Biography

Berthe Lutgen was born on October 12, 1935 in Esch-sur-Alzette. From 1959 to 1961, she attended the Ecole Nationale Supérieure des Beaux-Arts in Paris (ENSBA) before furthering her education at the Kunstakademie in Munich, Germany. Then, she attended the prestigious Kunstakademie in Düsseldorf until 1976 and completed her training from 1978 to 1979 at the Rheinische Friedrich-Willems-Universität in Bonn. In 1968, Berthe Lutgen co-founded the Arbeitsgruppe Kunst, an artist group, and the „Groupe de Recherche d’Art Politique” (GRAP). In 1971, she founded the „Mouvement de Libération des Femmes“ (MLF) in Luxembourg and taught artistic education in Luxembourg from 1979 to 1996.

Career

  • 1971
    • Created the “Mouvement de Libération des Femmes” (MLF) in Luxembourg
  • 1968
    • Cofounder of the art group “Arbeitsgruppe Kunst” and the «”Groupe de Recherche d’Art Politique” (GRAP)

Group exhibitions, salons:

    • 2015 :
        • group exhibition « Je est un(e) autre » Cercle Cité, Luxembourg
        • group exhibition, Galerie La Capitale, Paris

 

    • 2010 :
        • group exhibition “Reflets d’artistes”, Galerie op der Kap, Capellen

 

    • 2009 :
        • group exhibition “The Messenger”, Galerie Toxic, Luxembourg
        • group exhibition “Face à Face : La Fonction publique et l’art luxembourgeois”, Neumünster Abbey

 

    • 2008 :
        • group exhibition “DISSIDENCES Ronderëm 68”, Kulturfabrik, Esch-sur-Alzette

 

    • 2007 :
        • group exhibition, Galerie Toxic, Luxembourg

 

    • 2006 :
        • group exhibition, Galerie La Capitale, Paris

 

    • 1985 :
        • participated at the “L’autoportrait dans la peinture luxembourgeoise” exhibition,Villa Vauban, Luxembourg and Stuttgart

 

    • 1982 :
        • participation à l’exposition « La Femme dans la peinture luxembourgeoise »,Villa Vauban, Luxembourg

 

    • 1979 :
        • participation à l’exposition « Stellungnahme », Galerie Municipale Esch-sur-Alzette

 

    • 1969 :
        • exposition « Initiative 69 » participation à des œuvres communes, Hall Victor Hugo,Luxembourg
        • participation à l’exposition « Eiffel-Ardennen », Prüm
        • participation à l’action « Strassenmalerei », Luxembourg

 

    • 1968 :
        • exposition de groupe « Situation 1968 de l’Art Moderne au Luxembourg »

 

    • 1963 :
        • exposition de groupe, Cercle Artistique, Luxembourg

 

    • 1962 :
        • exposition de groupe, Cercle Artistique, Luxembourg

Solo exhibitions: 

    • 2015 :
        • exposition individuelle, Kulturhaus, Niederanven

 

    • 2014 :
        • exposition individuelle « Zeitgeschehen », Galerie Toxic, Luxembourg

 

    • 2013 :
        • exposition individuelle, Galerie La Capitale, Paris

 

    • 2012 :
        • Action Affiche « Codex Aureus Epternacensis Reloaded » sur colonnes de la ville de Luxembourg

 

    • 2011 :
        • exposition individuelle « Who Is Afraid Of Painting ? », Galerie Toxic, Luxembourg

 

    • 2008 :
        • exposition individuelle « Regard de Femme », Galerie Toxic, Luxembourg
        • exposition individuelle, Galerie La Capitale, Paris

 

    • 2004 :
        • exposition individuelle, Galerie Schortgen, Luxembourg

 

    • 2001 :
        • exposition individuelle « Sélection d’œuvres des différentes périodes de travail », Galerie d’Art du Théâtre d’Esch-sur-Alzette

 

    • 1969 :
        • exposition « Initiative 69 » exposition individuelle et participation à des œuvres communes, Hall Victor Hugo, Luxembourg

 

