Marlene Dumas. open-end

Marlene Dumas. open-end : Marlene Dumas, Fingers, 1999, Amsterdam, Photo : Peter Cox    Marlene Dumas. open-end : Marlene Dumas, Green Lips, 1996, In collaboration with Helena Dumas, Photo : Peter Cox    Marlene Dumas. open-end : Marlene Dumas, (from left to right) iPhone, 2018, Courtesy David Zwirner, Alien, 2017, Pinault Collection, Spring, 2017, Private collection. Courtesy David Zwirner, Amazon, 2016,   

The exhibition

Dumas forty years later

A dazzling monographic journey, Open-end ranges from early Polaroid family portraits from 1984 to a small Super 8 film of her sleeping daughter - Lolita-style - from 2022. "Many people believe that depicting sex is the surest way to get attention, but that's not entirely true," she argues. "Not knowing how to respond to the crisis of representation, avant-garde painters have deliberately ignored these subjects and abandoned them to photographers" - like Nan Goldin. Yet painting can never totally renounce eroticism. Painting is the trace of human touch," continues the artist. It is the skin of a surface.

Excerpt from the article by Emmanuel Daydé published in the issue 102 of the magazine Art Absolument, published on July 12, 2022.


27/03/2022 - 08/01/2023
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