Summarize this content to 2000 words in 6 paragraphs in Arabic Since first coming to prominence with her collage for the sleeve of Buzzcocks\u2019 1977 single \u201cOrgasm Addict\u201d, which spliced an image of a naked female torso with an iron pinched from an Argos catalogue, Linder Sterling (who goes simply by the name Linder) has become known as one of the art world\u2019s foremost provocateurs. Her irreverent photomontages \u2013 in which glossy images of glamorous women and nude pin-ups are juxtaposed with banal household appliances or concealed by blooming flowers \u2013 playfully skewer consumer culture and subvert gender norms. The occult and mysticism are long-standing influences, rooted in her\u00a0fascination with glamour \u2013 a word whose etymology she traces back to the early-18th-century Scottish term \u201cglamer\u201d, meaning enchantment or a spell.\u00a0\u201cMy studio is only a 10-minute walk from the castle in\u00a0which the Pendle witch trials happened in 1612 when\u00a0men and women were hanged for witchcraft,\u201d says\u00a0the 70-year-old Liverpudlian artist, speaking from her studio\u00a0in Lancashire. \u201cSo I do find something eternally interesting about women having to be glamorous, and the male gaze in glamour photography.\u201dThis month, a vast new solo show of Linder\u2019s works will open at London\u2019s Hayward Gallery. Titled Danger Came Smiling, it marks the artist\u2019s first London retrospective and will showcase 50 years of work \u2013 from the first collages she made in her student bedroom in Manchester (she cut her artistic teeth on the city\u2019s punk and post-punk scenes) to new and previously unseen\u00a0photomontages. The works showcased on these pages \u2013\u00a0made with model, photographer and writer Laura\u00a0Bailey and created last autumn \u2013 are infused with a\u00a0surreal, dream-like quality: in one, the model stands in\u00a0the snow with her arms outstretched, dressed in\u00a0a\u00a0sparkly sequinned dress by designer Ashish, her face\u00a0masked by a coiling snake; in another she is shrouded\u00a0by\u00a0the petals of a large red bloom, her body veiled by a shimmery iridescent film. When Bailey, a \u201clong-term admirer\u201d of Linder\u2019s work, reached out to collaborate, the artist was immediately roused.\u00a0\u201cIt\u2019s always delightful when women get in touch and\u00a0say something as simple as, \u2018I love your work and I\u2019d\u00a0like to work with you,\u2019\u201d says Linder. \u201cI find collaboration incredibly exciting because a lot of the time\u00a0it\u2019s quite a\u00a0solitary profession. It\u2019s me and lots of very, very old books and magazines.\u201d\u201cI love the element of discovery and the kind of treasure hunt of looking at Linder\u2019s work,\u201d says Bailey. \u201cSomething she creates or adds will mean something to me, but it might mean something different to another viewer.\u201dDrawing from a vast repository of source material that spans everything from pornographic magazines to horticultural journals and 19th-century adverts for crinolines, Linder often works with a medical-grade surgical scalpel to \u201cbring the image to life\u201d, letting the instrument guide her like a kind of mystical dowsing rod.\u201cFor some reason, a certain image will present itself and I can see where to make the stab, whereas other images almost have a kind of \u2018no entry\u2019 sign,\u201d she says. \u201cIt\u2019s often hard to bring language to that process because so much of it is done in complete solitude, almost in a state of meditation \u2013 I almost don\u2019t want to demystify it for myself. So it\u2019s very brave of Laura to say, \u2018Yes, photomontage me\u2019, because I never quite know where the scalpel will cut or the glue will stick. Every photomontage is as much a surprise to me as it is to the subject.\u201dFor Bailey, part of the thrill of working with the artist\u00a0was surrendering to her process and having her self-image be picked apart and reconstructed. \u201cWe\u2019re so\u00a0conditioned to hyper-control, and we live in a world of\u00a0so\u00a0much image-making and projection of other people\u2019s fantasies and ideas, that there was something really freeing about letting go and having a chance to shed skins and be raw,\u201d she says. \u201cWhen you\u2019re overly used to having your picture taken, there are things that become very distorted and filtered in your own mind, about what people think of you, and it\u2019s fun to smash it all up.