The demographic situation in France. Population report Various fields of research increasingly use the European Union Statistics on Income and Living Conditions EU-SILC database because of its large country coverage, the availability of harmonized socioeconomic measures, and the possibility of merging partners. Its measures of the number of children risk being biased, however, because the questionnaire does not directly ask about the number of children ever born to a woman or man, and only those children who live in the parental household are observed.
A Very Old Thing version 1 , , technique mixte, x x cm. A Very Old Thing version 1 , , mixed media, Papou Huli Wigman Pawn , , resin, oil paint, costume and props, Sans titre Les images bulles , , gouache on paper, diptych , each Comme la plupart des peintres abstraits. In both canvases, there is a demonstrative attempt to create compositions in which the light background is made to stand on equal footing with a more elaborate cubist-like arrangement of colourful rectangular forms. Why this obsession with cancelling out a composition?
Instead, what he tried to dramatise was not his ego nor his emotions but the painterly process by which any figure-ground relationship comes into being. He thus exposed, rather than obscured, the origins of the abstract gesture, and he did it in a way that did not resort to existential angst but rather to the most basic, economical means possible, the line of paint applied directly out of the tube.
The elegance and simplicity of these works showed that one could redefine the traditional notion of painting as a window onto a pre-given world and turn towards the idea of painting as a space of inscription and process that the artist performs in the present, in the here and now, with as little artificial melodrama as possible.
The other series represented in the collection is from the magisterial grid series of the s. Here various drawn and painted grids are laid on top of each other like so many sheets of transparent tracing paper. These paintings were produced in the heyday of a certain kind of formalist art criticism. It is not hard to see why. Overleaf, right. Born in in Amiens, lives and works in Paris.
Dilecta, Paris, , p. Their very placelessness makes them slightly foreboding, but also imbues them with an otherworldly sense of possibility. A recorded voice narrates a countdown out of order — 3, 9, 8, 0 — then whoosh, a cannon sounds in the distance, heralding the appearance of an anonymous figure who seems to materialise out of thin air.
It begins to enact what appears to be a slow caricature of various catwalk moves against the soundtrack of an electronic metronome.
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Just as suddenly as this masked apparition appears, it dissolves into thin air. A parade of similarly elusive figures follows.
Another figure strides on stage in a long flowing coat, the intensity of its gait and the way it gesticulates with the lapels of its trench coat is enhanced by the additional layer of voice-over — what sounds like, but is not necessarily, a bookie running numbers. Even more fantastical costumes follow: a white dress that looks like it comes from an Oskar Schlemmer ballet and a black dress covered in pearls.
These characters are all linked by their flamboyant dress, their androgyny — and most markedly by the masks covering their faces. They appear at once magical and menacing. Deprived of a face and context — the parade takes place in a completely empty stage set devoid of any identifying characteristics — the. Delprat has described her artistic practice as an iceberg that contains visible and submerged elements.
Prior to her retreat, painting was the visible aspect of her work.
However, during the fifteen years spent working. I will never finish removing all of these faces. She bends time periods, genres and the limits of taste to craft a conceptual and pictorial universe that is as immersive as it is idiosyncratic: a world in which documentary and fiction collide. Lest the relationships. Abstract marks give way to the hint of a face, a nose, an eye. These shadowy visages seem on the brink of emerging from — or, conversely, being swallowed up by — their backgrounds. In the painting Portrait pourri remix 5, Delprat works with a mottled ground that combines a vivid Pepto Bismol4 pink with shades of grey and white.
A stupefied black mask floats in the middle left quadrant of the composition, untethered from a human body but bound to a spindly set of roots and an unidentifiable organic formation that recalls a patch of grass sprouting a fuzzy cactus. Above its head hovers a cloud-like formation, a perverse thought bubble containing a face roughly rendered from daubs of grey, green, black and white paint. He is encircled by a group of roughly-executed concerned faces. Freely levitating in space, they belong to nobody, and the morose quality of their expressions lends the.
Pepto Bismol is the brand name of bismuth subsalicylate, a common antacid used to treat gastrointestinal distress.
Indeed, Delprat could be considered amongst a lineage of artists who engage with role playing and masquerade in their work, ranging from historical figures like Cahun and Pierre Molinier to contemporary artists like Cindy Sherman. Instead, her dalliance with masks seems to be motivated by other concerns. In her hands, the mask becomes less a gesture towards the variability of identity — a nod towards the many faces we wear and the ease with which we adopt and discard them — and more a game of concealment.
