Ariana Papademetropoulos’s latest show is transparent, mythological, restless. Entering the gallery, I expected interiors: boudoirs with fireplaces, cushions arranged on a canopy bed. Instead, ordinary objects appear as phenomena, plastic bags as cut crystal, and the large-scale seascapes defy domestication.
In the upper room, a series of works intensifies the show’s surrealist language and its sense of an esoteric presence. Sensual visions rise from the fog of a gas stove, while microwaves release a pink cloud, as if inhabited by the genie from Aladdin’s lamp. In one of the seashell phone booths, a psychic announces a calm, quiet sea. Now I crave only to watch fishes kiss.
Leaving the show, still ecstatic from the bustle of the opening, I find it hard to explain how my deepest desire has shifted to becoming a marine mammal. @arianapapademetropoulos thank you dearly. The doors to a dreamlike world have opened: I slip my feet into the glass slipper, and it slips further. ☁️🐬
#arianapapademetropoulos #glassslipper
En septembre, j’ai présenté mon travail de recherche sur les formes du langage dans l’œuvre de Tracey Emin : une exploration des notions barthésiennes de texte, texture et textualité.
@traceyeminstudio
Petit aperçu de cette lecture hallucinatoire, sous la direction de Charlotte Foucher-Zarmanian @ehess_officiel , membre du jury aux côtés de Tiphaine Samoyault, et enrichie d’un entretien avec Donatien Grau revenant sur l’exposition du musée d’Orsay – la seule à ce jour consacrée à l’artiste en France.
💞🛌⛺️
The Paris exhibition is open until 19 November! Step into the space we created for the book’s release. It features Jean-Luc Godard’s very first film (Opération Béton, 1954) as presented by @soundwalkcollective with @biennaleson , alongside Jonathan Glazer’s Strasbourg 1518, screened exclusively. Hear Charles Ray’s poetic wanderings emerging from a Mario Bellini TV, and explore the extraordinary works that artists imagined and kindly shared for the occasion.
@magmajournal vol. 3 Archive of the Future, 127 rue de Turenne.
Where yesteryear and today unite in deep splendour. At the Bargello, you can see Donatello's David, the first standing bronze cast of the Renaissance, alongside many other nude statues which now echo Tracey Emin's monumental sculptures at the Palazzo Strozzi.
'Sex and Solitude' showcases an impressive selection of Emin's works from 1996 to the present day, including monoprints in which her gesture is exalted by a limited colour palette. Her floral appliqué blankets resemble the liturgical cloths displayed in the nearby church museum, while her softer paintings reflect the ethereal light of Fra Angelico's frescoes in San Marco convent.
I also loved seeing Emin's neon lights among the luminescent signs of trattorias and bars in the city. A city where lovers share their grave.
Feels like her show really belongs here
