Vit à : Colombes , France
Photographs by Yann Delacour
Curated by Béatrice Andrieux
The work of Yann Delacour adresses the issue of body and variation. Adopting a highly precise device, involving mirrors and latex gloves, he composes images from which hybrid forms and landscapes emerge. Reversing the principle of shadowgraphy, the prints made according to a clearly identified protocol, play on the possibilities of the plasticity of the hands and fingers to develop play on perception and transformation with references to theatricality, conjuring and sculpture. The “Variation I” series, alternating between unitary and superimposed images, reinforces the performance aspect of the sequence in which hands and gloves disrupt the legibility of the forms. In “Variation II”, the photographer’s gloved hands, placed on the edge of a mirror, make up a scene. The fully visible installations make it possible to distinguish the object of the illusion from the hybrid bodies and landscapes that emerge from it. The large format colour “Finger Print”, composed of a flower petal placed on a finger, conceals nothing of the rules behind the play. A patent photograph representing the fusion of human and plant body, the image illustrates how information from the fingerprint is passed to that of the petal. Yann Delacour questions our relationship to the world, as well as to our own body and origins, a double landscape that is recomposed and redefined in perpetual movement.
In the collection of Astrid Ullens de Schooten Whettnall
Curator Béatrice Andrieux
A Foundation from Saturday 24th September to 18th December 2022
‘Women’s Perspectives” provides an opportunity to see the female artists in the collection of Astrid Ullens de Schooten Whettnall in a different light. Passionately involved in her Foundation, created in a working-class district of Brussels, the Belgian collector devotes all her energy to promoting and helping artists of all genres. For the tenth anniversary of the Foundation A, the idea of highlighting the female artists in the collection was obvious to Astrid Ullens de Schooten Whettnall. A curator presents the artists collected by a woman. It is a shared history intended to be open to all, extended to artists with transversal practices using the medium for a specific project. The nineteen women chosen all have a commitment to their community in common with a desire to denounce, break the codes and push back the boundaries on the issues of social justice, femininity and the environment. The perspective is also global, including Latin American artists such as Paz Errazuriz, Yolanda Andrade, Luz María Bedoya, Kattia García Fayat, Adiriana Lestido and Graciela Iturbide and historical figures such as Diane Arbus, Helen Levitt and Lisette Model. The German school, included in the collection, reveals series by Andrea Geyer and Ursula Schulz Dornburg, as well as works by the couple Gabriele and Helmut Nothhelfer, exhibited for the first time, and colour prints by the Italian Francesca Gardini. The project that brings together the works of Canadian Moyra Davey, Americans Zoe Leonard and Martha Rosler, South African Jo Ractliffe and American-Peruvian Tarrah Krajnak aims to broaden the focus on the historical contexts that have surrounded, promoted or limited the recognition of women artists. Finally, the work of the great American portrait artist Judith Joy Ross, exhibited at the opening of the Foundation ten years ago, illustrates the photographer’s commitment to activists and young people who are failing at school. Each in their own way, these determined, pioneering and unique artists express a form of resistance to norms, be they social, gendered or political. They remind us that we live in a contemporary space that bears the indelible and ephemeral traces of its history, which we must continue to observe with care.