#prouvost

[postcard-from-the-past]

Painting by Mademoiselle C. Prouvost

French vintage postcard

[detournementsmineurs]

"The Hidden Paintings Grandma Improved - Forward Looking" de Laure Prouvost (2020) à l'exposition “Arts & Préhistoire” du Musée de l'Homme, Paris, février 2023.

[mlosada]

LAURE PROUVOST, 1978

A way to leak, lick, leek, 2015

In reflection we rest, 2020

(alejándose de las narrativas lineales tradicionales y jugando a menudo con malas traducciones intencionadas, desquicia las conexiones esperadas y comunes entre el lenguaje, la imagen y la percepción, abriendo así un espacio al humor y a la imaginación del espectador)

Premio turner 2013

Bienal de venecia 2019

[martalosada]

LAURE PROUVOST, FRANCIA, 1978

Premio turner 2013

Bienal de venecia 2019

A way to leak, lick, leek, 2015

In reflection we rest, 2020

(alejándose de las narrativas lineales tradicionales y jugando a menudo con malas traducciones intencionadas, desquicia las conexiones esperadas y comunes entre el lenguaje, la imagen y la percepción, abriendo así un espacio al humor y a la imaginación del espectador)

[thinkingimages]

[visual-poetry]

by laure prouvost (+)

[via]

[zurich-snows]

Laure Prouvost clame le pouvoir sans limite de l’imagination ©courtesy of the artist and Galeries Nathalie Obadia, Carlier | Gebauer and Lisson Gallery Photo: Antoine van Kaam

[coulisses-onirisme]

Cette phrase extraite du livre Madame Edwarda ne dit RIEN du thème du livre de Georges Bataille (1897-1962) (écrivain, philosophe, économiste, anthropologue, historien de l’art, romancier)

This sentence taken from the book Madame Edwarda says NOTHING about the theme of the book by Georges Bataille (1897-1962) (writer, philosopher, economist, anthropologist, art historian, novelist)

L'action se déroule « dans les rues propices qui vont du carrefour Poissonnière à la rue Saint-Denis » (dont Bataille fréquentait souvent les bordels) et met en scène une prostituée de bordel, folle et obscène, qui se déclare être Dieu tandis qu'elle exhibe ses « guenilles ».

Plus Madame Edwarda sera obscène plus elle sera divine. Bataille, pour qui l'érotisme est inséparable du sacrilège, semble évoquer un dieu des abîmes, de l'obscénité, de l'abomination, car pour lui, Dieu est l'impossible, un « dépassement de Dieu dans tous les sens ; dans le sens de l'être vulgaire, dans celui de l'horreur et de l'impureté ; à la fin, dans le sens de rien ».

Edwarda demande au narrateur de regarder ses « guenilles », son sexe béant : « Assise, elle maintenait haute une jambe écartée : pour mieux ouvrir la fente, elle achevait de tirer la peau des deux mains. Ainsi les “guenilles" d'Ewdarda me regardaient, velues et roses, pleines de vie comme une pieuvre répugnante. Je balbutiai doucement : - Pourquoi fais-tu cela ? - Tu vois, dit-elle, je suis DIEU... »

The action takes place "in the favorable streets which go from the Poissonnière crossroads to the rue Saint-Denis" (the brothels of which Bataille often frequented) and features a brothel prostitute, crazy and obscene, who declares herself to be God while she shows off her “rags”.

The more obscene Madame Edwarda is, the more divine she will be. Bataille, for whom eroticism is inseparable from sacrilege, seems to evoke a god of the abysses, of obscenity, of abomination, because for him, God is the impossible, a “surpassing of God in every sense; in the sense of being vulgar, in that of horror and impurity; in the end, in the sense of nothing.”

Edwarda asks the narrator to look at her “rags”, her penis, her gaping vulva: “Sitting, she held one leg spread high: to open the slit better, she finished pulling the skin with both hands. So Ewdarda's “rags” looked at me, hairy and pink, full of life like a disgusting octopus. I stammered softly: - Why are you doing this? - You see, she said, I am GOD..."

[jordi-gali]

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 Laure Prouvost

[ratatoskrr]

Glass Pigeon with Glass Cigarette

by Laure Prouvost

[streetsofdublin]

A BETTER CITY IS AN EXCITING OUTDOOR GALLERY PROJECT

IN DUBLIN 8 BEGINNING 15th MARCH 2024 About the Project What: A vibrant outdoor gallery featuring works by six talented artists, celebrating themes of joy and community.Where: Thomas Street, Crane Street, and Market Street in Dublin 8, showcasing large-scale murals and printed works.When: Launching March 15th, 2024, and running for three months.Why: Part of St. Patrick’s Festival 2024, bringing…

[detournementsmineurs]

"Parle Ment Branches" sculpture en branches et plâtre de Laure Prouvost (2020) à l'exposition “Arts & Préhistoire” du Musée de l'Homme, Paris, février 2023.

[positive-magazine]

Laure Prouvost

IN THE MIST OF IT ALL, ABOVE FRONT TEARS  24 February 2024 – 18 August 2024 De Pont Museum, Tilburg, The Netherlands This spring, De Pont will present a compelling and immersive exhibition by Laure Prouvost (1978), in which the artist welcomes visitors into a surreal, absurdist and poetic world of her own making. In IN THE MIST OF IT ALL, ABOVE FRONT TEARS, social engagement and the limitless…

[thinkingimages]

Laure Prouvost, "Dropped here and then, to live, leave it all behind", 2016, exhibition view - Photo © André Morin /Consortium Museum.

[cryptid-art-diary]

Today I wanna talk a bit about this amazing tapestry by Laure Prouvost that I had the opportunity to see at the İstanbul Modern Art Museum.

Firsly, I want to touch on the chosen medium of the artwork, a tapestry. Tapestries, at least in my mind are very home-y. This sort of woven, soft texture is something you might see in a carpet. It's welcoming and cozy, and the softness of most of the colors the artist utilized also reinforces this comfortable environment.

Secondly, I love how text is utilized in this piece. It makes me think of something like the "speech scrolls" in 14th/15th century paintings and "comics". And I cannot for the life of me remember who did this and when, but I swear I have also seen other, older paintings that write text describing the thoughts of characters within the piece onto the background or objects within the composition? Yeah it reminds me very much of that.

The intimacy of many of these statements we see as text is heartwarming. And of course the many details that could be incomprehensible references to us, the average viewer, that has a story behind it that we are not privy too. Sometimes this is depicted literally, such as the sign that presumably reads something like "Room 15 could be in room 22", where we can't really be sure what the actual quote is due to the obscured parts of the sign. Other times, its something like the poetic "Here a palm tree in the shade a blue triangle relaxing naked", or any random object the artist specifically chose to include, like the microwave. These things are likely to have a story, some background to them that only the artist and any of their friends or partners who were with them in this studio can recall.

This piece depicts personal memories and nostalgia belonging to the artist, yet does it in such an abstract way that the average viewer, especially if they are also an artist, can still relate to the vaguely domestic living space.