{"node_view":"\u003Carticle class=\u0022node\u0022\u003E\n  \u003Ch1 class=\u0022node-title\u0022\u003ELAERT \u2013 Death \/ Survival \/ Solitude\u003C\/h1\u003E\n\n  \n          \u003Csection class=\u0022field field-name-field-description field-type-textauthor field-label-above\u0022\u003E\n    \t\u003Cdiv class=\u0022field-label\u0022\u003EDescription\u0026nbsp;\u003C\/div\u003E\n        \u003Cdiv class=\u0022field-item even \u0022\u003E\u003Carticle class=\u0022filtred_html\u0022\u003E\u003Cp\u003EOne afternoon, facing the audience, Annie Marie Tr\u00e9al-Bresson produces her first large format canvases using her blood mixed with pig blood. With these media, she creates large prints by stirring the liquid with her hands. Some, disgusted, leave because they like neither the sight nor the smell of blood. The audience was kept at a distance, even though the majority of the individuals present held back on their own.\u003C\/p\u003E\u003Cp\u003ELAERT is an anagram of TREAL, the artist confesses to being terrified by the outside world, hence this name she hides behind.\u003C\/p\u003E\u003C\/article\u003E\u003C\/div\u003E\n        \u003C\/section\u003E\n      \n      \u003Cfigure style=\u0022width:333px;height:500px;\u0022\u003E\u003Cimg class=\u0022image grid_small\u0022 path=\u0022\/sites\/default\/files\/styles\/grid_small\/public\/images-performance\/TREB1990_LAER_TREB_PHOT_01.jpg\u0022 src=\u0022http:\/\/dev.performance-art.fr\/\u0022 width=\u002267\u0022 height=\u0022100\u0022 alt=\u0022\u0022 title=\u0022Anne Marie Tr\u00e9al-Bresson | photographie de la performance \u0026quot;LAERT - Mort\/ Survie\/ Solitude\u0026quot;, 1990 | \u00a9 Anne Marie Tr\u00e9al-Bresson | photographie : \u00a9 DR | courtesy de l\u0026#039;artiste\u0022 \/\u003E\u003Cimg class=\u0022image grid_medium\u0022 path=\u0022\/sites\/default\/files\/styles\/grid_medium\/public\/images-performance\/TREB1990_LAER_TREB_PHOT_01.jpg\u0022 src=\u0022http:\/\/dev.performance-art.fr\/\u0022 width=\u0022200\u0022 height=\u0022300\u0022 alt=\u0022\u0022 title=\u0022Anne Marie Tr\u00e9al-Bresson | photographie de la performance \u0026quot;LAERT - Mort\/ Survie\/ Solitude\u0026quot;, 1990 | \u00a9 Anne Marie Tr\u00e9al-Bresson | photographie : \u00a9 DR | courtesy de l\u0026#039;artiste\u0022 \/\u003E\u003Cimg class=\u0022image grid_large\u0022 src=\u0022\/sites\/default\/files\/styles\/grid_large\/public\/images-performance\/TREB1990_LAER_TREB_PHOT_01.jpg\u0022 width=\u0022333\u0022 height=\u0022500\u0022 alt=\u0022\u0022 title=\u0022Anne Marie Tr\u00e9al-Bresson | photographie de la performance \u0026quot;LAERT - Mort\/ Survie\/ Solitude\u0026quot;, 1990 | \u00a9 Anne Marie Tr\u00e9al-Bresson | photographie : \u00a9 DR | courtesy de l\u0026#039;artiste\u0022 \/\u003E\u003Cimg class=\u0022blank\u0022 src=\u0022\/sites\/all\/themes\/gui\/perfarttimeline\/images\/blank.gif\u0022 width=\u0022333\u0022 height=\u0022500\u0022 alt=\u0022\u0022 title=\u0022\u0022 \/\u003E\u003Cfigcaption\u003EAnne Marie Tr\u00e9al-Bresson | photographie de la performance \u0022LAERT - Mort\/ Survie\/ Solitude\u0022, 1990 | \u00a9 Anne Marie Tr\u00e9al-Bresson | photographie : \u00a9 DR | courtesy de l\u0027artiste\u003C\/figcaption\u003E\u003C\/figure\u003E      \u003Cfigure style=\u0022width:500px;height:333px;\u0022\u003E\u003Cimg class=\u0022image grid_small\u0022 path=\u0022\/sites\/default\/files\/styles\/grid_small\/public\/images-performance\/TREB1990_LAER_TREB_PHOT_02.jpg\u0022 src=\u0022http:\/\/dev.performance-art.fr\/\u0022 width=\u0022100\u0022 height=\u002267\u0022 alt=\u0022\u0022 title=\u0022Anne Marie Tr\u00e9al-Bresson | photographie de la performance \u0026quot;LAERT - Mort\/ Survie\/ Solitude\u0026quot;, 1990 | \u00a9 Anne Marie Tr\u00e9al-Bresson | photographie : \u00a9 DR | courtesy