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Almine Rech

La société des spectacles

Feb 13 — Apr 20, 2024 | Fondation Pernod Ricard, Paris, France

What might be the common denominator between the practices of Farah Atassi and Ulla von Brandenburg, two artists who at first glance have nothing in common?
Perhaps an exaltation, a celebration of the spectacle of forms that a half-drawn curtain presents to us.

In Atassi’s paintings, the curtain is open and yet the dancers are motionless. Time stands still. The curtain does not open onto the show of a choreography but onto a show of forms. A form among forms, the character seems to be no more than one element of an authentic still life. What better than a grid as a backdrop for celebrating form? While the modernist fable has made it the symbol of an anti-narrative choice and of formal purism that rejects meaning and depth, in Farah Atassi’s paintings the grid becomes the podium of lauded formalism. A “theatricality” reinforced by the gaze of these languid dancers, including the presence of the viewer.

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