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Based on both the use of constraint and the interaction of chance, Anita Molinero’s extruded plastic sculptures emerge from a double paradox: the implementation of opposing forces (the constraint of gesture and laissez-faire) on the one hand, the “transmutation” of an ecologically incorrect material (plastic) into its deliquescence (produced by its ignition, making it approach its original liquid state) on the other.

Building site blocks, burnt garbage cans, cinder blocks, exhaust pipes, polystyrene, concrete iron… she uses any wood and any object of waste (sorted out on the shutter, however) to transfigure, with bursts of a blowtorch, the tatters and the rags of our cities in “plastic works,” and to give a second life to the infamous materials.

If the “aesthetic deterioration” of the horrible neon-green plastic shack, enthroned on highway playgrounds for the past few decades, can leave one doubtful (despite its cheerful title, revealing the nightmare inflicted on the gaze by said shack: The Irreplaceable Experience of Smoby’s Explosion), the alignment of the brindled wheelchairs draped in burnt mirror stainless steel is poignant, as is the melted trash can “shaped by the moods and angers of the street,” unbolted in situ before being pierced with an “expressionist” hole, similar to a scream…

“Anita Molinero – Extrudia” – Musée d’Art Moderne de Paris

11, avenue du Président-Wilson, Paris 16e

Until July 24th

Stéphanie Dulout