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121, H 8 X L 12 inches
026, H 8 X L 12 inches and H 23 X L 35 inches
039, H 12 X L 8 inches
045A, H 12 X L 8 inches
166, H 8 X L 12 inches
054, H 8 X L 12 inches
007, H 8 X L 12 inches
115, H 8 X L 12 inches
119, H 8 X L 12 inches
073A, H 8 X L 12 inches
060A, H 12 X L 8 inches and H 35 X L 23 inches
061A, H 8 X L 12 inches
067, H 8 X L 12 inches and H 23 X L 35 inches
Mother, H 12 X L 8 inches
Frieze of 132 photographs
Sizes and Technics : H 8 X L 12 inches and H 12 X L 8 inches, digigraphic prints on archival paper, limited at 5 ex.
6 photographs extracted of the installation
Formats et technique : H 23 X L 35 inches and H 35 X L 23 inches, color Lambda print, pasted on alu Dibon, frame wood and glass, limited at 5 ex.
Sound band diffused on ten individual walkmans. Duration : 55 '
Video diffused on monitor. Duration : 27 '
Slide show with sound diffused on video projector, original english version. Duration : 55 '
Publication Une femme de trente ans, Filigranes éditions, 2001
Website : Une femme de 30 ans created with Sébastien Lopez and Fabien Nalin
Above all Mireille Loup dominates the orchestration of complex visual and sound installations. After Hyper (1998), a polyphonic and polysemic range in homage to her father, this time she concerns herself with her mother. With Une femme de trente ans (1999-2001), she proposes the reconstruction of the life of an imaginary woman. The starting point of the project, the short story1 is inspired from the lives of three women (the artist herself, her mother, her model Anne Savi), and refers to Honoré de Balzac's famous story, la Femme de trente ans (1828-1842), written at the request of an editor who wanted to gather together six short stories by the author relating to three different women2. In the colour photographs forming a frieze, the heroine played by Anne Savi unveils instants of her mysterious life to the spectator3, before her sudden disappearance - the enigma of the story. A video filmed in the style of a documentary reinforces the detective-story nature of he plot, with the help of fictive witness statements made by the people close to the heroine. Certain key points of the fiction emerge, like the recurrence of a black and white portrait photograph of the mother of the artist - of the heroine? - at the age of six. In brief, a double homage, to the mother and to Roland Barthes: "I looked at the little girl and I in the end found my mother."4
Cécile Camart, in art press hors série " Fictions d'Artistes ", April 2002
1 - Mireille Loup, Une femme de trente ans, Paris, Trézélan, Filigranes Editions, 2001. See also the website linked with the installation: http://femme30ans.free.fr
which received a prize at the Lille International Internet Film Festival (FIFI).
2 - Mireille Loup clarifies her proposition thus : " While Julie, Balzac's heroine, sees herself trapped for life in a disappointing marriage, the modern thirty year-old woman is free to go, guilt-free, in search of a love she will doubtlessly meet more than once , or maybe never (…). But she will be the only one responsible, the only keeper of her free will, faced by a emotional call which will talk of moral discomfort, intoxicating, crushing."
3 - The face of the nameless man who sometimes accompanies the young woman always appears blurry in the photographs, recalling his absence and the solitude of the heroine.
4 - Roland Barthes, la Chambre claire, Cahiers du Cinéma / Gallimard / Seuil, 1980.