{"id":358,"date":"2018-07-21T17:58:32","date_gmt":"2018-07-21T15:58:32","guid":{"rendered":"https:\/\/danaepanchaud.net\/?page_id=358"},"modified":"2023-05-21T20:25:22","modified_gmt":"2023-05-21T18:25:22","slug":"lisa-lurati","status":"publish","type":"page","link":"https:\/\/danaepanchaud.net\/index.php\/exhibitions\/lisa-lurati\/","title":{"rendered":"Lisa Lurati: Scherzo. Molto allegro quasi presto"},"content":{"rendered":"\n
\"\"<\/figure>\n\n\n\n

2018<\/strong>
Photoforum Pasquart, Biel<\/strong><\/p>\n\n\n\n

A tiny silhouette, naked against a background of tall acid pink fir trees, the marmorean flesh of an antique bust delicately caressed, the haughty and scrutinising gaze of a pair of male portraits, fingers pointing the pages of a sacred book or pulling at the carcass of a small bird\u2026 Lisa Lurati\u2019s universe is populated by solemn characters, absorbed in enigmatic rituals, which the camera barely captures. Her images are as many fragments of an inaccessible world, which the artist collects and offers us, and in which bodies abound, indistinctly made of flesh, marble or paint, all sternly busying themselves with activities equally banal and sibylline. While any fixed meaning eludes these assemblages of images, many motifs remain recognisable and echo each other throughout the exhibition: the bodies of statues mingling with living bodies, lush vegetation, painted face that come to life through the alterations made by the artist.<\/p>\n\n\n\n

Lisa Lurati works from a hybrid visual material, indifferently found or produced by the artist and then constantly mixed, manipulated and transformed to create new images of which multiple versions exist, and which are then assembled in series. Her strong and singular visual language leaves identifiable the different imageries she appropriates, in particular in the exhibition the history of Western art and its emblematic motifs. She belongs to a generation of artists who use photography as the raw material from which they carve a distinctive visual universe, seldom working in separate series with fixed limits. In the exhibition, the diverse origins and textures of the images are underlined by their materiality: framed photographs, images printed on plexiglass and mirrors, or even on fabric overflowing from the wall.<\/p>\n\n\n\n

Scherzo. Molto allegro quasi presto<\/em> \u2013 Italian classical music notation terms for a short, humorous and fast-paced piece \u2013 is the first solo exhibition by Swiss artist Lisa Lurati. It comprises a majority of new works, all of which were produced for the exhibition.<\/p>\n\n\n\n

Une minuscule silhouette nue devant des sapins d\u2019un rose acide, un buste \u00e0 la chair marmor\u00e9enne d\u00e9licatement caress\u00e9, le regard hautain et scrutateur d\u2019une paire de portraits masculins, des doigts pointant les pages d\u2019un livre sacr\u00e9 ou \u00e9cartelant la carcasse d\u2019un oiseau\u2026 L\u2019univers de Lisa Lurati est peupl\u00e9 de personnages solennels, absorb\u00e9s dans des rituels \u00e9nigmatiques et se laissant \u00e0 peine saisir par la cam\u00e9ra. Ses images sont autant de fragments d\u2019un monde inaccessible que l\u2019artiste recueille et nous offre, o\u00f9 les corps abondent, indistinctement faits de chair, de marbre ou de peinture, vaquant avec gravit\u00e9 \u00e0 des activit\u00e9s banales ou sibyllines. Alors que tout sens trop fixe \u00e0 cet assemblage d\u2019images se d\u00e9robe, de nombreux motifs se laissent reconna\u00eetre et se r\u00e9pondent tout au long de l\u2019exposition: corps des statues qui se m\u00ealent aux corps des vivants, v\u00e9g\u00e9tation luxuriante, visages peints qui prennent vie par les alt\u00e9rations apport\u00e9es par l\u2019artiste.<\/span><\/p>\n\n\n\n

Lisa Lurati travaille \u00e0 partir d\u2019un mat\u00e9riel visuel hybride, indiff\u00e9remment trouv\u00e9 ou produit par l\u2019artiste, puis constamment brass\u00e9, manipul\u00e9 et transform\u00e9 pour cr\u00e9er de nouvelles images aux multiples versions, ensuite assembl\u00e9es en s\u00e9ries. Son \u00e9criture visuelle est forte et singuli\u00e8re, mais laisse identifiables les diff\u00e9rentes imageries qu\u2019elle approprie \u2013 en particulier dans cette exposition l\u2019histoire de l\u2019art occidental et ses motifs embl\u00e9matiques. Son travail s\u2019inscrit dans celui d\u2019une g\u00e9n\u00e9ration d\u2019artistes qui utilisent la photographie comme mat\u00e9riau brut, \u00e0 partir duquel ils fa\u00e7onnent un univers visuel particulier, sans n\u00e9cessairement travailler par s\u00e9ries distinctes et aux limites fixes. Dans l\u2019exposition, les provenances et les textures diverses des images sont soulign\u00e9es par un travail sur la mat\u00e9rialit\u00e9 des images: photographies encadr\u00e9es, imprim\u00e9es sur tissu et d\u00e9bordant du mur, ou encore tir\u00e9es sur plexiglas et miroirs.<\/span><\/p>\n\n\n\n

Scherzo. Molto allegro quasi presto<\/em> \u2013 termes italiens de notation de musique classique d\u00e9signant une pi\u00e8ce courte et humoristique, au rythme rapide \u2013 est la premi\u00e8re exposition personnelle de l\u2019artiste suisse Lisa Lurati. Elle comprend une majorit\u00e9 d\u2019\u0153uvres in\u00e9dites, qui ont toutes \u00e9t\u00e9 produites pour l\u2019exposition.<\/span><\/p>\n\n\n\n

\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n

Exhibition views by Lea Kunz<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

2018Photoforum Pasquart, Biel A tiny silhouette, naked against a background of tall acid pink fir trees, the marmorean flesh of an antique bust delicately caressed, the haughty and scrutinising gaze of a pair of male portraits, fingers pointing the pages of a sacred book or pulling at the carcass of a small bird\u2026 Lisa Lurati\u2019s […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":182,"menu_order":7,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-358","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/danaepanchaud.net\/index.php\/wp-json\/wp\/v2\/pages\/358","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/danaepanchaud.net\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/danaepanchaud.net\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/danaepanchaud.net\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/danaepanchaud.net\/index.php\/wp-json\/wp\/v2\/comments?post=358"}],"version-history":[{"count":4,"href":"https:\/\/danaepanchaud.net\/index.php\/wp-json\/wp\/v2\/pages\/358\/revisions"}],"predecessor-version":[{"id":1290,"href":"https:\/\/danaepanchaud.net\/index.php\/wp-json\/wp\/v2\/pages\/358\/revisions\/1290"}],"up":[{"embeddable":true,"href":"https:\/\/danaepanchaud.net\/index.php\/wp-json\/wp\/v2\/pages\/182"}],"wp:attachment":[{"href":"https:\/\/danaepanchaud.net\/index.php\/wp-json\/wp\/v2\/media?parent=358"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}