de l\u0026#039;artiste\u0022 \/\u003E\u003Cimg class=\u0022image grid_medium\u0022 path=\u0022\/sites\/default\/files\/styles\/grid_medium\/public\/images-performance\/TREB1990_LAER_TREB_PHOT_02.jpg\u0022 src=\u0022http:\/\/dev.performance-art.fr\/\u0022 width=\u0022300\u0022 height=\u0022200\u0022 alt=\u0022\u0022 title=\u0022Anne Marie Tr\u00e9al-Bresson | photographie de la performance \u0026quot;LAERT - Mort\/ Survie\/ Solitude\u0026quot;, 1990 | \u00a9 Anne Marie Tr\u00e9al-Bresson | photographie : \u00a9 DR | courtesy de l\u0026#039;artiste\u0022 \/\u003E\u003Cimg class=\u0022image grid_large\u0022 src=\u0022\/sites\/default\/files\/styles\/grid_large\/public\/images-performance\/TREB1990_LAER_TREB_PHOT_02.jpg\u0022 width=\u0022500\u0022 height=\u0022333\u0022 alt=\u0022\u0022 title=\u0022Anne Marie Tr\u00e9al-Bresson | photographie de la performance \u0026quot;LAERT - Mort\/ Survie\/ Solitude\u0026quot;, 1990 | \u00a9 Anne Marie Tr\u00e9al-Bresson | photographie : \u00a9 DR | courtesy de l\u0026#039;artiste\u0022 \/\u003E\u003Cimg class=\u0022blank\u0022 src=\u0022\/sites\/all\/themes\/gui\/perfarttimeline\/images\/blank.gif\u0022 width=\u0022500\u0022 height=\u0022333\u0022 alt=\u0022\u0022 title=\u0022\u0022 \/\u003E\u003Cfigcaption\u003EAnne Marie Tr\u00e9al-Bresson | photographie de la performance \u0022LAERT - Mort\/ Survie\/ Solitude\u0022, 1990 | \u00a9 Anne Marie Tr\u00e9al-Bresson | photographie : \u00a9 DR | courtesy de l\u0027artiste\u003C\/figcaption\u003E\u003C\/figure\u003E  \n    \u003Csection class=\u0022field field-name-field-concepteur field-type-taxonomy-term-reference field-label-above field-personne\u0022\u003E\n  \t\u003Cdiv class=\u0022field-label\u0022\u003ECreator\u0026nbsp;\u003C\/div\u003E\n  \t  \n\n              \u003Cdiv class=\u0022field-item even \u0022\u003EAnne Marie Tr\u00e9al-Bresson\u003C\/div\u003E\n        \n\n    \t  \u003C\/section\u003E\n  \n    \u003Csection class=\u0022field field-name-field-executant field-type-taxonomy-term-reference field-label-above field-personne\u0022\u003E\n  \t\u003Cdiv class=\u0022field-label\u0022\u003EPerformer\u0026nbsp;\u003C\/div\u003E\n  \t  \n\n              \u003Cdiv class=\u0022field-item even \u0022\u003EAnne Marie Tr\u00e9al-Bresson\u003C\/div\u003E\n        \n\n    \t  \u003C\/section\u003E\n  \n\n    \t\u003Carticle class=\u0022node-effectuation\u0022\u003E\n  \u003Ch1 class=\u0022effectuation-title\u0022\u003E\u003C\/h1\u003E\n\n  \n    \u003Csection class=\u0022field field-name-field-topologie field-type-taxonomy-term-reference field-label-above\u0022\u003E\n  \t\u003Cdiv class=\u0022field-label\u0022\u003ETopology\u0026nbsp;\u003C\/div\u003E\n  \t  \n\n              \u003Cdiv class=\u0022field-item even \u0022\u003Emunicipal galleries\u003C\/div\u003E\n        \n\n    \t  \u003C\/section\u003E\n  \n    \u003Csection class=\u0022field field-name-field-lieu field-type-taxonomy-term-reference field-label-above\u0022\u003E\n  \t\u003Cdiv class=\u0022field-label\u0022\u003EPlaces\u0026nbsp;\u003C\/div\u003E\n  \t  \n\n              \u003Cdiv class=\u0022field-item even \u0022\u003EGalerie-mus\u00e9e Alexis et Gustav-Adolf-Mossa\u003C\/div\u003E\n        \n\n    \t  \u003C\/section\u003E\n  \n\n    \u003Csection class=\u0022field field-name-field-date-de-debut field-type-text field-label-above\u0022\u003E\n  \t\u003Cdiv class=\u0022field-label\u0022\u003EStarting date\u0026nbsp;\u003C\/div\u003E\n  \t  \n\n              \u003Cdiv class=\u0022field-item even \u0022\u003E05 23 1990\u003C\/div\u003E\n        \n\n    \t  \u003C\/section\u003E\n  \n\n    \u003Csection class=\u0022field field-name-field-address field-type-addressfield field-label-above\u0022\u003E\n  \t\u003Cdiv class=\u0022field-label\u0022\u003EAdress\u0026nbsp;\u003C\/div\u003E\n  \t  \n\n              \u003Cdiv class=\u0022field-item even \u0022\u003E\u003Cdiv class=\u0022street-block\u0022\u003E\u003Cdiv class=\u0022thoroughfare\u0022\u003E59 quai des Etats-Unis\u003C\/div\u003E\u003Cdiv class=\u0022premise\u0022\u003Enom temporaire de la Galerie de la Marine\u003C\/div\u003E\u003C\/div\u003E\u003Cdiv class=\u0022addressfield-container-inline locality-block country-\u0022\u003E\u003Cspan class=\u0022locality\u0022\u003ENice\u003C\/span\u003E\u003C\/div\u003E\u003C\/div\u003E\n        \n\n    \t  \u003C\/section\u003E\n  \n\n\u003C\/article\u003E  \n          \u003Csection class=\u0022field field-name-field-contexte-theorique field-type-textauthor field-label-above\u0022\u003E\n    \t\u003Cdiv class=\u0022field-label\u0022\u003ETheoretical background\u0026nbsp;\u003C\/div\u003E\n        \u003Cdiv class=\u0022field-item even \u0022\u003E\u003Carticle class=\u0022filtred_html\u0022\u003E\u003Cp\u003EBlood in the work of Anne Marie Tr\u00e9al-Bresson\u003C\/p\u003E\u003Cp\u003EMay 18, 2009\u003C\/p\u003E\u003Cp\u003E\u0026nbsp;\u003C\/p\u003E\u003Cp\u003EBlood has always been a part of my work.\u003Cbr\u003EI draw with my blood, this blood so desired, so eagerly awaited like a discharge that doesn\u2019t come, that doesn\u2019t settle well in a woman\u2019s identity.\u003Cbr\u003EThe blood willingly turned, like milk, dry. Nothing would come out of her...So she was going to make the absent blood come out...\u003Cbr\u003EShe didn\u2019t want to grow up...She was so scared of others.\u003Cbr\u003EBlood torments her like her feces, like the air that escapes from her ass, her bodily hair, her skin...all these noisy insides, active and passive, universally human...\u003Cbr\u003ESecretion of an uninterrupted torment, odorous waste, fermentation of an emergency, of a violence to forget, field of ruins of a feminine eternal, always to procrastinate to exist somewhere, between repulsion, suffering, sexual unavailability, parent or impure worrie, turns men away from this uncontrollable woman, playing their ruthless vindication as dominant master...\u003Cbr\u003EThis rotting, oozing, incontrollable gap, he escapes the woman who suffers monthly from her own sterile mucous waste discharging in spite of her...\u003Cbr\u003EShe goes out of herself that she abandons to fate, to nature skinned of its fear from the inside out, by the moonlight.\u003Cbr\u003EAnne Tr\u00e9al, through and beyond regular menstruations, bloody and sickly wanted to operate a voluntary break in of this invisible body where the inside never justifies the outside...\u003C\/p\u003E\u003Cp\u003E1968: first work with dirt and blood, her hair...This undesired body in a box closed by a glass and tiny boxes drawn on...Destroyed by Bernard Tr\u00e9al. As if there, she arranged her womanly existence on the ground, there where there was already an intolerable awareness of being dispossessed of herself in a world of men...\u003Cbr\u003EShe was scared to belong only to the female gender...She was, for a long time, scared of violence...\u003Cbr\u003EVery early on, she sensed her dual-belonging to a masculine-feminine world as obvious and always treated with ambivalence in her work invariably brings her back to a fear of \u201cbeing \u2018other,\u2019 different\u201d...\u003C\/p\u003E\u003Cp\u003E1974: drawing with the artist\u2019s blood (blood in the \u003Cem\u003Erotring\u003C\/em\u003E: the artist renounces drawing with her blood, it dries too quickly)\u003C\/p\u003E\u003Cp\u003E1979: she conceives the project of constructing the Tower of Babel, to jump from the top of it, to bring forth blood flow, to jump from 300 meters high, to injure the spectator, to result in her death...\u003Cbr\u003E\u201cTo learn and relearn to be self in self and outside others\u201d...