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Exhibition Detail
S A L O N H Y S T É R I Q U E: LA PETITE MORT ET LA GRANDE HYSTÉRIE
Curated by: Gabriella Daris
67 Dean Street
London W1D 4QH
United Kingdom


January 22nd - April 19th
 
Gabrielle avec P\'tit Charcot dans La Bibliothèque Charcot (from the series ANAGNOSIS OF HYSTERIA), Gabriella DarisGabriella Daris,
Gabrielle avec P'tit Charcot dans La Bibliothèque Charcot (from the series ANAGNOSIS OF HYSTERIA),
2005, Two, C-Type prints on archival paper, framed in mahogany wood box with glass facade.
© Gabriella Daris
The Wallzine No. 1- Victoriana (detail), Bridget HugoBridget Hugo,
The Wallzine No. 1- Victoriana (detail),
2005, collage, 59 x 74 cm
© Bridget Hugo
10, Emma HarveyEmma Harvey, 10,
2013, Oil on canvas, 24'' x 30''
© Emma Harvey
11, Emma HarveyEmma Harvey, 11,
2013, Oil on canvas, 24 x 30''
© Emma Harvey
Charlotte in the mirror, P.J. van SandwijkP.J. van Sandwijk, Charlotte in the mirror,
2013, Giclee color print, 30 x 40 cm
© P.J. van Sandwijk
L\'hystéro-épilepsie I (from the series, “ANAGNOSIS OF HYSTERIA”), Amphitheatre Charcot, Hôpital de la Pitié-Salpêtrière, Paris, France (detail), Gabriella DarisGabriella Daris,
L'hystéro-épilepsie I (from the series, “ANAGNOSIS OF HYSTERIA”), Amphitheatre Charcot, Hôpital de la Pitié-Salpêtrière, Paris, France (detail),
2005, C-Type color print on archival paper, 21x30cm
© Gabriella Daris
L\'hystéro-épilepsie I (from the series, “ANAGNOSIS OF HYSTERIA”), Amphitheatre Charcot, Hôpital de la Pitié-Salpêtrière, Paris, France (detail), Gabriella DarisGabriella Daris,
L'hystéro-épilepsie I (from the series, “ANAGNOSIS OF HYSTERIA”), Amphitheatre Charcot, Hôpital de la Pitié-Salpêtrière, Paris, France (detail),
2005, C-Type color print on archival paper, 21x30cm
© Gabriella Daris
Vaginal Stamps, AnonymousAnonymous, Vaginal Stamps,
circa 1930, Postal stamps , 31 x 19cm
© Werner Nekes Collection
Foetus in Utero, Alexandra UngerAlexandra Unger, Foetus in Utero,
2012, Ink on paper
© Alexandra Unger/Gabriella Daris Collection
Untitled (from the series Palimpsestes), Henri MaccheroniHenri Maccheroni,
Untitled (from the series Palimpsestes),
drawing-collage: ink drawing by Henri Maccheroni with handwritten text by May Livory, 23 x 23 cm
© Henri Maccheroni/Gabriella Daris Collection
24 Women, Jamie McCartneyJamie McCartney, 24 Women,
2012, plaster and aluminium, 50 x 50 cm
© Jamie McCartney
Bosom Ballet, Annie SprinkleAnnie Sprinkle, Bosom Ballet, 20x20cm each
© Annie Sprinkle/Courtesy Aeroplastics, Brussels
Hypnotist, Lizzie LearmanLizzie Learman, Hypnotist, 2012, 32 x 42 cm
© Lizzie Learman
Girl In the Wallpaper (from the series In My Father\'s House), Cordelia DonohoeCordelia Donohoe,
Girl In the Wallpaper (from the series In My Father's House),
2005, digital print on Somerset paper, each individually handwritten over in ink with quote from Joan Riviere's 'Womanliness as Masquerade' , 30 x 45 cm
© Cordelia Donohoe
Poem By My Ass, Annie SprinkleAnnie Sprinkle, Poem By My Ass,
Photographic print with typewriting
© Annie Sprinkle
Dedication (Vote/Body), Pauline A. AmosPauline A. Amos, Dedication (Vote/Body),
6th May, 2010, 18 x22’’
© Pauline A. Amos/Barney Edwards
La Grande Odalisque, Tiffany TrendaTiffany Trenda, La Grande Odalisque,
2001, video loop, displayed on framed LCD Screen
© Tiffany Trenda
