"In the backyard of the [Royal Academy of Fine Arts] school was this little building, on the verge of collapsing. You would have to very carefully go over the stairs, because if you took one mis-step, you could literally push your feet through them. It was almost dangerous. So I think that the whole thing melted well together. It was the switch from the 80s to 90s, the reaction on excess with minimalism and deconstruction, the first appearance of grunge. So that feeling of romanticism, together with the history, the building and the run down corridors with the statues, it really did make a big impact on how you formed your visual language. I really think there was something quite dark and magical about it, matching perfectly the zeitgeist of the period."

— Willy Vanderperre
Marie-Ange Guilleminot spring / summer 1997
Dresses with beauty marks, a navel, with no hands, ecru nipples… Altogether thirteen different dresses comprise a single artwork. Each is a fragment from a lover’s discourse, epressing a body’s different states: tension, exhaustion, caresses, restraint, beauty, injury… Generally, the artist herself wear them during performances in galleries or in the stress. But for this series, she gave them to fashion photographer Horst Diekgerdes to perform them for her.

Marie-Ange Guilleminot spring / summer 1997

Dresses with beauty marks, a navel, with no hands, ecru nipples… Altogether thirteen different dresses comprise a single artwork. Each is a fragment from a lover’s discourse, epressing a body’s different states: tension, exhaustion, caresses, restraint, beauty, injury… Generally, the artist herself wear them during performances in galleries or in the stress. But for this series, she gave them to fashion photographer Horst Diekgerdes to perform them for her.


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