Galerie Françoise Paviot Lydia Flem Fminicides

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npublished photographs of her video Fminicide (143)(2) Lydia Flem exhibits for the first time the 70 u, lAmrique Latineat the Maison de,uary 28on Febr,1720, to books by Ivan Jablonkaduring an evening devoted, des hommes (2016)Laetitia ou la fin,s by Annie Ernauxwith intervention,rdenneLuc Da,ablonkaIvan J, OlenderMaurice,François VitraniEdwy Plenel and .

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y Lydia Flem at the Maison de lAmrique Latine(1) The quotes are taken from two lectures b,uary 28on Febr,d May 22017 an,1820,he catalogand from t, FlemLydia,ie Françoise PaviotFminicide d. Galer,2120,arket)(off m.

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s in my libraryAmong the book,ocket book bought during the Parisian exhibition of Artemisia Gentileschi. I recognized one of her most famous paintingsI sought out the iconic faces that have celebrated the idealized beauty of women for centuries. I then found a modest p, the eldersSusanna and,0. Out of curiositypainted around 161,talogue. The biblical figure of SusannaI reread a few pages of this little ca,GentileschiArtemisia ,r own features. This tormented bodyhad chosen to represent her with he, than a self-portrait. This very youngpitturessaassaulted by two lustful figures was none other,er own fathera pupil of h,ntileschiOrazio Ge,ing in the manner of Caravaggiowho taught her the art of paint, studio of this same fatherhad just been raped in the,of the latterby a friend ,painteralso a ,of perspective. Agostino Tassisupposed to teach her the art ,r his trompe-loeil frescoesrenowned throughout Rome fo,er marriagepromised h, on hercheated,assert herself in the face of male domination. Above the body of the betrayed womanand raped her. But Artemisia lacked neither the audacity nor the talent to dare to ,t representshe did no,itional to doas it is trad,ld mentwo o,ly onebut on,he dark curls of a young manthe other male figure had t,ostino Tassithose of Ag,st. (1) her rapi»

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lule de performance exhibition at MABA / Nogent-sur-Marne. April 7 July 17-Jrgen Nefzger: hanging of the series Bure or life in the woods in the Cel,0222

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n the morningDad shaves i,his officeworks in ,his cardrives ,ing his newspapersmokes while read, the radiolistens to.

2016In ,scissors in my handwith a pair of old ,tisements for women praising luxury perfumesit occurred to me to zigzag out a few adver,the scissorsthen I put ,e rustya littl,sand-year-old mixture of the exaltation of feminine beauty and the violence that continues to be done to women because they are feminine beings. . This serieson banal reproductions masterpieces of Western art history. I claim this banality of the form because it resonates with the banality of the content: this thou,t FemicideI called i,rn in Latin Americaa legal concept bo,sthetic tool and device. (2which here has become an ae)

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es not make the artIf the technique do,sarily make the artist. Howeverthe anteriority does not neces,ong before society has appropriated itwhen a new vision emerges in a work l,rtists who are or have been part of the Gallery: Anna Blume but also Dany Lericheit is sometimes useful to rethink its anteriority. This is the case for certain a,s exhibition: Lydia Flem. Artists are like drumsNancy Wilson Pajic and more specifically for thi,saysshe ,lways hear themand you dont a.

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Taharqua in the exhibition Pharaoh of the two lands-Juliette Agnel: presence of the photographic series,s of Napata. April 28-July 25the African epic of the king,0222

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al comedy by Paul ScarronIn the text of a theatric, in 1652written,me. Used in the expression doing femicidethe wordfemicideappears for the first ti,by a man to brutalize a woman. In Franceit translates into the desire expressed ,f Terminology and Neologythe General Commission o,n with the French Academywhich works in conjunctio,in the field of law in 2014has recommended its usage , homicide of a womanwith the meaning of,d the Le Robert dictionary in 2015: murder of a womana young girl or a child because of her sex. It entere,irla g,r sex. Howeverbecause of he, de la langue françaiseand was not recognized that same year by the French Academyit remained absent in 2019 from most dictionaries and in particular from theTrsor.

hat co-exist together and are united by a common objectiveThe Cellule de performance exhibition highlights groups t,tention to othersthat of paying at,uman and non-human ecosystems. to the world and its various h»

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afternoonOne autumn, black feathered maskI was playing with a, thimble andan old ivory,th scissorsequipped wi,es of two love letters exchanged by my parentsI cut out the outline of my hands on photocopi,d the mysteries of love and writing. Thenseeking to compose a kind of rebus aroun,ation of ideasby some associ,a dreamas in ,alysts couchor on the an,hives for my first notebooksI suddenly looked in my arc,e the 1960s. dismayedwhich I had kept sinc,st sentencesfrom the fir,of the time to learn to read and writewhich the school imposed to the girls , the culture which were registered from the starttrauma of an access to the French language and to,idenceas ev,f discriminationwith the color o:

offensiveThe most ,hapsper,asw, marginin the,ters and in redin capital let,linedunder,tion TBthe men,that I would oppose this asymmetrical order of the world. (1very good. Chilling. I had to promise myself from that age )

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to conquer their rights to share the same humanity as those of men. Because the young girl abusedThe figure of Artemisia Gentileschi has become a symbol of the fight that women have been leading,iatedhumil,ing the trial for rapeand even tortured dur, nine monthswhich lasted, November 1612from March to, women painters of the 17th centurymetamorphosed into one of the rare,ttedadmi,1616in ,egno in Florence. Artemisia reversed her destinyto the prestigious Accademia delle Arti del Dis, What she had always wantedshe invented her own life.,: an artistshe became,eefr,of herselfmistress ,the courts of Europesoon famous in all ,lue and the creative power of women. who through her work expressed the va»

: La Dignit des Gitans et un Hommage mes Amis GitanoFondation Manuel Rivera-Ortiz : Christine Turnauer s

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