In Greek theatre the mask and the player were essentially indistinguishable, melded into one another. Wearing a mask, the player suspends her identity to become a cipher, allowing another to speak or act through her. The mask is not a simple prop, but contains its own intrinsic qualities that the player.
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Jesi Khadivi is an independent curator, writer and editor based in Berlin. Portrait Pourri, , pigment and acrylic on paper mounted on canvas, Le Souvenir des batailles perdues, , pigment, liant acrylique et paillettes sur toile, x cm. Le Souvenir des batailles perdues, , pigment, acrylic binder and glitter on canvas, Damien Deroubaix peint des univers apocalyptiques. Que sommes-nous? Sa peinture fait du bruit. On the visual level, this applies in relation to the artwork, but also regarding a roughness of the hitherto never heard staccato blast beats. Their colour themes and their fundamental tone go perfectly with the deep, guttural singing of grindcore.
Damien Deroubaix paints apocalyptic worlds. The subjects of his collagelike images are nightmarish, obsessive and meaningful.
Strange and gloomy prophecies appear in the image. Contemporary morality, portents and doomsday scenarios full of allusions and interspersed with quotes from the media world, everyday life and pop culture, punk and porn. In alchemy it is a pictorial symbol of a closed process of exchange of matter for the refinement of substances. Totentanz und Terrorizer Dance of Death and Terrorizer is the title of a text by Konrad Bitterli on Damien Deroubaix 2 and thus indicates that aside from art history, grindcore and its subgenres are a central reference system for the.
This is the title of a picture from Where are we from? Damien Deroubaix paints loudly.
And he paints big, too — overwhelming, challenging the viewer. They are practically drawn into his scenes. The subtle, quaint textures and surfaces create universal bridges in the visual memory of art. They relativise the horror shown in the picture and make it obvious that painting is always an action and a reactive reference to that trace there, to that colour here.
This sometimes leads to finely-balanced colour tones, such as a yellow-violet playing the complementary balancing act of the picture entitled Feeble Screams From Forest Unknown Deroubaix once again provides the stage for a traditional personage. It comes from popular culture and art history and has the appearance of a demon, guardian, raging deity, skeleton or skull.
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To this day, the Dance of Death, an iconographic invention of the Middle Ages, has lost none of its power. The universal rule of death is transformed into the closed form of the medieval circle dance, which is an attempt to oppose the meaninglessness and indiscriminateness of the destruction caused by the plague with some kind of structural order. Ellen Blumenstein, in Damien Deroubaix. Galerie Sima, Nuremberg, , p. Monumental Dances of Death can be found in churches, on churchyard walls or the facades of ossuaries — designed for viewing in public spaces.
On the other hand, versions for personal, private viewing handed down in books were also created, including The Dance of Death by Hans Holbein the Younger, from In this work, the German painter and printmaker does not only show how death cares for neither status nor age, but how it suddenly enters the lustful heart of earthly life. Consequently, Holbein portrayed in detail the round dance performed in pairs and chose, for the first time, the form of a cycle of self-contained individual images.
These thirty-three depictions in descending order of magnitude impressed Damien Deroubaix and motivated him to turn his attention to the theme and technique of woodcutting. The theological meaning of the Dance of Death is a premonitory threat of judgement. With the American flag hanging, in the top right of the picture Messiah,.
There she is wrapped around the waist of an avenging goddess, in whose figure the Roman goddess Fortuna and the Greek goddess of retribution, Nemesis, merge, transformed by references to other figures-the many breasts refer to the Greek goddess of fertility, Artemis Ephesia, whose horrordominated face seems to be borrowed from a horror clip. The claw-footed Fury [pushes] out of the picture with full force, against the exhibition visitors. From time to time, Damien Deroubaix extends his painted stage spaces into space-consuming installations.
But even these are always conceived through painting, timelessly making universal references to the image arsenals of this world, and reminding us of the excessiveness and the depths of human existence. He was previously the first director of the Kunsthaus Baselland in Muttenz, near Basel, which was founded in Messiah, , oil on mounted canvas, Hohle, , woodcut, ink and ram skull, T, , watercolour, acrylic, ink and collage on paper, Feeble Screams From Forest Unknown, , oil on mounted canvas, Il y a des actions et des incertitudes.