Identité et Masque


Anno Wilms’ main interest was always the human being. In doing so, she was drawn to those “anti-heroes” who are classified by psychologist Jolande Jacobi as avengers, martyrs or outcasts. Social minorities such as the Roma, the Rastafarians or the Bedouins are seen as dignified, traditional and self-imaging, but also vulnerable.
The mask motif is more evident in her late 1970s photos taken in famous nightclubs, where the photographer juxtaposes the dazzling scenic program of transvestites with more intimate shots in the dressing rooms, then in 1987 in her series dedicated to Lindsay Kemp's theater company.
Through their strident ecstasy, his pieces precisely induce the vulnerability of mask and make-up. In the midst of this perpetual transformation, the fragility of the desired world, so passionately declaimed on stage, becomes evident…

curator        Marc BARBEY
partners      Collection Regard, Fondation Anno Wilms, Fotohaus