BIEL.- Susan Hiller, a name synonymous with exploring the fringes of human experience, is about to take center stage once more. From automatic writing and dreamscapes to encounters with the otherworldly, Hiller's art delved into the often-overlooked corners of our world, giving voice to the marginalized, the subjective, and the mysterious. Her upcoming exhibition, "Divided Self," curated by François Aubart and running from February 16th to April 20th, 2025, promises to be a powerful retrospective, not just of her work, but of the very essence of her unique artistic vision.
Delve into the fascinating world of Susan Hiller's art and thought! Explore her unique perspective on the human experience. Click here to browse and buy books about Susan Hiller.
Born in the United States in 1940, Hiller made London her home in 1970, where she lived and worked until her death in 2019. Her nearly five-decade-long career was a restless exploration of the human condition, a quest to understand the world beyond the confines of conventional thought. She was fascinated by the vernacular, the everyday, the things often dismissed as insignificant. Automatic writing, dreams, postcards, television broadcasts, magic, UFO sightings – these were not just quirky interests, but portals into the rich tapestry of human experience that Hiller so eloquently wove into her art.
In a world often dominated by patriarchal structures and the pursuit of objective truth, Hiller carved out a space for the subjective, the emotional, the intuitive. She recognized that what society often represses – the feelings, the intuitions, the "unscientific" – is often relegated to the margins, deemed unimportant. But for Hiller, these very margins held the key to unlocking deeper truths. She didn't just observe these marginalized subjects; she immersed herself in them, experiencing them, allowing them to shape her own artistic journey. Her work wasn't about detached analysis; it was about embodied understanding.
Hiller's art celebrated subjectivity, not as a weakness, but as a powerful tool for knowledge. She embraced the idea of a "divided self," recognizing that we are all fragmented, influenced by countless encounters, experiences, and voices. This fragmentation wasn't something to be feared, but rather a testament to the richness and complexity of human identity. Her work reflected this fluidity, eschewing a single, fixed artistic style in favor of a diverse range of forms, each one a unique expression of the multifaceted subjects she explored. "Divided Self" won't be a simple chronological overview; it will be a conversation with Hiller's work, a chance to engage with the recurring themes and ideas that permeated her artistic practice.
One of the most compelling aspects of Hiller's work was her deep engagement with research. While she distanced herself from the rigid methodologies of academia, her art was nonetheless deeply informed by a relentless curiosity and a thirst for knowledge. In the 1970s, she organized dream workshops, bringing people together to explore the world of sleep and its profound impact on our waking lives. This research culminated in the book Dreams: Visions of the Night, co-authored with David Coxhead, a testament to her encyclopedic knowledge of the subject. Her curatorial projects, like the groundbreaking "Dream Machines" exhibition, further solidified her reputation as a pioneer in the exploration of dreams and altered states of consciousness in art.
Hiller's intellectual curiosity extended beyond the realm of dreams. Her book Myth of Primitivism became a cornerstone of postcolonial art criticism, dissecting the racist and colonial underpinnings of the concept of "primitivism" in Western art. Her research into the seemingly mundane, like postcards of rough seas, revealed hidden stories of anonymous female artists who hand-colored these mass-produced images. This research wasn't just background noise; it was integral to her art, informing her series "Dedicated to the Unknown Artists" and "Rough Seas," where these everyday objects were transformed into powerful expressions of emotion and social commentary.
The exhibition "Divided Self" will delve into these diverse facets of Hiller's work, showcasing her exploration of automatic writing, her use of the photobooth to deconstruct notions of identity, her fascination with grids and their ability to disrupt our perceptions, and her powerful reimagining of found objects and images. We'll see how she transformed the ordinary into the extraordinary, how she gave voice to the silent, how she challenged our assumptions about art, identity, and the world around us.
From the eerie beauty of "The Last Silent Movie," a poignant exploration of dying languages, to the immersive environment of "Belshazzar's Feast," which recreated the television-centric living rooms of the 1980s, Hiller's work was always engaging, thought-provoking, and deeply human. She wasn't afraid to tackle complex issues, from gender and power to colonialism and cultural appropriation, but she did so with a sensitivity and nuance that invited dialogue rather than dogma.
"Divided Self" is more than just an exhibition; it's an invitation to step into Susan Hiller's world, a world where the subjective is celebrated, where the unseen is brought to light, and where the fragmented self is recognized as a source of strength and creativity. It's a chance to experience the work of an artist who dedicated her life to exploring the depths of human experience, an artist whose work continues to resonate with us today, reminding us of the importance of empathy, curiosity, and the courage to look beyond the surface of things. This exhibition is a must-see for anyone interested in art, culture, and the enduring power of the human spirit.
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