“Halina Dyrschka follows the phenomenon Hilma af Klint passionately, sensitively and supported by a phalanx of impressive historians… shows how those paintings survived, made by a women who crossed borders in every direction.” –Frankfurter Allgemeine Zeitung
Hilma af Klint was an abstract artist before the term existed, a visionary, trailblazing figure who, inspired by spiritualism, modern science, and the riches of the natural world around her, began in 1906 to reel out a series of huge, colorful, sensual, strange works without precedent in painting. The subject of a recent smash retrospective at the Guggenheim Museum, af Klint was for years an all-but-forgotten figure in art historical discourse, before her long-delayed rediscovery. Director Halina Dryschka’s dazzling, course correcting documentary describes not only the life and craft of af Klint, but also the process of her mischaracterization and erasure by both a patriarchal narrative of artistic progress and capitalistic determination of artistic value.
A record breaking retrospective of Hilma af Klint’s work, attended by over 600,000 people, was shown at The Guggenheim Museum in 2018
From Roberta Smith’s review of the exhibition in The New York Times:
If you like to hallucinate but disdain the requisite stimulants, spend some time in the Guggenheim Museum’s staggering exhibition, “Hilma af Klint: Paintings for the Future.” The museum’s High Gallery — the name has added resonance in this context — displays the show’s rapturous overture, a series of 10 paintings by af Klint (1862-1944), a little-known Swedish painter, modernist pioneer and erstwhile spiritualist. Collectively titled “The Ten Largest,” they may induce disorientation, not the least for the way they blow open art history.
These game-changing works envelop you in hues from dusty orange to pale pinks and lavenders, tumbling compositions of circles, spirals and pinwheels, and unfurling ribbonlike lines that sometimes form mysterious letters and words. The scale of the motifs and the paintings’ sheer size (10 feet by nearly 9 feet) invite you to step in and float away to the music of the spheres. That they are rendered in tempera on paper, lighter than oil on canvas but still quite painterly, contributes to their levitating power. In their wit, ebullience, multiple references and palette, “The Ten Largest” seem utterly contemporary, made-yesterday fresh. But prepare for label shock: they were created in 1907.