https://www.andree-weschler.com/gallery daily 0.75 2026-01-17 https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1530367694667-19M29S3C3XM6LMCO2SP6/Weschler+Andree+Javier+Canales.jpg Main Gallery - The Forgotten, 2018 Andrée Weschler pays homage to artists and models who have been forgotten in order to immortalize figures that society venerates. Her work is a tribute to the artists who have worked on the statues that line the roads in the countryside and mark important places for the protection of passersby. Her work illuminates those who have fallen into oblivion and who are never thought of. In her performance called “The Forgotten”, the body turns into an ephemeral statue and tries in vain to maintain the memory. The ephemeral sculpture leaves us the promise that we too will all be forgotten. The performer's body becomes the sculptor, the model and the subject. https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1530367694667-19M29S3C3XM6LMCO2SP6/Weschler+Andree+Javier+Canales.jpg Main Gallery - The Forgotten, 2018 Andrée Weschler pays homage to artists and models who have been forgotten in order to immortalize figures that society venerates. Her work is a tribute to the artists who have worked on the statues that line the roads in the countryside and mark important places for the protection of passersby. Her work illuminates those who have fallen into oblivion and who are never thought of. In her performance called “The Forgotten”, the body turns into an ephemeral statue and tries in vain to maintain the memory. The ephemeral sculpture leaves us the promise that we too will all be forgotten. The performer's body becomes the sculptor, the model and the subject. https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1530367681909-GG0VZ7ZAD3LH750M99EY/Performance+Andree+Weschler.jpg Main Gallery - The Forgotten, 2018 Andrée Weschler pays homage to artists and models who have been forgotten in order to immortalize figures that society venerates. Her work is a tribute to the artists who have worked on the statues that line the roads in the countryside and mark important places for the protection of passersby. Her work illuminates those who have fallen into oblivion and who are never thought of. In her performance called “The Forgotten”, the body turns into an ephemeral statue and tries in vain to maintain the memory. The ephemeral sculpture leaves us the promise that we too will all be forgotten. The performer's body becomes the sculptor, the model and the subject. Picture by Javier Canales https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1530367703801-VF6AGOPY5X4ZPMD7XLWE/Andree+Weschler+Javier+Canales.jpg Main Gallery - The Forgotten, 2018 Andrée Weschler pays homage to artists and models who have been forgotten in order to immortalize figures that society venerates. Her work is a tribute to the artists who have worked on the statues that line the roads in the countryside and mark important places for the protection of passersby. Her work illuminates those who have fallen into oblivion and who are never thought of. In her performance called “The Forgotten”, the body turns into an ephemeral statue and tries in vain to maintain the memory. The ephemeral sculpture leaves us the promise that we too will all be forgotten. The performer's body becomes the sculptor, the model and the subject. Picture by Javier Canales https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1642872605430-6LHNIOF8JESP9XB88CS1/Pierre+Boaistuau+the+hairy+virgin.jpg Main Gallery - The Hairy Virgin, Paris 2021 “A hairy virgin was shown completely covered with hair like a bear; she was born thus deformed and hideous because her mother had gazed too intensely upon an effigy of St John dressed in animal skins which hung at the foot of her bed when she conceived. It is certain that these monstrous creatures most often are the consequence of divine judgment, justice, punishment, and curse; horrified by their sin, God allows [women] to produce such abominations because they hurl themselves forward indifferently, like savage beasts that only follow their appetites, with no consideration of age, place, time, and the other laws established by Nature” Extract of the original book “Histoires prodigieuses” by Pierre Boaistuau, 1560 https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1530367216960-AAUKTUWTFLVWFTOBS16V/Andree+Weschler.jpg Main Gallery - The Forgotten, 2018 Andrée Weschler pays homage to artists and models who have been forgotten in order to immortalize figures that society