Lili Reynaud-Dewar wins the 2021 Marcel Duchamp Prize
Installation and performance artist Lili Reynaud-Dewar has been announced as the winner of this year’s Marcel Duchamp Prize, France’s most prestigious artistic award. She received the award, along with $ 41,000, at the Center Pompidou in Paris earlier today. Through a practice incorporating sculpture, video, performance and cinema, and often collaborating with others, the artist from La Rochelle explores feminist and social tropes in an often thematic work around cultural references.
Reynaud-Dewar, who studied ballet and law before turning to art, first gained attention with pieces in which she danced naked in spaces where she performed or showed her work. She has been teaching since 2010 at the Haute Ãcole d’Art et de Design in Geneva, sometimes giving lessons in her hotel room (she also lives and works in Grenoble, France). His students are among his frequent collaborators, as in the 2018 film Beyond the Land of Minimal Possessions, a kind of horror movie in which a group of European students visit Marfa, Texas, to see the work of Donald Judd. She has participated in numerous biennials, including the Berlin Biennale, the Paris Triennale, the Venice Biennale and the Gwangju Biennale, and has benefited from personal exhibitions in institutions such as the New Museum in New York; the Kunsthalle Basel; the Hamburger Kunstverein; the Kunsthaus Bregenz, Austria; and the Monash University Museum of Art in Melbourne.
Reynaud-Dewar was chosen from four shortlisted artists for the award, including Julian CharriÃ¨re, whose multivalent practice examines the effects exerted on nature by humanity; Isabelle Cornaro, whose sculptural installations address the history of art; and Julien Creuzet, who investigates colonialism and its relationship to geography through installations integrating poetry, sound and painting.
Xavier Ray, who took the post of director of Pompidou earlier this month, praised Reynaud-Dewar for his “universal approach, effective institutional and social criticism,” noting that “the risks taken with one’s own body are particularly moving â.