Oeil de Vieux: Albrecht Durrer’s Alberti’s Veil, Gabriella Daris & Werner NekesGabriella Daris & Werner Nekes,
Oeil de Vieux: Albrecht Durrer’s Alberti’s Veil,
2007, C-Type photographic print on archival paper
© Gabriella Daris & Werner Nekes
This Is Not The Final Cut, Gabriella Daris & Marie-Alice Brandner WolfszahnGabriella Daris & Marie-Alice Brandner Wolfszahn,
This Is Not The Final Cut,
2013, Digital C-Type Print mounted on reverse perspex
© Gabriella Daris & Marie-Alice Brandner Wolfszahn
Michael Clark and Nicolas Roeg at Janus, the home of Drawing Breath, Michael ClarkMichael Clark,
Michael Clark and Nicolas Roeg at Janus, the home of Drawing Breath,
October 2002, 12.5” x 9.75”
© Michael Clark
LUST, Sara le RoySara le Roy, LUST,
2012, Oil on canvas, 162 x 127 cm
© Sara Le Roy
Bad Habits, Don GrantDon Grant, Bad Habits,
Watercolor on paper, 28 x 39cm
© Don Grant
No 3 Wheel (from the series “Revelation & Concealment”), Cordelia DonohoeCordelia Donohoe,
No 3 Wheel (from the series “Revelation & Concealment”),
2013, Double hand printed on archival silver gelatin fiber paper, 20x24’’
© Cordelia Donohoe
Deux mille photographies du sexe d’une femme (Two Thousand Photographs of a Woman’s Sex) - detail, Henri MaccheroniHenri Maccheroni,
Deux mille photographies du sexe d’une femme (Two Thousand Photographs of a Woman’s Sex) - detail,
1978, 13 cm x 18 cm each
© Henri Maccheroni/Gabriella Daris Collection
Slit, John DunbarJohn Dunbar, Slit,
1987, Ink on paper, 26 x 34cm
© John Dunbar/Gabriella Daris Collection
Incredulity, Julia R. GallegoJulia R. Gallego, Incredulity,
2012, Woodcut, 50X70cm
© Julia R. Gallego
The Solitude of Self, Adonis NikolaouAdonis Nikolaou, The Solitude of Self,
2011, pencil and charcoal on paper, 15 x 22cm
© Adonis Nikolaou
Gone II, Alexandra UngerAlexandra Unger, Gone II,
2012, Ink on paper, 42 x 29.5 cm
© Alexandra Unger
Fertilize me, Helena PritcahrdHelena Pritcahrd, Fertilize me, 2010
© Helena Pritcahrd
Merional, Helena PritcahrdHelena Pritcahrd, Merional, 2010
© Helena Pritcahrd
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S A L O N  H Y S T É R I Q U E: 

LA PETITE MORT ET LA GRANDE HYSTÉRIE                                       

A group art exhibition of hysteric feminisms

 

 

Curated by Gabriella Daris | Produced by KNO(U)TS  

“[…] A hysterical dramatization of the conflicts between desire and defense, license and prohibition, voyeurism and exhibition, castration and self-conservation, latent and manifest, sadism and masochistic pleasure, memory and resistance, destructive fantasy and cathartic fantasy,”* religion and ecstatic pleasure, manipulation and emancipation, concealment and revelation. These conflicts, result in convulsive contortions and corporeal manifestations, in an antagonistic sensational conflict between the spectator and the spectacle, the author and the reader, the silent producer and the loud recorder. A radical recasting of the hysterical objectification of the unvoiced women now breaks through the societal stereotypical constraints within a neoliberal context as, third-wave feminists and philogynists alike, speak with the mouth of that wound, bringing these conflicts to an end. Does the wondering womb have its own mind after all?

Text by Gabriella Daris | Quote: *Lea Virgine, Il corpo come linguaggio, Milan, 1974.

 

 

                                

 

 

 

 


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