Summarize this content to 2000 words in 6 paragraphs in Arabic Artists Lubaina Himid and Magda Stawarska have home studios next to each other, on the first floor of the Georgian terraced house where Himid has lived since she first moved to Preston in 1991. Himid works at the front of the building, where large windows overlook a park with the River Ribble winding through it. Her studio is packed and vibrant. There are piles of books, multiple desks and tables, countless framed photographs, newspaper clippings and drawings, and a Cary Grant coaster for hot drinks. When she paints, she likes to listen to music, to the radio, to football matches.\u00a0Stawarska, her partner since 2017, moved in a few years ago and works next door. Stawarska has a sparser, neater, more organised room \u2013 which she uses when not\u00a0in an even larger, neater studio down the road. \u201cI like it more empty. A cleaner space,\u201d she says, though she still\u00a0apologises for the mess.\u00a0Stawarska, 48, the quieter of the two, is wearing the palette of many of her silkscreen prints; a grey shirt, black jeans and red trainers. Himid, 70, who selected an endless supply of Yaccomaricard shirts as her luxury item on Desert Island Discs, is sharp in dark denim, brown brogues and a beanie. The pair have known each other since the early 2000s; they have collaborated, in formal and informal settings, for more than 20 years. This year they will have two major exhibitions. One, at Mudam in Luxembourg, is a fully collaborative show, while the other, at Kettle\u2019s Yard in Cambridge, will exhibit Himid\u2019s work and an installation she made with Stawarska.\u00a0How do they work together? They are always interrupting one another. \u201cOh, yes,\u201d Stawarska says. \u201cConstantly,\u201d nods Himid, who claims she is a \u201cmore polite studio visitor\u201d than her partner.\u201cThat\u2019s true,\u201d says Stawarska. \u201cI probably ask more\u00a0questions: \u2018What do you think?\u2019 I\u2019m seeking an opinion more than you.\u201d\u201cI\u2019m seeking an agreement,\u201d laughs Himid. \u201cI think this is really working, and I just need you to say it\u2019s fab.\u201d\u00a0Himid won the Turner Prize in 2017 when she was 63, becoming its oldest recipient, but her career has spanned decades. She was born in Zanzibar and moved to London when she was a few months old. Since the early 1980s, she has revolutionised the British art world, both as an artist and as a curator and educator.\u00a0\u201cLubaina was part of a generation of Black artists who emerged at a time when Black art wasn\u2019t recognised by much of the UK\u2019s art establishment,\u201d says Lanre Bakare, author of the forthcoming book We Were There: How Black Culture, Resistance and Community Shaped Modern Britain (Penguin, \u00a322). \u201cIt was marginal and misunderstood, often framed as \u2018angry\u2019.\u201d Perhaps Himid\u2019s best-known work is Naming the Money, made up of 100 life-sized cut-out figures, which examines slavery and servitude through names and identity. \u201cIt\u2019s fashionable now to create art that delves into ideas of colonialism and empire, but Lubaina was doing it at a time when it was seen as worthy and deeply uncool,\u201d says Bakare. \u201cShe forced conversations on Black feminism and queerness\u2026 If you look at many of the big shows of the past 12 months, Lubaina\u2019s work is either in there or has directly influenced it.\u201dStawarska was born in Poland in 1976, and did a master\u2019s at Manchester Metropolitan University in 2005. Her approach often explores movement and migration through what she calls \u201cinner listening\u201d. One piece, on the wall at the top of their stairs, captures, in print, the phonetic speech patterns of her son, who is now in his late teens, as he learned to speak in both English and Polish.\u00a0\u201cI imagined her as a character from a movie, and that is still how I see her,\u201d says Dr Omar Kholeif, the author of a recent book on Stawarska\u2019s work and curator of the Mudam show. \u201cThe very notion of a woman who walked the streets, traversing borders, accompanied by discreet microphones, capturing sounds that she could not hear herself, was bewildering, mysterious, and curious to me.\u201dStawarska and Himid first crossed paths in the early 2000s at the University of Central Lancashire, where both were then working. Himid was an academic and Stawarska worked in the print room; Himid wanted to learn how to print, having become interested in Polish theatre posters. She never managed to pick it up, despite Stawarska\u2019s attempts to teach her (\u201cI tried!\u201d Stawarska insists). While working in print and paint, Stawarska also moved into sound-based work, which brought them together as artists. \u201cI participated in some of those [pieces],\u201d Himid recalls. \u201cAnd then we started to have these conversations about language and interpretation and translation\u2026\u201d\u00a0Both of this year\u2019s exhibitions were a result of curatorial matchmaking. \u201cOmar Kholeif [of Mudam] and Andrew Nairne [at Kettle\u2019s Yard] were enthusiastic to see what happened when our work appeared together,\u201d explains Himid. The centrepiece of the Mudam show will be Zanzibar, nine diptychs of just under three metres in size each. Himid first started making them in 1998. \u201cI showed them the first time, and then I didn\u2019t really show them, because they don\u2019t look like anything I made before or since,\u201d she says. A curator commissioned Stawarska to compose a sound piece to go alongside it. \u201cIt\u2019s a huge composition of voice, of archive material, of performed texts, shipping forecasts,\u201d says Himid. This transforms the pieces into a kind of performance in which the audience becomes a participant: \u201cThe paintings don\u2019t sit on the wall. They\u2019re in the middle of the room.