A shadow theatre: babies’ prams casting enormous silhouettes on the walls, glasses full of a red liquid that could just as easily be blood as wine, pieces of fabric theatrically caught in the light beam of an imageless projector. Eulalia Valldosera’s drama suggests a constellation of moments centred on the body, the privacy of the domestic and objects from everyday life. Female archetypes play a central role in her work, which dissects and examines the family setting, maternity, bodily fluids and the male gaze. Even the titles of the works – "The Kitchen", "The Period", "The Streetlamp", "Dependencies" –draw on the notion of a stage on which the world’s future is played out. The possibilities of action for viewers – changing the order of the fabrics, pushing the pram-projector along its rails – are scenarios beyond the artist’s control and immune to the protective strategies of the host venue.
With the support of the Seacex, Madrid.
From 16 September 2009
We are living in the society of the spectacle. In spite of its alienating effects on our life and social relationships, it’s one of the very fundamental conditions of our existence. We perceive the world and communicate with each other through the spectacle – a system of image production and representation dominated by the logic of market capitalism which tends to “develop” our faculties of perception, imagination and reflection towards a “one dimensional model” formatted by the language of consumerist ideology. This is also the very contemporary condition of our self-identification and social order “guaranteed” by the established power system. As a main typology of artistic and cultural events of our time, biennials of contemporary art are no doubt an ultimate form of expression of such a tendency...
The first three Lyon Biennials - in 1991, 1993 and 1995 – were part of a largely historical perspective, from which problematics, stakes and themes were derived. The first one, called “The love of art”, chose to assess the situation of creation in France. Resolutely going against the trend, this biennial noted that since the so-called “Pompidou exhibition” (Paris 1969), no such far-reaching project had been imagined in France.
The European Biennial Network is a collaborative structure that aims to promote dialogue, interaction and collaboration between contemporary art biennials in Europe.
For more information : www.europeanbiennialnetwork.org
The Biennale of Lyon is a Les Biennales de Lyon event