DIANE CHASSERESSE - IRIS BROSCH - MUSEE DE LA CHASSE


Diane Chasseresse,


Set Designer, Stephane Blanc
Stylist, Britta Uschkamp
Hair, Dorah Doredte, assisted by Christophe Pastel
Makeup, Walter Denechere, assisted by Anna Delcroix
Assistants, Mahé Elipe, Jennifer Schubert
Backstage, Robin Deledicque, Guillaume Delecroix, Laura Mateu, Katalin Szaraz
Editing, Juliette Gagnadre
Models, Andja Lorein, Cassandre Dagon, Senta Schnabl, Annaelle Duguet, Clélia Altaïr, Alix Meier Watjen,
Fanny Beladonna, Raphael Lourel, Alexia Ranguin, Alayrangues Zoe, Rebecca Maraki, Sateaurelie Boga 



Special thanks to Julien Fournié Haute Couture, Anggy Haif, Larare, Profoto, au Musée de la Chasse et de la Nature, à Ugo Deslandes, Karen Chastagnol & Mr Claude d'Anthenaise



Normal Magazine Editorial



Imagine a Modern Diane, as an idea of woman reclaiming the heart of Nature from civilisation historically shaped by the Male system. Here the new Diana, as a new woman, as a contemporary goddess, occupies her own system, every woman has the capacity to be a goddess. At the end of this time and entrance into new time the living and the dead stand together. How is a new creature, a new Diana, imagined at the end of time? What does this new time and new space look like? It is said that there is very little difference between now time, Paradise and Eden, and even the eternal return of the same which imagines the shift from now into new spaces for new humans? It is said to look exactly like everyday life but with a difference. What is this difference? You can see the new film posing this question. We can see this new time civilisation the end of the catastrophe, the end of the destruction of animals, nature, the environment and the end of the long historical and unforgivable misuse of women.

But strangely enough Brosch is assembling her new woman, her new Goddess, at a time of renewed puritanism and prudery. But let’s say in this new time previous iterations of what we imagined was thought through and familiar breaks down, becomes irrelevant, how things and beings exist, and what being looks like, in this new time requires to be reimagined. Brosch talks about the importance of deconstruction to the process of constructing her thinking and performance, to test the limits and habits of thinking. I understand this to mean the unmooring of thinking from its existing sclerotic references and concepts, by releasing a series of new imagery. A start to reimagine this new topology is through celebrating the break with the Eurocentric male order, by breaking binary opposition of the sexes, where there is instead a blurring, mutation and expanded possibilities of human beings, this puts into question the terms and categories at our disposal, where what exists can only be evoked. How does Brosch assemble her new Diane and new Goddess?


David Goldenberg




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