    • 1968 :
        • exposition individuelle et participation à un Happening à l’ouverture du « Salon1968 » du Cercle Artistique de Luxembourg

 

    • 1968 :
        • exposition individuelle, Galerie Gabriel, Mannheim

 

    • 1967 :
        • exposition individuelle, Galerie Interart, Luxembourg

 

    • 1965 :
        • exposition individuelle, Galerie Horn, Luxembourg

Bibliography:

    • 2014
        • Faire Face, Berthe Lutgen, éditions ultimomondo

 

    • 2013
        • Catalogue : Berthe Lutgen

 

    • 2012
        • Das Gespenst des Feminismus, Frauenbewegung in Luxemburg, Herausgeber Sonja Kmec in Zusammenarbeit mit dem Cid-femmes. Jonas Verlag, Marburg

 

    • 2011
        • Arts et lettres no 2, Institut Grand-Ducal Luxembourg, Editions Saint-Paul

 

    • 2010
        • Not the girl you are looking for, Melusina rediscovered; Cid-femmes, Editions Schortgen

 

    • 2009
        • Catalogue : face à face, la fonction publique et l’art luxembourgeois, Centre Culturel de Rencontre Abbaye de Neumünster, Edit.CGFP, Luxembourg

 

    • 2008
        • Catalogue : Exposition individuelle, Galerie Toxic, Luxembourg
        • Catalogue : Exposition individuelle, Galerie La Capitale, Paris
        • Dissidences Ronderem 68. Iwwert 20 Joer engagéiert Grafik zu Lëtzebuerg, Kulturfabrik, Impression : Kremer-Müller, Esch/Alzette

 

    • 2006
        • L’art au Luxembourg de la Renaissance au début du XXIe siècle, Editions Schortgen

 

    • 1999
        • Luxart, Lexikon Luxemburger Künstler, Herausgeber Maria M.Burghagen

 

    • 1988
        • Die Neue Frauenbewegung in Luxemburg oder: Die Entstehung des MLF “forum nr 103”, Danni Hoenen

 

    • 1987
        • Regard sur deux siècles de création et d’éducation artistiques APEA, Imprimerie Saint-Paul, Luxembourg

 

    • 1985
        • Catalogue : L’autoportrait dans la peinture luxembourgeoise, Villa Vauban, Luxembourg

 

    • 1983
        • Cent ans d’art luxembourgeois 1893-1993, Edit. Cercle Artistique de Luxembourg, Luxembourg

 

    • 1982
        • Catalogue : La Femme dans la peinture luxembourgeoise, Villa Vauban, Luxembourg

 

    • 1969
        • Katalog: Initiative 69, Herausgeber: Arbeitsgruppe Kunst, Luxemburg

 

    • 1968
        • Catalogue : Salon 1968 du Cercle Artistique de Luxembourg, Luxembourg

 

    • 1966
        • Doppelpunkt: Situation der bildenden Kunst in Luxemburg, Herausgeber: Cornel Meder & Jos. Weydert, Vertrieb: Kremer-Müller, Esch-Alzette

 

    • 1963
        • Catalogue : Exposition Nationale et Internationale d’Art Contemporain, Salon 1963 du Cercle Artistique de Luxembourg, Editeur : Luxemburger Wort

 

    • 1962
        • Catalogue : Salon 1962 du Cercle Artistique de Luxembourg, Luxembourg

Reviews:

    • Her unique approach starts with an idea, a depiction or a representation of the exterior shape of a body.Berthe Lutgen focuses on women and their place in society. She uses vintage self-portraits, modern synoptic paintings and even a wall shattered in multiple fragments, images, texts and puzzles, which the visitor needs to reassemble. Her art is so diverse that everyone can forge its own opinion about the women’s status in history. Within these thought patterns, her art is politically engaged in a very free manner and perfectly executed within the limits of what it can do.

      Lucien Kayser, triple regard de femme

      Letzebuerger Land, 09.05.2008

       

      The struggles of being a woman is the core subject and has been occupying her artistic field of investigation for years now. Her changing heterogeneous expression is referring to a content that’s explicit at times and cryptic at others, sometimes even allusive, thus giving an „open“ reading of the art, a strategy that has been already used by many historical avant-gardes.

