Her carte blanche curation begins with what looks like a blank canvas crumpled into a sculpture.
Azzedine Alaias legendary zipper dress next to Marcel Breuers black leather and tubular steel furniture from 1926.
I felt like I was watching a fashion show, but with artworks.
A look from Kevin Germanier next to theLiebsperlen (Perles d’amour), 1967 by © Ulrike Ottinger.
And it was the artworks that made me think of dresses that could have been their friends.
Its like an encounter, she said.
A Saint Laurent haute couture ensemble paired with Matisse.
Azzedine Alaïa’s legendary zipper dress next to Marcel Breuer’s black leather and tubular steel furniture from 1926.
But Benaim has taken a more nuanced approach to the pairings.
The idea was to evoke movement and freedom, she explained.
So its a kind of correspondence, a conversation.
A Saint Laurent haute couture ensemble paired with Matisse.
The duos delight in purely visual terms.
Theres Serres survivalist hoop skirt in direct view of Marcel Duchamps Bottle Rack.
A Yohji Yamamoto dress coat.
Look 36 from the Marine Serre spring 2021 collection.
Ive always been told that, in journalism, you have to trust your objectivity.
But the more time goes by, the more I think the truth lies in sensitivity, she said.
Its sensitivity that tells you the way.
A Yohji Yamamoto dress coat.
Its beyond emotions, the language between words and emotions, a meta-language.
Bridging Appearances continues at the Centre Pompidou until April 22, 2024.
