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Museum Ludwig Acquires Set of Editions Made by Scottish Artist Lucy McKenzie
Lucy McKenzie, Exhibition view Lucy McKenzie. The Editions. Museum Ludwig Köln, 10.12.2010 - 26.06.2011 © Lucy McKenzie. Foto: Museum Ludwig / Nicola Weber.

COLOGNE.- Museum Ludwig has purchased a complete set of the editions made by Scottish artist Lucy McKenzie (*1977) and is showing them in the eleventh exhibition in its series “Graphic Collection / Museum Ludwig“. To mark this first presentation of all the works, the artist produced a special mural.

The editions by this young Scottish artist could scarcely be more varied. Among the approx. 50 pieces are linocuts and silkscreen prints, along with posters for events, silk scarves, record covers she has designed and a calendar. They testify to her collaborations with other artists, her activities such as setting up a bar in War-saw or establishing her own record label, “Decemberism“. For her designs McKenzie often draws on the artists she admires from the 1920s and 1930s and from the 1950s, such as Käthe Kollwitz or comic artist Hergé. In an edition she did for the art journal Parkett her identification went so far as to allow her own self-portrait to merge with the figure of Tintin – not without adding a cheeky aside on this transformation in red paint. One of the special features of the works acquired by Museum Ludwig is that the four preliminary stages to this edition are also included, thus allowing the transformation to be followed step by step.

McKenzie is no stranger to audiences at Museum Ludwig. In spring 2009 she created a highly impressive installation for the large top-lit gallery entitled Haus Ludwig: the façade of a building was painted in trompe l’oeil style on three large canvas flats. McKenzie, who has total command of this technique developed by the old masters, formed a studio for interior design together with de-signer Beca Lipscombe and illustrator Bernie Reid called Atelier. Two silk scarves and a number of prints tell of her deep involvement with the traditional and above all the applied arts.

It is probably in her editions that McKenzie’s singular approach finds its clearest expression: Rather than proclaiming a pure art pour l’art, she sees herself as an artisan. And instead of cultivating her own individuality she loves to play in a team. She breaks with the unwritten rules of the avant-garde, and with this has become pioneer for her generation. Museum Ludwig is proud to have acquired the complete set of her editions and looks forward to their premier presentation.

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