The vagina dialogue: Linder’s sensory Kettle’s Yard show channels the house’s mistress Helen Ede

Linder's Pretty Girl No. 1 (1977) Courtesy the artist

Kettle's Yard in Cambridge is one of Britains best loved art spaces. The intimate rooms of these four knocked-through cottages have been meticulously preserved as a shrine to the Modernist taste of the former Tate curator Howard Stanley "Jim" Ede, who lived here with his wife Helen between 1957 and 1972. Yet while Kettle's Yard is always associated with the aesthetic of Jim Ede, rarely does Helen get a mention. The unique look of the place is often credited to Edes determination to create “a living environment” for his collection. Works by his artist friends such as Ben and Winifred Nicholson, Barbara Hepworth, Alfred Wallis, Henry Moore, and Henri Gaudier-Brzeska fill the space, all carefully arranged in the studiedly domestic setting amongst furniture, glass and ceramics and quirky arrangements of shells, stones and found objects.

The only room outside Edes curatorial jurisdiction was his wifes small bedroom, which was also strictly off-limits to the guests attending the open house afternoons that were hosted by her husband every day during university term time. Now this bedroom sanctuary and its enigmatic occupant have been brought into the foreground by the artist Linder, whose first UK survey fills every part of Kettle's Yard with sights, smells and sounds under the umbrella title of "Linderism".

Channelling and championing invisible female figures from the past is an important part of Linders practice, whether they're the forgotten porn stars in her photomontages or elaborate performances revolving around Barbara Hepworth and the Surrealist artist Ithell Colquhoun. Linders film The Bower of Bliss (2018)made at the stately home Chatsworth House invoked the presence of Mary Queen of Scots, and at Kettle's Yard Helen Ede is the latest protagonist in this quest to give new power to women who have been overlooked or underrated.

A Naum Gabo sculpture is shown alongside Linder's sculptures Courtesy of Louisa Buck

“Helens room feels to me very much like a bower of bliss, a pleasurable and safe place for women,” says Linder, adding, “I wanted to amplify that pleasure.” To this end, all manner of special sensory interventions have been made into this small, sparse room, which previously had no trace of Helen. A cast-glass bowl full of potpourri based on Jim Edes own special recipe perfumes the air and in a glass-fronted cupboard a Naum Gabo sculpture keeps odd company with Linders sculptures of gloves and shoes sprouting curling cascades of artificial hair. These are all named after hairy female saints and martyrs, including Saint Uncumber—who is, appropriately, the patron saint of difficult marriages.

Especially intriguing for Linder was the discovery of a small hatch set into the room's skirting board at floor level. Connecting directly down to Jims separate bedroom below, it was apparently used by Mrs Ede to communicate with her husband. This secret cavity now contains a specially commissioned sound work composed by Linders son Maxwell Sterling. Set to a string accompaniment, the piece features womens voices gently intoning the names for female sexual organs in a variety of languages ranging from Urdu and Turkish to French and Old English. "The Bower of Bliss is also a euphemism for the womb, the birthplace, the vagina," Linder is keen to point out. The artist was also very happy to discover that another Old English term for female genitalia is "Kettle". This soothingly subversive sound work was also performed live by Sterling downstairs at Kettles Yard house on the opening night of the exhibition.

Linders trademark photomontages, which she has been making since she was an art student in the late 1970s, are comprehensively represented in her survey in Kettles Yards new Jamie Foberts-designed temporary exhibition spaces. But one series has also made its way on to the walls of Helens bedroom. Here, cavorting models from 1970s Vogue are fused with and also pinned down by images of Modernist furniture and household goods cut out of other magazines from the same era. TheRead More – Source