venerates. Her work is a tribute to the artists who have worked on the statues that line the roads in the countryside and mark important places for the protection of passersby. Her work illuminates those who have fallen into oblivion and who are never thought of. In her performance called “The Forgotten”, the body turns into an ephemeral statue and tries in vain to maintain the memory. The ephemeral sculpture leaves us the promise that we too will all be forgotten. The performer's body becomes the sculptor, the model and the subject. Picture by Javier Canales https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1541169876977-J79PSLLJE4YHVU2ZC7X3/Andree+Weschler+Performance.jpg Main Gallery - The Forgotten, 2018 Andrée Weschler pays homage to artists and models who have been forgotten in order to immortalize figures that society venerates. Her work is a tribute to the artists who have worked on the statues that line the roads in the countryside and mark important places for the protection of passersby. Her work illuminates those who have fallen into oblivion and who are never thought of. In her performance called “The Forgotten”, the body turns into an ephemeral statue and tries in vain to maintain the memory. The ephemeral sculpture leaves us the promise that we too will all be forgotten. The performer's body becomes the sculptor, the model and the subject. Picture by Javier Canales https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1541173866767-YET8BBZOM0QOVCLRESJ4/Performance+Biennale+Andree+Weschler.jpg Main Gallery - The Forgotten, 2018 Andrée Weschler pays homage to artists and models who have been forgotten in order to immortalize figures that society venerates. Her work is a tribute to the artists who have worked on the statues that line the roads in the countryside and mark important places for the protection of passersby. Her work illuminates those who have fallen into oblivion and who are never thought of. In her performance called “The Forgotten”, the body turns into an ephemeral statue and tries in vain to maintain the memory. The ephemeral sculpture leaves us the promise that we too will all be forgotten. The performer's body becomes the sculptor, the model and the subject. Picture by Javier Canales https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1738999098294-IJINMD08260MHDBS0XDI/The%2BHairy%2BVirgin.jpg Main Gallery - The Hairy Virgin, Paris 2021 https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1541169818084-WG0TTPKSQCLUC2JT28D6/The+Forgotten.jpg Main Gallery - The Forgotten, 2018 Andrée Weschler pays homage to artists and models who have been forgotten in order to immortalize figures that society venerates. Her work is a tribute to the artists who have worked on the statues that line the roads in the countryside and mark important places for the protection of passersby. Her work illuminates those who have fallen into oblivion and who are never thought of. In her performance called “The Forgotten”, the body turns into an ephemeral statue and tries in vain to maintain the memory. The ephemeral sculpture leaves us the promise that we too will all be forgotten. The performer's body becomes the sculptor, the model and the subject. Picture by Javier Canales https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1541169939981-ZUOQ6LDZA0XH7X5Y962W/Andree+Weschler+Biennale.jpg Main Gallery - The Forgotten, 2018 Andrée Weschler pays homage to artists and models who have been forgotten in order to immortalize figures that society venerates. Her work is a tribute to the artists who have worked on the statues that line the roads in the countryside and mark important places for the protection of passersby. Her work illuminates those who have fallen into oblivion and who are never thought of. In her performance called “The Forgotten”, the body turns into an ephemeral statue and tries in vain to maintain the memory. The ephemeral sculpture leaves us the promise that we too will all be forgotten. The performer's body becomes the sculptor, the model and the subject. Picture by Javier Canales https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1381307712019-27Z7Q1P7W7AT3PP2XD3B/DSC06303.jpg Main Gallery - To Wolf Down Covering the landscape with hair creates an other reality. I am interested in emphasising and enlightening the disarray of intimacy https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1380461003179-D086WURA9W33UQVXLRIR/DSC06319.jpg Main Gallery - To Wolf Down, 2006 Covering the landscape with hair creates an other reality. I am