      Jos Boggiani, Un art au service de la caude féminine

      Kulturissimo, 10.7.2008

       

      Luxembourgish native Berthe Lutgen pursuits a discreet career, that’s always in line with her previous work. Feminism and humanism are at the heart of her creation.

      France Clarinval, Le Quotidien, 29.12.2009

       

      Berthe Lutgen doesn’t impose herself but rattles many people’s cages. Clichés and taboos; views and thoughts; suffering and injustice.

      Helene Nicol, „Réalité pluri-elle“, LEJEUDI, 15.12.2011

      Overpowering power. That’s what it comes down to. At least that’s how art tries to raise awareness about ideological stances or means (according to Malthusser) used by those who are governing us. Even though said institutions seem to have less power nowadays, we still need to challenge them as best as we can.

      Lucien Kayser, „Ce que peut la peinture“, Letzebuerger Land, 23.12.2011

       

      We are immediately drawn by images depicting explicit violence, while others are more gentle and subtle and in contrast with our pious images, eventually revealing how women are being silenced. Meeting Berthe Lutgen gives hope, because she expresses vigilance at the heart of the world. Her work is indeed uncompromising, but not harmful. That’s her strength. Through her art, we are finally opening our eyes and witnessing what the eye keeps seeing and pondering about: the struggles of being a woman. Everything is depicted in bright colours (or should we say joyful colours?), because after all, isn’t life made of hopes and dreams?

      Clotilde Escalle, Paris, “une oeuvre en éveil” (Expositio de Berthe Lutgen à la galerie La Capitale, Paris)

      Tageblatt, le 22.05.2013

       

      …Her art shows harsh observations of a world in decay. She exposes, hits where it hurts, is unconventional when she talks about abused women, collateral damage in war zones and innocent civilians caught in the crossfire. Strong. Her art is extremely strong. Not everyone will like these subjects, but they can no longer be ignored.

      Nathalie Becker, “Une artiste perméable à l’actualité”,

      Luxemburger Wort, 11.12.2014

       

      …Reality has been put under a microscope and dissected in a complex semiotic process, where ironic or allusive references cross paths with reinterpreted or diverted iconographic quotes to reveal the hypocrisy, lies and freedom-killing nature of Governments and their codes of conduct.

      Jos Boggiani, “l’art de faire face toujours et encore”.

      Kulturissimo, 11.12.2014

       

      …This book (published during the opening of the Toxic Gallery) shows Berthe Lutgen’s struggles through a perfectly executed art form, and demonstrates her deep knowledge of the history of art; we have to go through numerous stages of life and commitments that have always stayed true to each other. All this flavoured with a splendid yet rigorous layout without a single form of grandstanding (which would be inappropriate when discussing too many serious topics).

      Lucien Kayser, „Un potentiel d’indignation“

      Letzebuerger Land, 14.11.2014

       

      …The witty statements and the strength of her socio-political art will make this remarkable painter go down as one of the most creative forces in the history of Luxembourgish art. With her maturity, the painter has become a whistle-blower…Back in 2014, we discovered an exhibition of her work at the Toxic gallery in Luxembourg, featuring marvellous canvases with collages, oils and acrylics. For example, „Les spectateurs“ shows a group of people from behind in the street looking at a wall with no posters as one would expect, but filled with press clippings and newspaper headlines from Summer and Autumn 2013. The aesthetic vigorously refers to the so-called narrative figuration “, a once highly militant fight for demands that occurred during the French July Revolution. Berthe Lutgen’s characters facing the wall are confronted to the „news and updates” as they stare helplessly at political crises, bloody conflicts, genocides. They are hieratic and paralysed when looking at this world that has become more and more like a puppet theatre.

      Nathalie Becker, „La Collection Luxembourgeoise du Musée National d’Histoire et d’Art Berthe Lutgen Aun nom des femmes“

      Ville de Luxembourg „ons stad Nr 109 2015“

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