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This exhibition, entitled Lucite, highlights a selection of the museum’s latest acquisitions. Their presentation reveals the diversity of production and approach of today’s artists, through painted works, photographs, installations and videos.
Eva Nielsen’s monotype on canvas, retouched with acrylic and ink, gives the exhibition its title. Through the propagation of brushstrokes and pictorial surfaces, her painting focuses on the study of an aesthetic of desolation and destruction, often initiated by man. Through alterations and chemical effects, it becomes a mental image that is difficult to access. Something seems to stand in the way of our perception, creating new demands on the eye.
Hicham Berrada’s filmed performance dramatizes the changes and metamorphoses of a chemically-activated nature screen. Landscapes are created and transformed by the reactions of this alchemical theater. “Présage” is the result of the transformation of filmed materials, plunging the viewer into a fairytale world of strange, fascinating colors and shapes.
Jules de Balincourt’s acrylic on wood, “We Come Here To Forget”, creates an enigmatic scene by superimposing two images. A scene from daily life between the yoga room and the fine arts museum at the end of the 19th century. The artist presents a very modern museum, whose iconography and scenography remain deceptively naive and archaic. This is where people gather to forget.
Kent Monkman, of Amerindian origin, disrupts political, national and sexual identities, rewriting colonial history in a work that humorously poses the question of difference and post-colonialism. “Shooting Geronimo” is a parody of Western myths in the burlesque style of early cinema.
Lazaro Saavedra has been working on an ideology detector since 1989. It takes the form of a voltmeter, but the graduation legend changes according to the degree of insubordination of the guinea pig. The humor arises from the vanity of trying to give a scientific account of an individual’s potential for revolt.
Still in the 80s, Carolee Schneemann began a series of dust paintings in reaction to the war in Lebanon. They evoke cities devastated by bombardments, in which streets of crumbling computer networks appear like traces of a defunct civilization.
Over the past ten years, Elodie Lesourd has been developing a body of work inspired by the world of rock, whose codes and symbols she manipulates. Rock is dead, and so is painting. These paintings copy photographic images in a “hyperockalism” style, questioning the durability of the work, its documentation, its archive, its memory.
Jon Rafman explores the paradoxes of modernity and the new technologies of the image. Through the use of digital media, the series “The Nine Eyes of Google Street View” consists of collecting images on the Internet, forbidden images that Google has not yet put online for processing and legal reasons.