In Oiron, the artist Gloria Friedmann in her haunted castle
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Upon entering the sumptuous main courtyard of the Château d’Oiron, one thinks that the exhibition that Gloria Friedmann is displaying there will be a moment of fantasy in a dark era. The first piece she created for the occasion is indeed a fountain that throws its waters in all directions. They spring from the beaks of birds, mostly bright-eyed multicolored parrots. No doubt their heads are cut off and stuck on structures in the shape of human skeletons, but as these are a dapper pink, we do not worry much.
Wrongly, because if the exhibition, presented until October 2, is entitled “Eden Utopia”, it must be understood that not only is this utopia inaccessible, but also that the world is going in the wrong direction, towards assured catastrophe. This is not the first time that there are allusions in the artist’s work to what the human species has done to the planet and inflicted on other living species, but they are increasingly incisive. and, in the cinemas, progression has everything of a fatality.
This is not the first time that there are allusions in his work to what the human species has done to the planet and inflicted on other living species.
If the visitor goes towards the vestibule, he comes up against Correspondent. This tall installation is made of a plinth entirely lined with copies of daily newspapers – The world contributes in part to it – whose leaves are agitated in the current of air and whose titles announce wars, crises and tragedies of all kinds. On this topical parallelepiped is placed a stuffed deer. In the position of the slab or howling to death? The choice is quickly made.
If the visitor has entered the side of the right wing, he discovers, from the threshold, an obviously symbolic sculpture: in the pose of melancholy or mourning, a mannequin seated on the ground, whose head is a huge sphere, much too heavy for his body – the Earth, unquestionably, especially since the work is in this material, an earth between brown and gray. With the same material, Friedmann painted small canvases in the form of bestiary: toad, fox, monkey, octopus, hare, etc. It would be catchy if everyone didn’t have empty, white eye sockets, deprived of gaze, as if irradiated. On another wall of the room, a frieze involves in an identical destiny these same animals and men reduced to the state of puppets.
Gene mutations
On the first floor, the genetic mutations began. Affirms a retinue of seven heads that are no longer human. On one of them, stricken with an ailment that turned it into a ball of concretions, a parrot alighted as if on a perch: inversion of the relationship between human and bird. Other heads are being robotized, one surrounded by cables, the other become a kind of warrior helmet pierced with rows of holes so that the machine can see – and probably destroy. Another has, as a brain, a carnivore’s skull placed on a bed of bones. The only one that is more or less welcoming is certainly blind, like the others, but covered with deer antlers. It would be a more desirable metamorphosis than the others.
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