is pleased to present


V I D E O   C L U B # 3


A viewing room of works by Lili Reynaud-Dewar

  • “Lili Reynaud-Dewar dancing is an amazing sight to see. Trim, androgynous and in the buff, this enormously talented French artist makes videos that show her improvising, alone, lost in private fantasies in empty public spaces.”

    - Roberta Smith, New York Times

    (February 25, 2016)

    Lili Reynaud-Dewar
    I want All Of The Above To Be The Sun (If The Snake), 2019
    High-definition video, color, 46 min 12 sec, looped
    Edition of 1 + 1AP
  • Through performance, video, mixed media, and installation, Lili Reynaud-Dewar examines the roles of private and public spaces, unveiling the layers of empowerment and vulnerability associated with exposing oneself to the world. Initiated in her studio in 2011, Reynaud-Dewar’s video practice features herself as a lone subject dancing naked with her body covered in paint. Filming in the various locations where she is working or where her work is presented, she preserves these environments and the conditions in which she finds them. 
    I Want All of the Above To Be The Sun, was filmed in the context of If The Snake, the 2019 exhibition curated by Pierre Huygue during the 2nd Okayama Art Summit, which was characterized by its capacity to trespass the boundaries of the exhibition space and sprawl from the museum through various outdoor locations in the city. Reynaud-Dewar dances along the works of Pamela Rosenkranz, Matthew Barney, Tarek Atoui, and Paul Chan, and encounters a myriad of spaces, from a Japanese traditional house to an abandoned yard or a museum of decorative artifacts. 
    Along with this private performance, visible only through its filmed documentation, Reynaud-Dewar presented an additional performance in which she invited an audience to attend the filming sessions of her upcoming film Rome, November 1st and 2nd, 1975. Together, the works functioned as opposites: while I Want All of the Above To Be The Sunprivatized the act of performance, Rome,November 1st and 2nd, 1975 rendered public a working session which would normally be hidden from the gaze of the spectator.
    Lili Reynaud-Dewar (b. 1975 in La Rochelle, FR) lives and works in Grenoble, FR.
    Solo exhibitions of her work have been held at Museion, Bolzano, IT; Kunsthalle Basel; New Museum, New York; De Vleeshal, Middelburg; Kunstverein, Hamburg; K11, Shanghai; Contemporary Art Museum St. Louis; Le Consortium, Dijon; Le Magasin, Grenoble; Calder Foundation, New York; Serpentine Cinema, London; ASAKUSA, Tokyo; Atelier Hermès, Seoul.
    Her work was also featured in numerous group exhibitions, including the Centre Pompidou, Paris; Palais de Tokyo, Paris; Musée d’Art Moderne de Paris; 56th Venice Biennial, IT; MCA Chicago; Palais de Tokyo, Paris; WIELS, Brussels; MAK, Vienna; Witte de With, Rotterdam; Berlin Biennial; Museum Folkwang, Essen; Logan Center for the Arts, Chicago; Generali Foundation, Vienna; KAI 10 | Arthena Foundation, Düsseldorf; Kunsthalle Bern.
    Lili Reynaud Dewar’s work is part of the collections of Centre Pompidou, Paris; Pinault Collection, Paris; Museion Collection, Bolzano; K11, Hong Kong/Shanghai/Beijing; and Lafayette Anticipations, Paris.
  • "Lili Reynaud-Dewar belongs to the first generation of influential, highly acclaimed artists whose oeuvres have already achieved global prominence, despite emerging only at the beginning of this millennium. It therefore seems reasonable to explore her work through the lens of the social and artistic themes that were relevant during this period. Reynaud-Dewar's work repeatedly references the discourses of the unconventional sexuality and queerness; the human-made character of the natural; the dialectical nature of the body and its symbolic, sexual and ethnic identity; the precariousness of the skin and other boundaries of the human body as places for trauma and transition, representation and concealment, a surface for projection and perceived essence, the boundless availability and generative quality of easily remembered signs, logos and memes; architecture as the environment for texts and bodies, and the attempt to celebrate and criticize, abandon and inhabit these conceptual worlds and physical space; and finally, the concept and reality, history and present of subcultures and countercultures."

    -Diedrich Diederichsen

    Phaidon Artists' Monographs Series (2019)

    • Lili Reynaud-Dewar LADY TO FOX, 2018 Laquered metal, printed silk, light bulb 85 x Ø16 inches (215 x Ø40 cm)
      Lili Reynaud-Dewar
      LADY TO FOX, 2018
      Laquered metal, printed silk, light bulb
      85 x Ø16 inches (215 x Ø40 cm)
    • Lili Reynaud-Dewar LADY TO FOX, 2018 Mannequin, body paint, styrofoam 200 x 80 x 85 cm (79 x 31 1/2 x 33 inches)
      Lili Reynaud-Dewar
      LADY TO FOX, 2018
      Mannequin, body paint, styrofoam
      200 x 80 x 85 cm (79 x 31 1/2 x 33 inches)