Lili Reynaud-Dewar

Lili Reynaud-Dewar (born 1975 in La Rochelle) is a French installation and performance artist. She currently lives and works in Grenoble and Geneva. Her work has been exhibited in many international surveys, including the 5th Berlin Biennale (2008), the 3rd Paris Triennale (2012), the 12th Lyon Biennale (2013), the 5th Marrakech Biennial (2014), the 56th Venice Biennial (2015), the 31st Ljubljana Biennial of Graphic Arts (2015) and the 11th Gwangju Biennale (2016). Her practice includes film, installation, performance, text and sculpture, and is mainly concerned with the "boundaries of biography".

Lili Reynaud Dewar, Audain gallery / SFU galleries, 2015

Life and work

She studied ballet with Colette Milner at the Conservatoire de La Rochelle, then Public Law at the University of Paris I Panthéon Sorbonne. In 2001 she enrolled for a Master in Fine Arts at the Glasgow School of Arts. During the years immediately after her master's, she mostly devoted herself to writing about art in various magazines and artist's monographs and producing sculptural installations which functioned as sets for her performances. Her first performance in 2005 at the Centre d'art Mira Phalaina in Montreuil involved her Glasgow friend Mary Knox. Knox was reading a text by Reynaud-Dewar which described the life of rasta icon and maroon leader Queen Mother Nanny of the Mountains. Since then, she works with her friends, family (her mother Mireille Rias is in many of her shows and performances including Interpretation at Kunsthalle Basel)[1] and her students. In 2009, she turned to film and performance as her primary mediums, using them as commentary on racial issues like for example with Black Mariah (2009)[2] and Cleda's Chairs (2010). In 2011 she initiated in her studio her dance video series which she keeps producing to this day and which see her, painted in various colors from black to red, white or silver, dancing naked alone in the various spaces where her work is made or exhibited. She has investigated the boundaries of biography, and has developed her work around various historical figures of transgression such as Josephine Baker, Cosey Fanni Tutti, Sun Ra, Jean Genet and Guillaume Dustan. She dedicated her Venice Biennial piece "Small Modest Bad Blood Opera"[3] to the conflict that opposed Guillaume Dustan to Act Up at the end of the 1990s.

In 2009 she co-founded, with Dorothée Dupuis and Valérie Chartrain, the art and entertainment feminist publication Petunia.

In 2015, she published a collection of her writings "My Epidemic, texts on my work and the work of other artists" with Paraguay Press. She has been a professor at Haute École d'Art et de Design in Geneva since 2010, her seminar which she held for a long time from her hotel room at Hotel Adriatica in Geneva is entitled Teaching as Teenagers[4] and is mostly based on readings by queer and feminist writers. With her students from Head Geneva, she has made a horror comedy in Marfa, TX, entitled "Beyond the Land of Minimal Possessions"[5] and which deals with the gentrification brought by art institutions. She is part of the group Wages For Wages Against, a campaign launched by Ramaya Tegegne, that promotes fees for artists as well as a less discriminating art world, in Switzerland and elsewhere. She has initiated the project Maladie d'Amour in her studio in Grenoble in 2015. Maladie d'Amour is a social and emotional experiment that brings a small group of young people around one-night long exhibitions featuring Lili Reynaud-Dewar's artist friends such as Thomas le Lann, Marina Faust, Ian Wooldridge, Helene Cayet, Matthis Collins, Bonny Poon, and Hugo Scibetta.

Lili Reynaud-Dewar is represented by Clearing Gallery in Brussels and New York, and Emanuel Layr in Vienna and Rome.

