Marylène Negro

Galerie Jennifer Flay

Among the new generation of artists who have emerged in France over the past five years, Marylène Negro is unique in that she rejects both the object and the spectacle. Cold and experimental, her work does not posit fictional situations, rather, it sets forth procedures of observation. It consists most often of a light table and a magnifying glass, with which one may examine a profusion of transparencies. The image is thus objectified, as a body to be manipulated and examined, multiplying itself in metastasis. But what Negro gives as reference are not images so much as linguistic and taxonomic systems, scientific or medical tables, classifications of the body, or indices of everything that comes together on the light table.

This exhibition is an interrogation of the sexual body and of our discourse on sexuality, alternately medical, as in M.S.T. (Maladies Sexuellement Transmissibles [Sexually

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