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Cahn, Miriam

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Cahn, Miriam

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Cahn, Miriam

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L'artiste suisse Miriam Cahn aborde des thèmes politiques et sociaux dans des peintures à l'huile, des dessins au fusain, à la craie, en couleur et au crayon, des photographies, des films et des installations. Ses œuvres se caractérisent par des couleurs vives qui forment de forts contrastes avec les motifs récurrents de la violence, de la tendresse, de la guerre, de la dévastation et de l'intégrité physique. Commenter sa propre création par écrit est le fil rouge du parcours artistique de Cahn. Elle examine ses propres travaux, commente l'actualité artistique et mondiale et confronte ses textes à ses œuvres dans des expositions et des publications. ÉCRITS DE COLÈRE réunit pour la première fois ces textes, notes de journal et échanges de lettres avec des amis, des adversaires, des membres de la famille et des galeristes dans un recueil de textes uniquement. Le livre donne un aperçu très personnel de la vie de Miriam Cahn, de sa famille et du monde de l'art, et fait découvrir au lecteur un esprit contestataire et indépendant.

Cahn, Miriam,

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To coincide with her seventieth birthday in the summer of 2019, Miriam Cahn is presenting her first major institutional solo exhibition in Austria at Kunsthaus Bregenz.

Her paintings are as oppressive as they are engaging. In pastels or charcoal, Cahn frequently depicts figures that fill the frame within empty, barely defined surroundings. The faces are shadowy reduced, eyes and mouths merely schematic. The bodies, mostly naked, appear lost and ghostlike, as if illuminated by fluorescent light. They are rarely active and when they are, it involves disturbingly simplified, sometimes violent gestures. Loneliness, sexuality, love, violence, and destruction are her subject matter. Cahn is influenced by the performance art of the 1970s, feminist art, and the peace movement. Her figures call for mute identification, sympathy, and a heightened awareness. Sometimes the mountainous landscape of the Upper Engadine is depicted by rugged horizons, overpowering and sublime, and yet, their lines still seem to allude to the human.

Miriam Cahn is not shy of the subject of sexuality. She bases her art on the profane, entering into a dialogue of opposing equivalents with the seemingly sacral architecture of Kunsthaus Bregenz. Although both architect Peter Zumthor and the artist were born near Basel, they have never met in person – to accompany the Bregenz exhibition, a public conversation will be taking place between them for the first time.

Painting --- sexuality --- feminism --- Cahn, Miriam