HER REAL NAME WAS LINDA, LINDA MULVEY, BORN IN LIVERPOOL IN 1954. SHE CHANGE IT SOON IN LINDER, MORE SIMPLE, AND THEN MOVED TO MANCHESTER
The confusion of genres well suited to her agressive hybrid, provocative art: she founded The band Ludus, where she was the official voice, and she was “the first punk radical feminist, so defined by Jon Savage, biographer of the Sex Pistols that with her realized The Secret Public’s collage book. Close friend, perhaps lover and of course muse of Morrissey, for which she drew album covers, since then, from the nineties, she dedicated herself to visual art.
Her provocative and transgressive self-assembly, with strong political and social values, are the result of a process of creation and destruction of pictures from home’s, car, food, flowers and butterflies, decorations, photo stories of porn and do-it yourselfers magazines, inspired by Dadaist collage – like those of Hannah Höch – and works by the American artist Martha Rosler.
How like her assembly, all her artistic research is without compromises, centered on love and sexuality, the female desire and cultural alienation.
The woman-object of Linder is a rebel, transgressing to the rules of the image where she is immobilized, getting with the photomontage a chance to express her alienation.
Her most recognizable opera , from which it derives a real iconography of gender, is without doubt a body naked woman that instead of breast have two red lips and instead of have head have an iron. A parallelism between cold beauty and impassive of a perfect body and a cerebral activity of an android. Parts of nake woman or in a explicit pose, from the accentuate quality like lips, matched with cakes, jelly or faces replace by biscuits and something else.
Her everlasting provocation, the denunce of a world that confine with human in a ready-made categories and that continue playing again with no equal weapons.
Text by Martina Finazzi