Showing posts with label Canada. Show all posts
Showing posts with label Canada. Show all posts

Wednesday, July 28, 2021

Angela Grauerholz (Visions, 2010-2018)

Angela Grauerholz
Rose et Bleu
2010
inkjet print
private collection

Angela Grauerholz
Statuette
2011
inkjet print
private collection

Angela Grauerholz
Villa Savoie (Bernard)
2011
inkjet print
private collection

Angela Grauerholz
Spiral Staircase
2011
inkjet print
private collection

Angela Grauerholz
Deux Prises
2012
inkjet print
private collection

Angela Grauerholz
Chambre Verte
2012
inkjet print
private collection

Angela Grauerholz
La Cavalière
2014
inkjet print
private collection

Angela Grauerholz
Marbled Lobby
2014
inkjet print
private collection

Angela Grauerholz
Untitled
2014
inkjet print
Global Affaires Canada, Ottawa

Angela Grauerholz
Deux Dames à Venise
2015
inkjet print
Musée National des Beaux-Arts du Québec

Angela Grauerholz
Between Two Doors
2017
inkjet print
private collection

Angela Grauerholz
Three Books
2017
inkjet print
private collection

Angela Grauerholz
White Empty Shelf
2018
inkjet print
private collection

Angela Grauerholz
Thalia Theaterlogen
2018
inkjet print
private collection

Angela Grauerholz
La Compteuse, Musée Rodin (Paris)
2018
inkjet print
private collection

Lucidité – Lucidity

     This book is not a book of "confessions"; not that it is insincere, but because we have a different knowledge today than yesterday; such knowledge can be summarized as follows: What I write about myself is never the last word: the more "sincere" I am, the more interpretable I am, under the eye of other examples than those of the old authors, who believed they were required to submit themselves to but one law: authenticity.  Such examples are History, Ideology, the Unconscious.  Open (and how could they be otherwise?) to these different futures, my texts are disjointed, no one of them caps any other; the latter is nothing but a further text, the last of the series, not the ultimate in meaning: text upon text, which never illuminates anything. 

     What right does my present have to speak of my past?  Has my present some advantage over my past?  What "grace" might have enlightened me? except that of passing time, or of a good cause, encountered on my way?  

– Roland Barthes by Roland Barthes, translated by Richard Howard (Hill & Wang, 1977)

Tuesday, July 27, 2021

Angela Grauerholz (Visions, 1984-2008)

Angela Grauerholz
Francine Perinet
1984
gelatin silver print
Vancouver Art Gallery

Angela Grauerholz
Basel
1986
gelatin silver print
Musée National des Beaux-Arts du Québec

Angela Grauerholz
Window
1988
C-Print
Albright-Knox Art Gallery, Buffalo, New York

Angela Grauerholz
Pieds I
1989
C-Print
private collection

Angela Grauerholz
The Library
1993
C-Print
National Gallery of Canada, Ottawa

Angela Grauerholz
L'Opéra
1993
C-print
private collection

Angela Grauerholz
Fountain no. 1
1998
gelatin silver print
Musée National des Beaux-Arts du Québec

Angela Grauerholz
Flowered Carpet
2008
inkjet print
Oakville Galleries, Ontario

Angela Grauerholz
Altar Restoration
2008
inkjet print
Donavan Collection, University of St Michael's College, Toronto

Angela Grauerholz
Bus Shelter
2008
inkjet print
private collection

Angela Grauerholz
Mirror
2008
inkjet print
McMaster Museum of Art, Hamilton, Ontario

Angela Grauerholz
Red
2008
inkjet print
Galerie de l'UQÀM, Montréal

Angela Grauerholz
Red Curtain
2008
inkjet print
private collection

Angela Grauerholz
Tuileries Fountain (Homage to Atget)
2008
inkjet print
private collection

Angela Grauerholz
Wallpaper
2008
inkjet print
private collection

L'amour, la folieLove, madness

     Order of the day, from Bonaparte, First Consul, to his guard: "Grenadier Gobain has committed suicide for love: moreover he was a very fine soldier.  This is the second event of this kind which has occurred within the corps in a month.  The First Consul orders the guard to be notified: that a soldier must conquer the pain and melancholy of the passions; that there is as much true courage in suffering steadfastly the pangs of the soul as in standing fast under the fire of a battery . . ."
     
     From what language, one wonders, did the lovesick, melancholy grenadiers draw their passion (scarcely in accord with the image of their class and profession)?  What books had they read – or what stories been told?  Perspicacious of Bonaparte, identifying love with a battle, not – banally – because two partners confront one another, but because, cutting as rifle fire, the erotic explosion provokes bewilderment and fear: crisis, revulsion of the body, madness: a man who is in love in the romantic manner knows the experience of madness.  Now, to such a madman, no modern word is given today, and it is ultimately for this reason that he feels himself to be mad: no language to usurp – except a very old one.

– Roland Barthes by Roland Barthes, translated by Richard Howard (Hill & Wang, 1977)