Les Larmes de Louise

AnitaMolinero or the bites of extruded polystyrene

“Put your tongue in and you're going to step on it [1]”

Annie-La-Pomme

The 20 telephone booths Rendezvous were exhibited for the first time at the Havre Biennale in 2008 at various points in the city. Its commissioner David Perreau identified them, at the stage of development, in 2003, during a public procurement commission for an impersonal campus. Anticipating the cruel effects caused by the acceleration of the savage privatization of France Telecom (leading to the first major dismantling of public infrastructures as well as a vast series of employee suicides [2]), Anita Molinero dissociated the cabins from their function. of appeals, and granted them a new status that she called: SMS sculptures. Populated by larval, organic forms that would continue to mutate, they metamorphosed. The transparency of the 3 France Telecom units arranged in a honeycomb (characteristic of the 601 SP module), offers a strong perspective on the containers with melted, liquefied, licked trash cans, pierced by the effect of the torch... Frontally exposed, the object-shapes (red, blue, goose poop, black, etc.) suspended and illuminated are offered At first glanceand stand out as a meeting place: RV Cab Alien. While the transmutation of the solid to the liquid of plastic materials is often compared by the artist to the special effects found in genre films (Terminator 2 and Alien 3), it just as much recalls more literary references such as The history of the eye and Madame Edwarda By Georges Bataille. Indeed, these sculptures tend towards the informal without ever reaching it completely (the trash container remains identifiable despite everything) and, thanks to their quality ofExcite the eye. On this subject, Anita Molineror writes in her 1% order file: “it [the sculpture] makes the eye act as a sexual organ, as Bataille would say; the eye at the end of the glans and/or the open eye of the vagina (Shoot a shot).”

Ladder 1 of the telephone booth was designed to welcome us, protect us and isolate us from the rest of the world, creating a hard prosthesis, an architectural shell. So that they ghostly populate an entire industrial city - or, today, a gallery - in the same way as in 1993, at the Chapelle des Lazaristes, at the CCC in Tours, dirty yellow-orange foam mattresses were similar to makeshift diapers abandoned by stray people. Xavier Douroux will say about this exhibition that with FranckGautherot, they were not prepared to what they were going to see. The location was infernal, the exhibition impossible And he doesn't Not sure what he was watching. The co-founder of the Consortium had just discovered gestures that revealed a fierce obstinacy, revealing a vitalist stamina to... refuse: to refuse: to refuse the sculpture of the beautiful, the spectacular, the stupid, the stupid, the learned sculpture. Anita Molinero left these things (as she liked to call them at the beginning) to pile up, to be deposited on the ground, as close as possible to the condition in which they had been found, that is to say Without a fixed determination, homeless, will outbid Xavier Douroux, during the exhibition CountrySculpture, in 1994, to the Consortium with Stella, Chamberlain, Grosvenor, Visser, Pages. With her hands, the young artist maintained a determination to unlearn all logic and language, constantly relaunching the flow of By where (the sculpture) vents. However, even if recorded in a state of abandonment, all These things call for grip or movement with one's foot, the one that pushes back after having bumped into it; they draw body prints and make one hear screams, words uttered without articulation. An advance of language like the cruel drawings-poems of Antonin Artaud (former internee in Rhodez, subject to the fate of all-powerful psychiatrists) to whom we were not either prepared.

In 1995, with the arrival of heat guns, industrial materials took up more and more space. His previous pieces then appeared to him as arrangements placed, attached which only makes him weary. Subsequently, the alteration, melting and burning of the walls of Vénilia took precedence (the tricolour green, black and red at the Bordeaux Triangle gallery in 2000 and, the spectacular one at the SPOT in Le Havre, in 2001). The faded pink and blue extruded polystyrene plates are imposing themselves in majesty at the Grand Café in Saint Nazaire and contradict the movement to sanitize cities through urban design that is more and more familiar with security ideology. In this context, Anita Molinero entrusts Sophie Le Grand-Jacques with her search for Effect sculpture, a duel in the sun where the artist exults and vociferates in the face of the lasting qualities of polystyrene, which she admits: “you don't get rid of like bronze.” In the studio, her taste for language games as opposed to very French puns unfolds, and a whole libido flocks in to take action... And there bulging eyes, outraged tongues, puffed up words unfold, and puffed up. Twisted, annoyed screams that convey (contrary to rational language) the unintelligible, the unbearable: “The relentless silence of the form” synthesizes Anita Molinero “would force the material to a violent twist, tongue stuck out, tongue convulsive in the trash cans [...] Basically, I continue to search for language within language and to externalize it in my sculpture [3].”

[1]Annie, heroine of Grande dame for a day (1933) from Capra, sells apples in Time Square where she survives.

[2]Cf. on this subject the brilliant analysis by Fanny Lopez, At the end of the flow, ed. Divergences, Paris, 2022.

[3]“Interview”, June 2004 in catalogue Anita Molinero, co-published by FRAC Limoges, Grand-Café Saint-Nazaire, Grand-Café Saint-Nazaire, SPOT Havre, Parvis, Ibos, 2004, p.74.

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