{"id":2676,"date":"2025-01-01T18:31:34","date_gmt":"2025-01-01T17:31:34","guid":{"rendered":"https:\/\/www.haut-pave.org\/galerie\/?p=2676"},"modified":"2025-01-01T18:52:19","modified_gmt":"2025-01-01T17:52:19","slug":"anna-ditscherlein","status":"publish","type":"post","link":"https:\/\/www.haut-pave.org\/galerie\/2025\/01\/01\/anna-ditscherlein\/","title":{"rendered":"Anna DITSCHERLEIN"},"content":{"rendered":"\n

Assise sur la langue d’une grenouille<\/em><\/strong><\/h2>\n\n\n\n

Exposition du 7 janvier au 1 f\u00e9vrier 2025<\/strong><\/h2>\n\n\n\n

Vernissage mardi 7 janvier 2025 de 18h \u00e0 21h<\/h2>\n\n\n\n
\"\"<\/figure>\n\n\n\n

Le corps et son noyau utopique
\u00ab Le corps est le point z\u00e9ro du monde, l\u00e0 o\u00f9 les espaces et les chemins viennent se croiser le corps n\u2019est nulle part ; Il est au coeur du monde ce petit noyau utopique \u00e0 partir duquel je r\u00eave, je parle, j\u2019avance, j\u2019imagine, je per\u00e7ois les choses en leur place et je les nie aussi par le pouvoir ind\u00e9fini des utopies que j\u2019imagine \u00bb<\/em>
(Michel Foucault, 1966, Le Corps utopique)

Dans cette s\u00e9rie de grands tableaux \u00e9tal\u00e9s sur trois ans, l\u2019artiste poursuit ses exp\u00e9rimentations sur la figuration ou l\u2019impossible figuration du corps, avec un int\u00e9r\u00eat passionn\u00e9 pour ce que Brauner nommait la \u00ab guerre morphologique de l\u2019homme \u00bb et son cort\u00e8ge d\u2019images m\u00e9tamorphiques, port\u00e9es par les processus de d\u00e9placement, distorsion, attraction, coalescence qui affectent l\u2019anatomie humaine.
D\u2019autant plus que le corps est engag\u00e9 dans d\u2019\u00e9tranges migrations, en partance vers des univers o\u00f9 la fantaisie se donne une totale libert\u00e9. Il est partout pr\u00e9sent, m\u00eame absent ou effac\u00e9, toujours transfigur\u00e9 par des couleurs invraisemblables, vibrantes et \u00e9lectriques et baignant dans des \u00e9clairages hallucinants, psych\u00e9d\u00e9liques ou caustiques, se refusant \u00e0 l\u2019objectivation traditionnelle et patriarcale du regard masculin. Elle le fait aussi en artiste \u00ab s\u00e9mionaute \u00bb (Nicolas Bourriaud). Elle produit des itin\u00e9raires \u00e0 travers des signes, des formes et des images connues, des r\u00e9f\u00e9rences culturelles, les codes de la l\u00e9gende, du conte, de la bande dessin\u00e9e ou de la publicit\u00e9, autant de codes qu\u2019elle fait malicieusement bifurquer, qu\u2019elle d\u00e9tourne avec un humour bien \u00e0 elle, qu\u2019elle pousse \u00e0 la limite, jusqu\u2019\u00e0 la d\u00e9rision et le sarcasme, cette forme de rire qui selon son \u00e9tymologie \u00ab d\u00e9chire la chair \u00bb, une mordante ironie.
C\u2019est une qu\u00eate o\u00f9 l\u2019on peut \u00eatre sensible \u00e0 la libert\u00e9 des formes et du dessin, au traitement, voire \u00e0 l\u2019exasp\u00e9ration des couleurs, \u00e0 la diversit\u00e9 des entr\u00e9es dans \u00ab la parabole graphique sans cesse recommenc\u00e9e de la condition humaine \u00bb \u2026mais surtout qui interpelle le regard quant \u00e0 cet \u00e9nigmatique objet qui anime la recherche, le geste de l\u2019artiste.
Le point d\u2019o\u00f9 jaillit ce geste, un noeud d\u2019\u00e2me, de pens\u00e9e et de d\u00e9sir, c\u2019est toujours un point du corps, un lieu de questions urgentes et br\u00fblantes, qu\u2019est-il ? O\u00f9 est -il ? Que peut-il ? Foucault \u00e9voque sa \u00ab topie impitoyable \u00bb : Il sera toujours l\u00e0 o\u00f9 je suis et c\u2019est la source d\u2019une souffrance ind\u00e9passable, capt\u00e9e chaque matin dans le miroir, il ne r\u00e9pondra jamais \u00e0 l\u2019utopie o\u00f9 je voudrais \u00eatre et pourtant toutes ces utopies et r\u00eaves du corps qui veut s\u2019\u00e9chapper \u00e0 lui-m\u00eame trouvent bien leur origine et leur point d\u2019application dans ce corps. Il en faut un pour travailler contre lui, et c\u2019est ce travail qui \u00e9tablit le rapport entre sa souffrance et son d\u00e9sir \u2013 le d\u00e9sir est cette troisi\u00e8me dimension: par le d\u00e9sir mon corps est toujours ailleurs, li\u00e9 \u00e0 tous les ailleurs du monde, au point d\u2019\u00eatre ailleurs que dans le monde.
Tel est ce noyau utopique du corps, un encha\u00eenement de trois dimensions de l\u2019exp\u00e9rience du corps, \u00e0 tenir au chaud \u00e0 m\u00eame le corps, une boussole pour s\u2019orienter dans ces tr\u00e8s plaisantes migrations du corps d\u2019Anna Ditscherlein.
Georges Quidet, HCE Galerie<\/p>\n\n\n\n

