Natalia LL’s practice is centred on photography and film. In Poland, Natalia LL faced persistent ideological and moral censorship, but by the mid-1970s, the artist was recognized internationally, crossing the iron curtain for exhibitions and conferences across Europe and the USA.
Since the late 1960s, Natalia LL’s photographs acquired the character of performances for camera. ‘Intimate Records’ (1968-9), which documents the intercourse between two lovers, became a manifesto of new female sexuality: active, overt and a source of satisfaction.
Natalia LL embodied similar notions of womanhood by introducing her own body into her art. In photographs and films from the early 1970s, Natalia LL began to create ‘permanent records’ – of a road, time or a face. The ‘Consumer Art’ series (1971-74) – images of young women indulging in phallic-shaped foodstuffs – became highly influential, and gained the artist recognition on the international artistic scene. Also created as a performance-for-camera, ‘Artificial Photography’ (1975) used multiplication and the overlapping of semi-transparent imagery to produce the impression of movement; veiling and unveiling the private parts of the body, but also exposing the sense of artificiality and subversion inherent in photography.
Natalia LL (Born 1937, Żywiec; lives and works in Wrocław) Natalia Lach-Lachowicz is an author of photographs, videos, drawings and performances. In 1970 she co-founded the PERMAFO group with Andrzej Lachowicz, Zbigniew Dłubak and Antoni Dzieduszycki in Wrocław. Since 1971 she was active under the name Natalia LL. Her international exhibitions include ‘The World Goes Pop’, Tate Modern, London, 2015-2016; and the retrospective ‘Sum ergo sum’ Center for Contemporary Art in Toruń, Poland, 2017. Her works are included in the collections of Frauenmuseum, Bonn, Museum of Modern Art in Ljubljana, Ludwig Museum, Cologne, International Center of Photography, New York and Musee d’Art moderne de la Ville de Paris. In 2013 she was awarded the Katarzyno Kobro prize.