Lillian Morrissey"s solo wxhibiton curated by Björn Brolewski and Laila-Marie Busse at Galerie Parterre in Berlin.
Lillian Morrissey: THE AUDACITY
29 August -19. October , 2025
Curated by Björn Brolewski and Laila-Marie Busse
Galerie Parterre, Berlin
The audacity,
dt. die Kühnheit,
der Wagemut,
die Verwegenheit,
die Frechheit,
die Unverfrorenheit,
die Unverschämtheit,
die Dreistigkeit.
There is no German equivalent for the English term »audacity«, much rather its semantics is situated within a spectrum of translations. Words like Kühnheit, Wagemut or Verwegenheit lead us back to chivalrous virtues or soldierly ideals, character traits that are often masculinecoded. With each further of the abovementioned possibilities, the semantics overturns into negativity and right now »audacity« is mainly used to describe hubristic, disrespectful behavior. When we look at the figures depicted in the textile works of the Berlin-based artist Lillian Morrissey, we see them as an epitome of the title of our exhibition.
Berlin-based artist Lillian Morrissey's textile works focus on medieval kings, authoritarian politicians, oligarchs, and key figures of the New Right, expressing the backlash of a system believed to have been overcome. Her tapestries, embroidered on cotton, are the result of intensive journalistic research, but at the same time they are humorous caricatures of a time in which reality seems to have overtaken satire. Between fabric and thread, Morrissey takes up the didactic function of medieval tapestries. Morrissey confronts viewers with a visually condensed chronicle of often male-charged gestures of power. The artist's figures see themselves as brave and righteous champions, but behind this self-image lies a brutal, egocentric, and patriarchal reality. Morrissey's work unfolds a coherent critique of the staging of power and the dynamics of domination, whose forms change while their ideological foundations remain alarmingly constant.
Lillian Morrissey is an Australian-born textile artist with a background in political science and journalism. She holds a BA in International Politics from USYD (2009) and a BA in Fine Arts (Painting) from NAS Sydney (2015). Trained in painting, she has turned to the historically feminine art of embroidered tapestries to sew narrative scenes that play with references to pop culture, gaming, political cartoons and art history. Her works draw from medieval art, painting and textile traditions and often satirically comment on contemporary politics, gender and history. She is an alumna of the Goldrausch Künstlerinnenprojekt 2023, a finalist in the Haus am Kleistpark Kunstpreis 2024, and has exhibited in and co-curated diverse group and solo shows internationally since 2015, including Broligarchy, 2025, Ordinance Gallery, Melbourne; Analysis of Anger, 2024, ZfK Kunstverein, Leipzig; Hostile Imaginary, 2024, gr_und, Berlin; Clams and Daggers, 2023, Galerie Russi Klenner, Berlin; Illuminated Geometry, 2019, Hue Salon, Berlin and Contrary, 2016, Swamp Gallery, Sydney. Morrissey lives and works in Berlin.
