© Jorge das Neves

© Jorge das Neves

Laura Lamiel

Un chant d'amour, 2019–2022
Steel, spy-mirrors, copper table, artifacts from the artist's collection, raw steel units, fluorescent tubes
Courtesy of the artist and Marcelle Alix, Paris

The cells of the monastery immediately reminded us of Laura Lamiel’s cells, into which we cannot enter, but connect several planes of reality or perception. One piece in particular stood out: a cell linked to Laura Lamiel's memory of Jean Genet's film Un chant d'amour (shot in 35 mm in 1950 and censored for 25 years) and to her memory of two prisoners who communicate by breathing through the infra-thin hole in the wall between them. ‘I found it incredibly beautiful’, she says. ‘Between two spaces in the spy mirror, I make a hole to put a cigarette’, through which flow their repressed communication, a breath, a gaseous, almost liquid, stifled tongue, and the desire that emanates from an oppressed sexuality.