The Evil Eye is like a concentrated theater. A large LED screen displays portraits from several databases (Getty, Shutterstock, etc.) used in advertising and political campaigns. The green screen used to embed images, and the stream of stereotypical faces of artificial beauty, reference consumerist strategies. “All these women […] I see them as gathered in an encyclopedia of the living, a merchant archive of the present time,” says the artist. A dramaturgy is established between the undifferentiated, commercial style images, and a profound narrative, evoking the extinction of humanity, whispered by a female voice. The compilation of portraits and aerial views of scintillating metropolises creates a visual stroll through the contemporary technology archive.
© Adagp, Paris, 2020 Courtesy of the artist, of the gallery Eva Hober (FR) and the gallery Reinhard Hauff (DE) © Adagp, Paris, 2020 Courtesy of the artist, of the gallery Eva Hober (FR) and the gallery Reinhard Hauff (DE) © Adagp, Paris, 2020. Photo © Fondation Louis Vuitton / Marc Domage
Since the late 2000s, Clément Cogitore has worked with film, alternating between the cinematic format and installations. Inspired by gatherings, community phenomena, and belief systems, all of his work has an undertone of ritual and the sacred
The Kitchen V, Carrying the milk, 2009
Marina Abramovic
Mon enfant, 2014
Adel Abdessemed
WA, 2004
Ziad Antar
No exit, 1989
Louise Bourgeois
Le voyage de noces, 1975
Annette Messager
Fugue, 2003
Louise Bourgeois
Untitled, 2003
Louise Bourgeois
The Krazy House (Megan, Simon, Nicky, Philip, Dee), Liverpool, UK, 2008
Rineke Dijkstra
Autoportrait, 1975
Samuel Fosso
Autoportrait, 1975
Samuel Fosso
Autoportrait, 1975
Samuel Fosso
Autoportrait, 1975
Samuel Fosso
