We create narratives with words, images and symbols, and with these tools we tell or depict stories. Fixed on a sheet of paper, the narrative is now subject to interpretation. Each reader or viewer coming with his or her own personal history, knowledge and appreciation will often see the proposed narrative differently than the artist’s intent. Perception differs. Furthermore, a narrative is subject to time and context. What we understand or see at one moment can change one month or years later. In that regard, we can say that narratives are partial and multiple.

Interrupta narratio, featuring works by Alice Raymond and Carol Jazzar, offers viewers an infinite number of possible narratives. The exhibit, which includes drawings and collages, is a visual essay. Although using different techniques, both artists create compositions that stem from instinctive choices: automatic drawings for Raymond and cut‑outs from Artforum magazines for Jazzar. Works are poetic or absurd depending on one’s perception.

Raymond shows a series of drawings from her intimate production in which she develops ideas about social relations and domination. It displays characters and environments that interact with each other strangely: the elements seem to be drawn from a broader narrative that may be mentally constructed by the viewer or observed as fragments. When you meet people talking on the street, you might hear a part of a conversation that sounds absurd, funny or even scary if you try to recompose it out of context. Raymond plays with fairy tales and myths as well as facts. Her interest in the environment and the ownership of territories are reflected in her drawings. As in her work on maps, she considers reality as always partial. Her work is influenced by psychoanalysis, history and codification.

Jazzar’s collages offer a clear reading. Cut out images or symbols are sparsely placed on a white sheet of paper. Each component symbolizes a thought and keeps its integrity within the composition while contributing to a central idea. Most of them have been created spontaneously; some take planning and are approached as a way to work out inner tensions. Made almost entirely from Artforum magazines, the “bible of contemporary art” according to writer Sarah Thornton, these cut‑outs are for the most part pictures of works belonging to other artists which have been shown in galleries and institutions all over the world. Through the use of these images, Jazzar is appropriating other people’s works and ideas, “fishing” in the collective consciousness and reinterpreting them into a new context and perspective as a way to re‑write “her own bible.”


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