In the last several years, Lili Reynaud Dewar (*1975 in La Rochelle, lives and works in Grenoble) has created a complex oeuvre that continuously revolves around the concepts of cultural, social and even emotional identities, that recalls various artistic and social liberation movements and subcultures of the 20th century. She deliberately breaks with conventions and traditions in order to explore them and to create a space for thought in which the viewers can and must form their own opinions. For her installations and audiovisual performances, the artist takes her own designs for stage sets, her own paintings and costume designs to create spaces as scenarios. As she borrows formally from film, theater and pop music, her works often culminate in a multiplicity that is allegorical and partially archaic.
The exclusive edition for the Kunstverein is a photograph depicting the artist dancing in the spaces of the Kunstverein. With a good portion of self-irony, Reynaud Dewar, who studied dance, is shown naked and painted in silver surveying the gallery rooms in which she will present her large installation a month later. Reynaud Dewar thus responds to the universal standard of the white cube, addresses exoticism since modernism, distances herself from her own cultural background, and simultaneously displays her vulnerability as an artist.
- Teeth Gums Machines Future Society, Museion, Bozen (E)
- Teeth Gums Machines Future Society, Kunstverein in Hamburg (E)
Irreversible Intrusion (mit Isaac Julien), K11, Shanghai (E)
Gwangju Biennale, Korea (G)
- Venedig Biennale (G)
- Live Through That ?!, New Museum, New York (E)
- I am intact and I don’t care, 21er Haus, Wien (E)
- Ceci est ma maison / This is my place, Le Magasin, Grenoble (E)
- Interpretation, Kunsthalle Basel (E)