interested in emphasising and enlightening the disarray of intimacy https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1380460965240-8U0NEPWFWZMHREBMW72G/DSC06313.jpg Main Gallery - To Wolf Down, 2006 Covering the landscape with hair creates an other reality. I am interested in emphasising and enlightening the disarray of intimacy. https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1380460983659-BHVDD0VRE5UXXL5ET4P7/DSC06306.jpg Main Gallery - To Wolf Down, 2006 Covering the landscape with hair creates an other reality. I am interested in emphasising and enlightening the disarray of intimacy https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1738998620378-WU74DR6TA6UNAN2SIG60/The+Hairy+Virgin+Andree+Weschler.jpeg Main Gallery - Hairy Virgin, performance, Paris, 2021 “It all began in 1998, when I was a BA student in Singapore. During the program I traveled to Perth (Australia). It was there, in a small art bookshop, that I discovered the image of the Hairy Virgin. Her story struck me, or was it the name? A girl covered entirely in hair, presented to the King of Bohemia (Czech-Republic), recorded by Pierre Boaistuau in Histoires-prodigieuses (1560). Legend says her mother’s imagination, fixated on Saint John’s fur-coat, would mark the child she carried. Over the years, I returned repeatedly to this image. I wove a tapestry with hair, photographed armpits, covered a mannequin with hair. Eventually I embodied the character myself in performances in Seoul (2003), Singapore (2004),Tokyo (2008), Berlin (2013), Paris (2021), Santiago (2021).” https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1738998823216-XIS12MXO90VU1T2QNMZF/Hairy%252BVirgin.jpg Main Gallery - Hairy Virgin, performance, Paris, 2021 “It all began in 1998, when I was a BA student in Singapore. During the program I traveled to Perth (Australia). It was there, in a small art bookshop, that I discovered the image of the Hairy Virgin. Her story struck me, or was it the name? A girl covered entirely in hair, presented to the King of Bohemia (Czech-Republic), recorded by Pierre Boaistuau in Histoires-prodigieuses(1560). Legend says her mother’s imagination, fixated on Saint John’s fur-coat, would mark the child she carried. Over the years, I returned repeatedly to this image. I wove a tapestry with hair, photographed armpits, covered a mannequin with hair. Eventually I embodied the character myself in performances in Seoul (2003), Singapore (2004),Tokyo (2008), Berlin (2013), Paris (2021), Santiago (2021). https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1650014646829-FXIXG2BLCKX5MBBK1BH0/Pierre%2BBoaistuau%2Bthe%2Bhairy%2Bvirgin.jpg Main Gallery - Hairy Virgin, performance, Paris, 2021 “It all began in 1998, when I was a BA student in Singapore. During the program I traveled to Perth (Australia). It was there, in a small art bookshop, that I discovered the image of the Hairy Virgin. Her story struck me, or was it the name? A girl covered entirely in hair, presented to the King of Bohemia (Czech-Republic), recorded by Pierre Boaistuau in Histoires-prodigieuses (1560). Legend says her mother’s imagination, fixated on Saint John’s fur-coat, would mark the child she carried. Over the years, I returned repeatedly to this image. I wove a tapestry with hair, photographed armpits, covered a mannequin with hair. Eventually I embodied the character myself in performances in Seoul(2003), Singapore (2004), Tokyo (2008), Berlin (2013), Paris (2021), Santiago (2021). https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1739017345051-0CC648MIX15ISIVQZ2UB/Hairy+Virgin.jpeg Main Gallery - The Hairy Virgin, Paris 2021 “It all began in 1998, when I was a BA student in Singapore. During the program I traveled to Perth (Australia). It was there, in a small art bookshop, that I discovered the image of the Hairy Virgin. Her story struck me, or was it the name? A girl covered entirely in hair, presented to the King of Bohemia (Czech-Republic), recorded by Pierre Boaistuau in Histoires-prodigieuses (1560). Legend says her mother’s imagination, fixated on Saint John’s fur-coat, would mark the child she carried. Over the years, I returned repeatedly to this image. I wove a tapestry with hair, photographed armpits, covered a mannequin with hair. Eventually I embodied the character myself in performances in Seoul (2003), Singapore (2004),Tokyo (2008), Berlin (2013), Paris(2021), Santiago (2021). https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1413877449720-TDKU8P054MZ5CPYVUZX3/image-asset.jpeg Main Gallery - Innocence #02 Innocence #02 is part of a series of Performances Art using only material with the color white. The material for the performance is Baby Powder https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1378990095899-ICIOIVQRK92WKIFAQ36Z/baby_powder_innocence_11.jpg Main Gallery - Innocence #02 Innocence #02 is part of a series of Performances Art using only material with the color white. The material for the performance is Baby Powder https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1378990076106-BBGV6S1LYM1FRBQOWSHL/baby_powder_innocence_13.jpg Main Gallery - Innocence #02 Innocence #02 is part of a series of Performances Art using only material with the color white. The material for the performance is Baby Powder Picture by Anita Vozza https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1512401976576-95MKG6P6MVE5V20UI6Z3/Andre%CC%81e+Weschler.jpg Main Gallery - Innocence #02 Innocence #02 is part of a series of Performances Art using only material with the color white. The material for the performance is Baby Powder https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1759371074681-9VOP8IJEQM1ZCVFHET9B/drawing%252Bwoman%252Balone%252B2.jpg Main Gallery - Drawing, Chinese Ink, 2005 https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1754938802968-LABKD2V5JZNW7HYLNASJ/drawing%2Bbathtub%2B.jpg Main Gallery - Drawing, Chinese ink Drawing, Chinese Ink, 2005 https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1754938500177-Q2WBEZPXP56F7PY5CXHT/drawing+woman+2.jpeg Main Gallery - Drawing, Chinese ink Drawing, Chinese Ink, 2005 https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1754938974289-K1X0OXZWJ2C9A69BSNBW/Andre%2525CC%252581e%252BWeschler%252B2.jpg Main Gallery - Drawing, Chinese ink https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1381155007091-IF5SHOO0A69YZVEIP8ST/DSC00632.jpg Main Gallery - Love Seeds On les appelle "Love Seeds", graines de l'amour et elles poussent sur un arbre appelé le Saga https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1456380083020-RTCC2GDO0GB91OVTJO3E/IMG_2864.jpg Main Gallery - Love Seeds, 2012 On les appelle "Love Seeds", graines de l'amour et elles poussent sur un arbre appelé le Saga https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1456385859444-G564QM3D17IY0TKRHUQA/Performance+Singapore.jpg Main Gallery - Love seeds, 2012 On les appelle "Love Seeds", graines de l'amour et elles poussent sur un arbre appelé le Saga https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1456406864393-4UA7PV83KBSXBVG4S08V/Palais+de+Tokyo.JPG Main Gallery - Love Seeds, 2012 On les appelle "Love Seeds", graines de l'amour et elles poussent sur un arbre appelé le Saga https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1456386882321-XF7ZHI77L3RV7EAFVAUB/Ceramic+in+Singapore.jpg Main Gallery - Innocence #03 White is a recurring feature in Andrée Weschler's performances. White is a blank page on which she writes her story. The soft pearls had hardened through fire into becoming a 50kg necklace. The performance was held in a church in Toscana (Italy) where Andrée Weschler gradually wrapped herself with the long necklace. Eventually bounded and blinded by the pearls, she broke free from the chains she created. The church resonated like rain finally falling in the desert. Innocence was performed three times https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1378817508518-X437NOXE6G90XOHFXMLT/_DSC9558.jpg Main Gallery - Innocence #03 “In 2006, my life was a desert. Everybody seemed busy, active, alive, while I was a prisoner in my own apartment. Nothing was happening in my life, and I felt I was a thing among others in my home. One day I received from a friend a pack of clay. I started to roll small pearls of porcelain from the clay for no reason. They were cute. To escape from my lethargy, every night I rolled pearls made of porcelain, like Penelope weaving her tapestry while waiting for Ulysses, except that in my story there was no Ulysses. All the pearls together became a very long necklace of a few metres; very beautiful, very difficult to move, very heavy.” This was some years ago. Everything has changed since then: the others and I. This time the necklace weights 50 kilogrammes to embody my 50 years of life. It was a spontaneous idea that I had, which I expressed the idea with joy; 50 is a number so easily said but 50 kilogrammes of porcelain can be tedious and laborious. Picture by Anita Vozza https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1378865559607-AS3HD68OZ5QLYL2Q7FI2/_DSC9463.jpg