Beautiful Penis

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Beautiful Penis BEAUTIFUL PENIS Quelle merveille que les hommes existent ! Une exposition de Barbara Polla et Jenny Mannerheim A la Galerie NUKE à Paris, du 12 mai au 14 juillet 2012 11rue Saint Anastase Paris 3è Dans son livre récemment publié chez Odile Jacob, intitulé Tout à fait Femme, Barbara Polla s’interroge, entre autres, sur la créativité fémi- nine, et cherche à explorer les raisons pour lesquelles, tout au long de l’histoire de l’art, les représentations glorieuses du corps et du sexe masculin par les artistes femmes sont si peu nombreuses, alors que les hommes auront représenté, et représentent encore, avec passion, le corps féminin et ses attributs sexuels. Jenny Mannerheim partage ces questionnements, et il en est issu cette exposition, qui présente une sélection – arbitraire comme le sont toutes les sélections –, de douze femmes artistes d’aujourd’hui qui travaillent sur le thème : Vanessa Beecroft (Italie), Leslie Deere (USA), Tracey Emin (Angleterre), Dana Hoey (USA), Katerina Jebb (Angleterre), Elena Kovylina (Russie), Sarah Lucas (Angleterre), Joanna Malinowska (Pologne), Maro Michalakakos (Grèce), Sabine Pigalle (France), Michaela Spiegel (Autriche) et Ornela Vorpsi (Albanie). Tracey EMIN, TOO BIG, Appliquéd and emboidered calico, 38 9/16 x 33 11/16 in. (98 x 85.5 cm), 2001 © The artist, Courtesy White Cube Pascal Quignard, dans Le sexe et l’effroi, souligne combien « la vision du sexe masculin est terrifiante, même dans les sociétés où son osten- tation la rend banale et sa fréquence dérisoire » et explore la dualité mentula / fascinus (pénis/phallus) chez les Romains, cette « sémantique des deux états » concrétisée chez les romains par la distinction entre l’homo (homme) et le vir (l’homme en érection, l’homme dans le désir), sémantique abondamment reprise par Bruce Nauman. Sabine Pigalle nous propose un pénis de clown androgyne réminiscent des clowns de Nauman ou encore des amanites phalloïdes ; Joanna Malinowska se réfère elle aussi à Nauman et se situe clairement dans l’envie. Entre envie et désir, Maro Michalakakos, Vanessa Beecroft et Elena Kovylina, les deux dernières dans une exploration quasi scien- tifique aussi de la masculinité, entre art et science. Clairement dans le désir, le travail très important, et depuis toujours, sur le pénis, de Sarah Lucas, qui aura passé des matériaux les plus banaux (canettes de bières, cigarettes), au plus nobles : la sculpture ; dans le désir aussi, le travail de Dana Hoey, photographe de l’étrangeté, qui affirme que le désir féminin est « a great feminist gesture ». Michalea Spiegel et Ornela Vorpsi se situent dans un désir ludique de représentations dé- tournées, alors que Katerina Jebb et Leslie Deere nous surprennent par leurs représentations olfactive et sonore respectivement de la beauté sexuelle masculine. Le flacon de Katerina Jebb, In Spirit, reflète sa perplexité, et la nôtre peut-être aussi : l’artiste n’écrit-elle pas « Oh BEAUTIFUL PENIS, I have never tried so hard to decipher my own feelings about such an honourable and hauntingly perplexing subject ». Katerina JEBB, Pulchra Mentula, steel, plexiglass, crystal flacon and perfume extract,132x 90 x 30 cm, 2012 © The artist, galerie Analix. L’ENVIE Joanna MALINOWSKA Joanna Malinowska, Self-Portrait As Penis Envy, Video, 2 min:15 sec Self-Portrait As Penis Envy, dessins, 2012. © The artist, galerie Analix. Joanna Malinowska, née en 1972, polonaise vivant à New York, aura été l’une des vedettes de la Biennale du Whitney 2012. En 2011, dans l’exposition « New sculpture » de la Saatchi Gallery de Londres, elle présente son désormais célèbre Boli, fait de bois, plâtre, colle, de lam- beaux de l’Ethique de Spinoza et d’un pullover d’Evo Morales obtenu par voie diplomatique et d’un litre d’eau du Détroit de Béring... Ainsi porté, par les mains de l’artiste, à une vie intelligente, le Boli de Malinowska admire une toile de Malevitch. « Je ne crois pas tout à fait que mon Boli puisse changer le monde, dit l’artiste, mais j’aimerais lui laisser le bénéfice du doute.” Un bénéfice qu’elle s’accorde à elle-même aussi, quand elle se décrit non sans ironie comme un « oiseau rare » à New York avec son étrange accent polonais et sa manière politiquement incorrecte de revisiter les mythes et les réalités américains. Malinowska se considère volontiers comme une anthropologue culturelle. Culture de l’art, de la musique, des peuples et des œuvres en voie de dis- parition. L’artiste explore le monde, les cultures, et la culture de l’art jusque dans les prisons : elle met ainsi à disposition de Leonard Pelletier, prison- nier et peintre, « ses » pages du catalogue de la Biennale du Whitney. S’inspirant constamment des « maîtres », de Duchamp à Glenn Gould, de Meret Oppenheim à Bas Jan Ader, elle « s’accorde à elle-même “le droit de jouer“ et d’exploiter sans remords tous les contrastes