This most recent work focuses on several forms of links in which speech is absent and leaves room for dialogue between bodies. By isolating socially coded gestures, Anne-Renée explores in a video corpus the notion of collective and intimate behaviour through nonverbal language. By an absence of narration, the artist transports us closer to this relationship to the other, on the edge of this friction in social and intimate sphere. Whether performative in a sporting practice, about love in a kiss, or care of the other, the artist apprehends each gesture in a way that is both frontal and sensitive.
As a counterpoint, Anne-Renée intertwines her videos with large black and white photographic images of flowers and vegetation. With these flash shots taken in the middle of the night, Anne-Renée develops an arbitrary and haphazard look that gives shape to blind images. The flash light reveals a chaotic but strangely familiar nature, isolating flower beds captured during nocturnal wanderings in public gardens. Like the filmed gestures, here the one of the photograph is stripped as deprived of the artist’s gaze by the darkness of the night.
Interested by issues of narrativity in photography, the artist explores the possibilities offered by reconstitution methods, specifically operating in the margins between notions of truth and fiction Weaving referents from various faits divers, art history and investigations notes, Natascha here focuses on the strongly connoted story of Elizabeth Short, also known as the ‘’Black Dahlia’’, who was found murdered in Los Angeles in 1947.
Using archival records of the LAPD (Los Angeles Police Department) and research published by Steve Hodel, a private detective, former police investigator and son of the alleged murderer of Elizabeth Short, Natascha has produced a series of photographs offering a subjective look at the different locations where witnesses reported sightings of the young woman during the week she went missing prior to being found dead. Over sixty years later, not only this visual and descriptive reconstitution traces back the victim’s path, it also reveals an anachronistic superimposition of these places at different times to produce a narrative tainted by history.
Natascha’s aim is twofold. Through this body of work, the artist questions the veracity of the statements made in several newspaper articles of the time, suggesting that by attempting to manipulate the information regarding the victim, many media sources have indirectly legitimized the young woman’s murder, making it almost comprehensible to the public. The artist uses forensic aesthetics that can be a surprisingly effective tool, for it serves both as an approachable way for the general public to pry open the often hermetic shell of contemporary art, and as a viable critical model for understanding art that relies on clues, obscurities, and residue. It enables the viewer to be involved in the reconstruction of a history, a scene, a speculative action or event which is excluded from “the visible”.
Russian-born, the sparkling Canadian Olga is now living in Havana. The Cuban influence clearly transpires in this new series, now showing at our gallery space, combining photography, sculpture and video. She offers a fresh look on human nature, set like a burst of laughter in the middle of a disaster.
At once absurd and sensitive, the photographs of this current body of work feature sculptural installations created by the artist. Composed of an accumulation of heterogeneous and colored objects, they seem to hold in balance by miracle. Magnificent reflections of the absurdity of the human condition, these new works further the artist's reflection on the notions of resilience, strength and fragility. Happy representations of the notion of imbalance, these installations embody the tipping point, the danger, and reversal potential of our condition.