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Les photographies de Claude Cahun (1894-1954), aujourd’hui l’objet d’un véritable engouement, sont restées quasiment inconnues jusqu’au début des années 80. Sa vie, son œuvre (littéraire et artistique) font de Claude Cahun un être d’exception, en marge par rapport aux ordres dominants (sexuels, sociaux…), à une époque d’exploration avant-gardiste intense et de bouleversement des mœurs – notamment en ce qui concerne l’émancipation des femmes. Parmi toutes les œuvres de Claude Cahun, qui a commencé à pratiquer la photographie à l’âge de quinze ans, ce sont sans doute ses autoportraits qui ont suscité le plus d’intérêt. L’artiste se sert de sa propre image pour démonter un à un les clichés associés à l’identité. Claude Cahun s’est réinventée à travers la photographie (comme à travers l’écriture), en posant pour l’objectif avec un sens aigu de la performance, habillée en femme, en homme, cheveux longs ou crâne rasé (chose des plus incongrues pour une femme de l’époque. L’exposition (140 œuvres environ et divers documents) et l’ouvrage qui l’accompagne proposent plusieurs axes de lecture qui vont de ses autoportraits évoquant une identité subversive jusqu’à ses métaphores érotiques ou ses incursions dans le champ politique.

Photographers --- Photography, Artistic --- Portrait photography --- Surrealism --- Photographes --- Photographie artistique --- Portrait (Photographie) --- Surréalisme --- Catalogs --- Exhibitions --- Catalogues --- Expositions --- Cahun, Claude, --- surrealisme --- fotografie --- Cahun, Claude --- 20ste eeuw --- Photographie --- Surréalisme --- Exhibitions. --- Photography, Artistic - Catalogs --- Portrait photography - Exhibitions --- Surrealism - France - Exhibitions --- Cahun, Claude, 1894-1954 --- Cahun, Claude, - 1894-1954 - Exhibitions --- Cahun, Claude, - 1894-1954 - Self-portraits - Exhibitions --- surrealisme. --- Cahun, Claude. --- 20ste eeuw. --- Cahun, Claude, - 1894-1954 --- ondertekening. --- schilderkunst. --- techniek.

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Claude Cahun and Gillian Wearing came from different backgrounds and were living in different times - about a century apart. Cahun, along with her contemporaries André Breton and Man Ray, belonged to the French Surrealist movement although her work was rarely exhibited during her lifetime. Together with her female partner, the artist and stage designer Marcel Moore, Cahun was imprisoned in German-occupied Jersey during the Second World War as a result of her role in the French Resistance. Wearing trained at Goldsmiths and became part of the Young British Artist movement, winning the Turner Prize in 1997. She has exhibited extensively in the UK, including at the Whitechapel Gallery, and overseas, most recently at the IVAM in Valencia. Despite their different backgrounds, obvious parallels can be drawn between the artists : they share a fascination with identity and gender, which is played out through performance, and both use masquerade and backdrops to create elaborate mis-en-scène. Wearing has referenced Cahun overtly in the past: Me as Cahun Holding a Mask on My Face is a reconstruction of Cahun's self-portrait of 1927, and forms the starting point of this exhibition. In this book, Sarah Howgate, who has worked closely with Wearing, examines the self­-portrait work of both artists, investigating how the cultural, historical, political and personal context affects their interpretation of similar themes. The book includes reproductions of over 100 key works, presented in thematic sections including Artistic Evolution, Performance, Masquerade and Momento Mori, accompanied by a commentary. The last section features new work s by Wearing: a 'collaboration' (of sorts) with Cahun. The book also includes a revealing interview with Wearing by Howgate and an illuminating essay on Cahun by writer and curator Dawn Ades. "This beautifully illustrated book draws together for the first time the work of French artist and writer Claude Cahun (1894-1954) and British contemporary artist Gillian Wearing (b. 1963) Although they were born almost a century apart, their work shares similar themes - gender, identity, masquerade, and performance. In 2015, Sarah Howgate traveled with Wearing to the island of Jersey, in the English Channel, where Cahun lived and worked until her death, and where her archive is housed, In examining Cahun's photographs, Wearing was struck by the remarkable parallels with her own explorations of the self-image through photography. Cahun was a contemporary of André Breton and Man Ray, but her work was rarely exhibited during her lifetime. Wearing, who has exhibited extensively and is a recipient of Britain's prestigious Turner Prize, was no stranger to Cahun's work when she made the trip to Jersey -- her 2012 self-portrait, 'Me as Cahun holding a mask of my face', is a reconstruction of Cahun's iconic 'Self-portrait' made in 1927. In this book, Howgate examines the work of both artists, investigating how their cultural, historical, political, and personal contexts have affected their interpretations of similar themes."

kunst --- twintigste eeuw --- eenentwintigste eeuw --- 77.071 CAHUN --- 7.071 CAHUN --- 77.071 WEARING --- 7.071 WEARING --- portretfotografie --- portret --- surrealisme --- lichamelijkheid --- gender studies --- performances --- identiteit --- Frankrijk --- fotografie --- Wearing Gillian --- Cahun Claude --- Groot-Brittannië --- Exhibitions --- performance art --- self-portraits --- identity --- photographs --- life masks --- masks [costume] --- Photography --- Art --- Wearing, Gillian --- Cahun, Claude --- Art and Design. --- Art, British --- Art, British. --- Art, French --- Art, French. --- Art, Modern --- Art, Modern. --- Influence (Literary, artistic, etc.). --- Photography. --- Selbstbildnis. --- Self-portraits --- Self-portraits. --- Cahun, Claude, --- Wearing, Gillian, --- Influence. --- 1900-2099. --- Great Britain. --- 761.2 fotografen afzonderlijk --- sexualiteit --- cultuurgeschiedenis --- gender --- transsexualiteit (transseksualiteit) --- androgynie --- seksualiteit --- Performance --- Masque --- Cahun, Claude, 1894-1954