The Serpentine presents the first UK solo exhibition by the late Swiss visionary artist, healer and researcher Emma Kunz (1892–1963) that features over 40 of her rarely seen drawings.
“Everything happens according to a certain regularity which I sense inside me and which never lets me rest.” Emma Kunz
In the past, Emma Kunz’s work has been shown alongside Hilma af Klint, who was presented at the Serpentine in 2016, Georgiana Houghton and Agnes Martin, all of whom share her preoccupation with spirituality and forms of abstraction. This survey exhibition is a timely review of Kunz’s work which is underpinned by her belief in a holistic worldview. Systematic yet expansive in their compositions, her ‘energy-field’ drawings simultaneously contain micro and macro perspectives of nature, chiming with current discourses on ecology, as well as a desire to forge meaningful connections with our environment.
Never shown in her lifetime, Emma Kunz predicted her drawings were destined for the 21st Century. The Serpentine has invited a number of contemporary voices to collaborate on this exhibition, bringing this historic body of work to future generations: The contemporary artist Christodoulos Panayiotou has worked with the Serpentine on the conception of the exhibition and has created new work. The accompanying catalogue features new texts by Dawn Ades, Bice Curiger, Desmond Morris, Hans Ulrich Obrist, Tabita Rezaire and Ali Smith.
Emma Kunz lived in rural Switzerland and considered herself to be primarily a healer and researcher of nature. Discovering her telepathy and extra-sensory powers as a child, she begun to use her gifts at the age of 18, when she also started to draw in exercise books. She never received an arts education yet in her lifetime she produced hundreds of geometric drawings. They were visions of energy fields from which she could formulate diagnoses for her patients who would visit her seeking help for physical and mental ailments. From 1938, while in her forties, she first began making large-scale drawings which she would continue for the rest of her life, using radiesthesia – a drawing technique where a divining pendulum plots the complex and linear compositions of her drawings made on graph paper. Working primarily with graphite and colour pencils, Kunz would work intensely and continuously on each drawing for a period that could stretch over 24 hours, however she never recorded their particular meaning and none are dated or titled.
See more HERE >>>> Source: Serpentine Gallery Emma Kunz – Visionary Drawings: An exhibition conceived with