As suggested by its title Cruising Bye, Aline Bouvy’s exhibition at the MACS takes the form of loitering, in that it is as much about sexual vagrancy and police patrols as stray dogs and queer flirtations. On the horizon of this poetic, transgressive deviation, we spy the utopia of a fluid sexuality which the visual artist assimilates less with pragmatic LGBT militancy than a permanent critique of the aesthetic and health codes which society uses to keep our bodies in check and contains its desires. Anticipating the end of mortifying inhibitions, her artistic approach undertakes an unbridled eroticisation of our environment by incorporating rundown materials, decadent postures, disused territories and invalid organs. Her multidisciplinary palette, alternating thermoformed Plexiglas, inlaid linoleums and remote-controlled vehicles, surprises the public through its infringement of good taste and its disregard for taboos. Through its references to Clarism, a transgender mystical movement founded in the 1920 by the German artist Elisarion, Aline Bouvy also revisits the slow, utopian trajectory of a culture that is turning away from the dominant models of patriarchy and heteronormativity. Reaching beyond the norms of bourgeois morality and the boundaries of political correctness, her works even wave them an insolent bye bye in passing, signalling an irreversible mutation of society. A veritable ode to freedom, Aline Bouvy’s exhibition Cruising Bye thus takes on the poetic appearance of a “wild parade” in which a procession of androgynous police officers (complete with sirens) appear alongside a witches’ Sabbath (under belladonna).
Practical information (Opening times, prices, etc.)
MACS – Museum of Contemporary Arts of the Wallonia-Brussels Federation, Rue Sainte-Louise 82 7301 Hornu MACS – Museum of Contemporary Arts of the Wallonia-Brussels FederationAs suggested by its title Cruising Bye, Aline Bouvy’s exhibition at the MACS takes the form of loitering, in that it is as much about sexual vagrancy and police patrols as stray dogs and queer flirtations. On the horizon of this poetic, transgressive deviation, we spy the utopia of a fluid sexuality which the visual artist assimilates less with pragmatic LGBT militancy than a permanent critique of the aesthetic and health codes which society uses to keep our bodies in check and contains its desires. Anticipating the end of mortifying inhibitions, her artistic approach undertakes an unbridled eroticisation of our environment by incorporating rundown materials, decadent postures, disused territories and invalid organs. Her multidisciplinary palette, alternating thermoformed Plexiglas, inlaid linoleums and remote-controlled vehicles, surprises the public through its infringement of good taste and its disregard for taboos. Through its references to Clarism, a transgender mystical movement founded in the 1920 by the German artist Elisarion, Aline Bouvy also revisits the slow, utopian trajectory of a culture that is turning away from the dominant models of patriarchy and heteronormativity. Reaching beyond the norms of bourgeois morality and the boundaries of political correctness, her works even wave them an insolent bye bye in passing, signalling an irreversible mutation of society. A veritable ode to freedom, Aline Bouvy’s exhibition Cruising Bye thus takes on the poetic appearance of a “wild parade” in which a procession of androgynous police officers (complete with sirens) appear alongside a witches’ Sabbath (under belladonna).
Practical information (Opening times, prices, etc.)
