Since 1975, after the publication of ‘Surveiller et punir’ by Michel Foucault, our fear to prisons has been deeply transformed. This evidence of Panopticon, of physical organization and a repressive function of the glance has brought, beyond compromise, beyond criticism, the production of new artworks. Within Laure Tixier’s career, her recent series ‘Map with a view – Geometry of the imprisonment’ focuses on prisons and proposes, with a poetic sensitivity and combined with the radicalism which characterises her whole work, a relentless representation of a system. If the embroidery on a bed sheet, sculptures on tissues, upholstery in patchwork present a beautiful alliance of colours and materials, an interpretation of Parisian and Vietnamese prisons, it is with these 33 designs of ‘Map with a view’ that the intention becomes sharper. With paint or with watercolours, straight on the wall or on paper, plans of prisons show up as graphic signals, strong and abstract, terribly contemporary. But this collection, which goes across the world and history, from Russia to United States, from Asia to Carabanchel, among others, she figures out merciless all logics of prison repression.
One of the evening projections devised by Clément Briend and shown in the streets of Getxo will be dedicated to this inventory of prisons made by Laure Tixier.
Born in Chamalières in 1972, she lives and works in Paris. She has shown her works individually in Paris, Luxemburg, Rotterdam and Yokohama. Her work is part of the collection of the National Museum of Women in the Arts in Washington and the Musée d’Art Moderne Grand-Duc Jean in Luxemburg, among others. She is represented by Galerie Polaris in Paris.