\u003Cbr\u003EBegins the first prints with her blood (handprint, thumb print, knee print, breast print on paper): she defines this work as, \u201cI hope to leave a trace of this body and situate it in relation to painting, to drawing.\u201d\u003C\/p\u003E\u003Cp\u003E1980: First performance: Gesture-action No. 1 in Lyon \u003Cem\u003EIl faut blesser le corps l\u00e0 o\u00f9 l\u2019\u00e2me se s\u00e9pare \u003C\/em\u003E(\u003Cem\u003EIt\u2019s necessary to wound the body where the soul divides itself) \u2013 \u003C\/em\u003EWound at the project\u2019s state.\u003Cbr\u003EIt is urgent that I express myself physically, bodily...There can\u2019t be discussion of convenience...\u003Cbr\u003EAnne Tr\u00e9al, herself, takes her own blood, puts it in little vials entitled, \u003Cem\u003EBlood of the artist\u003C\/em\u003E and distributes it to the people present at her personal exhibition at the gallery \u003Cem\u003EL\u2019oeil \u00e9coute\u003C\/em\u003E in Lyon.\u003Cbr\u003EThis taking of blood is of the order of the bruise. The blood withdrawn from myself goes to another individual: I wound myself, he wounds himself, I communicate with my blood...\u003Cbr\u003ESo busy with this blood of the body, the hidden, the useful, the five liters necessary to live, the \u201cgood blood\/life,\u201d the indispensable, the powerful, an active organ to distinguish from those which run passively...\u003C\/p\u003E\u003Cp\u003E1981: Representation with cat corpses: death keeps her company.\u003C\/p\u003E\u003Cp\u003E1983: Gesture-action at the Alexis Mossa gallery in Nice\u003Cbr\u003EAnne Tr\u00e9al produces her first large canvases by mixing her blood with pig blood and creates large prints by stirring the liquid with her hands on the canvas, at the same time exhibiting some prints on paper made of her blood, then blood on gauze, blood on Canson paper and on fabric-paper...\u003C\/p\u003E\u003Cp\u003E1985: \u003Cem\u003ERapport de trace no 7\u003C\/em\u003E (\u003Cem\u003ETrace Report No. 7\u003C\/em\u003E) Saint Pierre Derision: Trace of blood mixed with dirt and hair from the artist.\u003C\/p\u003E\u003Cp\u003E1990: in January, she was writing: \u201cI would like to swim in a tub of blood for hours\u201d...\u003Cbr\u003EProduces drawing-collages of the Tower of Confusion smeared with her blood.\u003C\/p\u003E\u003Cp\u003E1991: produces works with her friends Henru Ughetto, Bernard Tr\u00e9al, Arthaud with her\/their blood.\u003C\/p\u003E\u003Cp\u003E2000: Museum of Menton: Four of these works are censored and rejected from the exhibition, one of them entitled \u003Cem\u003EJe suis de la merde \u003C\/em\u003E(\u003Cem\u003EI\u2019m shit\u003C\/em\u003E) \u2013 Work composed of blood, shit, and cum. Art-reality, art of denigration, I see myself as society sees me, my eyes are good, worn by it, by all this I know longer recognize myself. Art of erring\/wandering.\u003Cbr\u003EI no longer adhere to anything, neither to myself nor others...(Excerpts from \u003Cem\u003ELe chien humain \u003C\/em\u003E(\u003Cem\u003EThe human dog\u003C\/em\u003E) by Ann Tr\u00e9al).\u003C\/p\u003E\u003Cp\u003E2001: The artist creates \u003Cem\u003EPipi caca\u003Cbr\u003E\u003C\/em\u003ESame loss of control during defecation: the things that go in must come out, pass by the unconscious, take care of the impure miasma that change all the moods of an active body...She shows herself defecating her own insides...All the waste that she produces day after day...\u003Cbr\u003EShe writes in 1998: \u201cThere is no sorrow in loving to shit, in loving what one makes so carefully oneself...\u003Cbr\u003EThe shit is our intimate history, specific to our bodies, object of desire of others...Our shit is an integral part of our seduction...\u003Cbr\u003EConveying our different states of mind, diarrhea in moments of great fear or great frustration...