PEPO MORENO: DIMONI
Queer art history has mixed cross-cultural roots from the death penalty abolishment in the UK in 1861, the Stonewall Riots of 1969 in the US or anthological Margaret Thatcher’s Section 28 until the real-time LGBTQ establishment, exploring relationships between sexualities and gender identities in the new era of anthropology. Over the last decades, art historians have examined the visual codes of Andy Warhol, Jasper Johns, Francis Bacon, David Hockney, Robert Mapplethorpe or Catherine Opie to manifest queerness. The genealogy of queer art explores the expanse of cultural practices of non-normative sexualities as a marginalized subjectivity.
Pepo Moreno (born in 1985, Tortosa, Spain) creates roughly an art brut iconography of demons, a self-identification inner disorder or a magnitude of dissonance between the good the bad. An early 1970s gay liberation slogan proclaims «I am your worst fear, I am your best fantasy», offering new culture clash models rather a simple inventory of sexual practices. It gives an epistemological implication to the space between the fear and the fantasy.
Overpainting porn magazines posters, Pepo Moreno’s referencing the criminalization and censorship of homoerotic desire as well as its grotesque persistence towards such stipulations. In some cases, he imposes a canvas with a devil portrait, the male figure with a deranged, half-childish, half-monstrous face over the poster figure genitals. In this connotation, Francis Bacon and Christopher Wood have been already inspired by wrestlers photographs to hint the queer intimacy, yet, Pepo Moreno’s straight canonizing the homoerotic ambiguity in a naive, awkward way.
Devil’s catharsis metabolizes the self-identification, gender dysphoria as well as cisgender inner issues. The title of the exhibition comes from Catalonian dimoni, emphasizing artist’s origins. Previously a fashion and beauty business insider, he used to live in «poor but sexy Berlin » where he gained the firsthand experience on how broad the spectrum of queerness could really be.
The biggest part of Pepo Moreno’s Dimoni series has been done during the lockdown and self-isolation period.
Group show by Eastern-European female artists
AFFF COLLECTIVE APO BROCHE EKATERINA BURLYGA OLYA KROYTOR KATYA ISAEVA KETA GAVASHELI JULIA TATARCHENKO
As the title proposes, the exhibition Bon Voyage focuses on the current situation regarding the impossibility of travelling. Metaphorically the artworks are serving a substitute of a personal meeting, they create a dialogue and a possibility to be in touch with artists of different regions and origins – all female, from the so-called Eastern Europe block.
One of the functions of art is to deliver a message, especially in the most difficult (and interesting) times. The works on show are by female artists from Russia, Georgia and Ukraine and deal with the idea of travelling and exploring new horizons, sometimes without leaving one spot and going inside oneself instead of outside.
So, Olya Kroytor’s work The Fulcrum is a performance where the artist is not moving from a high post for the dura- tion of two hours. The work is a symbolic but at the same time physical attempt to find the support in reality, where two basic values are changing; a controversial merging of the feeling of flight and fear of fall results in both personal greatness and total solitude. Limitation and physical borders are guiding us through the exhibition reflecting the circumstances that we are in.
SO LONG THE PATH
Katya works intensely to create her own fantasy and pseudo-scientific reality through installations, sculpture, painting and computer graphics. Her vision of the world is characterized by female empathy, deep sympathy for the planet and a focus on environmental issues.
She has the potential to become one of the new heroines of post-cyber feminism. Computer literate girls who, through the aesthetic of a plastic barbie house and elven princesses armed with swords, fight for the important role of sensual post-internet art.
Emue par la crise économique et sociale actuellement traversée par le Liban, la créatrice de la marque Momma’s Blues Hala Moawad organise l’exposition-vente caritative ‘Tombola pour le Liban’ au profit de l’association Beit El Baraka, qui aide les personnes âgées en situation précaire à Beyrouth et ses alentours.
Filip-Andreas Skrapic, Ilya Fedotov-Fedorov, Jean Arp
I AM A MERMAID
“Reality is a negotiated version of reality, where both the researcher and the participants bring their experiences to the negotiated reality” P.
Performance art is generally experienced live, but what documents it and ensures its enduring life is, above all, photography.
Alice Rosati’s performance is staged expressly for the camera, in some cases in presence of an audience in others not, with the result of images that are not just recordings of that specific event but also become autonomous work of art.
THE WAY THE MORNING BROKE WAS QUITE UNUSUAL
For his first solo show at Galerie Charraudeau ‘The way the morning broke was quite unusual’ Belgian artist Ruben Boeren worked around the central theme of transformation and the impermanence of matter.
Combined with a selection of works from his previous show ‘Arcane Rumble’, he continues the narrative he is spinning around a particular experience which happened one morning during the summer of 2018. This experience generated new meaning in his art and can be felt in his most recent work.
Ruben Boeren (1988) lives and work in Antwerp, Belgium. He studied Painting at the Royal Academy of Fine Arts, followed by a post-graduate in Artistic Research at the Sint-Lucas School of Arts, both in Antwerp.
By placing aspects out of their original context, Antwerp based visual artist Ruben Boeren investigates the balance between medium and image. As such he creates a manipulated presentation through a crossover between analog and digital editing. Its result often generates new layers of meaning, associations and interactions.
Although he started as a painter, an overlap between several aspects of his practice now occurs. Elements start connecting differently to one another which triggers new ‘painterly’interventions or translations and open up the possibilities to the more 3-dimentional and in-situ work.
Both medium and image are constantly reinterpreted, causing a shift in the viewing process, which is characteristic for his visual language and work.
TILL NATURE DO US PART
Ilya Fedotov-Fedorov, Hugo Servanin
Spaced in Lost II
Les formes délaissées d’un futur fantasmé et d’un présent hésitant
Julie Villard & Simon Brossard, Salomé Chatriot, Paul Creange, Antoine Donzeaud, Samuel Fasse, Mathieu Merlet Briand, Filip-Andreas Skrapic, Sabrina Ratte, Maxime Rossi, Jeanne Vicerial
Une proposition d’ Yvannoé Kruger
Pénates natales est une révélation idiomatique de deux artistes ukrainiens Anton Belinskiy et Nikita Sereda qui examinent les perturbations de la conscience sociale entre le break-down soviétique et l’établissement de la nouvelle ère en Ukraine.
If all you told turned to gold …
Si tu m’aimes, fais moi l’amour, si tu m’aimes pas, fous moi la paix
RITES DE PASSAGE
12 DECEMBRE 2018 – 12 JANVIER 2019
SPACED IN LOST
21 JUIN 2018 – 18 JUILLET 2018
18 OCTOBRE 2016 – 17 NOVEMBRE 2016