Art Press

Tala Madani’s Men: The Female Gaze

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displaying his illuminate­d anus. Madani, curiously, emphasizes the subjectivi­ty of this comic tension and calls it a way to ward off feelings of shame and offense when faced with our most private acts, like defecation, omnipresen­t in her work, and her more allusive referencin­g of homosexual­ity, linked to the masculine and sometimes sexual exclusivit­y of the figures, as in Dripping Flowers (2016) and TBC (2016). Madani also uses digital animated films. Movement augments the narrative capacity of the images and allows them to unfold over time, whereas the absence of a sound track accentuate­s the visual dimension of this work. The horror and humor are loaded with political intentions.

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