Main Gallery - Innocence #03 "The necklace was weighting 50 kilogrammes to embody my 50 years of life. It was a spontaneous idea that I had, which I expressed the idea with joy; 50 is a number so easily said but 50 kilogrammes of porcelain can be tedious and laborious. I tried to carry the necklace the way I carry my years" Picture by Anita Vozza https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1413874418361-SESHFQO3YZV9NLM95RW2/DSC07702.jpg Main Gallery - Innocence, 2013 50 kilos of beats rolled in porcelain by Andrée Weschler https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1492278707704-EUXKQGUZ9SXHKSAVS2G3/image-asset.jpeg Main Gallery - Tierra, fuegos y sueños... Collaboration Javier Canales and Andrée Weschler Patagonia, Chile January 2017 https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643224054656-0GIDOQP9QZCIDMJF5Q2W/image-asset.jpeg Main Gallery - Tierra, fuegos y sueños… Andrée Weschler and Javier Canales decided to carry out a collaboration where the concept would relate to the territory of Patagonia, the body, time and memory. The intention of the two artists is to work on the relation of the body and the stone, the body and the clay, with performances and installations. Performance experimental and interactive with soft clay shaped in a stone, in situ, Strait of Magellan, Patagonia, Chile https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643225087378-3O6SYTS1ISPNIOEMOUAV/image-asset.jpeg Main Gallery - Tierra, fuegos y sueños… the territory of Patagonia, the body, time and memory. The intention of the two artists is to work on the relation of the body and the stone, the body and the clay, with performances and installations. Performance experimental and interactive with soft clay shaped in a stone, in situ, Strait of Magellan, Patagonia, Chile https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1497623591804-OGLBNVOSO5Z4RN3IGZTE/Andre%CC%81e+Weschler+et+Javier+Canales.jpg Main Gallery - Tierra, fuegos y sueños… Andrée Weschler and Javier Canales decided to carry out a collaboration where the concept would relate to the territory of Patagonia, the body, time and memory. The intention of the two artists is to work on the relation of the body and the stone, the body and the clay, with performances and installations. Performance experimental and interactive with soft clay shaped in a stone, in situ, Strait of Magellan, Patagonia, Chile https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1381123100592-IZJN7SATTSLZAGSZCT5V/IMG_9062.jpg Main Gallery - Amputation, 2006 To heal you need to amputateCut yourself off from The gangrene that is eating you up Gangrene is a person a thing a love a parasite Healing is about violence “My intention is to perform in or near the exhibition space - the life at the Singapore Art Museum - and interact with the installation. It is about exploring the space, material and concept all in the spirit of improvisation. In my performances, I aim to reduce and minimize time and material through a very simple visual act, as well as attempt to reach the essence of the concept. This simple visual act in this performance would be the act of “falling down” where the fall is a symbol of failure” https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1381122982687-FB8QCRKMC3OPPZBRUPAR/IMG_9064.jpg Main Gallery - Amputation, 2006 To heal you need to amputate Cut yourself off from The gangrene that is eating you up Gangrene is a person a thing a love a parasite Healing is about violence “My intention is to perform in or near the exhibition space - the life at the Singapore Art Museum - and interact with the installation. It is about exploring the space, material and concept all in the spirit of improvisation. In my performances, I aim to reduce and minimize time and material through a very simple visual act, as well as attempt to reach the essence of the concept. This simple visual act in this performance would be the act of “falling down” where the fall is a symbol of failure” https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643648176802-SAI4WFAMEM4XO6BM8I0C/image-asset.jpeg Main Gallery - Amputation, 2006 To heal you need to amputate Cut yourself off from The gangrene that is eating you up
Gangrene is a person a thing a love a parasite
Healing is about violence
 “My intention is to perform in or near the exhibition space - the life at the Singapore Art Museum - and interact with the installation. It is about exploring the space, material and concept all in the spirit of improvisation.
