SUMMARY /
UPPER CASE refers to several works,
lower case letters refer to a single work
A / Absence - A.I. - AMBITION - ART B / Bovary C / Chance - Confidences D / Danse - DEATH E / ECLIPSES - ENJOYMENT F / Faun - Fear G / Gluttony - Goya H / Holidays I / J / K / L / M / MANET - Melancolia - METOO N / NIGHT O / Odyssey - Orgasms - Origin P / PABLO NERUDA - Posture Imposture Q / Questions R / Rebellion - Rendez vous - RESENTMENT - Félicien Rops S / SEDUCTION - SHADOWS - Singularity - SUPERPOSITION - Surprise T / TIME - TRAVEL U / Unanimity V / Vanity W / WAR / Waterloo X / X Anonymus Y / Z / PROJECTS / MANET / A TRIBUTE TO ROPS
A / Absence
Flee for fear of being saved
Séroux
1 painting / 2020
Ghabor Collection
3 photographs
Alex Svi
1 question
Arles 2016
The question is a tribute to Nan Goldin, whose immense body of work is inseparable from her life. She constantly evolves and renews herself in a variety of environments that nourish her creativity. Her photos do more than document an era: there is more to it than the issues of drugs, prostitution, the gay and lesbian movement, domestic violence and the AIDS crisis in which many of her friends disappeared. Above all, there is life.
The painting echoes three photographs
from the ‘Out of the night’ series
from the Ghabor Collection.
context
The current painting, created in 2020, is an extension of a 2002 painting based on a Versace retrospective presented in London that year.
Press
Versace at the V&A is the largest exhibition devoted to a single designer ever staged by the museum, which houses a world-class collection of clothes spanning 400 years. The exhibition, which opens to the public on Thursday, has been curated by Claire Wilcox, the museum's leading authority on 20th century fashion. ‘Versace at the V&A’, Victoria & Albert Museum - London.
the question
Alex Svi's question was posed in 2016 at the Rencontres photographiques d'Arles in France.
to go further
The painting can be linked to the more general theme of confinement, the attempt to escape, the impossible otherness towards others that other paintings also evoke.
It expresses a tense superimposition between an obvious attraction on the one hand, and a restraint on the other, marked by an imperceptible, impassable pane of glass.