Cancer de la gorge 2
Fabienne Audéoud and Anne-Lise Coste
Thursday 5 – Saturday 28, June
- open hours
Thursday, 2.30-7pm
Friday and Saturday, 2-7pm
Gaudel de Stampa
158, rue Lafayette, 75010 Paris
access code 6254 / ring intercom gaudel de stampa / 2nd floor
* Cancer de la gorge 1 was curated by Oriane Durand and took place at Le Berceau, Marseille 2020
Please click to download the press kit
_ Room 1 _
- Fabienne Audéoud
- I Love Thinking (The Mascarade, Lacan, Feathers, A Skull And More)
I Love Thinking (Woman Are Men)
I Love Thinking (The Lemon One) - Anne-Lise Coste
- Ahou Daryaei I
Les femmes c’est
_ Room 2 _
- Fabienne Audéoud
- I Love Thinking (I Will Never Wear Diamonds)
I Love Thinking (Gabrielle Suchon’s Quote About Women’s Capacity for Great Deeds)
I Love Thinking (The Black Head One)
I Love Thinking (Trying My Best Against The Far Right)
I love Thinking (Please Don’t Kill Me / Calling In / Loretta J. Ross)
I Love Thinking (Please Don’t Kill Me / The Fists One)
I Love Thinking (The Minerva Owl / Audre Lorde’s Quote About Silence)
I Love Thinking (Donna Harraway, A Small Elephant And More)
I Love Thinking (Linda Nochlin / The Empty Purse) - Anne-Lise Coste
- Vous êtes belle
Noël
Les grandes parades
AVALE
Budget des femmes
France
This pussy
Vierge longtemps
Avortement
FEM ME
Yo Perpignan
Sans titre
Anne-Lise Coste studied in Marseille and in Zurich, after which she was based in New York, and now lives and works in Paris. Her drawings and texts have the immediacy of graffiti, and allow her to express subjective moods mixed with political criticism and literary sentences. With a dada-influenced language and intensely lyrical images, her work exudes irony, rebellion and emotion. She creates seemingly decorative compositions that actually offer us a catalogue of contemporary anxieties, where the immediacy of the gesture of drawing combines a strong poetic sense with an element of social critique.
Fabienne Audéoud lives and works in Paris after a dozen years in London and a two-year residency at the Jan van Eyck Academy in Maastricht.
It’s after an M.A. in fine art at Goldsmiths that her work, until then mostly musical, re-focused on visual art practices and developed in the 90’s British art scene.
Her body of work includes paintings, videos, installations and performances. It is focused on power relations, mostly within language and around gender and the politics of representation.
It has been widely shown in independent spaces as well as in major international institutions.
Rather than the illustration of a critical position or the demonstration of knowledge, she tries to find and/or create a space for intervention(s), where an action is possible, with what Robert Garnett describes as « the logic of the joke, a disruptive affect rather than an ironic commentary. »