Paris

Lea Lublin

Hôtel Des Arts

For over ten years, Lea Lublin has looked with an inquisitive eye at major works from art history, not with a sense of nostalgia, or, for that matter, to follow in the path of the appropriationists. Not content simply to copy the works, she has, rather, discovered in them hidden aspects that social convention keeps from us. In her 1983 show, Lublin unveiled the erotic charge that is immanent in the gestures of the Virgin and Child, by placing decoupaged elements into reproductions of religious paintings and isolating significant scenes in drawings. Without any previous knowledge of Leo Steinberg’s studies on the sexuality of Christ (Lublin met Steinberg subsequently in Paris, and he himself was astonished by the correspondences in their work), she brought forth visible signs of the masculinity of the child-God, the repressive space, as well as the projection of the forbidden desires of

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