\u201d The sound is of equal importance, she adds \u2013 she suspects she would never have shown Zanzibar again without it: \u201cThis piece is now the paintings and the sound. They\u2019ll never be separated, and you can\u2019t buy them as individual paintings. You can\u2019t show it, unless it\u2019s the whole thing. And that was very much about trust, I think.\u201d \u00a0The process of working together sounds very trusting and intimate. \u201cIt is, but it\u2019s very funny, as well,\u201d says Himid. \u201cI find it easy. It makes me much more relaxed.\u201d\u00a0Adds Stawarska: \u201cI was always interested in grids, but working with Lubaina has made me much more interested in patterns. I think that is definitely your influence on me \u2013 not that you wanted to have that influence.\u201d\u00a0They do, however, see their work together as very distinct from what they do individually. \u201cWhen we\u2019re not collaborating, I\u2019m painting big figurative paintings with loads of colour in and people in fancy clothes standing about talking to each other,\u201d says Himid, turning to Stawarska. \u201cWhich I think is very different from those very mysterious works about place and memory and archive and history and cities that you make.\u201d\u00a0At Kettle\u2019s Yard, one of their new pieces is called Slightly Bitter. It is currently being worked out in Himid and Stawarska\u2019s studios, and explores another kind of conversation between the late-19th-century Polish writer\u00a0Sophie Brzeska and the painter and writer Nina Hamnett, \u201cwho was known as the Queen of Bohemia\u201d, says Himid. \u201cI think she slept with everybody. She was in Paris, just hanging out and namedropping. Her autobiography is called Laughing Torso.\u201d Both Hamnett and Brzeska had relationships with the sculptor Henri Gaudier-Brzeska, and struck up an uneasy correspondence after he was killed in the first world war as they tried to bring his work to wider attention.\u201cThe exhibition reflects the essential ethos of Kettle\u2019s Yard: that art and life are inextricable,\u201d says Andrew Nairne, director of Kettle\u2019s Yard, who adds that both Hamnett and Brzeska were \u201covershadowed and previously judged by criteria that now seem outdated and insular\u201d.\u00a0\u201cThere were so many funny things that made us laugh, and made us quite unhappy, about this not very known, quite tiny relationship,\u201d says Himid. \u201cIt made us think what fun it would be to take it and run with it, and\u00a0mix in our relationship.\u201dThe work will feature postcard correspondences, some real, some imagined. One postcard is an old note from Himid to Stawarska apologising for taking so long to return some films that she had borrowed. Now there is no need to send notes \u2013 they can just interrupt each other all day. Once, Stawarska recalls, she wandered into the studio, where Himid was working on a painting. \u201cShe was painting these three people at a table…\u201d she begins.\u00a0\u201cFive!\u201d corrects Himid.\u00a0\u201cAnd I walked in, and I was talking, not about anything related to this painting. And Lubaina suddenly got this black paint and painted all of the people out, apart from one.\u201d Stawarska was aghast. \u201cI was like, \u2018Oh my God. Is it something I said?\u2019\u201d she laughs.\u201cWhen Magda came in, she was talking about something domestic, or some practical thing, and I wasn\u2019t listening,\u201d says Himid. \u201cBut it was comfortable, and comfortable enough to do something so drastic. It would have been hard to do it on my own.\u201d\u00a0\u201cIt\u2019s a really nice painting,\u201d Stawarska says.\u201cYeah, everyone really likes it,\u201d Himid smiles. \u201cSo sometimes, the interrupting is really good.\u201d\u00a0Lubaina Himid and Magda Stawarska: Nets for Night and Day is at Mudam, Luxembourg, from 7 March to 24 August; Lubaina Himid with Magda Stawarska is at Kettle\u2019s Yard, Cambridge, from 12 July to 2 November<\/p>\n","protected":false},"excerpt":{"rendered":"
Summarize this content to 2000 words in 6 paragraphs in Arabic Artists Lubaina Himid and Magda Stawarska have home studios next to each other, on the first floor of the Georgian terraced house where Himid has lived since she first moved to Preston in 1991. Himid works at the front of the building, where large<\/p>\n","protected":false},"author":1,"featured_media":215680,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[65],"tags":[],"class_list":{"0":"post-215679","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-culture"},"_links":{"self":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/215679","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/comments?post=215679"}],"version-history":[{"count":1,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/215679\/revisions"}],"predecessor-version":[{"id":215681,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/215679\/revisions\/215681"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/media\/215680"}],"wp:attachment":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/media?parent=215679"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/categories?post=215679"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/tags?post=215679"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}