The Crown Letter — Decembre — The Crown letter — Exhibition — Slash Paris

Past: December 1, 2020 → January 1, 2021

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Liza Dimbleby

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SE Barnet

Slow Celebration from SEBarnet on Vimeo.

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Kyoko Kasuya

Noé Teissier, Portrait of a young soldier, still image from Listen to the voices of the sea ll, short film, 4K, work in progress 2020

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Michelle Deignan

No defence from SEBarnet on Vimeo.

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Natacha Nisic

Natacha Nisic, Taming Sound, 2020 Photography Natacha Nisic & The Crown Letter

I love to listen to the birds singing

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Katja Stuke

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Ruth Maclennan

Horizon (Second Lap) from Ruth Maclennan on Vimeo.

“Horizon — the space between us”

During the Coronavirus pandemic I have felt my horizons simultaneously shrink to the size of my home, and expand as my thoughts and dreams are filled with events and places far away.

The rifts between people seem especially deep. But maybe others share a feeling of shrunken and overstretched horizons, whatever their immediate surroundings, fears, hopes, or disappointments.

I would like to create a collective, continuous — potentially infinite — landscape film. The instructions are simple:

Hold your camera or phone horizontally and find a horizon line. Slowly and steadily pan from left to right. Begin and end your clip with the horizon line in the middle of the shot. The horizon needn’t be a distant view of hills or sea — it could be your kitchen shelf, the kerb, a leaf or rock. Your interior landscape is perhaps the nearest to hand, the most vivid, the horizon that holds your attention right now.

Please upload your clips, 5 to 45 seconds, preferably with sound to this Google Drive: https://drive.google.com/drive/folders/1ZSBw2rtQL3CZOUIpZphaVOTFjRVmSoET?usp=sharing Use your name and location for the file name.

Thank you.

Ruth Maclennan

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Catherine Radosa

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Manuela Morgaine

A l’heure où le virus se propage à la vitesse de la lumière à Paris, où la nuit ne se partage plus, où le couvre-feu a été déclaré, où un innocent a été décapité pour avoir transmis à des enfants la liberté de penser, de crument dessiner, je marche dans les rues de Gênes en Italie. Je découvre la tête de Saint Jean-Baptiste déposée en “décollation” et la Madone du Lait — ou Vierge Lactens — à qui les parents font Offrande des bavoirs de leurs enfants. En laissant couler des larmes, je forme des vœux.

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Aurelia Mihai

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Saviya Lopes

For long, as long as art has been around, people have been fascinated with the topic of nudity or the nude within art. Over the time, from the stone ages up to the modern times, nudity has always been present in some shape or form. But it is in how we perceive, and view the nudity that has changed the most. The Nude has gone from being a symbol of female power and fertility, something that we celebrated, to now something shameful, erotic and perverse in the same way. However, the most important thing here is the distinction between what is counted as a ‘nude’ to what is counted as ‘naked’. The significant distinction between the naked and the nude is where one is considerate to be a shameful subject and the other one is considered to be an art form.

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Luise Schroeder

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Ana Mendes

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