Bacon - Dali: two artists that everything seems to oppose: histrionic, performer and mystic for one; macabre, discreet and atheist for the other. Even though the quest for identity and the difficult relationship with the father make of them both fragile charachters marked by a kind of inner anger: the approach dreamlike of Dali makes a mirror game with the darkness of the paintings of Bacon that he considers so much less horrible than real life. Whereas "the smell of human blood does not leave it eyes, "Bacon reveals his inner struggles whose objectification is reminiscent of the principle of the paranoid-critical method.
For this confrontation, Dali Paris wished to rely on the pillar of the two artists: their partner - Gala for one, John Edward for the other. If the meeting with Gala is a major upheaval, she reveals Dali to himself as a sexed, artist, man. Of love Courteous to sadistic love, Dali explores the eroticism of all the richness of his art. Bacon meanwhile, homosexual claimed from an early age, is in the visceral exploration of his sexuality. So his
representation is less frontal but no less penetrating. Dali Paris is looking through a keyhole to dwell on two specific works: the central piece of the triptych August (F. Bacon, 1972) and Marianne and the Chevalier (S. Dali, 1969).
In this exhibition, Dali Paris questions two artists rarely opposed, on their relentlessness to abuse the bodies, to metamorphose them, in a perverse and teenage way to Dali when Bacon evokes in a neurotic way the bodies, their fluidity and their fluids.
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