Selected solo exhibitions
  • 2019 : Oops, I think I may have lost my lighter somewhere on the ground. Could someone come down here and help me find it ? Clearing, Brooklyn, New-York
  • 2019 : Beyond the Land of Minimal Possessions, Emanuel Layr, Vienna
  • 2018 : Teeth Gums Machines Future Society, Monash University Gallery of Arts, Melbourne, Australia.
  • 2018 : Oops, I think I may have lost my lighter somewhere on the ground. Could someone come down here and help me find it ?, KUB Billboards, Kunsthaus Bregenz, Austria.
  • 2018 : Beyond the Land of Minimal Possessions, Atelier Hermès, Seoul, Korea.
  • 2018 : My Epidemic, A Body as Public as A Book Can Be, Asakusa, Tokyo.
  • 2018 : Lady to Fox, Clearing, Brussels
  • 2017 : Beyond the Land of Minimal Possessions, Artpace, San Antonio, Texas, USA.
  • 2017 : My Epidemic (Teaching Bjarne Melgaard ’s class), Emanuel Layr Roma, Italy
  • 2017 : Teeth Gums Machines Future Society, Museion, Bolzano
  • 2017 : Teeth Gums Machines Future Society, De Vleeshal, Middleburg, The Netherlands
  • 2016 : Teeth Gums Machines Future Society, Galerie Kamel Mennour, Paris, France
  • 2016 : Teeth Gums Machines Future Society, New Settings, Théâtre des amandiers, Nanterre (performance)
  • 2016 : Teeth Gums Machines Future Society, Kunstverein Hamburg, Germany.
  • 2016 : On How to Talk Dirty and Influence People (with Owen Piper), SALTS, Basel
  • 2016 : Irreversible Intrusion (with Isaac Julien), K11, Shangaï
  • 2016 : Safe Space, Emanuel Layr, Vienna
  • 2016 : I Sing The Body Electric, Contemporary Art Museum Saint Louis, Missouri
  • 2016 : I Sing The Body Electric, Clearing, New York
  • 2015 : My Epidemic (A Body as Public as Book Can Be), Clearing, Brussels
  • 2015 : My Epidemic (Teaching Bjarne Melgaard’s Class), Audain Gallery, Vancouver
  • 2014 : Live Through That ?!!, New Museum, New York.
  • 2014 : Live Through That ?!!, Index Fondation for Contemporary Arts, Stockholm.
  • 2014 : Live Through That ?!!, Outpost, Norwich.
  • 2013 : Enseigner comme des adolescents - Teaching as teenagers, Le Consortium, Dijon.
  • 2013 : I am intact and I don’t care. 21er Raum, Belvedere, Vienna.
  • 2012 : Ceci est ma maison / This is my place, Magasin, Centre National d’Art Contemporain, Grenoble.
  • 2012 : What a Century of hands! I shall never have my hand. Afterwards domesticity leads too far, Karma International, Zurich
  • 2012 : Interpretation, Performa, Fondation Calder, New York (performance).
  • 2012 : Fours Walls Speaking of Revolt, Media and Beauty, Serpentine Cinema, London (performance).
  • 2011 : Cleda’s Chairs, Bielefeld Kunstverein, Bielefeld.
  • 2011 : Fours Walls Speaking of Revolt, Media and Beauty, Tramway Theatre, Glasgow (performance).
  • 2011 : En réalité le sphinx est-il une annexe du monument ou le monument une annexe du sphinx ?, Centre Culturel Bellegarde, Toulouse.
  • 2011 : Black Mariah, Centre d'art contemporain du parc Saint Léger
  • 2010 : Interpretation, 1M3, Lausanne.
  • 2010 : Interpretation, Kunsthalle Basel.
  • 2010 : Antiteater, FRAC Champagne-Ardenne, Reims.
  • 2008 : The Race, Galleria Civica d’Arte Contemporanea di Siracusa, Montevergini, Sicile.
  • 2008 : LOVE = U.F.O, FRAC, Bordeaux.
  • 2008 : Explorations in French Psychedelia, CAPC, Bordeaux.
  • 2006 : The Center & Eyes, Zoo Galerie, Nantes.
  • 2006 : (Looking Through A) Glass Onion, Mary Mary offsite project, 130 Bridgegate, Glasgow.
  • 2006 : Power, Corruption & Lies, Galerie RLBQ, Marseille.
  • 2005 : Eggnogs & Flips, Public, Paris (collaborative project with Fiona Jardine).
  • 2004 : Grand Décolleté (collaborative project with Daniel Dewar), Mary Mary Project Space, Glasgow.
  • 2002 : Jet-Trash (collaborative Project with Owen Piper), Where The Monkey Sleeps, Glasgow

Selected bibliography
  • Reynaud-Dewar, Lili, Élisabeth Lebovici, Diedrich Diederichsen, Monika Szewczyk, Lili Reynaud-Dewar, Phaidon, London, 2019
  • Reynaud-Dewar, Lili, Teeth, Gums, Machines, Future, Society, Hatje Cantz, Berlin, 2018.
  • Reynaud-Dewar, Lili, My Epidemic: Texts about My Work and the Work of Other Artists, Paraguay Press, Paris, 2015.
  • Reynaud-Dewar, Lili, Live Through That ?!, New Museum, New York, 2015
  • Reynaud-Dewar, Lili, Ceci est ma maison, This is my place, Magasin, Grenoble, 2014
  • Reynaud-Dewar, Lili, Lili Reynaud Dewar: Interpretation, Paraguay Press, Paris; Kunsthalle Basel, Bâle, 2013.
  • Reynaud-Dewar, Lili, Perav Prod: Marque Déposée/Registered Trademark, Michel Baverey, Paris, 2003.
gollark: But seriously please actually fix my code HELP
gollark: Thanks, split personality!
gollark: I don't know why.
gollark: It's an attempted port of https://github.com/TomSmeets/FractalArt/blob/master/src/Main.hs which has some weirdness with generating "blotchy" images.
gollark: Also, rust code here: https://pastebin.com/8EPmv539

References
  1. January 2010, 1. "Interpretation • Kunsthalle Basel". Kunsthalle Basel. Retrieved 2019-12-30.CS1 maint: numeric names: authors list (link)
  2. "CAPC musée d'art contemporain de Bordeaux - Site officiel | Lili Reynaud-Dewar". www.capc-bordeaux.fr. Retrieved 2019-12-30.
  3. Dommergue, Bertrand. "LILI REYNAUD DEWAR CONTAMINE LA BIENNALE DE VENISE EN CHANTANT". Club de Mediapart (in French). Retrieved 2019-12-30.
  4. https://www.leconsortium.fr/fr/enseigner-comme-des-adolescents. Missing or empty |title= (help)
  5. "Lili Reynaud-Dewar at Emanuel Layr (Contemporary Art Daily)". contemporaryartdaily.com. Retrieved 2019-12-30.
This article is issued from Wikipedia. The text is licensed under Creative Commons - Attribution - Sharealike. Additional terms may apply for the media files.