In light of major political crises, wars, the repression of freedom, vandalism and natural disasters, what do works of art represent for us? And what are we prepared to do to protect a masterpiece? These questions lie at the heart of Dominique Blain’s exhibition, Displacements.
Displacements is built around an imposing central installation, Monuments II, which revisits a major work produced at the turn of the century recalling how the masterpieces we admire were saved for us (Monuments, 1998).
The title, Displacements, a solitary yet plural word with no further clarification, is gritty, imbued with a weight and vigour. Chosen by the artist herself, and in her image, the title expresses the efficiency of an œuvre that strikes our imagination and shakes our conscience, an œuvre that constantly brings us back to the things we don’t see or from which we turn away.
Exhibition conceived by the Canadian Cultural Center, Paris.