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Nicolas Daubanes
France, 1983

Nicolas Daubanes France, 1983

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Open a larger version of the following image in a popup: Nicolas Daubanes, La grâce présidentielle, 2022
Open a larger version of the following image in a popup: Nicolas Daubanes, La grâce présidentielle, 2022
Open a larger version of the following image in a popup: Nicolas Daubanes, La grâce présidentielle, 2022
Open a larger version of the following image in a popup: Nicolas Daubanes, La grâce présidentielle, 2022
Open a larger version of the following image in a popup: Nicolas Daubanes, La grâce présidentielle, 2022

Nicolas Daubanes France, 1983

La grâce présidentielle, 2022
29 prison doors, wood, steel.
Variable dimensions.
Consultar
%3Cdiv%20class%3D%22artist%22%3ENicolas%20Daubanes%3C/div%3E%3Cdiv%20class%3D%22title_and_year%22%3E%3Cspan%20class%3D%22title_and_year_title%22%3ELa%20gr%C3%A2ce%20pr%C3%A9sidentielle%3C/span%3E%2C%20%3Cspan%20class%3D%22title_and_year_year%22%3E2022%3C/span%3E%3C/div%3E%3Cdiv%20class%3D%22medium%22%3E29%20prison%20doors%2C%20wood%2C%20steel.%3C/div%3E%3Cdiv%20class%3D%22dimensions%22%3EVariable%20dimensions.%3C/div%3E

Más imágenes

  • (View a larger image of thumbnail 1 ) Nicolas Daubanes, Presó de Mataró (#6), 2014
  • (View a larger image of thumbnail 2 ) Nicolas Daubanes, Presó de Mataró (#6), 2014
  • (View a larger image of thumbnail 3 ) Nicolas Daubanes, Presó de Mataró (#6), 2014
  • (View a larger image of thumbnail 4 ) Nicolas Daubanes, Presó de Mataró (#6), 2014
  • (View a larger image of thumbnail 5 ) Nicolas Daubanes, Presó de Mataró (#6), 2014
La grâce présidentielle is a large installation in the form of a narrow corridor formed by the concatenation of the actual prison doors through which the viewer enters the exhibition....
Más información
La grâce présidentielle is a large installation in the form of a narrow corridor formed by the concatenation of the actual prison doors through which the viewer enters the exhibition. While passing along this corridor, the spectator is placed inside the cell and only sees the marks left by those who spent their sentences inside it. The doors, which limit the viewer's vision and movement, transform the exhibition space to materialize the vivid memory of the prisoners, now transferred to the viewer.
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