2024 Art Exhibit
OUR VISIBILITIES
Known for its commitment to women and lesbians for 36 years, Cineffable offers a space of visibility and recognition to those who identify with these gender identities. The exhibition Our Visibilities proudly showcases a plurality of representations of our bodies, our loves, and our identities through the work of ten artists. Acrylic paintings, watercolors, pastels, collages, installations, ceramics, and performances reveal a society with faces that resemble ours. These works highlight our portraits and our diverse histories, consciously erased by patriarchy or heteronormativity.
The exhibition and its artists will be presented on Friday, November 1st during the 7:30 pm screening and opened afterwards.
No Man's Land
Printed papers by Pauli Bertholon
Image © Pauli Bertholon
This stack of printed papers operates in the mode of a poetic tomb: a written form honoring the memory of departed loved ones. Photographs of people who once lived are here collected. Accompanying each photograph is an epitaph: "Missing you so much". In French, it's always the other person who's missing. In English, it's me who misses the other: "I miss you". For Pauli Bertholon, if it's people who are missing, it's also the lack of them that is designated. Firstly, because cultural history has missed them, busy as it was with the "Great Men", before integrating women into the masculinist canon, but without giving trouble a chance. It's always the same. I miss you, because I missed you; or rather, because I was missed by you. While studying art history, Pauli never heard the first names and surnames written on the back of these sheets, nor in their family conversations. In no particular order, the names are Octavia Butler, Marlow Moss, Claude Cahun and others. For Pauli, the identity or non-identity they may or may not have preferred in their own time is less important than the lack of it in retrospect.
Piller-Coller
Collages by Catherine Lapeyre
Image © Catherine Lapeyre
Plundering women's magazines: attack the fabrication of "femininity" and its exhibition, the production of codes and their massive reproduction, the overexposure colonizing the imagination and shaping stereotypes, ready-to-think, ready-to-desire. Collage fragments of images and texts: subverting original messages and objectives, signs and representations.
Catherine Lapeyre explores a process of both metabolization and resistance to the proliferation of fetish images. She opposes them with her own visual statements. Play and metamorphosis, critical distance, power of expression, hijacking of symbols, feminist act, witchcraft practice.
Arroz con leche
Performance by
Photograph © Inès Pereira
Saturday at 7:30pm in screening room
The two artists met during their studies in performing arts and developed a desire to create together. This artistic and human bond takes on a very strong symbolism in this danced duet, where sorority and life experiences mingle like a socio-political cry, with the lyrics of Amor en Francia (Love in France ), a Colombian piece by Nidia Gongora depicting a story of feminicide.
The text relates the statistics of gender-based violence in Peru. The choreography imitates the movements of a daily life prepared for sexist harassment, abuse and violence. The title, Arroz con leche (Rice pudding ), refers to a Latin American nursery rhyme that explicitly illustrates patriarchy. In short, it's about how a woman should behave to be "good to marry": "a woman who knows how to sew, embroider, set the table". As for the boy, he travels around the capital in his car in search of his future wife, singing "celle-là oui, celle-là non" ("that one yes, that one no"). The traditional costumes are there to underline the gap.
