Anita Molinero

Born in 1953

Lives and works in Paris and Marseille

Represented by Galerie Thomas Bernard / Cortex Athletico, Paris

My field of references is composed of a cemetery containing the dead and ghosts, and a supermarket. The living, the dead, and spirits. What ties these spaces together is the organization based on aisles. Among the dead who allow me to rest in peace one can find a sculpture by Fontana, and a ballerina in a tutu by Degas for example. Among the ghosts that haunt me are Morris' felt pieces, a knit ball by Rosemarie Troeckel, a pretty cat by Sechas, a painting by Mondrian with a blue "Delft" background and colored tape. The meeting between poverty and jubilation in the work of Oïticica. Manzoni was a fascinating and dynamic figure for me whom I long envied for his insolent avantgardism which I would have liked to possess like one chases after a natural attribute unjustly out of reach. What interested me at the time was "the cotton, the gauze strip effect", the naughty catholic boy playing with materials from the nativity. He's now with the dead. The ghosts are works whose contours are blurred and whose parts are cut off from everything. They range from Alain Sechas' slightly coarse white matter to one of Gonzalez Torres' shimmering curtains. As for the supermarket, I help myself and consume without worrying about leaving marks; movies. Bernadette Lafond and her shack, a whore in love with a goat in the Pirate's fiancée, the ideal collector for one of my sculpture series.
Terminator 2 a meeting between a sequence and a wall covered with venilia. Alien 3 for I've often the feeling that strange glows watch me from the bottom of my garbage bins and try to soften me up with their moist fragments. Some ketchup, mayonnaise and chocolate. Someday I'll make a sculpture using these three colors while thinking of McCarthy and a knit blanket thinking of Kelley or bedsheets tied together like Cattelan which I might use to attach a sculpture. ...
In the end however is there an element which has crossed the years and the forms unchanged? I asked myself this question while pondering a text I had written. I began searching through my notes looking at exhibition invitations. I thought about this stubborn refusal to give titles down to the point of eliminating the convened "untitled".
I realized that the word sculpture was present throughout, untiringly repeated without any concern for elegance (never a synonym to lighten things up), humor or play. I began observing it, like one looks attentively at an object under all angles trying to discover its function.
I first found it handwritten in my writing: a simplified S separated from the word, an S for sorcery nonetheless, a stripped down representation of serpent (hissing) then there is the word "CULPTURE" divided (isolating CUNT) by the silent "P" that stands for Pater or penis. and if this choice to make sculptures that are often tough to make were to find its culmination and its ultimate reference in its name, written preferably by yours truly

Biographical notes translated with the support of the Centre national des arts plastiques - Cnap.