To illustrate this animal instinct that the artist wishes to put forward in this project, the exhibition closes with Trifle II, 2013. This work is composed of a woman mounted against the wall. She wears a garment of fur and intestinal linings to reference our tribal ancestors. A pod sits atop of her head, like a tumorous growth that plagues our society. This sculptural installation is worn by the woman as she sits for hours in front the audience. Like in all her actions, Cristin Richard has developed a very elaborate plastic language: indeed the precise codification of the body’s movement trains as a whole beam of references and signs. Through this performance, the artist opens up the intimacy of her work to the viewer, which puts him in this form of correspondence described by Michel Foucault “It is a matter of coincidentally summoning the gaze of the other and that which one trains on oneself “(2). When the viewer is faced with a human being within the sculpture in front of him, he immediately identifies with it. He feels intrigued and uncomfortable. He moves from contemplation to observation therefore wondering what he sees, trying to analyze and understand the universe in which he is involved in.
(1) Jean Baudrillard “La société de Consommation”, Idées Gallimard 1970 (2) Michel Foucault ‘L’écriture de soi” Revue Corp écrit, no 5: L’autoportrait, février 1983, pp.3-23
Curated by Kenza Amrouk
« It is YOU I am addressing because you are the ‘unit’ of my work l’AUTRE » Gina Pane – Letter to a stranger, 1974
Performance in Detroit….
I was invited to present « Trifle II» 2013, within the same room of which a four course meal was served to Detroit area patrons and designers. Being that the piece criticizes consumption, I find it quite humorous to have had it installed amongst people who not only consume, but are also surrounded by the finest things on a daily basis. It was also interesting and constructive to observe the Detroit audience and compare it with the one from Reykjavik. Icelandic viewers were more involved with the piece, they seemed intrigued about the choice of materials and the imagery used. American viewers appeared to be more preoccupied with the performer, as if she were their entertainment. Is overconsumption a part of lifestyle influenced by the US citizens? Are Icelanders more sensitive to the questions relative to the overexploitation of natural resources? It is clear that this subject provoked some interesting reactions, which has inspired me to conduct further research on it.