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“… a change in time is enough to re-create the world and ourselves.” – Marcel Proust  Over the course of the last few decades, the pressing issue of alterity – “Other” and “otherness” – has been admirably foregrounded in a number of disciplines and, with increasing frequency, in contemporary art practice and discourse.  Luis Jacob’s Album VI is the latest instalment in his ongoing series of archival projects.
In its entirety, this album contains 162 plates, each containing between two and six found images.  This article was originally published only in French. No translation is available. Galerie Lilian Rodriguez, Montréal 19 avril au 24 mai 2008
 For thirty years, W. H. Hunt has been building a photography collection that brings together 1,200 works marked by the absence of sight in the photographed subjects. Composed of classical and contemporary works by renowned artists,
Also see the artist's portfolio
W. M. Hunt’s photograph collection Collection Dancing Bear whispers some secrets about photography. It is full of mystery, chaos, darkness, and excitement. It is unpredictable. It is creepy. It is provocative.  In Absolutely Fabulous, Paul Litherland playfully constructs stereotypical gender identities in himself, only to deconstruct them and raise his viewers’ awareness of cultural biases. The ten works that constitute this series evolved from a 1993 performance, Souvenirs.  Wearing a tight, hot-pink jersey-knit dress with a scoop neckline that reveals a thick pelt of chest hair, photographer Paul Litherland poses coyly for the viewer in a sky-blue-lit studio for half of his self-portrait series, Absolutely Fabulous.1 This article was originally published only in French. No translation is available. Voir aussi l'article reliéIMAGES NON DISPONIBLES S’inscrivant dans la suite des acquis de la performance, de l’art conceptuel et de Fluxus, les expérimentations d’Erwin Wurm désacralisent la figure de l’artiste et dissèquent les éléments de la sculpture en les mettant en relation avec les gestes de tous les jours. This article was originally published only in French. No translation is available. – Read the Abstract Voir aussi le portfolio de l'artisteL’homme est seulement un être humain quand il joue.–Schiller, Lettres sur l’éducation esthétique de l’homme, 1795
Instables, disloquées et souvent bancales, les situations dans lesquelles nous implique Erwin Wurm sont tout entières à mettre sous le signe de la potentialité.  This article was originally published only in French. No translation is available. Voir aussi l'article reliéEn compilant des images du début du cinéma qui présentent des corps étrangement figés devant l’objectif, Fiona Tan investit une zone grise entre le film et la photographie.
This article was originally published only in French. No translation is available. Voir aussi l'article reliéDans sa série d’autoportraits, Version soft, l’artiste marocain Hicham Benohoud métamorphose ses traits en « martyrisant » sa tête dans des prises, brutales, rappelant celles du photomaton ou du portrait judiciaire.
 This article was originally published only in French. No translation is available. – Read the Abstract Voir aussi le portfolio de l'artisteIl y a mille et une manières de se montrer. Pour l’heure, Hicham Benohoud s’en tient à l’autoportrait, genre apparaissant a priori facile, mais qui aborde dans son cas des rives pour ainsi dire taboues.
 “The Artist at Work” – does this legend not still revolve around phantasms of the genius emotionally strained to the limit in his studio (for this legend is a male one), bent over his artwork (preferably a painting or a sculpture), doing battle with the overly extravagant imaginary, struggling for a form that will ultimately be the brilliant result of this reclusive, prototypically subjective process of creation?
 This article was originally published only in French. No translation is available. Voir aussi l'article reliéLes œuvres de Yinka Shonibare peuvent être considérées comme une déconstruction des notions occidentales de l’identité. La figure du dandy fournit à l’artiste un modèle historique qui lui permet d’éclairer le jeu complexe des forces sous-jacentes à la construction sociale de l’individualité.  This article was originally published only in French. No translation is available. – Read the Abstract Voir aussi le portfolio de l'artisteYinka Shonibare est né à Londres en 1962. Il grandit à Lagos, au Nigeria, et retourna en Angleterre à l’âge de dix-sept ans où il poursuivit ses études supérieures en arts plastiques.  This article was originally published only in French. No translation is available. Voir aussi l'article reliéVouloir devenir générique InfigurableEffacer son identité pour prendre la pleine mesure de son existence  This article was originally published only in French. No translation is available. Voir aussi le portfolio de l'artisteLe corps-maison mobile s’ouvre d’une manière sincère.  In “Image #6” of Nikki Lee’s The Punk Project series, two punks are seated on the cement steps of an innocuous building. He has a closely cropped mohawk and wears camouflage pants with a leather jacket thrown across his lap. She wears ripped net stockings over striped tights, and a see-through black blouse with red bra underneath.  This article was originally published only in French. No translation is available. Voir aussi l'article reliéLors d’un séjour à Paris, Sorel Cohen a installé son appareil photo dans le cabinet de psychanalystes : il en a résulté tout un travail autour du divan, du corps qui s’y laisse deviner par son absence même et de la gageure consistant à montrer l’ « inmontrable », à saisir le lieu de l’intime dans une palpitation qui laisse sur sa fin, ou sur sa faim… |
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