Gwen Billaud: FLASH GLAM TRASH
Opening Thursday, December 3 at 18h
Exhibition Friday, December 4 Saturday, January 16, 2010 at
Raconteur multidisciplinary history, his narrative is structured around obsessions: horror movie, music cheesy b series, and violence ... The artificial hemoglobin, the superficial appearance of the cult are in the crosshairs in a spirit pop / punk glam: the hype and its codes are diverted. Gwen Billaud works by amalgamation, compilation. Operates a shuttle going back and forth from death to life serial killers (which deprive of life), death row inmates (who are waiting for a programmed death) and the undead and zombies (which in turn "play extensions" [1] ).
Billaud Gwen's work sets up a mechanism of attraction and repulsion as it demonstrates how the myth: serious criminals are treated as gods by demonic journalists, and novelists such as the police says Denis Duclos [2] . It adds icons of fashion and music such as David Bowie and Kate Moss in a maelstrom of creating a fictional references infamous and inform, a kind of mise en scene of horrific fun " [3] .
It eroticizes and death, but "the body is the epitome of abjection, it is death infecting life" [4] . What is despicable is: "what disturbs identity, system, order " [5] is here that the whole work revolves Gwenaël Billaud as painting, installation as performance . YP
[1] Paul Ardenne body image , Paris, Editions du Regard, 2001 p.403
[2] Denis Duclos The complex of werewolf - the fascination of violence in American culture , Paris, La Découverte, 2005, p.39
[3] Denis Duclos op. cit. , p.22
[4] Julia Kristeva, Powers of Horror, An Essay on Abjection , Paris, Points, 1983, p.11
[5] ibid. p.12
[2] Denis Duclos The complex of werewolf - the fascination of violence in American culture , Paris, La Découverte, 2005, p.39
[3] Denis Duclos op. cit. , p.22
[4] Julia Kristeva, Powers of Horror, An Essay on Abjection , Paris, Points, 1983, p.11
[5] ibid. p.12
