Last year, in 2024, Louise, our friend Stephen Vranch, and I attended the exhilarating exhibitions of three female artists: Outi Pieski from Finland; Beatriz Milhazes from Portugal; and Malgorozata Mirga-Tas from the Roma community in Poland - see my earlier blogposts. Earlier this year, 2025, the three of us attended the exhibition celebrating the work of Ithell Coloquhoun, a British artist born in Imperial India in 1906 - and last week we saw the Liliane Lijn show a few days before it ended. At first, I thought that the Lijn show was only working for me at the cerebral level. How wrong I was. Once I was fully exposed to the wonders of kinetic art, I was hooked - especially when wrapped in the darkness of a Tate chamber where all light has been excluded apart from the rays emitting from the exhibits themselves.
Liliane Lijn is a ground-breaking American-born artist working in the field of kinetic art - (any art form that incorporates motion as an essential element of its design).
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| Liliane Lijn in Vienna, April 2025 |
Liliane Lijn was born in New York City in 1939, four months after her mother and grandmother arrived by boat from Antwerp. Her parents were from Russian Jewish families and they separated when Liliane was 9 years old. By the time she was 15, Liliane was with her father and brother in Geneva. Soon she was living with her mother in Lugano and attending school there where she became fluent in French and Italian. She became friends with Nina Thoeren whose mother was a Surrealist painter - and that changed the direction of her life. By 1958, she was a student at the Sorbonne studying archaeology and at the Ecole du Louvre she was reading Art History. Now she began to draw and paint on her own and take part in meetings of the Surrealist group where she met Andre Breton.
In 1961, Lijn was back in New York and married to the Greek artist Takis. Here she started working with
