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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