Aurélie Matheron
Biographic Data
| ID | 909576 |
|---|---|
| NAME | Aurélie Matheron |
| GIVEN NAMES | Aurélie |
| FAMILY NAME | Matheron |
| SIGNATURE | MATHERON A |
| AFFILIATIONS | Skidmore College |
| ORCID | 0000-0002-3168-1625 |
| VERIFIED | Yes |
| TOTAL WORKS | 6 |
| TOTAL CITATIONS | 2 |
| AUTHOR COUNT | 6 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2018 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 1 |
Un Hymne à la littérature »: La Plus secrète mémoire des hommes , de la déclosion de l’universalisme européen à l’universel latéral
Unraveling the colonial invisible: Belgium's war patrimoine and dermographic memory in Sammy Baloji's L'Autre mémorial
This article explores how L'Autre mémorial (2015), a copper sculpture by Congolese artist Sammy Baloji, challenges Belgian's patrimoine surrounding World War I memory. L'Autre mémorial replicates the copper dome of the Sacré-Coeur de Cointe (Liège, Belgium), a patrimoine site built in 1936 as church and memorial for First World War Belgian soldiers. Embossing his sculpture with scarified copper plaques, Baloji honors the erased memory of Congoles…
C’est à ce prix que vous mangez du sucre en Europe: Decolonizing plantationocene visualities in Amalia Ramanankirahina’s Le grand couvert
This article explores how the installation Le grand couvert by Malagasy artist Amalia Ramanankirahina intersects colonial plantations and a French Parisian orchard to decolonize contemporary French ecological thinking. As this article explores how French rural ecologies are embedded within a wider variety of environments and their violent plantationocenic histories, it argues that Le grand couvert performs ‘aesthetic marronage’, a form of fugitiv…
Sainte! Libre! Souveraine: ” Jean-Luc Raharimanana’s Ecocidal Writing of the Land in Nour, 1947
In Nour, 1947, Jean-Luc Raharimanana recounts the 1947 Malagasy Uprising, when France killed 89,000 Malagasy combatants and civils to repress their struggle for independence and political sovereignty. As the novel dramatizes colonial exactions, it particularly emphasizes the complex relationship of subalternized populations with their stolen land. A natural and symbiotic environment sacred for the natives, a soil exhaustible for the settlers, the…
Writing on the wall: Mathieu Tremblin’s ‘Tag Clouds’ and the politics of cultural assimilation
This article explores how French street artist Mathieu Tremblin’s Tag Clouds satirises mainstream French media’s and right-wing politicians’ representations of the French banlieue. As Tag Clouds erases tags and writes over them in a more legible font, I argue that it performs visual sanitisation to satirise the politics and aesthetics of French visual culture affecting urban settings and banlieues. Politicians’ and media’s amalgamation of banlieu…
Performing Waste, Wasting Performance: The Ecology of Fluxus
Performing Waste, Wasting PerformanceThe Ecology of Fluxus Aurelie Matheron (bio) Click for larger view View full resolution Fig 1. Photograph courtesy of Liz Ligon. Copyright 2012 Liz Ligon. Never had a salad provoked so many reactions as on April 22, 2012, when Fluxus artist Alison Knowles reenacted her iconic 1962 Make a Salad score event on the High Line, near Chelsea Market in New York. The performance was straightforward; after chopping up,…
C’est à ce prix que vous mangez du sucre en Europe: Decolonizing plantationocene visualities in Amalia Ramanankirahina’s Le grand couvert
This article explores how the installation Le grand couvert by Malagasy artist Amalia Ramanankirahina intersects colonial plantations and a French Parisian orchard to decolonize contemporary French ecological thinking. As this article explores how French rural ecologies are embedded within a wider variety of environments and their violent plantationocenic histories, it argues that Le grand couvert performs ‘aesthetic marronage’, a form of fugitiv…
Performing Waste, Wasting Performance: The Ecology of Fluxus
Performing Waste, Wasting PerformanceThe Ecology of Fluxus Aurelie Matheron (bio) Click for larger view View full resolution Fig 1. Photograph courtesy of Liz Ligon. Copyright 2012 Liz Ligon. Never had a salad provoked so many reactions as on April 22, 2012, when Fluxus artist Alison Knowles reenacted her iconic 1962 Make a Salad score event on the High Line, near Chelsea Market in New York. The performance was straightforward; after chopping up,…
Performing Waste, Wasting Performance: The Ecology of Fluxus
Performing Waste, Wasting PerformanceThe Ecology of Fluxus Aurelie Matheron (bio) Click for larger view View full resolution Fig 1. Photograph courtesy of Liz Ligon. Copyright 2012 Liz Ligon. Never had a salad provoked so many reactions as on April 22, 2012, when Fluxus artist Alison Knowles reenacted her iconic 1962 Make a Salad score event on the High Line, near Chelsea Market in New York. The performance was straightforward; after chopping up,…
Writing on the wall: Mathieu Tremblin’s ‘Tag Clouds’ and the politics of cultural assimilation
This article explores how French street artist Mathieu Tremblin’s Tag Clouds satirises mainstream French media’s and right-wing politicians’ representations of the French banlieue. As Tag Clouds erases tags and writes over them in a more legible font, I argue that it performs visual sanitisation to satirise the politics and aesthetics of French visual culture affecting urban settings and banlieues. Politicians’ and media’s amalgamation of banlieu…
Sainte! Libre! Souveraine: ” Jean-Luc Raharimanana’s Ecocidal Writing of the Land in Nour, 1947
In Nour, 1947, Jean-Luc Raharimanana recounts the 1947 Malagasy Uprising, when France killed 89,000 Malagasy combatants and civils to repress their struggle for independence and political sovereignty. As the novel dramatizes colonial exactions, it particularly emphasizes the complex relationship of subalternized populations with their stolen land. A natural and symbiotic environment sacred for the natives, a soil exhaustible for the settlers, the…
C’est à ce prix que vous mangez du sucre en Europe: Decolonizing plantationocene visualities in Amalia Ramanankirahina’s Le grand couvert
This article explores how the installation Le grand couvert by Malagasy artist Amalia Ramanankirahina intersects colonial plantations and a French Parisian orchard to decolonize contemporary French ecological thinking. As this article explores how French rural ecologies are embedded within a wider variety of environments and their violent plantationocenic histories, it argues that Le grand couvert performs ‘aesthetic marronage’, a form of fugitiv…
Unraveling the colonial invisible: Belgium's war patrimoine and dermographic memory in Sammy Baloji's L'Autre mémorial
This article explores how L'Autre mémorial (2015), a copper sculpture by Congolese artist Sammy Baloji, challenges Belgian's patrimoine surrounding World War I memory. L'Autre mémorial replicates the copper dome of the Sacré-Coeur de Cointe (Liège, Belgium), a patrimoine site built in 1936 as church and memorial for First World War Belgian soldiers. Embossing his sculpture with scarified copper plaques, Baloji honors the erased memory of Congoles…
Un Hymne à la littérature »: La Plus secrète mémoire des hommes , de la déclosion de l’universalisme européen à l’universel latéral
Art (5 works) · Archaeology (3 works) · Colonialism (3 works) · History (3 works) · Sociology (3 works) · African history and culture studies (2 works) · Cultural Identity and Heritage (2 works) · Ethnology (2 works) · French Urban and Social Studies (2 works) · History (2 works)