Sarah Tritz et 29 invité.e.s — J’aime le rose pâle et les femmes ingrates — Le Crédac, Centre d’art contemporain d’Ivry — Exhibition — Slash Paris

Past: September 13 → December 15, 2019

Sarah Tritz — Le Crédac, Ivry L’artiste française Sarah Tritz, née en 1980, expose au Crédac les œuvres de 29 artistes, d’art brut et contemporains, en dialogue ... 2 - Bien Critique

WITH THE WORKS BY 29 INVITED ARTISTS: FABIENNE AUDÉOUD, ALEXANDRA BIRCKEN, VALÉRIE BLASS, BENJAMIN BONJOUR, BRUNO BOTELLA, PAUL BOURDONCLE, ANNE BOURSE, STÉPHANIE CHERPIN, CLAUDE CHEVALIER, MARIA CORVOCANE, MORGAN COURTOIS, LIZ CRAFT, NICOLE EISENMAN, EUGÈNE ENGRAND, PAUL HUGUES, DOROTHY IANNONE, ANA JOTTA, ANNE KAWALA, MARIA LASSNIG, ALFRED LEUZINGER, STEPHEN MAAS, MONICA MAJOLI, CAMILA OLIVEIRA FAIRCLOUGH, GERALD PETIT, HELENE REIMANN, ALBERTO SAVINIO, PHILIPP SCHÖPKE, HASSAN SHARIF, MAXIME THIEFFINE.

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Sarah Tritz has dreamed up a personal art show in which her new pieces are exhibited in dialogue with works by 29 other guest artists, a display whose connecting thread is the body as a container, like a box whose idiom is one of its main tools.

The show links what are normally viewed as two distinct forms of pleasure, allied and inseparable. There is erotic pleasure (glamour) as well as a cognitive one (grammar).

Tritz brings together artists whose works openly and shamelessly call to us with an obvious physicality, like Liz Craft’s sculpture Me Princess, or the double self-portrait Gehirnstroeme (Brainwaves) by Maria Lassnig, an artist who has repeatedly taken herself as her subject yet has avoided complacency of any sort. Many of these artists dare to embody neurotic thinking and show a reciprocity between the attitude of the artist at work and what their works illustrate.

For her show, Tritz has selected a number of outsider artworks borrowed from the collections of LaM (the Lille Métropole musée d’art moderne, d’art contemporain et d’art brut), which bring to light the construction of a line of thought. They are drawings and have a cathartic value, characteristically featuring writing, symmetry, and a clarity in the distinct outlines of the drawn shapes. These motifs are treated as given conceptual elements that attest to the power of language, however ungraspable it proves to be.

Beyond the generations and backgrounds of the artists, both outsider and contemporary, Tritz has been putting together an eclectic corpus of work that looks like a network of esthetic complicities that reveal no divisions.

Further into the show, the artist exhibits face to face a series of new pieces envisioned as an interior, both mental and domestic. Inspired by the preciosity and fantasy of Art deco furniture, the artist has designed — drawing on the artisanal know-how of several fields — a buffet with all sorts of anthropomorphic embellishments, whose doors with their stylized expressions, and vulva-shaped handles, open onto an inner theater done in bronze. The artist has molded a box-garden like the model of a projection space, an inner garden.

Theatricality — long present in Tritz’s work — is expressed by a family of headless hand-sewn marionettes, for example, or a mini peepshow, or Theater Computer, simple jury-rigged computers boasting keyboards with unintelligible alphabets and equipped with two-sided screens. On their “windows,” the artist represents the demons and desires of characters guided by their needs, primitive, sexual and greedy.

Born in 1980, the artist Sarah Tritz taught at Lyon’s École nationale supérieure des beaux-arts from 2014 to 2019. Since the start of the 2019-2020 academic year, she has been teaching at the École nationale supérieure des Arts Décoratifs in Paris.

This fall Tritz’s work will be featured from 10 September to 26 October 2019 in Le Fil d’alerte (curated by Claire Le Restif), the exhibition showcasing the 21st Fondation d’entreprise Ricard Prize; and from 16 October 2019 to 5 January 2020 in Futur, ancien, fugitif — une scène française (curated by Franck Balland, Daria de Beauvais, Adélaïde Blanc, and Claire Moulène) at the Palais de Tokyo.

Sarah Tritz was selected for the “1% for Art” call for projects, with the generous support of Crédit Municipal de Paris and the Ville de Paris.