Why is there talk of a quarrel in contemporary art?

    Contemporary art is a world structured in terms of criteria that no longer have anything to do with classical art or modern art and refers to a particular category of artworks that meet specific criteria (rules, codes, grammar). These criteria impose a regime of singularity and renewal giving rise to oppositional postures such as “do not do what has already been done” or at least highlight the fact it is being redone ! Thus, contemporary art does not merely violate the canons of representation but also the boundaries of art as envisaged by common sense.  It provides an experience of the limits of perception and in return must install explanatory discourses and mediations in the foreground in order to restore legibility. But legibility and visibility are permanently confused and it is difficult to make a connection between common sense and contemporary codes. Just as it is difficult to explain dark matter simply.

    AIM :

    In this sense my work questions the place of discourse in forms and the broader place of language at the heart of a contemporary practice. Through this research I am attempting to set up a dialogue between the criteria of contemporary art and those of the past, namely representational criteria in classical art but also the expression of interiority peculiar to modern art.

    More precisely, the aim of this exhibition is to destabilize the role contemporary art attributes to the eye, mouth and hand and disrupt our perception of their actions.

    Here you will come across cut hands or clasped hands (though strangely bearing paintings) but also hands that speak. You will find paintings in which the text plays a target role (decrypted depending on whether your eye lingers on the colours or not ) or paintings with titles scattered on the surface that can only be perceived through etched glass.

    In short, seek the text or forget it, but know that whatever your point of view, you are on the right side !

    Lucille Uhlrich


    Act of sampling.

    1. Taking a certain portion of a total, a mass.

    2. Extracting.

    My pratice feeds on daily life. Apparently valueless objects, phenomena linked to passing time and insignificant gestures become potential points of departure. The pieces I conceive operate in terms of highlighting, moving or assembling.

    I work in a very empirical and intuitive way. A shape, a texture may attract my attention and its materiality guides my choices. Thus the development of the work occurs through mastering, through repeated gestures, in an ebb and flow during which I gradually link and define my productions.

    Letizia Romanini