\u201d\u201cIt\u2019s interesting that you\u2019re talking about shedding\u00a0skins, and I did use quite a lot of snake imagery,\u201d\u00a0rejoins Linder. \u201cI\u2019ve learned over the decades\u00a0to not\u00a0question that intuitive part, which is far smarter than\u00a0the logical part. If I start to question what I\u2019m using\u00a0then it all goes wrong.\u201dLinder worked with photographer Hazel Gaskin and Ashish \u2013 a frequent collaborator of the artist\u2019s \u2013 on the images, which were taken at West Dean College, an art school in the South Downs steeped in surrealist lore. \u201cThose ghosts at West Dean are very powerful,\u201d says Linder brightly, referring to surrealist patron and poet Edward James, who inherited the estate in the 1930s, and artists such as Leonora Carrington\u00a0and Salvador Dal\u00ed, who stayed as guests. \u201cThe\u00a0house itself is in the Domesday Book and it\u2019s where James and Dal\u00ed created the Mae West Lips sofa, so we were on hallowed ground in many ways,\u201d she says.\u00a0\u201cI\u2019ve learnt that magic happens when you\u2019re working with someone like Linder,\u201d says Bailey. Ashish\u2019s sparkly creations were also inspiring. \u201cThe most striking thing for me was the sense of armour, in terms of how one walks or sits, that had a very powerful effect,\u201d she says. \u201cI\u2019ve worn his pieces for work in the past but I hadn\u2019t fully\u00a0connected with the power of that.\u201d\u201cMaybe part of my aim is to make every woman in my\u00a0photomontages a sphinx,\u201d smiles Linder. \u201cThey are\u00a0all riddles, and every person can come along and hopefully find what they need to find in those works.\u201dLinder\u2019s enthusiasm for her medium stems as much from her love of print media as her desire to \u201credeem\u201d bodies that have been sexualised or somehow exploited. \u201cWe now live in a world of memes and photomontage,\u201d she says. \u201cEverything\u2019s cut up and reconfigured and an eight-year-old can probably make a meme far more quickly and effectively than I can photomontage. So it makes me all the more determined, in an eccentric way, to honour the scalpel, the scissor, the messy, invisible glue that holds the whole thing together. There\u2019s something quite pacifying about the physicality of the cut.\u201d \u00a0Linder has had shows at the Mus\u00e9e d\u2019Art Moderne in Paris and New York\u2019s P.S.1 Contemporary Art Centre, but the Hayward exhibition marks the largest on home turf. How does the artist feel to be getting her flowers at 70? \u201cThere are only so many retrospectives happening on the planet at any one time, and there are people as equally deserving as I am,\u201d she replies modestly. \u201cBut it happens to be my turn\u2026\u201d A pause. \u201cWhich is thrilling!\u201dFor Bailey, the exhibition is more relevant than ever.\u00a0\u201cThe timing feels so resonant,\u201d she says, \u201cin terms of\u00a0politics, in terms of the digital world that we\u2019re operating in and the vulnerabilities around that, but also in a more positive way, in terms of opportunity and creativity and\u00a0empowerment, especially for young women,\u201d she says. \u201cI think the youth\u2019s response to the retrospective will be very interesting.\u201dLinder hopes the works will continue to provoke and\u00a0resonate with new audiences \u2013 and is all too aware of\u00a0the similar pressures facing women today as when she\u00a0was first creating. \u201cI am fascinated by this horror of ageing. I mean, if I go on social media now, I see adverts\u00a0for\u00a0facial-hair devices or lip boosters and I\u2019m thinking, \u2018Why? Why would I want to look younger than\u00a0the age that I\u2019m in?\u2019\u201cI\u2019m proudly 70 years of age, and I have no desire to look 60 or 50 or 40. Going into my 70s feels very exciting, and hopefully in 10 years\u2019 time you\u2019ll be saying, \u2018Linder, what\u2019s it like to be 80?\u2019\u201d she chuckles. \u201cI will report back, girls, just you wait. I will be reporting from the front line.\u201d\u00a0Linder: Danger Came Smiling is at Hayward Gallery, Southbank Centre, Belvedere Rd, London SE1, from 11 February to 5 MayPhotography by Hazel Gaskin. Styling and clothes\u00a0by Ashish. Assisted by Amy\u00a0Stephenson and Sophie Gumienna. Model, Laura Bailey. With thanks to West Dean College, West Sussex. Lighting, Will Corry. Processing and\u00a0scanning, Labyrinth. Photographic post-production, Touch Digital Production, Tiger Tiger Productions<\/p>\n","protected":false},"excerpt":{"rendered":"
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