maj de tout

user/pages/02.whats-on/01.exhibitions/current-upcoming/nour-el-saleh-exquisite-farces/events.md

@@ -1,8 +1,10 @@
 ---
-date_start: '05-10-2019 16:27'
+date: '05-09-2019 16:27'
 date_end: '11-10-2019 16:27'
-title: 'Nour El Saleh ''Exquisite Farces'''
-media_order: 'Inhabited Props in a Box, 2018.jpeg,Wrong Side of the Table, 2019.jpg'
+lieux: '12th floor, '
+title: 'Exquisite Farces, '
+artistes: ' Nour El Saleh'
+media_order: '(Not so) Musical Chairs, 2018_ Wrong Side of the Table, 2019_ The Puppeteer of Karakas, 2019.jpeg,Wrong Side of the Table, 2019.jpg,Detail of Wrong Side of the Table, 2019.jpg,A Grand Jester, 2019.jpeg,Dance Monkey, Dance!, 2019.jpg,Inhabited Props in a Box, 2018.jpeg,Detail of Inhabited Props in a Box, 2018.jpg,Four Times as Big, Twice as Small, 2018.jpg,Detail of Four Times as Big, Twice as Small, 2018.jpg'
 show_sidebar: false
 aura:
     pagetype: website
@@ -13,6 +15,7 @@ curatorial and cultural mediation outfit that are helping usher in a new way for
 inhabit and make use of the rapidly transforming architecture of an austere London. It
 also marks her first foray into the wider world following on from three-years of study at
 The Slade School of Fine Art, London.
+
 El Saleh’s approach dismisses preparatory drawings; lines and forms are imagined,
 physicalised and placed impulsively to prompt new narrative possibilities. She has
 worked towards the creation of a satirical language to communicate an uncanny rendition
@@ -21,16 +24,17 @@ impermanent residents, El Saleh’s comfort was in a constant state of flux, and
 work she grapples with a sense of belonging; deceivingly familiar spaces are tensed with
 anguish and actors, and through the use of theatrical and comical imagery, the artist
 reconciles these two forces.
-The Puppeteer of Karakas evokes the memory of a man playing with puppets in the street
+
+_The Puppeteer of Karakas_ evokes the memory of a man playing with puppets in the street
 where El Saleh lives in Beirut. Here, the puppeteer is disguised and plays with four
 eccentric real-life marionettes. Any hint that they might fall into a Mickey Sabbath-like
 world of destitution and depravity is reframed with a sense of homeliness; checkered floor
 tiles and floral wallpaper, which feature as a recurrent backdrop across El Saleh’s scenes.
 Inserting small characters in the eyes and heads of certain protagonists, El Saleh seems
 to play with the apparent roles, and who in fact conducts the scene. A mise en abyme
-occurs, the Puppeteer of Karakas becomes puppeteered, and equally, the motherly figure
+occurs, the _Puppeteer of Karakas_ becomes puppeteered, and equally, the motherly figure
 of Wrong Side of The Table loses her intimidating aura, turning into a vessel, a further
-prop in the theatre of El Saleh’s mind. Wrong Side of the Table depicts a juxtaposition
+prop in the theatre of El Saleh’s mind. _Wrong Side of the Table_ depicts a juxtaposition
 between a naked bust-figure, sitting at the table provocatively, acting out for the sake of
 being rewarded with attention, which is at odds with a heavily cloaked figure under the
 table, an elderly child, hidden out of view, coaxing attention through her aloofness.
@@ -44,4 +48,4 @@ anything untoward; and in this lay the charm of El Saleh’s world. Despite the
 her depictions, on further inspection there lies a familiarity and intimate feeling of the
 ‘known’. Representation dissolves, El Saleh seems to abolish the stage, the auditorium
 and have spectators sit within the composition. In an Artaud-esque manner, actors are
-seen to be passive and neutral, while masks, puppets and sock marionnettes rule the set.
+seen to be passive and neutral, while masks, puppets and sock marionnettes rule the set.