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Histoires simples
Léopold Mottet 1 students
107 Féronstrée
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Qu’est-ce-qui se trame ici ?
Centre André Baillon
1 Féronstrée
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Night Walk
Maria Chiara Ziosi
85 Rue de la Cathédrale
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Thy Cities Shall With Commerce Shine — Part II
Hattie Wade
35 Rue Souverain Pont
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La Maison Panure – Fève des rois
JJ von Panure
21 Pont d'Île
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MANTERO
Santiago Vélez
4 Rue de la Cathédrale
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Mobile Écriture Automatique
Philippe José Tonnard
109 Rue de la Cathédrale
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ST END
Pablo Perez
10 Rue Nagelmackers
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ALREADYMADE n° 3 : Empty Cart or Cardboard Cybertruck
M.Eugène Pereira Tamayo
18 Rue de l'Etuve
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Centre de remise en forme (économie de guerre)
Werner Moron
7 Rue de l'Official (Îlot Saint-Michel)
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Sun(set)(Seed)
Matthieu Michaut
56 Rue Saint-Gilles
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precarity of non-human entities
Gérard Meurant
98 Rue de la Cathédrale
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S’aligne, l’inconnue sans lecture
Julia Kremer
40 Rue Hors-Château
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Autumn Collages
Ívar Glói Gunnarsson Breiðfjörð
30 Rue de la Cathédrale
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Rōt Rot Rôt
Janina Fritz
28 Rue des Carmes
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Pierre ventilée
Daniel Dutrieux
14 Rue de la Populaire (Îlot Saint-Michel)
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Peephole
Jacques Di Piazza
31a Rue de la Cathédrale
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Room Eater
Jorge de la Cruz
5 Rue Saint-Michel (Îlot Saint-Michel)
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Behind the Curtain
Francesca Comune
31b Rue de la Cathédrale
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COMMENT
Kim Bradford
16 Rue du Palais
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Pedro Camejo (série Diaspora)
Omar Victor Diop
25 Rue Saint Paul
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L’impasse de la vignette, dans le temps et dans l’espace
Michel Bart and Mathias Vancoppenolle
75 Rue Hors-Château
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Opéra-savon, épisode 1 : L’ Aquarium-Museum
Clara Agnus
20 Rue de la Sirène
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LOVE LETTERS
#6
Dora Jeridi
Curator : Sophie Delhasse
1335 Rue Chéravoie
Love Letters is the title of the collection of paintings created by Dora Jeridi in 2018. A constellation of picture framed scenes whose unity is performed in a minimal and dark palette that multiplies the motif of the body, the nudity and the desire. A fragmented self-portrait that suggests as much as it shows, at the volatile boundary between figuration and abstraction. The artist’s painting reveals a gestural and urging quickness, transforming in certain canvas the figure itself. She transforms it and gives it a psychological carnal thickness, a texture. Created in the intimacy of a romantic/erotic exchange on Messenger, unlike the instantaneousness of the messages, Dora Jeridi shifts the painting into the sphere of fantasy and confers as much evocative power to the represented scenes as the off-screens that will remain inaccessible.
The sensual and intimate beat that emerges from the collection places the artwork into the sensitive world, presenting « the body of the artist as it is in reality : incarnate, desiring, in turns potentially submissive and dominant, unstable »*. The artwork foils the stereotype of the passive sexualization of the female body or the muse revealing « the possibility for nude to be a powerful and active figure »**. Is it an act of emancipation or violation in a society where a presumed sexual liberation seems to have led us to a market of disembodied pleasure ? Dora Jeridi’s collection Love Letters reveals the poetic power of desire and its carnal embodiment.
* ALFONSI, Isabelle, Pour une esthétique de l’émancipation. Construire les lignées d’un art Queer, Paris, Éditions B42, 2019, p. 66.
** Ibid.