Bettina Rheims
The new Eve II, May 1997
Ville-Evrard. From the exhibition I.N.R.I.
Men and women committed to embody the figures of Christ and the Virgin, the saints, apostles and many other characters told in the Gospel parables. Almost a visual cacophony, at first glance, and yet those perfect bodies, whose icy beauty reproduced in real giant images reveal little by little an unexpected mystical aura, while maintaining their carnality of individuals. Their earthly humanity. More on the exhibition I.N.R.I.
Bettina Rheims
INRI, The Baptism
Ville-Evrard. From the exhibition I.N.R.I.
Ville-Evrard. From the exhibition I.N.R.I.
Bettina (Caroline Germaine) Rheims is a French
photographer born in Neuilly-sur-Seine on 18 December 1952. Bettina's
photographic career began in 1978, when she took a series of photos of a group
of strip-tease artists and acrobats, which would lead to her first exhibitions.
This work would unveil Bettina Rheims’ favourite subject, the female model, to
which she would frequently return during her career.
Bettina Rheims (französisch, geb. 1952) Titel:
Jesus (from I.N.R.I.) , 1997
Color photograph
35,5 x 29 cm (14 x 11,4 in)
Ville-Evrard. From the exhibition I.N.R.I.
Bettina Rheims
The Crucifixion
605/8 x 496 in. (154 x 125 cm.)
Ville-Evrard. From the exhibition I.N.R.I.
Ville-Evrard. From the exhibition I.N.R.I.
At
the beginning of the 1990s, Bettina Rheims worked on one of her major series,
entitled Chambre Close (1990-1992). This was her first in colour and marked the
start of her collaboration with the novelist Serge Bramly, in a work which saw
her photographs coupled with the writer’s fiction.
Bettina Rheims, Serge Bramly
Jesus and the Apostles, 1997
C-print
Ville-Evrard. From the exhibition I.N.R.I.
Ville-Evrard. From the exhibition I.N.R.I.
In
1995, the Presidency of the French
Republic commissioned Bettina Rheims to take the official portrait of Jacques
Chirac.
The 1999 publication of the book I.N.R.I. and its
eponymous exhibitio, once again united the gaze of Bettina Rheims with the
prose of Serge Bramly. I.N.R.I. builds a philosophical dialogue on the history
of the crucifixion through photographs of scenes of the life of Christ. In
France, the publication of this work was highly controversial.
In
2002, Bettina Rheims created a series on Shanghai during two long stays in the
city. In 2005, at the Galerie De Noirmont, Bettina exhibited Héroïnes, a work
that was primarily a homage to sculpture.
Bettina Rheims
The Last Supper, 1997
Ville-Evrard. From the exhibition I.N.R.I.
Ville-Evrard. From the exhibition I.N.R.I.
At the end of the 2000s, Bettina worked with Serge
Bramly again and exhibited Rose, c’est Paris in 2010 at the National Library of
France. The photographic tale was again built on a thread of fiction that
Bettina Rheims and Serge Bramly created from autobiographical elements. More on Bettina Rheims
Pietà. 1997
Ville-Evrard. From the exhibition I.N.R.I.
Pietà. 1997
Ville-Evrard. From the exhibition I.N.R.I.
What Noah Forgot - Limited Edition 1 of 7
Photography
15.7 H x 23.6 W x 0.4 in
Private collection
Iva Troj seamlessly incorporates her vast
experience of traditional painting techniques with postmodern elements to
create engaging Renaissance-style works that challenge the notion of societal
conformity. Born in Bulgaria, based in Scandinavia and the UK, Troj creates
work originating fundamentally in the crossing of two realities: the one she
grew up in and the one she has embraced.
“I’ve been told I have artistic talents since I was a
little girl. The problem was I spent most of my time worrying about the meaning
of it all. I grew up in a rough neighborhood, in the outskirts of Plovdiv. At
times it felt like the whole place was full of violent men. My family was very
strict, loving and protective of me so I managed to keep my head above water. More on Iva Troj
Iva Troj, United Kingdom
Mankind
Painting
Size: 63 H x 43.3 W x 0.4 in
Iva Troj, see above
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