Monster Chetwynd sublimates Monster Rebellion at Villa Arson

Monster Chetwynd Exposition "Monster Rebellion" Villa Arson 2019

Vue de l'exposition Monster Rebellion. Monster Chetwynd, Peanut, 2018, Courtesy Sadie Coles HQ, Londres, Photo : François Fernandez

Vue de l'exposition Monster Rebellion. Monster Chetwynd, Prolific Patatoes, 1, 2, 3 et 4, 2019, Courtesy Sadie Coles HQ, Londres, Photo : François Fernandez

Vue de l'exposition Monster Rebellion. Monster Chetwynd, Cacti Chariot, 2018 (Collection du Cnap), Bats 2019. Courtesy Sadie Coles HQ, Londres, Photo ©François Fernandez

Vue de l'exposition Monster Rebellion. Monster Chetwynd, Cacti Chariot, 2018 (Collection du Cnap), Bats 2019. Courtesy Sadie Coles HQ, Londres, Photo ©François Fernandez

The Theatre Puppet Set, 2018©Monster Chetwynd Villa Arson 2019 Vue de l'exposition Monster Rebellion. Courtesy Galerie Massimo de Carlo, Milan, Photo©François Fernandez

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Monster Chetwynd Exposition "Monster Rebellion" Villa Arson 2019
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Vue de l'exposition Monster Rebellion. Monster Chetwynd, Peanut, 2018, Courtesy Sadie Coles HQ, Londres, Photo : François Fernandez
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Vue de l'exposition Monster Rebellion. Monster Chetwynd, Prolific Patatoes, 1, 2, 3 et 4, 2019, Courtesy Sadie Coles HQ, Londres, Photo : François Fernandez
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Vue de l'exposition Monster Rebellion. Monster Chetwynd, Cacti Chariot, 2018 (Collection du Cnap), Bats 2019. Courtesy Sadie Coles HQ, Londres, Photo ©François Fernandez
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Vue de l'exposition Monster Rebellion. Monster Chetwynd, Cacti Chariot, 2018 (Collection du Cnap), Bats 2019. Courtesy Sadie Coles HQ, Londres, Photo ©François Fernandez
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The Theatre Puppet Set, 2018©Monster Chetwynd Villa Arson 2019 Vue de l'exposition Monster Rebellion. Courtesy Galerie Massimo de Carlo, Milan, Photo©François Fernandez

#NICE The influence of Mikail Bakhtin’s critical work on her own work is something Monster Chetwynd claims loud and clear. We will therefore find the same appetite for polyphony, the carnival structure from the medieval universe when the stories intersect, contradict each other: and tend to subvert social and political authority from humour and popular cultures. The analysis that Bakhtin conducted from the novel, through Rabelais and Dostoevsky in particular, Monster Chetwynd continues it in a burlesque and transgressive work where the performance and multilingualism of the figures are never absent.

The name that the artist now gives himself is nothing more than the actualisation of an identity that is always moving in relation to a work that is also worked on by the notion of “intertextuality”: we meet the medieval world, the relationship to Jérôme Bosch, bats, snakes and salamanders but also the comic strip, fanzines and the collective elaboration of the work when, for example, she collaborates with groups of children…

Monster Chetwynd’s imagination takes over Villa Arson in an outpouring of creativity on the walls, ceilings or floor. A sound atmosphere and colorful lighting support this punk and humorous production. The artist adds an ecological claim through a strong relationship with poor, light, easily transportable materials. Like children, she creates “monstrous” with cardboard, papier mâché, to which she adds liquid latex and other elements. The result is an improbable universe, timeless, sometimes as sinister as it is funny, but which always transports us to the fabulous realm of the imagination. Everything is of a claudicant beauty and a crippled logic when the fantastic creatures vampirisent a painting by François Boucher while, from one room to another, a new setting opens up for a gigantic carnival.

Monster Chetwynd’s night world is deliciously irreverent. Grimacingly light. We circulate there with jubilation, we meet our ghosts, we wander in the garden of delights, we have fun with these do-it-yourself projects and we tell ourselves that the world is made like this: we are strangers to it and yet we live there. These hybrid creatures that are watching us are also a part of ourselves.

Monster Chetwynd (ex Spartacus and ex Marvin Gaye Chetwynd) was born in 1973. She lives and works in Glasgow. It is represented by Sadie Coles HQ galleries in London, Massimo de Carlo in Milan and Gregor Staiger in Zurich.

Until October 13, 2019

Monster Chetwynd, “Monster Rebellion”

Villa Arson, Nice

Michel Gathier

With a literary background, Michel Gathier developed a passion for art very early, particularly during long stays abroad. He has contributed to the magazine “L’art vivant” and now...

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