B. 1941 in Roeselaere, Belgium, lives and works in Lovendegem, Belgium
Lili Dujourie’s work unfolds out of the gap between painting and sculpture. Motifs from art, literature and music serve as crucial sources for her work. After making debut with steel and colour objects in the late 1960s, Dujourie’s practice shifted into photography and video in the 1970s. Her series of black and white videos, without sound, showing her naked body in motion, are considered seminal feminist works. While exploring the blurring between art disciplines, she also raised gender- and identity-related issues prevalent at that time. The duality of movement and standstill inherent to film has fed the artist’s three-dimensional work from the 1980s to the present. In her sculptures, Dujourie handles such materials as paper, velvet, marble, plaster, metal and clay alternately with softness and violence. In her series of wire sculptures, she transforms the spontaneous gesture of drawing into three dimensional mural sculptures, shifting between abstraction and portrait.
Memories of Hands, 2008
Clay table installation
Dujourie has had recent solo exhibitions at S.M.A.K, Ghent and Kunstmuseum aan Zee, Oostende (2015); Leopold Hoesch Museum, Düren, Germany (2014); Palais d'Iéna, Paris (2011); La Conservera, Centro de Arte Contemporáneo, Murcia, Spain (2010); Creux de l’Enfer, Thiers, France (2008); and Palais des Beaux Arts in Brussels. She was presented in group exhibitions at WIELS, Contemporary Art Centre, Brussels (2018); ZKM, Karlsruhe, Germany (2017); Monnaie de Paris (2017); Museum of Modern Art, Antwerp (2016); Kunsthalle Düsseldorf (2016); Centre Pompidou, Paris (2009); P.S.1 in New York (2008); as well as the 2010 Sharjah Biennial, documenta 12 (2007); her exhibition Memories of Hands at Erna Hecey Brussels (2007) was taken over as part of Okwui Enwezor’s Gwangju Biennal A Year in Exhibitions in 2008.