Hyperallegic classe Inextricabilia parmi les 20 meilleures expositions 2017!
Amulette Tomeligi, Musée du Quai Branly, Paris
Le célèbre magazine d’art new-yorkais online «Hyperallergic» (776 000 visiteurs par mois) – recommandé par le New Yorker – salue l’exposition présentée l’été dernier à Paris.
L’exposition de Maison rouge, dont Lucienne Peiry est commissaire, est classée aux côtés d’expositions du Prado à Madrid, de la National Gallery à Londres ou du Mori Art Museum et National Center à Tokyo.
Showing at the Maison rouge in Paris, Inextricabilia. Enchevêtrements magiques (Magic Tangles), has just been classed among the 20 best exhibitions worldwide for the year 2017, by the renowned online New York art review « Hyperallergic » (776,000 visitors a month).
As a presentation by the Maison rouge, it joins the ranks of shows by Madrid’s Prado, London’s National Gallery and the Moro Art Museum and National Center of Tokyo.
« Inextricabilia, enchevêtrements magiques was impressive for its display of visual styles that stressed the compositional imbroglio of entanglement. The show wickedly mixed contemporary art with magical charms, sorcerers’ amulets, witchy spell thingies, and other knotty cultural objects. Included were numerous anonymous creations: a human skull trophy from Borneo, a voodoo Nikisi divination statue from the Congo, an undated Nala charm from Madagascar, and multiple 18th-century French and German reliquaries. One of the most powerful entanglements was a Doton magical amulet from Togo (Lome) that was created before 1832. Even when understanding the art historical context of the contemporary art of Louise Bourgeois and Annette Messager, their work here took on the associative voodoo of anti-modern non-causality. Also effected were mysterious string sculptures by Judith Scott and eccentric pieces by Arthur Bispo do Rosario, Pierrette Bloch, Cathryn Boch, Jules Leclercq, Man Ray, The Philadelphia Wireman, Marc Moret, Michel Nedjar, Virginie Rebetez, and Borbála Remmer. Ending the show was Michel Nedjar’s cunning wall installation of twisted “Dolls” (1998), in which hexing disorder and spell-like savagery jostle each other, vying to preside over an emergence of the grotesque that is typical of the private dream register. »
Joseph Nechvatal (on Hyperallergic.com)