\u003Cbr\u003EWater and shit have never mixed well and it irritates our colons, our shit is the internal protector of our intestinal veils, just like skin protects the integuments (cell membranes), blood irrigates the bloody waves, red and black...up...down...does its bloody work...\u003Cbr\u003EIt is necessary to give him credit where it is owed, evacuating the surpluses that the company of other generates in us and all the stress that appends itself there...\u003Cbr\u003EIf I am good...I take good shits.\u003Cbr\u003EIf I\u2019m bad...I take bad shits.\u003Cbr\u003EI am in my own reality...From the shit found up an ass, these are farts that express themselves colorfully...\u003Cbr\u003EIt is the painting of life...of our insides...It is not dirty...It is the expression of our bodies with its images, its colors...\u003Cbr\u003EThese urinary extravagances when I cough, I don\u2019t carry them around by chance or even accidentally...\u003Cbr\u003EMy piss dripping on my legs expresses the cold...the internal tension...I like that my insides talk to me...I am closest to them...\u003Cbr\u003EYou must be the fish to pull out a work from it.\u201d\u003Cbr\u003ESo Anne Tr\u00e9al wants to bear her insides just like she bears the outside...She writes again, \u201cI am well inside the interior of this body, I play with myself, I ignored those around me...They can no longer do anything against me, my blood, my viscera, my skin, my body hair, they work well together to preserve me...\u003Cbr\u003EI became the immensity of this body\u201d Excerpts from \u003Cem\u003EThe human dog\u003C\/em\u003E, A.T.B \u2013 1998.\u003C\/p\u003E\u003Cp\u003E2007: Video performance using serrated dolls, from a 17-page manifesto against war, massacres, genocides in the world, of modular tricolored sculptures, entitled \u003Cem\u003EBlood baths\u003C\/em\u003E.\u003Cbr\u003EThe artist wants to wash the barbarity with her own blood, her hands and feet and take a bath in blood:\u003Cbr\u003EPerformance rejected or censored by gallery owners, institutions, but really interests the school students.\u003Cbr\u003EShe gives this performance on January 5, 2010 at the CDI de Fumel (in Lot-et-Garonne) with her blood. Performance project grand in nature, entitled \u003Cem\u003ELa Comtesse aux pieds nus \u003C\/em\u003Ewhere the artist takes her blood bath to meditate on the cruelty of the human world...\u003C\/p\u003E\u003Cp\u003E2010: \u003Cem\u003EPremi\u00e8res Incursions sanguines bordelaises \u003C\/em\u003E(\u003Cem\u003EFirst Blood Incursions in Bordeaux\u003C\/em\u003E): A photograph-based performance by the artist including two surgical interventions:\u003Cbr\u003E- \u003Cem\u003EExcision of the face\u003C\/em\u003E presentation in Bordeaux on the docks (Nidanne)\u003Cbr\u003E- \u003Cem\u003EThe artinlabel\u003C\/em\u003E \u2013 Circulated on the artist\u2019s blog and facebook.\u003C\/p\u003E\u003C\/article\u003E\u003Caddress rel=\u0022author\u0022\u003EAnne Marie Tr\u00e9al\u003C\/address\u003E\u003C\/div\u003E\n        \u003C\/section\u003E\n      \n    \u003Csection class=\u0022field field-name-field-site-internet field-type-link-field field-label-above\u0022\u003E\n  \t\u003Cdiv class=\u0022field-label\u0022\u003EWebsite\u0026nbsp;\u003C\/div\u003E\n  \t  \n\n              \u003Cdiv class=\u0022field-item even \u0022\u003E\u003Ca href=\u0022http:\/\/treal-bresson.blogspot.com\u0022 target=\u0022_blank\u0022\u003Ehttp:\/\/treal-bresson.blogspot.com\u003C\/a\u003E\u003C\/div\u003E\n        \n\n    \t  \u003C\/section\u003E\n  \n\n    \t\u003Carticle class=\u0022node-objet\u0022\u003E\n  \u003Cdiv class=\u0022field-label\u0022\u003EObjets\u003C\/div\u003E\u003C\/article\u003E  \n\u003C\/article\u003E","nid":"3456"}