Art Encounters 2017 Exhibitions:
The Catcher in the Mirror
The Historical Avant-garde and the art of ping-pong

In the 90’s, Marion Baruch (b. 1929) signed her works under the label Name Diffusion, leading her artistic actions in the form of a non-embodied collective. She constantly renews her practice, and now intervenes with fabric remnants that occur when pieces of clothing are cut. The remnants of the industrial society are handed to her in bags coming from the textile factories of the Milanese haute-couture scene.

Selected exhibitions: Le parti pris des nuages, Galerie Anne-Sarah Bénichou, Paris (2017, solo); Attitude / Sculpture #2, Galerie Eduardo Secci, Florence (2017), Le temps éclaté par la profondeur du vide, Galerie Laurence Bernard, Geneva (2016, solo); Le Printemps de Toulouse, L’adresse du Printemps, Toulouse (2016, solo); Time is out of joint, Galleria Nazionale d’Arte Moderna, Rome (2016); Lampi di memoria, Des histoires sans fin, MAMCO, Geneva (2013); Contemporaines, genre et représentation, Palais de Tokyo, Paris (2002); Micropolitiques, Le Magasin, Centre d’art contemporain, Grenoble (2000, solo); Moneynations, Shedhalle, Zurich / Kunsthalle Exnergasse, Vienna (2000); Forum Féminin/Masculin, Centre Pompidou, Paris (1995).

In her recent works, just like in the exhibition Le parti pris des nuages, Marion Baruch hangs fabrics freely from wall. These fabrics are offcuts found in garment shops in the vicinity of the artist’s house in northern Italy; they are the fabric that remains after clothes have been cut from them. Canvases have been cut out and appear to be draped, creating forms that reflect the effects of gravity and chance combined. The object in the work is a ready-made of lyrical geometry that has already been deconstructed, the unpredictable performance of its gestation being subtly hidden by a fake bas-relief.

Images :

1. Marion Baruch, Portrait (2010), photo credits : Isabelle Grosse

2. Marion Baruch and A.G. Fronzoni, Contenitore-Ambiente, (1969), photo credits: Berengo Gardin, courtesy Marion Baruch, A.G Fronzoni and galeries Anne-Sarah Bénichou and Laurence Bernard