10 min 20
In the film Hustle in Hand (2014) we observe secret negotiations carried out between two characters with only their torsos visible in the frame— negotiations that consider fetishizations, meaning and symbolic value of the body and flesh. Money, food, appearances, and consumption: the viewer is pulled into a round of transactions, a rumination on our society in which art occupies a coveted position. The film’s rhythm is suddenly interrupted by the appearance of a green polyhedron that, once licked by one of the mysterious protagonists, becomes golden yellow, a magical event accompanied by an intense swelling of violin music. As is often the case in Shahryar Neshat’s videos, the music, soundtrack and speech use surprise as a significant element in the video. Presented in a glass museum display case near a Warhol camouflage painting, the object begins to speak in a voice-over, demanding to be the exclusive center of attention and manifesting its satisfaction by a forced laugh. Another scene in the film shows a man displaying a scratch on his arm. The wound, the vulnerable body and testing desire with disgust are recurrent themes in Shahryar Nashat’s work. Hustle in Hand seems disrupted by subliminal images that disturb viewing and challenge our consented credulousness, our necessary candor while suggesting a parallel narrative to our subconscious. The installation space—with several glass and marble sculptures, presents a multitude of visions amid which the gaze shifts—giving our imagination over to these measured, odd and agitated ambivalences.
The work of Shahryar Nashat (b. 1975, Geneva, Switzerland) is made up of the interwoven fragments of baroque and renaissance sculptures, humour, sensuality and insolence. Practicing largely in installation format, which give prominence to video, include photography, sculpture and etchings, the artist creates new opportunities for critical reflection about the canon of artistic media. With an interest in art collections, libraries, artwork reproductions and archives, Nashat imagines new forms of display through artistic reuse. Combining synthetic forms mediated by organic and man-made representations, the artist’s oeuvre is an examination of the human-body’s interaction with material culture.
Employing both the High Modernist technique of abstraction and monochronism, as in the work of Lucio Fontana and Yves Klein, and bodily states of fetishization, Yea High (sweetpreparator) reworks the art historical canon of movement and the body to consider flesh as a physical construction of man-made matter...
Anne Samat’s Puteri 3 references Ulek Mayang, a classical Malay dance, performed in a ritualistic pre-Islamic context...
« L’Art du livre », de Michel Melot et Anne Zali : la splendeur à l’ouvrage Offrir Le Monde Article réservé aux abonnés Reliure originale en soie violette brodée d’or, fleurs et ornements en soie, chiffre de Marie de Médicis et couronne en perles fines, dos long à semé de fleurs de lis dans un encadrement, ruban de gros de Tours parme, avec lisière en dentelle dorée...
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Employing both the High Modernist technique of abstraction and monochronism, as in the work of Lucio Fontana and Yves Klein, and bodily states of fetishization, Yea High (sweetpreparator) reworks the art historical canon of movement and the body to consider flesh as a physical construction of man-made matter...
Gabriel Kuri has created a series of works in which he juxtaposes perennial and ephemeral materials...
Rosalind Nashashibi’s paintings incorporate motifs drawn from her day-to-day environment, often reworked with multiple variations...
Monteverdi Ici – Deeply, Feeling Filling the World by Laure Prouvost is a tapestry that references a video by the artist entitled Monteverdi Ici (2018)...
The Parle Ment Metal Woman Welcoming You is a character originated from a series of works combining sculpture and video with a specific role— lying on the floor playing a romantic elevator tune, this Metal Woman welcomes and flirts with viewers in the space where she is posed...
The artist films a horse dressage session at night, in a dimly lit manège...
Made in cast bronze, Two Eyes Two Mouths provokes a strong sense of fleshiness as if manipulated by the hand of the artist pushing her fingers into wet clay or plaster to create gouges that represent eyes, mouths and the female reproductive organ...