et toutes les rencon- tres. » (Ami Barak). La rencontre, pour BEAUTIFUL PENIS, aura lieu avec Bruce Nauman, lequel, en 1966, réalise l’Autoportrait en fontaine en hommage et réfé- rence à l’Urinoir de Duchamp. Nauman choisit de dépasser le « ready- made » en supprimant l’objet : l’énonciation et la réalisation des actes suf- fissent à nommer et à produire l’œuvre. En 2012, Malinowska réalise son propre autoportrait en fontaine (Self portrait as penis envy) en hommage et référence à celui de Nauman, toujours dans cette dynamique de réap- propriation de tous les systèmes possibles. Une référence qui se situe dans la droite ligne des travaux récents de Malinowska, tel l’hommage à Beuys rendu au Whitney en faisant hurler les visiteurs comme des coyotes. « Je voudrais continuer à jouer avec les idées freudiennes de l’envie du pénis et les symboles phalliques » déclare l’artiste. « Alors que l’autoportrait de Bruce Nauman est une photographie et montre son visage de face, ma ver- sion sera une image en mouvement montrant “un tir de liquide“ sortant de ma bouche, un tir qui formera un arc de cercle très agréable à voir. Et j’utiliserai mon chapeau de cow-boy comme un signe – un signe de mas- culinité et de “naumanisme“. » Sabine PIGALLE Sabine PIGALLE, Clown Penis, Tirage lambda Cprint, 60 x 60 cm, 2012. édition de 3 + 1EA © The artist, galerie Analix Sabine Pigalle, née 1963, à Rouen, vit et travaille à Paris. Elle expose ré- gulièrement, depuis 2002, en France et en Europe, au Japon, en Chine. Elle débute dans le milieu de la mode et collabore notamment avec Helmut Newton. Elle se consacre ensuite à la photographie plasticienne. Sa cu- riosité l’amène à investiguer de nombreuses cultures dont elle transpose ensuite les références dans un monde épuré. En 2007, elle réalise une sé- rie intitulée Paris-Tokyo, née d’une collaboration avec l’architecte et scé- nographe Japonais Leiko Oshima. Chaque photographie a été reproduite à l’échelle humaine sur un support translucide puis encastrée dans une table basse en acier éclairé qui présente des découpes latérales de poèmes japonais. Ce lien avec les mots, se retrouve dans sa série Toxi-Food (prix du jury Ladurée pour le livre, Editions Intervalles), série qui fonctionne sur un principe d’association d’idées (texte/image) ces images illustrent les traits négatifs de la personnalité à l’aide de recettes mises en regard d’images- icônes fonctionnant comme des pictogrammes. Sabine Pigalle est également familière de l’imagerie religieuse, qui se re- trouvera dans la frontalité des personnages de la série Protectors (2010). L’artiste réalise 42 portraits archétypiques de saints protecteurs de métiers, représentés avec leurs accessoires. Elle évoque aussi la pérennité des mythes et l’imbrication du monde profane et superstitieux dans les représentations du sacré. Dans Ecce Homo, l’image religieuse de la crucifixion est féminisé – perverti, donc... Une transposition qui vide l’image de son sens initial et nous renvoie à notre impuissance face à la mort. Pour BEAUTIFUL PENIS, Sabine Pigalle présente Clown Penis (2012). Pour Pigalle, le titre fait référence au satyre mythologique hybride, mi-homme mi-cheval, lubrique et libidineux. Dans cette œuvre qui fait partie d’une série qu’elle consacre à une acrobate androgyne, elle investigue la « sé- mantique des deux états », homme-femme, clown drôle-clown triste, pé- nis-phallus, horizontal-tumescent, séduisant-vénéneux… et on ne peut s’empêcher, en regardant Clown Penis, de revoir les clowns de Bruce Nau- man, qui aura abondamment représenté cette sémantique du double état, « tumescence – détumescence », symbole ancestral de la vie et de la mort. « Mes photographies, dit l’artiste, fonctionnent comme des allégories et on pourrait dire que si je fais du portrait, ce serait plutôt du portrait de genre, car le modèle est investi d’un rôle : il n’est pas forcément photographié pour ce qu’il “est“ vraiment, ni capturé dans la cristallisation d’un moment – mais il symbolise. » Tracey EMIN Tracey EMIN, TOO BIG, Appliquéd and emboidered calico, 38 9/16 x 33 11/16 in. (98 x 85.5 cm), 2001 © The artist, Courtesy White Cube Tracey Emin, artiste britannique née en 1963 à Croydon, a étudié la mode au Medway College of Design, la gravure au Maidstone College of Art et la peinture au Royal College of Art et explorera de nombreuses formes d’expressions, du dessin à la couture, de la vidéo au néon, de la peinture à l’écriture. Elle fait partie depuis 1993 du groupe des Young British Artist. En 2007, elle est nommée « Académicien royal » et la même année, elle représente la Grande-Bretagne à la Biennale de Venise. En 2011, la Hay- ward Gallery de Londres lui consacre une grande exposition rétrospective intitulée « Love is what you want ». En 1990, Emin abandonne pour un temps l’idée d’être artiste et détruit la quasi totalité de ses peintures.
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