![\"\"](\"https:\/\/new.space-collection.org\/wp-content\/uploads\/2024\/07\/Capture-decran-2024-07-18-110500.png\")
The beautiful Rosine Priscilla Beccari photographed by Nathalie Amand Cropped image[\/caption]<\/p>\n\u00a0<\/p>\n
[caption id=\"attachment_8866\" align=\"alignright\" width=\"491\"] The beautiful Rosine Priscilla Beccari photographed by Nathalie Amand Cropped image[\/caption]<\/p>\n
Priscilla Beccari's work is tamed slowly, through images, actions and forms, all of which are echoes or premises of others. This universe in perpetual mutation multiplies stylistic breaks and registers. It is identified with a carnivorous eroticism, a feminism in a yellow vest, a sense of the absurd mixed with a touch of dread. It's all about domestic fences and animality, suitcase women and inanimate bodies, collapse and effrontery. One is often reminded of the surrealism and bitter irony of Bu\u00f1uel's latest films, The Discreet Charm of the Bourgeoisie and, even more so, Phantom of Liberty: apparent lightness, strangeness lodged in the heart of everyday life, symbolic bestiary, the emergence of flesh, the ethereal presence of death. Perhaps more fundamentally, the work is part of a tradition that, from Louise Bourgeois to Kiki Smith, makes the body both a phantasmagorical and political medium. Mutant, dismembered, vulnerable, sometimes outrageously sexualized, the bodies are often those of lovers, of childhood, of work... they don't belong to themselves or no longer do. They are associated with floors or walls, covering their surfaces, inscribing themselves like elements among others, just as mute and frozen. The elasticity of the spaces and the amplitude of the void nurture a sense of isolation and solitude. <\/p>\n
His subjects are not the beings who inhabit them, but the decor in which they blend: kitchens, living rooms, bedrooms or bathrooms. So many familiar spaces that have become anxiety-inducing, cannibalistic and systematically enclosed. You can approach the whole thing from a distance, but everything invites you to get involved: the spectator becomes a witness, the witness a voyeur... There's a kind of exquisite trap in being part of this sequence of forms, gradually uncovering the strangest aspects and being surprised by the crudest details. <\/p>\n
The home is the site of alienation, food evokes death, desire martyrizes. The recurring link is the staging of the artist's body. Molded, photographed or filmed, it is an object\/sculpture that can be integrated into public or private spaces. Les jambes, a series of 1:1 reproductions of the artist's lower limbs, can be placed in a park, a bush or a stove. If the too-small size of the containers in which they are clumsily concealed and their arrangement in space can be understood in terms of black humor and the tragicomic, we can also detect - a theme running through the entire work - the commodification of beings, reduced to the status of instruments, prisons or utensils. <\/p>\n
The cleaning lady is a recurring figure in the artist's work. She is one with her ballet, her apron, the home, the sidewalk. Her gestures are Taylorian, her tools ergonomic. She doesn't spare herself in the docile maintenance of other people's capital. She's part of the furniture; her presence doesn't disturb. The figure of consenting submission is opposed by that of the monster, the animal. Emancipation here is not a gentle thing: it scratches, claws and devours. Maybe it's just a phantasm, something impossible. Perhaps bodies will remain folded, arranged, threatened and enslaved... But Priscilla Beccari's work does not lead to this impasse. Rather, it suggests, albeit desperately and at the cost of a certain cruelty, what in us still resists. <\/p>\n
Presentation text: Benoit Dusart<\/p>\n
https:\/\/priscillabeccari.com\/<\/a>
https:\/\/www.instagram.com\/priscillabeccari\/<\/a><\/p>\n"},"class_list":["post-10623","artistes-space","type-artistes-space","status-publish"],"_links":{"self":[{"href":"https:\/\/space-collection.org\/en\/wp-json\/wp\/v2\/artistes-space\/10623","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/space-collection.org\/en\/wp-json\/wp\/v2\/artistes-space"}],"about":[{"href":"https:\/\/space-collection.org\/en\/wp-json\/wp\/v2\/types\/artistes-space"}],"version-history":[{"count":1,"href":"https:\/\/space-collection.org\/en\/wp-json\/wp\/v2\/artistes-space\/10623\/revisions"}],"predecessor-version":[{"id":11127,"href":"https:\/\/space-collection.org\/en\/wp-json\/wp\/v2\/artistes-space\/10623\/revisions\/11127"}],"wp:attachment":[{"href":"https:\/\/space-collection.org\/en\/wp-json\/wp\/v2\/media?parent=10623"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}