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Based on current exhibitions, Romain Mathieu analyses the renewed interest in the Pattern and Decoration[1] movement, which echoes contemporary practices that make more or less direct claims to an artisanal dimension.
Based on current exhibitions, Romain Mathieu analyses the renewed interest in the Pattern and Decoration[1] movement, which echoes contemporary practices that make more or less direct claims to an artisanal dimension.
This lecture, given at the end of 2018, focuses in particular on the exhibitions Pattern, Decoration & crime at MAMCO in Geneva and on the 2017 Venice Biennale, whose works at the Arsenale were an important indicator of a shift in our gaze towards approaches that draw on techniques and materials related to craft. Among the artists exhibited at the MAMCO, Romain Mathieu is looking at works by Robert Zakanitch, Myriam Schapiro, Tina Girouard, Brad Davis, Jennifer Cecere and Betty Woodman, as well as Lynda Benglis, Marc Camille Chaimovicz and Claude Viallat. In the Biennial, he will be focusing more specifically on the textile works of Sheila Hicks, the weavings of Cinthia Gutiérriez and Teresa Lanceta, the ceramic sculptures of Yee Sookyung, the glass creations made on the island of Murano by Leonor Antunes, the assemblages of Rina Banerjee and the ceramics of Michele Ciacciofera.

Version du 28 janvier 2024 à 19:26

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== Abstract ==
A partir de l'actualité des expositions, Romain Mathieu analyse à l'intérêt renouvelé pour le mouvement ''Pattern and Decoration''<ref>Anne Swartz, ''Pattern and Decoration – An ideal vision, 1975-1985'',  Hudson River Museum, Yonkers, 2008.</ref> qui entre en écho avec des pratiques contemporaines revendiquant de manière plus ou moins directe une dimension artisanale.

Based on current exhibitions, Romain Mathieu analyses the renewed interest in the Pattern and Decoration[1] movement, which echoes contemporary practices that make more or less direct claims to an artisanal dimension.

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