Vol rasant à Playtime – Ad Minoliti – Edel Assanti gallery

La pièce Vol Rasant-kimono printemps a été invitée à faire partie de l’exposition Playtime de Ad Minoliti à Edel Assanti Gallery.

Vol Rasant-kimono printemps a son origine dans une autre œuvre, Vol rasant , un rouleau peint sur papier de 45cm de hauteur et 1300cm de longueur.

Ce format implique une narration oral implicite. L’image n’est pas observable d’un seul coup d’oeil, et il est nécessaire un temps de lecture (le temps de le dérouler, de le « lire ») pour la dévoiler dans sa totalité.

Une des manières d’effectuer cette lecture est le passage par différents formats, par exemple ce kimono.

Les kimonos se composent à partir de laies d’une même largeur, et se construisent par pliages sans coupes dans cette même pièce.

Avec les images du rouleau peint, j’ai composé quatre kimonos, réversibles, qui correspondent aux quatre saisons.

 

Ad Minoliti, Playtime,  Edel Assanti, 2016

http://www.edelassanti.com/exhibitions/58/overview/

15 March – 23 April 2016

Edel Assanti is pleased to present Ad Minoliti’s first UK exhibition which will include the work of Gaby Cepeda, Faith Holland, Erica Magrey, Graciela Hasper, DV Caputo, UJA (Unión de Jevas Autónomas), Fátima Pecci Carou, Vestite y Andate, María Ibañez Lago and Nicolas Cuello.

The exhibition invites us into a space of dissolution, where parameters distinguishing gender classification, traditional painting, and presentation versus content are destabilized. Minoliti frequently references the domestic setting as a site of gender role assignment in her work. In the Queer Deco Series, the environment of the post-war Californian suburban home is invoked, whilst the heteronormativity prescribed within its framework is simultaneously highlighted and dispensed with.

Minoliti’s work postulates a trans-human utopia, where queer and feminist theories are applied to aesthetic language, design and architecture, continuously invoking the human body both through its insinuated presence and notable absence. Examining imagery from fifties and sixties lifestyle magazines, Minoliti replaces the human inhabitants of these spaces with personified anthropomorphic entites, rendered both digitally and in acrylic paint.

The traditional notions of modern painting and the white cube are destabilized through the integration of work by the artists invited to participate by Minoliti, in the form of textiles, fanzines and video. The works are paired with objects in presentation mechanisms that serve a Modernist utopian agenda: no longer confined to walls, paintings rest on couches and rugs. Furnishings and aesthetic motifs from within the artworks are replicated in their surroundings within the exhibition, via domestic objects or textiles. The works are ultimately pushed beyond the physical space, transferred onto clothes, generated as gifs. At times more or less explicit, Minoliti’s revised modernity reminds us that we are constantly performing gender roles in a space codified for normative sociality.