Sylvia Sleigh au CAPC musée d’art contemporain à Bordeaux

Gepubliceerd op: 6 June 2013

Dès l'entrée de l'exposition, nous sommes prévenus: c'est de la peinture figurative, autoportrait d'une artiste au XXème siècle. Si l'on s'attache au tableau ‘Working at Home', Sylvia Sleigh est au premier plan, un homme (son mari, le critique Lawrence Alloway?) est au second plan au bureau... Deux, trois choses retiennent notre attention, d'abord elle est en chemise et l'on sait que pour les peintres la chemise est l'un des premiers arguments par ses plis, ses motifs. Je pense également qu'il s'agit d'une chemise masculine et il y a là le signe d'une femme qui ne s'en laissera pas conter! Finalement dans un univers où les hommes sont les artistes et veulent bien des femmes comme commissaire ou comme critique, c'est une belle et prometteuse inversion des rôles.

Praktische Info

www.capc-bordeaux.fr

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Dès l'entrée de l'exposition, nous sommes prévenus: c'est de la peinture figurative, autoportrait d'une artiste au XXème siècle. Si l'on s'attache au tableau ‘Working at Home', Sylvia Sleigh est au premier plan, un homme (son mari, le critique Lawrence Alloway?) est au second plan au bureau... Deux, trois choses retiennent notre attention, d'abord elle est en chemise et l'on sait que pour les peintres la chemise est l'un des premiers arguments par ses plis, ses motifs. Je pense également qu'il s'agit d'une chemise masculine et il y a là le signe d'une femme qui ne s'en laissera pas conter! Finalement dans un univers où les hommes sont les artistes et veulent bien des femmes comme commissaire ou comme critique, c'est une belle et prometteuse inversion des rôles.

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www.capc-bordeaux.fr

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‘Creëren is zich verzetten.' Picasso zou het ooit gezegd hebben. Tijdens de tweede wereldoorlog is hij - de staatloze - van weeromstuit frenetiek blijven kunstwerken produceren. Weliswaar in (iets) betere omstandigheden dan de talloze artiesten die in interneringskampen, in psychiatrische instellingen, of in schuilhokken met wat ze in handen kregen artefacten maakten. 70 jaar geleden voerden kunstenaars oorlog tegen de oorlog en zetten ze politieke dictaturen een neus. Kunstenaars verwierpen de propaganda van een opgedrongen, conformerend keurslijf. De verbluffende creatieve wilskracht van toen spat uit de 500 opgedolven kunstwerken van een honderdtal bekende en vooral minder bekende artiesten.

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Het Van Abbemuseum presenteert drie filmische portretten van de Brusselse kunstenares Manon de Boer. Telkens gaat het om een vrouw - de Nederlandse actrice Sylvia Kristel, de Braziliaanse psychoanalytica Suely Rolnik en de Amerikaanse percussioniste Robyn Schulkowski - die terugkijkt op haar leven in de jaren zeventig. De drie films werden gemaakt over een periode van net geen tien jaar en vormen samen een oeuvre in een oeuvre.

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