Visit of the exhibit “Hessie, Survival Art”, February 2018 © Archives of Women Artists, Research and Exhibitions
In association with a cultural institution, AWARE organises monthly guided tours by museum curators or art historians to reveal the works of women artists in their collections and exhibitions.
Subject to availability, the tours are free of charge and open to everyone by reservation.
The reservations open on the 1st of the month for each visit.
Visit of the exhibition « Hélène Delprat I Did It My Way », with Émilie Bouvard, cultural heritage curator, art historian and author of the catalogue
Hélène Delprat has imagined an exhibition specifically for the Foundation, titled I did it my way. Dark films and mirrors, vast paintings with hilarious titles, cinema voices, radiophonic drawings, birds’ heads, photocopies, Louis XIV, Georges Franju’s Judex and the curious rite of the tonsure… here’s what we can expect from this ‘lugubrious game’, one that is both serious and funny. Hélène Delprat likes nothing more than to play around with L’Extension du Pire, the monstrous ugliness or beauty of things, Macbeth’s witches, actors, the ridiculousness in each of us, laughter…
Visit of the exhibit of the works by Diana Quinby and Marie-Pierre Brunel, with Alain Cardenas-Castro, Sciences and Contemporary Art Mediator
Remarkable space in the Musée de l’Homme, the Yvonne Oddon research library, named after the historical librarian of the museum and member of the resistance, gathers significant documentary resources on prehistory, biological anthropology, human ecology and ethno-biology. Two female visual artists, Diana Quinby and Marie-Pierre Brunel, whose practices are linked respectively to anthropology and prehistory, are presenting a selection of artworks in the lecture room.
Visit of the exhibition « Women House », with Lucia Pesapane, co-curator of the exhibition
Women House is the meeting of two notions: a gender – the female – and a space – the domestic one. Architecture and public space have been masculine while the domestic space was for a long time the prison or the shelter of women: this historical evidence is nevertheless not a fatality and the exhibition Women House shows this. On a 1000 Sq m. floor area and in some of Monnaie de Paris’ courtyards, it brings together 40 female artists of the 20th and 21st centuries who take up this complex subject and place women at the centre of a history of which they were absent.
Visit of the exhibition « Nalini Malani. The Rebellion of the dead. Retrospective 1969-2018 » with Sophie Duplaix, head curator of contemporary colections at musée national d’Art moderne and curator of the exhibition
In a unique collaboration with Castello di Rivoli, the first retrospective in France of the Indian artist titled Nalini Malani. The Rebellion of the dead. Retrospective 1969-2018 covers fifty years of creativity, presenting works including her latest painting series All We Imagine as Light and the site responsive Wall drawing/Erasure Performance Traces. Apprehending Nalini Malani’s work from both a non-chronological and a thematic angle, the exhibition tackles the various concepts underlying her oeuvre: utopia, dystopia, her vision of India and of the role of women in the world.
Visit of the ateliers Chana Orloff, with Éric Justman, architect and grand-son of the artist
The studio-house of Chana Orloff, where she lived from 1926 until her death in 1968, was designed by the modernist architect Auguste Perret, commissioned by the Ukrainian sculptress. It is quite extraordinary to note that its functions haven’t changed since then. Thanks to the effort of her rightholders, The ateliers Chana Orloff are now devoted to the presentation and preservation of her numerous artworks. Shana Orloff, who had been celebrated and making a living from her art since the mid-1910s, is a leading figure of modern sculpture to (re)discover.
Visit of the exhibition “Hessie, Survival Art” at the Abattoirs – FRAC Occitanie in Toulouse with Sonia Recasens, co-curator of the exhibition
In the frame of the evening Hommage à Hessie, Survival Art, organised by the museum, followed at 6.30 pm by a lecture by the artist Pélagie Gbaguidi, and a conversation between the artists Pélagie Gbaguidi, Perrine Lacroix and the curators Sonia Recasens et Annabelle Ténèze
The Abattoirs in Toulouse, in collaboration with the MUSAC in León (Spain), organises the first important exhibition in a French museum of the marginal figure on the art scene Hessie. The exhibition sheds light on the plurality and complexity of her work. Since the end of the sixties, Hessie had been appropriating the techniques of embroidery, and developing a singular oeuvre with a rigorous, abstract and subversive artistic language, resonating with artistic movements such as minimalism or soft art, as well as with the French women’s movement.
Visit of the exhibition of the AWARE prize for women artists 2018, at the Hôtel de Soubise – musée des Archives nationales
AWARE organises at the National Archives, in the Hôtel de Soubise, the exhibition of the AWARE prize for women artists 2018, presenting the four established artists and the four emerging artists entered in the prize. The artists’ duos: Marianne Mispelaëre and Tania Mouraud, Mélanie Matranga and Nil Yalter, Julie Béna and Nicola L., Violaine Lochu and Vera Molnár dialogue with the exceptional rocaille decor conceived by Germain Boffrand at the appartement de la Princesse.
Visit of the exhibition “Susan Meiselas. Méditation” by Pia Viewing, co-curator of the exhibition
The visit is preceded at 3.30 pm by the screening of Pictures for a revolution (90’), at the auditorium of the Jeu de Paume,
The retrospective devoted to the American photographer Susan Meiselas (b. 1948, Baltimore) brings together a selection of works from the 1970s to the present day. A member of Magnum Photos since 1976, Susan Meiselas questions documentary practice. She became known through her work in conflict zones of Central America in the 1970s and 1980s in particular due to the strength of her colour photographs. Covering many subjects and countries, from war to human rights issues and from cultural identity to the sex industry, Meiselas uses photography, film, video and sometimes archive material, as she relentlessly explores and develops narratives integrating the participation of her subjects in her works. The exhibition highlights Susan Meiselas’ unique personal as well as geopolitical approach, showing how she moves through time and conflict and how she constantly questions the photographic process and her role as witness.