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WHAT DO MAR­I­LYN MONROE AND SOUP

have in com­mon? For lovers of pop art, the an­swer is sim­ple: Andy Warhol. In just one year, 1962, Warhol cre­ated two of the move­ment’s most iconic works, Mar­i­lyn Dip­tych and Camp­bell’s Soup Cans, cat­a­pult­ing him­self into pop art roy­alty along­side fel­low Amer­i­can Roy Licht­en­stein and Bri­tish artist Richard Hamil­ton. How­ever An­glo-Amer­i­can pop art is only part of the pic­ture. As Tate Mod­ern’s latest ex­hi­bi­tion re­veals, artists all over the world were go­ing ‘pop’ too.

In TheEYEx­hi­bi­tion:TheWorldGoesPop (from 17 Sep), visi­tors are in­vited to ex­plore how artists from Latin Amer­ica, Asia, Europe and the Mid­dle East re­sponded and con­trib­uted to the pop art move­ment. It de­tails how the genre was used as a lan­guage for crit­i­cism and public protest.

Fea­tur­ing more than 100 works from the 1960s-70s, the ex­hi­bi­tion shat­ters tra­di­tional no­tions of pop art, un­cov­er­ing key fig­ures who have of­ten been left out of the main­stream, un­til now.

Among them is Aus­trian Kiki Ko­gel­nik’s anti-war sculp­ture Bombs in Love (1962), and the sub­verted com­mer­cial lo­gos painted by Boris Bućan in Croa­tia. What these two artists high­light is the use of pop art as an overtly po­lit­i­cal, desta­bil­is­ing force and a cri­tique of its cap­i­tal­ist ori­gins – not just a cel­e­bra­tion of Western con­sumerism.

Equally pow­er­ful is Glu, Glu, Glu (1966) by Brazil­ian Anna María Maiolino. Far from the comic-book blondes and ide­alised fe­male bod­ies nor­mally as­so­ci­ated with pop art, her sculp­ture fo­cuses on di­ges­tive or­gans, not un­like the iso­lated body parts in Co­razón De­strozado (1964) by Ar­gentina’s Delia Cancela, also ex­hib­ited. In fact this ex­hi­bi­tion show­cases a huge range of fe­male artists who played a key role, such as Bel­gium’s Eve­lyne Ax­ell, known for her psy­che­delic por­traits, and the Ar­gen­tinian artist Marta Min­u­jin. They chal­lenged the tra­di­tional cast of male fig­ures who came to dom­i­nate the world of pop.

Most sur­pris­ing of all is the lack of fa­mous icons. Un­like Warhol it seems global pop artists were more in­ter­ested in mass crowds. Rather than Mar­i­lyn Monroe, Ice­landic Erró shows throngs of Chi­nese work­ers in­vad­ing do­mes­tic Western scenes ( Amer­i­can In­te­ri­ors, 1968). Rather than a soup brand, Brazil­ian Clau­dio Tozzi’s Mul­ti­tude (1960) fo­cuses on a vi­o­lent re­volt.

Ex­plo­sive, crit­i­cal and at times re­bel­lious – this is pop art, just not as we know it. For full list­ing, turn to p. 41

Han­del House Mu­seum

For­mer home of com­poser Ge­orge Frid­eric Han­del. Tue-Wed & Sat 10am6pm; Thur 10am-8pm; Sun noon- 6pm. Adult £6.50; child £2 (free Sat & Sun). www.han­del­house.org. 25 Brook St, W1K 4HB. T: 020-7495 1685. E6. Sta­tion: Bond St.

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