Editor

Marie-Laure Bernadac is a Cultural Heritage Officer. She was curator at the Musée Picasso, Paris, curator of Drawings at the Centre Pompidou, curator at the CAPC, Musée d’Art Contemporain, Bordeaux, then in charge of contemporary art at the Louvre Museum. She has curated several exhibitions of Louise Bourgeois: Dessins, Pensées plumes, Department of Drawings and Prints, Centre Pompidou, 1995, Oeuvres récentes, CAPC, Musée d’Art Contemporain, Bordeaux, 1998 and the Louise Bourgeois retrospective at Centre Pompidou, 2008. She was also co-curator with Bernard Marcadé of the exhibition Fémininmasculin, le sexe de l’art, Centre Pompidou, 1995, including numerous works by the artist. She has devoted several books to Louise Bourgeois, including Destruction du père-reconstruction du père: Écrits et entretiens 1923-2000 (Galerie Lelong, 2000) and The Insomnia Drawings (Daros, 2000). She wrote the first biography of the artist, Louise Bourgeois, Femme-couteau (Flammarion , 2019).

Contributors

Phyllida Barlow (b. 1944, Newcastle upon Tyne, UK) lives and works in London. She takes inspiration from her surroundings to create imposing installations that can be at once menacing and playful. She creates anti-monumental sculptures from inexpensive, low-grade materials such as cardboard, fabric, plywood, polystyrene, scrim and cement. These constructions are often painted in industrial or vibrant colors, the seams of their construction left at times visible, revealing the means of their making. Barlow’s restless invented forms stretch the limits of mass, volume and height as they block, straddle and balance precariously. In 2017 Barlow represented Britain at the Venice Biennale. Recent solo exhibitions include : Sprengel Museum Hannover, Germany (2022), LWL Museum für Kunst und Kultur, Münster, Germany (2022), Artist Rooms, Tate Modern, London, UK (2021), Royal Academy of Arts, London, UK (2019), and Kunsthalle Zurich, Switzerland (2016) . She is represented by Hauser & Wirth.

Tracey Emin (b. 1963, London) lives and works between London, Margate and the South of France. Since the early

1990s, she has produced a body of work that encompasses various forms of artistic expression, including painting, print-making, drawing, book, film, photography, installation, sculpture and neon text. She is well known for her frank, confessional style, and for transforming her inner emotional and psychological world—personal experiences, memories and feelings—into art that is both intimate yet profoundly universal. Emin’s art has an immediacy and often sexually provocative attitude that firmly locates her oeuvre within the tradition of feminist discourse. In 2007,she represented Great Britain at the Venice Biennale. She has exhibited extensively including major exhibitions at Munchmuseet, Oslo (2021), Royal Academy of Arts, London (2020), Musée d’Orsay, Paris (2019); Château La Coste, Aix-en-Provence (2017); Leopold Museum, Vienna (2015). She is represented by White Cube, London and Xavier Hufkens, Brussels.

Camille Henrot (b. 1978, Paris) lives and works in New York City. Henrot’s practice moves seamlessly between film, painting, drawing, sculpture, and installation. She draws upon references from literature, psychoanalysis, social media, cultural anthropology, self-help, and the banality of everyday life in order to question what it means to be both a private individual and a global subject in an increasingly connected and over-stimulatedworld. In 2013, Henrot was awarded the Silver Lion at the 55th Venice Biennial, and in 2017, she was given carte blanche at Palais de Tokyo in Paris, where she presented the major exhibition Days Are Dogs. Recent solo exhibitions include : Middelheim Museum in Antwerp, Belgium (2022), Kunstverein Salzburg, Austria (2022), Munch Museum in Oslo, Norway (2022), National Gallery of Victoria, Melbourne, Australia (2021), Kestner Gesellschaft, Hanover, Germany (2021), Art Sonje Center, Seoul, South Korea (2020) and Tokyo Opera City Gallery, Tokyo, Japan (2019). She is represented by Kamel Mennour and Hauser & Wirth.

Jenny Holzer (b. 1950, Gallipolis, OH) lives and works in New York. She is a conceptual and installation artist whose work deploys text in public spaces across an array of media, including digital signs, carved stone, billboards, and printed materials. Inherently feminist, Holzer’s oeuvre provokes public debate and illuminates social and political injustice. She creates a powerful tension between the realms of feeling and knowledge, with a practice that encompasses both individual and collective experiences of power and violence, vulnerability and tenderness. Her work is part of the public domain, accessible equally in museums and galleries, in storefronts, on benches and T-shirts, and even electrified in New York’s Times Square. In 2022 she curated the exhibition Louise Bourgeois x Jenny Holzer, The Violence of Handwriting Across a Page at Kunstmuseum Basel. She is represented by Hauser & Wirth, Sprüth Magers, and Kukje Gallery.

