Dancing With Myself

Self-portraits have adapted from a historical reference - 16th century recognisable
 
 paintings (portraying artists’s skill and virtuosity) to which nowadays one could allude to as
 
 a photograph; to a characteristic expression of an artist; and as of recently, portraits
 
 became a part of the ‘selfie’-infused culture. Dancing With Myself, an exhibition hosted by
 
 Punta della Dogana in Venice which showcases 145 works across differentiated media
 
 proposes a new take on individual - an artist avoiding fatalities of death by becoming a part
 
 of their own work, portraying themselves in varying ways with contrasting media, which
 
 seems to be more relatable today than ever.

 
 In juxtaposition to the backdrop of Venice from every window, the art works juggle the
 
 modernity and former past, the artistic experimentation and distinctiveness of each. Punta
 
 della Dogana with its immense space and open apertures casting shadows, provides a
 
 breath of fresh air and capacity to stand alone for each piece. The works curated by Martin
 
 Bethenod and Florian Ebner are chosen from intersection of celebrated artists, such as
 
 Gilbert & George to Damien Hirst and Cindy Sherman (Pinault Collection) just to mention a
 
 few, alongside with works of Nan Goldin and John Coplans among many others from the
 
 Folkwang Museum (Essen).

By merging the works in a collaboration between Museum Folkwang and Pinault
 
 Collection, a great opportunity arises, where the viewer can become a witness of
 
 internationally acclaimed artists standing strong together - approximately 100 works from
 
 the Pinault Collection - from Claude Cahun to LaToya Ruby Frazier. Moreover, the other 45
 
 pieces were specifically featured for Punta Della Dogana (and were not seen in the first
 
 version of the show presented in Essen).

Certain works are grouped together - that of Nan Goldin and Latoya Ruby Frazer - both
 
 self-portraits offer the faces of tormented, yet strong women. Frazer’s Self Portrait (Lupus
 
 Attack), taken in 2005, her face swollen, hair out of place, the intensity she stares back
 
 into the viewer with, yet intimate, as if one is a part of her suffering. Goldin’s self-portrait
 
 Nan One Month After Being Battered (1984) offers even a more vivid display into her
 
 confidential life, fiercely showcasing her battle. Both artists acquiring a loud voice in a
 
 silent room full of spectators.

One of the works which was particularly interesting, a black and white video Live Through
 
 That?! by Lili Renaud-Dewar, where the artist have merged performance art, film and
 
 interactive presence. Lili Reynaud-Dewar dances naked, her body painted dark; moving
 
 through the empty exhibition rooms. The video mesmerises the viewers with its
 
 provocative display, yet the softness with which the artist integrates into the artwork at the
 
 museum. Her dance is an extension of the art pieces themselves - blurring the lines
 
 between the personal and the public. Her collective language is not easily understood but
 
 it is felt, as if she is dancing in the room and not on the projected screen.

 
 Dancing With Myself conveys and examines further the interest in socio-cultural influences

that everyone endures. From a classical notion of a self-portrait to a modern front-camera-
 
 mobile-device addiction, the exhibition captures the impossibility to represent the

‘essential’ or ‘true’ identity, whether an artist or not. The exhibition imposes a challenge to
 
 distinguish the self-portrait, self-representation or simple role-playing within each art piece.

by Masha Mitrofanova

#MashaMitrofanova #article #latestmagazine #latestmagazine #fashion