\n\n\n\n

L\u2019artiste allemande Anna Ditscherlein (n\u00e9e en 1986) vit \u00e0 Paris depuis 2022. Elle a \u00e9tudi\u00e9 \u00e0 l\u2019\u00c9cole Sup\u00e9rieure des Beaux-Arts de Dresde dans l\u2019atelier de peinture de Ralf Kerbach, (dipl\u00f4me, 2021). Elle est \u00e9galement dipl\u00f4m\u00e9e en design de communication (Bachelor of Arts, 2014, \u00c9cole Sup\u00e9rieure des Beaux-Arts et de Design Burg Giebichenstein Halle ). Des semestres \u00e0 l\u2019\u00e9tranger, \u00e0 l\u2019\u00c9cole Sup\u00e9rieure des Beaux-Arts de Varsovie (2010\/11) et \u00e0 l\u2019\u00c9cole nationale sup\u00e9rieure des Beaux-Arts de Paris (2020\/21, studio Nina Childress), font partie de son parcours de formation europ\u00e9en.
Ses peintures ont \u00e9t\u00e9 pr\u00e9sent\u00e9es dans des expositions collectives \u00e0 Riga (Surrender, 2021), \u00e0 Vienne (Prospektive, 2019) ou \u00e0 Paris (Speed Dating, 2022). Anna Ditscherlein a en outre particip\u00e9 \u00e0 des r\u00e9sidences en Chine (2023, Taohuatan), au Danemark (2019, Gludsted) et en France (Meschers-sur-Gironde, 2023).<\/p>\n\n\n\n

\n\n\n\n
\"\"<\/figure>\n\n\n\n

\u2018The body is the zero point of the world. There, where paths and spaces come to meet, the body is nowhere. It is at the heart of the world, this small utopian kernel from which I dream, I speak, I proceed, I imagine, I perceive things in their place, and I negate them also by the indefinite power of the utopias I imagine.\u2019
(Michel Foucault, 1966, The utopian body) <\/p>\n\n\n\n

