Melanie Manchot: poetics of reality
Melanie Manchot, Chelouche Galerie, Tel Aviv, 2019.
Melanie Manchot’s entire work is traversed by the relationship of the body, both intimate and social, to private and public space. But the artist is interested in the making of the image at the same time as she points out, for example, the limits of mass tourism (in Switzerland) or the relationships of beings through the stereotypes of acts that the artist displaces. And this since 1993 and in international recognition from New York to Berlin, from London to Moscow, from Tel Aviv to Istanbul.
For such a German visual artist living and working in London, videos and images serve to think about the strange fences that surround us. Long alleys of human beings appear in portraits or situations.
The work expresses both the clan separation of beings but also what can unite and transform them.
The silky and fiery are sometimes muffled. But let importe : the trouble remains in presences that wrinkle the ashen tablecloth of things. Some concrete elements of a narrative or their visions in a wider plane create a haunting between colours and diaphaneities. Where memory and oblivion form a strange waltz whose enigma remains.
It is always a question of returning to the human being as the only witness to the thresholds of reality. The beings seem to be waiting. It is sometimes long as some videos suggest. The being walks, becomes agitated or remains passive. It is as if nightmares throw their snowball in his face. Typhoon of images, oscillations, jumps grenus. They are less funny than enigmas. Sometimes the opposite is true too. But it’s up to the viewer to make up his mind.
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