Maurice GUIBERT
Toulouse Lautrec dans son atelier avec un de ses modèles,
1894-1896
Toulouse Lautrec dans son atelier avec un de ses modèles,
1894-1896
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ALONSO y MARFUL La importancia de llamarse Ernesto I (after Maurice Guibert), 2010 Giclée on cotton paper Rag 58x70,50 cm |
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Beth MOYSÉS
Relato de una Mujer (after Alonso y Marful), 2013
Performance/Installation
Handwritted dress, basin, water
“The female performer shall wear an impeccably
white dress bearing on the back, handwritten in
red ink, the testimony of a woman who has been
the victim of physical abuse, and who has kept it a secret all her life. When she removes that dress in
public she will reveal the text then wash it off in a washbasin. The ink will stain the water, turning it
into a liquid charged with symbolism, which will
lead the spectator into a network of possible interpretations with one common denominator: sacrifice and violence.” Beth MOYSÉS
Susana VILLANUEVA, performer, made this performance at Casal Solleric (Mallorca) on 13 September 2016 at 7.30 p.m.
Senga NENGUDI (foto Propecia LEIGH)
SSSSS SSSSS (after Regina José Galindo), 2014
C-print
31,80x41,20 cm
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Petah COYNE Untitled #1415 (Flatland) (after Riikka Kuoppala), 2016 Instalación Lace, Vintage Italian doilies, thread, metal rods, metal brackets, screws, video projection (edited by Nina Behrle and Joanna Fiorentino) 96,52x60,96x10,16 cm © Petah Coyne Courtesy Galerie Lelong, New York |
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Faith WILDING
a rose is a rose is a rose (after Petah Coyne), 2017
Feminist object
Fabric, paper, watercolor, pencil
90x90 cm (open), 38x30 cm (folded)
Lydia SCHOUTEN
#1 A cool red Rose and a pink cut Pink
#2 Into the Woods (after Faith Wilding), 2018
Giclée on Hahnemühle matt mounted on Dibond
52x40 cm / 46x43 cm
