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24 OCT 2012 - 12 DEC 2013

In the late 1970s, Linder started using collage to juxtapose porn images with images of house appliances, or other desired objects, sharing the subversive practices of the punk movement. By mixing up fractured signals and messages out of context, Linder exposed the way social images are constructed. Her Buzzcocks ‘Orgasm Addict’ single sleeve which depicts a nude female body with mouths at the nipples and a household iron in place of the head is now considered an iconic symbol of the punk movement. Since the 1970s, Linder has consistently and uncompromisingly embraced radical feminist perspectives and explored the media treatment of the female body in particular. In the collages, photomontages and performances Linder has made since this time, she sets about recasting and colliding the ideals of commercially and culturally rendered expectations of gender-specificity and identity. A major part of the show at the Goss-Michael Foundation consists of large-scale light-boxes with new montages, originally hand-spliced as before and then re-photographed. The use of the light-box gives these works the lush and tantalizing characteristics of advertising light-boxes, the emblems of our consumerist world that came to dominate the media and the landscape of the western world in recent years. Linder takes over this powerful tool of mass media and turns it to itself to expose socially and culturally reinforced norms and expectations of gender identity, sexual commodification and representations of desire. Born Linda Mulvey in Liverpool in 1954, she made up the name Linder Sterling in Manchester in the mid-to-late 1970’s, is now known simply as Linder, and is considered one of the most important British artists of her generation. Her work will be the subject of a retrospective exhibition at Musée d’Art Moderne De La Ville de Paris / ARC,Paris, France in 2012.

Linder’s work has been featured in museum exhibitions including Destroy: Punk Graphic Design in Britain, Royal Festival Hall, London (1998); The Secret Public: The last days of the British Underground 1978 – 1988, Kunstverein Munich, Germany, touring to ICA, London (2006-2007); Panic Attack! Art in the Punk Years, Barbican, London, touring to the Maison des Arts in Créteil, France (2007-2008); Sympathy for the Devil: Art and Rock and Roll since 1967, Museum of Contemporary Art, Chicago, USA (2007-2008); Punk. No One is Innocent, Kunsthalle Vienna, Vienna, Austria (2008); The Dark Monarch, Tate, St Ives (2009); and Art For Whom?, Tate Britain, London (2010-2011). Linder’s solo exhibitions have included The Return of Linderland, Cornerhouse, Manchester, England (2000); The Lives of Women Dreaming, Futura Gallery, British Council, Prague, Czech Republic (2004); PS1/Museum of Modern Art, New York, USA (2007); and Pretty Girl. No.1, Baltic, Gateshead (2007).

Linder’s performance The Working Class Goes to Paradise was first presented in Manchester in 2000 and represented in London in 2006 for the Tate Triennial. Linder also performed at London’s Royal Festival Hall (2004) and at Le Magasin, Grenoble, France in 2007. In 2010, Linder made two iterations of her 13-hour performance The Darktown Cakewalk, Celebrated House of FAME in Glasgow and at London’s Chisenhale Gallery. Linder’s film Forgetful Green was commissioned for Frieze Projects, London, in 2010.