2015<\/p>\n
acrylic painting and serigraphy on canvas<\/p>\n
variable dimensions<\/p>\n
unique<\/p>\n
<\/p>\n
The young men in Mises en sc\u00e8ne<\/em> (2015) are restored to the temporal frame of a narrative that surpasses them, in which they were most often mere extras, and are rehabilitated by the artist. The enlargement exaggerates the dotted pattern of the screen, while the silkscreen process adds color, lightly tinting the body pink. In this series, color appears each time in an indexical way, reversing the usual \u201cindexicality\u201d of the photographic image. Silkscreen on canvas is a hybrid practice, situated between photography and painting. It is impure. In this sense, Clarisse Hahn profanes both the \u201cproper manner\u201d of classical academic tradition and the \u201cimproper manners\u201d of press photography. The title mise en sc\u00e8ne<\/em> indicates how much bodily attitudes are shaped by habitus. The final scene of infamy in this series reprises a gesture of accusation found throughout religious iconography. Clarisse Hahn does not turn these young men into modern Christs, nor does she rehabilitate them in that sense; rather, she quite literally \u201creclothes\u201d them in flesh-toned color, embodying them, granting them a humanity in which we can once again see ourselves.<\/p>\n Marie de Brugerolle, 2018<\/p>\n","protected":false},"featured_media":11586,"menu_order":0,"template":"","class_list":["post-11585","oeuvres","type-oeuvres","status-publish","has-post-thumbnail","hentry"],"yoast_head":"\n