 In my performances, I aim to reduce and minimize time and material through a very simple visual act, as well as attempt to reach the essence of the concept. This simple visual act in this performance would be the act of “falling down” where the fall is a symbol of failure” https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643647137802-9FPVXQ231RNOMRLXH5X5/image-asset.jpeg Main Gallery - Amputation, 2006 To heal you need to amputate Cut yourself off from The gangrene that is eating you up
 Gangrene is a person a thing a love a parasite
 Healing is about violence
 “My intention is to perform in or near the exhibition space - the life at the Singapore Art Museum - and interact with the installation. It is about exploring the space, material and concept all in the spirit of improvisation.
 In my performances, I aim to reduce and minimize time and material through a very simple visual act, as well as attempt to reach the essence of the concept. This simple visual act in this performance would be the act of “falling down” where the fall is a symbol of failure” https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1379854902627-DXQGB1EUBLBSI5G3GMKG/DSCF4801.jpg Main Gallery - Black #02, 2010 Performance Art Black #02 is part of a series of performances using the colour black. The material for the performance is a pair of black stocking and red shoes The initial inspiration of this performance is a memory of my childhood. The performance was not planned and was a kind of adventure for the artist https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1379854884916-UDRATWSP0IYYRM759C3F/DSCF4800.jpg Main Gallery - Black #02, 2010 Performance Art Black #02 is part of a series of performances using the colour black. The material for the performance is a pair of black stocking and red shoes The initial inspiration of this performance is a memory of my childhood. The performance was not planned and was a kind of adventure for the artist https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1379854546867-HT8SJOI3BLRJO25KE94Y/DSCF4803.jpg Main Gallery - Black #02, 2010 Performance Art Black #02 is part of a series of performances using the colour black. The material for the performance is a pair of black stocking and red shoes The initial inspiration of this performance is a memory of my childhood. The performance was not planned and was a kind of adventure for the artist https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1379854671793-BS6S81IRDFRYX61ZQEDE/DSCF4806%283%29.jpg Main Gallery - Black #02, 2010 Performance Art Black #02 is part of a series of performances using the colour black. The material for the performance is a pair of black stocking and red shoes The initial inspiration of this performance is a memory of my childhood. The performance was not planned and was a kind of adventure for the artist https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1414044976351-GH9XRUW371YS2Z9JZXJ3/Andree+Weschler+Art.jpg Main Gallery - The Egg Performance Art named "The Egg" done during the event Stopover at the gallery Front Room Gallery (Singapore) in 2005. https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1414044953979-NZP21EL0NR76T5WT5MIW/Art+Singapore.jpg Main Gallery - The Egg Performance Art named "The Egg" done during the event Stopover at the gallery Front Room Gallery (Singapore) in 2005. https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1414044833553-SABOZD5YOTX1J0YTTINV/Andree+Weschler+Singapore.jpg Main Gallery - The Egg, 2005 Performance Art named "The Egg" done during the event Stopover at the gallery Front Room Gallery (Singapore) in 2005. https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1414044477973-SATW9WPCKRT467SHYYFE/image-asset.jpeg Main Gallery - The Egg, 2005 Performance Art named "The Egg" done during the event Stopover at the gallery Front Room Gallery (Singapore) in 2005.   https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1380808427961-41OXFX27ED5EQ3R6ST9R/Flowers34.jpg Main Gallery - Some Flowers to Make it Look Beautiful, 2003 Flower n. 1. that part of a plant that produces seeds. 2. the flower of, the finest part of 3. the flower of speech, ornamental phrase Oxford Advanced Learner’s Dictionary of Current English https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1380808592257-DNSG3LIC1ZAZUFMD86TL/Flowers32.jpg Main Gallery - Some Flowers to Make it Look Beautiful, 2003 Flower n. 1. that part of a plant that produces seeds. 2. the flower of, the finest part of 3. the flower of speech, ornamental phrase Oxford Advanced Learner’s Dictionary of Current English https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1380808624655-YSDIEZPRR9K3FS8T2PGR/Flowers42.jpg Main Gallery - Some Flowers to Make it Look Beautiful, 2003 Flower n. 1. that part of a plant that produces seeds. 