Art Press : 2020-04-20

DOSSIER : 54 : 54

DOSSIER

54 dossier Laurent Perez ——— Maria Arendt applies the humble art of embroidery to sometimes monumental historical or scientific themes, on rather large formats (1 to 2 meters long). Among her latest series, one focuses on Soviet architectu­re, the other on fossils, and a third on surgical instrument­s: in short, on motifs and subjects that are a far cry from the supposed intimacy of her medium. Such reappropri­ation takes on forms that can sometimes evoke Naïve art because of the awkward depth and the simplicity of the outlines, or the clumsy framing of vernacular photograph­y.The oeuvre’s complexity resides in the treatment of the embroidery itself: the drawings are often produced in negative, or, following skilful symmetries, sometimes place the original image’s positive and negative side by side; a more or less dense punctuatio­n creates a kind of mist that erases the buildings; materials of various colours alternate, as if for a patchwork. ( presented by Muscovite Iragui gallery, illustrate, in smaller format, four emblematic performanc­es that have taken place on the Red Square since the 1990s – including Piotr Pavlenski’s (undepicted) scrotum nailed to the ground – as well as, curiously, the giant trunk installed by LVMH in 2013. The childish line refers to a long history of vernacular figuration, in particular Paleo-Christian iconograph­y: hence naivety nods to irony. Série « Red Square Chronicles ». 2015. Broderie sur tissu. (Court. de l’artiste). Embroidery on fabric Chroniques de la Place Rouge Red Square Chronicles),

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