In this series of large-scale paintings spread over three years, the artist continues his experiments with the figuration or impossible figuration of the body, with a passionate interest in what Brauner called the \u2018morphological war of man\u2019 and its procession of metamorphic images, driven by the processes of displacement, distortion, attraction and coalescence that affect the human anatomy.
All the more so as the body is engaged in strange migrations, bound for universes where fantasy is given total freedom. It is present everywhere, even when absent or erased, always transfigured by incredible, vibrant, electric colours and bathed in hallucinatory psychedelic or caustic lighting, refusing to accept the traditional, patriarchal objectification of the male gaze.
She also does this as a \u2018semionaut\u2019 artist (Nicolas Bourriaud). She produces itineraries through familiar signs, forms and images, cultural references, the codes of legends, tales, comic strips and advertising, all of which she mischievously branches off, hijacking with a humour all her own, pushing them to the limit, to the point of derision and sarcasm, that form of laughter which, according to its etymology, \u2018tears the flesh\u2019, a biting irony.
It’s a quest in which we can be sensitive to the freedom of the shapes and drawings,to the treatment, even the exasperation of the colours, to the diversity of the entries in \u2018the graphic parable of the human condition\u2019 \u2026but above all it challenges our gaze as to the enigmatic object that drives the artist’s research and gesture.
The point from which this gesture springs, a knot of soul, thought and desire, is always a point on the body, a place of urgent, burning questions: what is it? Where is it? What can it do? Foucault evokes his \u2018pitiless place\u2019: It will always be where I am, and that is the source of an unsurpassable suffering, captured every morning in the mirror; it will never respond to the utopia where I would like to be and yet all these utopias and dreams of the body that wants to escape from itself find their origin and their point of application in this body. It takes one to work against it, and it is this work that establishes the relationship between its suffering and its desire \u2013 desire is this third dimension: through desire my body is always elsewhere, linked to all the other places in the world, to the point of being elsewhere than in the world.
Such is the utopian core of the body, a three-dimensional sequence of the body\u2019s experience, to be kept warm within the body, a compass to orient oneself in Anna Ditscherlein\u2019s very pleasant migrations of the body.
Georges Quidet, HCE Gallery<\/p>\n\n\n\n

\n\n\n\n

German artist Anna Ditscherlein (b. 1986) has lived in Paris since 2022. She studied at the Dresden University of Fine Arts in Ralf Kerbach\u2019s painting studio. (Master of Fine Arts, 2021). She also has a degree in visual communication (Bachelor of Arts, 2014, University of Art and Design Burg Giebichenstein Halle). Semesters abroad at the Academy of Fine Arts in Warsaw (2010\/11) and the Beaux-Arts de Paris (2020\/21, Nina Childress studio) are part of her European training.
Her paintings have been shown in group exhibitions in Riga (Surrender, 2021), Vienna (Prospektive, 2019), Paris (Speed Dating, 2022) and Saint-Denis (Incertitude, 2022). Anna Ditscherlein has also taken part in residencies in China (2023, Taohuatan), Denmark (2019, Gludsted) and France (Meschers-sur-Gironde, 2023).<\/p>\n\n\n\n

\"Le<\/figure>\n\n\n\n

www.annaditscherlein.com\/<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Assise sur la langue d’une grenouille Exposition du 7 janvier au 1 f\u00e9vrier 2025 Vernissage mardi 7 janvier 2025 de 18h \u00e0 21h Le corps et son noyau utopique\u00ab Le corps est le point z\u00e9ro du monde, l\u00e0 o\u00f9 les espaces et les chemins viennent se croiser le corps n\u2019est nulle part ; Il est … <\/p>\n

Continuer la lecture de « Anna DITSCHERLEIN »<\/span><\/a><\/p>\n","protected":false},"author":5,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[44,3],"tags":[],"class_list":["post-2676","post","type-post","status-publish","format-standard","hentry","category-annee-2025","category-expositions"],"_links":{"self":[{"href":"https:\/\/www.haut-pave.org\/galerie\/wp-json\/wp\/v2\/posts\/2676","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.haut-pave.org\/galerie\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.haut-pave.org\/galerie\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.haut-pave.org\/galerie\/wp-json\/wp\/v2\/users\/5"}],"replies":[{"embeddable":true,"href":"https:\/\/www.haut-pave.org\/galerie\/wp-json\/wp\/v2\/comments?post=2676"}],"version-history":[{"count":0,"href":"https:\/\/www.haut-pave.org\/galerie\/wp-json\/wp\/v2\/posts\/2676\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.haut-pave.org\/galerie\/wp-json\/wp\/v2\/media?parent=2676"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.haut-pave.org\/galerie\/wp-json\/wp\/v2\/categories?post=2676"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.haut-pave.org\/galerie\/wp-json\/wp\/v2\/tags?post=2676"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}