Hommage a…III, 1972

Over the course of a long career which began at the start of the 1960s, Lili Dujourie has explored the expressive potential of a wide range of media and materials. While in the initial predominance of bare or painted metallic elements, placed on the floor or more often, leaning against the wall, an echo of American Minimalism may be sensed, from Amerikaans Imperialisme (1972), in one fell swoop she rejects US political and cultural hegemony and the depersonalisation of a prevalently male art form. This date marks another turning point in Dujourie’s research, for it was at the same time that she began to experiment with video, producing a corpus of just under twenty works over the course of the decade. [...]