*Featured photo: Marion Baruch, Ultramobile I, 2018 Tissu
MARION BARUCH, ELVIRE BONDUELLE, CÉCILE BOUFFARD, SANDRA LORENZI
Maison des Arts de Grand Quevilly
Allée des Arcades
76120 Grand Quevilly
May 12 – Jult 30 2022
Monday to Saturday, h 14 – 18 | Admission free
Info: firstname.lastname@example.org | 02 32 11 09 78 |www.maisondesarts-gq.fr
The frame defines the structure – historically in wood, more recently in metal, then in concrete – that supports the build covering to form the roof of a construction, a building, a house. Often consisting of a complex assembly of elements, the structure is also used to refer to the human skeleton, covered by muscles and nerves. The skin, the shell of the body’s structure, is the image of the walls and partitions of a building.
By its structural nature, usually invisible, the frame itself shapes the roof, something that covers our heads and shelters our bodies from the weather. It also helps define the inner space and the outer space.
Charpentes épanouies is an exhibition bringing together works by Marion Baruch, Elvire Bonduelle, Cécile Bouffard and Sandra Lorenzi around the notion of space, both private and public. Decentring the gaze to experience other points of view that produce new perspectives. The collected works appear as pathways to reconsider how we design spaces, those we inhabit and construct, and their related codes.
Elvire Bonduelle, through a joyful, visionary and ironic practice, focuses, among other things, on the shapes and appearances of the habitats she discovers while travelling in known and unknown cities.
In her sculptural and poetic works, Sandra Lorenzi investigates and compares the cultures of traditional and contemporary mystics, enthusiastically experimenting with images, ideas and stories that make up today’s world.
As for Marion Baruch, for over 50 years, she has been developing feminine research where the question of space, both private and public, personal and political, has continued to run through her work. In the early 1960s, she was involved in her house’s design and on-site implementation in Italy. This experience enabled her to gain a practical understanding of three-dimensional space.
A pivotal event, the artist would never stop exploring the question of space through her protean and plural work. Created in 1969, the series “Abito-contenitore” – literally in Italian “containing what I wear” – is a practical implementation of this experience, including both the body and its movements in the dynamics of the work. A dress-casula that envelops an individual from head to toe, this radical design project, conceived as a habitat rather than a garment, explores the place of the body, the female body in particular, in public space and its interactions with others. Parallel to sexual emancipation, this work by Marion Baruch questions the reality of this liberation, reminding us how patriarchal society is not ready to relinquish control over women’s bodies.
The works on display belong to the series started at the beginning of 2010 by the artist. In a minimalist and conceptual gesture, the artist reveals the space in a positive-negative play by gathering fabric scraps thrown away by the prêt-à-porter industry after cutting the shapes needed to make clothes. Real re-invented ready-mades, these pieces of fabric (cottons, synthetic fibres, stretch fabrics, etc.), with plural textures, feature fluidity and a certain fragility. Retaining only thin fabric nets, these textile fragments draw on the wall or in the space, depending on the installation choices and the gestures that define them. They are like flexible skeletons suggesting architecture planes, suspended bridges, silhouettes, ornaments, etc. Confronted with these suggestive abstract forms, the gaze oscillates between the perception of fullness and emptiness.
Finally, for Cécile Bouffard, ability means an intense sensitivity to materials and their transformation processes. The diverse processing of materials, the methods of assembly, and the discovery of new forms of material aggregation create works with an unsettling definition and a fluid meaning, seductive for their ambiguity between familiarity and unfamiliarity, evoking slow and soft gestures, and unfolding in a tension between attraction towards the ground and the push towards suspension in space. These works suggest a desire for sculpture’s emancipation from the ground and that, through textile insertion, dresses up the spaces in complicity with Marion Baruch’s pieces.
The exhibition becomes a space for experimentation where other modes of relationship can be explored, where works connect and dialogue with each other.
The ambition of Charpentes épanouies is thus to interact with space as much as to create space, in conjunction with the feminine, and investigate new forms of relationships, discussions and reciprocity.