptjenko, Stockholm.


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Destination Moon. You must not look at her! 2016

Destination Moon. You must not look at her! 2016

Art Night, ICA, London. 5 hour duration (extract 2m). The Duke of York Steps, The Mall, London.