Delaine Le Bas: Incipit Vita Nova. Here Begins The New Life/A New Life Is Beginning Art Exhibition

This exhibition by Delaine Le Bas explores themes of death, loss, and renewal, drawing parallels with ancient transitional beliefs and personal experiences of loss. The installation, spanning three rooms, combines painting, sculpture, architecture, and textiles to create an immersive environment that guides visitors through introspection and self-discovery.

Delaine Le Bas's exhibition 'Incipit Vita Nova. Here Begins The New Life/A New Life Is Beginning' is a comprehensive, multi-disciplinary installation that delves into profound themes of mortality, grief, and the possibility of new beginnings. Drawing inspiration from ancient spiritual beliefs about the permeability between the worlds of the living and the dead, and deeply influenced by a personal experience of loss, the exhibition creates a contemplative journey for visitors. The installation itself is a Gesamtkunstwerk, meticulously crafted from painting, sculpture, architecture, textile art, performance elements, sound, and light. Le Bas, in collaboration with Lincoln Cato, developed a scenography of transparent, painted fabrics that define corridors and intimate spaces, creating a delicate yet structured environment. A cotton fabric floor dampens sound, contributing to an introspective atmosphere. The visual language often employs silhouette-like figures and repetition, echoing formal characteristics found in Gustav Klimt's Beethoven Frieze, which is housed in the adjacent space. The exhibition guides visitors through distinct zones, beginning with a mirrored, fluid space and culminating in a representation of a threshold to the underworld, personified by the Pythia, the high priestess of the Oracle of Delphi, emphasizing the exhibition's core message of self-reflection and inner peace. Le Bas's artistic practice is characterized by its interdisciplinary approach, blending visual, performative, and literary elements. Her work frequently addresses the complexities of belonging to the Romani people, their history, and cultural heritage, while also confronting issues of social justice, discrimination, and marginalization. She employs a range of materials and techniques, from traditional textile methods to found objects and digital media, often subverting decorative aesthetics to confront her struggles and resist stereotypical constraints. The exhibition highlights her engagement with feminist themes and powerful female figures, referencing her recent installation at the Gorki Theatre in Berlin, and her resonance with Klimt's work, particularly the potent, often demonized, female figures within the Beethoven Frieze.

Information regarding tickets can be found via the 'tickets' link, which directs to an external booking platform. General information and ticketing details for the Secession are also available on the website.