Centro Cultural
Montehermoso
Kulturunea

Exhibitions. PASSWORDS. New Representation on Femininity


Alice Anderson, Rebecca Bournigault, Béatrice Cussol, Brice Dellsperger, Marie Legros, Cècile Proust + Jacques Hoepffner, Ruinsproduction/Raphaël Vincent, Takako Yabuki.

Curated by Elisabeth Lebovici

 « Plus une histoire est racontée d’une façon bienséante, bien disante, sans malice, sur un ton confit, plus il est facile de la retourner, de la noircir, de la lire à l’envers (Madame de Ségur lue par Sade). Ce renversement, étant une pure production, développe superbement le plaisir du texte »
Roland Barthes, Le plaisir du texte, Paris, éditions du Seuil, 1973, p 44

The Pleasure of the Text, published in French in 1973, induced a reappraisal of visual or textual practice, that would enhance its erotic agency in quoting the stereotypical narrative, by reversing  or inverting it.

By consequence of the Pleasure’s radical act, the incisive critique of representation through methods of deconstruction and the emergence of feminist film theory would therefore reclaim the narrative within the discursive function of cinema or video itself ; but on the condition it would be twisted, darkened and thus queered.
This video program shows a range of possible narratives, that twist, darken or invert readymade artistic stories of our age and therefore, push them to the limits of Barthesian « pure production ».

Here are considered, for example, the already twisted genre of the fairy tale (Alice Anderson and her Bluebeard) ; the exotic descriptive of documentary (Takako Yabuki and her faraway Japanese love model) ; but also the artistic conversation (performed by "femmeuse" Cecile Proust as a rendering of a discussion between artists and curator authentically consigned in a book) ; also as well, the paradigm of film as performance (Blondie by Marie Legros); the discursive function of film footage used as structural thread (Beatrice Cussol), the gender-fucking tradition of the Tableau vivant  (Ruinsproduction/Raphaël Vincent and ruins production), the reappropriation of land art (Rebecca Bournigault). Last but not least, we shall even  reassess the art field into crime stories, in the remake of the Blue Dahlia by Brice Dellsperger …

All productions, here, are united by chance and pleasure. My pleasure. As Barthes would put it, some years later, in 1977, let’s pursue the figures of a « Lovers discourse ».
E.L.


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