Monique Frydman

Baudoin Le-bon

At first, Monique Frydman’s work was somewhat reminiscent of Bram Van Velde’s. But in 1967 the Parisian avant-garde, and the political situation of the time, set her in a new direction. While a generation of artists led by Claude Viallat, Louis Cane, and others began a return to abstract painting, Frydman traveled to Cuba and, during the spring of 1968, to Prague. She began to use personal recollections in a way that most “radical” artists had specifically put aside. Completely isolated from the “individual mythologies” of the early ’70s, her work possessed a quality of the hand; these were essentially drawings (which, after all, are what formalism repressed the most) peopled with ghosts.

This work should be considered in the context of the changes that had occurred in the art world at the time—the interest in psychoanalysis (the “Lacanian subject”) the discourses of “desire” (Jean-Francois

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