Benoît Piéron (b. 1983 in Ivry-sur-Seine, France) creates moments, installations and objects. He is interested in the sensuality of plants, the borders of the body and the temporality of waiting rooms. He practices patchwork, existential gardening and designs wallpapers. Having always lived with a pet illness, the hospital world is his ecosystem. For the past few months, he has been questioning the sustenance of unicorns, the place of orgasm in the hospital and lethal flora. He is nominated for the 2022 Prix Fondation Pernod Ricard and he is the recipient of a year-Long residency at the Louvre-Lens, beginning in September 2022. Recent solo exhibitions include : Illness Shower, Sultana Summer Set, Arles (2022), Deux Drapeaux, Une Belladone, l’Alcôve, Paris (2021), Plaid, Cité Internationale des Arts, Paris (2021); Seconde peau, soft walls, patch.E.S & soap, Cité Internationale des Arts, Paris (2021); and [random], Tanneries, centre d’art contemporain, Amilly (2018). Piéron is represented by Sultana, Paris and Arles.

Anne Rochette (b. 1957 in Oullins, France) lives and works in Paris, and has taught at the Beaux-Arts in Paris since 1993. A sculptor, she now works chiefly in clay, glazed or unglazed, often combined with textiles, wood or resins, among other materials. She has always painted watercolors and drawn alongside her sculptural practice. Her hybrid works stand between the figurative and the abstract, and imply a sensual, occasionally erotic, presence. Her public commissions include installations in the Tuileries Garden, Paris, the Australian National University Sculpture Park in Canberra, Australia and the Centre Scolaire Nelson Mandela, Saint-Ouen, France. She showed her work in 2022 at the Chapelle des Arts in Pithiviers, and in 2019 at the Couvent des Bernardins, Paris. In 2011, she exhibited at the Musée des Arts Décoratifs, Paris, and in 2013 at the Museum of Art and Design, New York, a city where she lived between 1984 and 1990. She taught at the Parsons School of Design and at the Rhode Island School of Design in the ’80s.

Agnès Thurnauer (b. 1962, Paris) is a Franco-Swiss artist who lives in Paris and works in Ivry-sur-Seine. Through her paintings, sculptures, and installations, she focuses her practice around language. Thus, writing is often present in her pictorial praxis leading the viewer to emancipate endlessly of his own reading. This plastic quality of language can be experienced with her three dimensions sculptures made of casts of letters on different scales letting the gaze and the body involved. Recent solo shows include : On se retrouve chez toi, Musée Matisse, Nice (2022), A comme Boa, LAM, Villeneuve d’Ascq (2022), RRose c’est la Life, Centre d’Art Bouvet Ladubay, Saumur (2021), Land and Language, Fondation Thalie, Brussels (2020), Now When Then, Musée des Beaux-arts de Nantes, France (2020), Kunsthalle, Bratislava, Slovakia (2016-2017). Agnès Thurnauer set up a permanent work, Les Matrices Chromatiques, at Musée de l’Orangerie, Paris. She is represented by Michel Rein, Brussels-Paris.

Rachel Whiteread (b. 1963, London) is a sculptor who lives and works in London. Her practice is defined by an ongoing investigation of domestic architecture and the traces of humanity impressed upon such sites. She casts the spaces inside and around objects – be they bathtubs or mattresses, architectural elements such as doors, floors and windows, or even entire buildings – and uses materials such as resin, rubber, concrete, and plaster to preserve each surface detail. Absence is made present, interior becomes exterior, and the invisible is rendered visible. Collections include Tate, London; National Galleries of Scotland, Edinburgh; Centre Pompidou, Paris; Metropolitan Museum of Art, New York; and MoMA, New York. In 1997, she represented Great Britain at the Venice Biennale. Recently, she has been the subject of solo exhibitions at Tate Britain, London (2017-2018), Belvedere 21, Vienna, Austria (2018); National Gallery of Art, Washington, DC (2018-2019); Saint Louis Art Museum, MI (2019). She is represented by Gagosian Gallery, London, Galleria Lorcan O’Neil, Rome and Luhring Augustine Gallery, New York.

Shen Yuan (b. 1959 in Xianyou, China) lives and works in Paris since 1990. She graduated from the Fine Arts Academy of Zhejiang in China, and belongs to the most radical generation of the ’80s avant-gardes. She expresses her feelings about immigration, language, and the relationship between the body and politics. Her works create places for poetical encounters between cultures. The artist invites the public to reflect without imposing value judgements. Solo exhibitions include the UCCA Center for Contemporary Art, Beijing (2009), the Centre A, Vancouver (2007), the Chisenhale Gallery, London (2001), and the Kunsthalle Bern in Switzerland (2000). In 2017 and 2018 she benefited from two major exhibitions celebrating her work in China, her solo presentation Without Wall at Minsheng Museum, Beijing, and HON, in dialogue with Niki de Saint Phalle at Power Station of Art in Shanghai. In 2021-2022, she presented Fragments de Mémoire at Musée Cernuschi, Paris. She is represented by Kamel Mennour.