Anne Deguelle, Abbey Road
Emmanuelle Lequeux 2005
Through the diversity of her practice, Anne Deguelle questions the nature of artworks, as well as the works of iconic 20th-century artists and personalities. By focusing on details that are usually overlooked and considered anecdotal by art historians and critics, she throws doubt on our perceptions and memories by proposing a redefinition of the notions of Art and Artwork.
Her output involves the use of collections of documents, clues, pieces of evidence and research material (which she implements through installations, photography and publications), and outlines a form of imperfect recurrence within a rich and profuse body of work.
Anne Deguelle also applies this collection-based methodology to her personal history in her “Diaries”, which consist of in-progress mural assemblages – a form of archaeology of the self through which she seeks to achieve a poetics of renewed wonder.
Duccio di Buoninsegna, Pontormo, Diego Velasquez, Francisco Goya, Paul Cézanne, Simon Hantaï, Marcel Duchamp, Mathieu Mercier, Bethan Huws, Roni Horn, Daniel Steegmann Mangrané
Jean-Claude Lebensztejn, Harald Szeemann,
Raymond Roussel, Dominique Fourcade, John Giorno, Henry Purcell, Pascal Dusapin
Photographie, vidéo, son, éléments naturels ou manufacturés, documents, crayon, ciseaux, papier, calque, ordinateur
Collecter, accumuler, choisir, documenter
Doubles, corpus, constellations, recherches, Mélancolies, Marcel Duchamp, Raymond Roussel, Sigmund Freud
Sur la route, Jack Kerouac; Music for a while, Henry Purcell; Rose-déclic, Dominique Fourcade
“La poétique du rien (du peu)”;
“Lascia la spina, cogli la rosa” (Georg Friedrich Haendel); “Le presbytère n’a rien perdu de son charme ni le jardin de son éclat” (Gaston Leroux, Mystère de la chambre jaune); “Cold dark matter” (théorie cosmologique)