2. the flower of, the finest part of 3. the flower of speech, ornamental phrase Oxford Advanced Learner’s Dictionary of Current English https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1380808641014-ZHUIC0X9SWKK9YK9SMRZ/DSC06493.jpg Main Gallery - Some Flowers to Make it Look Beautiful, 2003 Flower n. 1. that part of a plant that produces seeds. 2. the flower of, the finest part of 3. the flower of speech, ornamental phrase Oxford Advanced Learner’s Dictionary of Current English https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1477573300544-EZHUI4E2QCQVA2KCZDMC/image-asset.jpeg Main Gallery - La Carte de Tendre Revisited by Andrée Weschler & Lynn Lu   https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1477665198474-J8TFJU09RFV0CI3UYJS0/Artist+Singapore+Andree+Weschler.jpg Main Gallery - The map of Love, 2011 La Carte de Tendre was a French map of an imaginary land called Tendre produced in the 17th Century, which depicts the "geography of love" according to the Precieuses of that era: the River of Inclination flows past the villages of "Billet Doux" (Love Letter), "Petits Soins" (Little Trinkets), and intrepid travelers brave the dangers of "Le Lac d' Indiference" (Lake of Indifference). The villages, roads, and topographic features in this allegorical representation trace the myriad facets of love and its associated perils. Lynn Lu and Andrée Weschler revisited the map of love with its successes and pitfalls and propose a new reading of the Carte of Tendre with video installation and performances art. Ref. Carte de Tendre, 17th Century print, Paris, Bibliothèque Nationale de France https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1477665475213-CA4J4IBQC86C9B1CVQII/Installation+Singapore.jpg Main Gallery - The map of Love, 2011 La Carte de Tendre was a French map of an imaginary land called Tendre produced in the 17th Century, which depicts the "geography of love" according to the Precieuses of that era: the River of Inclination flows past the villages of "Billet Doux" (Love Letter), "Petits Soins" (Little Trinkets), and intrepid travelers brave the dangers of "Le Lac d' Indiference" (Lake of Indifference). The villages, roads, and topographic features in this allegorical representation trace the myriad facets of love and its associated perils. Lynn Lu and Andrée Weschler revisited the map of love with its successes and pitfalls and propose a new reading of the Carte of Tendre with video installation and performances art. Ref. Carte de Tendre, 17th Century print, Paris, Bibliothèque Nationale de France https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643651662008-DKYL88LUXQRBM85BE25R/image-asset.jpeg Main Gallery - The map of Love, 2011 La Carte de Tendre was a French map of an imaginary land called Tendre produced in the 17th Century, which depicts the "geography of love" according to the Precieuses of that era: the River of Inclination flows past the villages of "Billet Doux" (Love Letter), "Petits Soins" (Little Trinkets), and intrepid travelers brave the dangers of "Le Lac d' Indiference" (Lake of Indifference). The villages, roads, and topographic features in this allegorical representation trace the myriad facets of love and its associated perils. Lynn Lu and Andrée Weschler revisited the map of love with its successes and pitfalls and propose a new reading of the Carte of Tendre with video installation and performances art. Ref. Carte de Tendre, 17th Century print, Paris, Bibliothèque Nationale de France https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1380547944218-P7P5LTTZGX6LDE21OMNU/DSC00008.jpg Main Gallery - The Venus in Furs, 2006 Video Performance “It was a large oil painting, done in the robust full-bodied manner of the Belgian school. Its subject was strange enough. A beautiful woman with a radiant smile upon a face, with abundant hair tied into a classical knot, on which white powder lay like soft hoarfrost, was resting on an ottoman, supported on her left arm. She was nude under her dark furs. Her right hand played with a lash, while her bare foot rested carelessly on a man lying before her like a slave, like a dog” Venus in Furs, Leopold von Sacher-Masoch (page 59, Blast Books, New York) https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643990941595-AC680WASIGTMMEZH7PZ5/DSC00041.jpg Main Gallery - The Venus in Furs, 2006  Video Performance “It was a large oil painting, done in the robust full-bodied manner of the Belgian school. Its subject was strange enough. A beautiful woman with a radiant smile upon a face, with abundant hair tied into a classical knot, on which white powder lay like soft hoarfrost, was resting on an ottoman, supported on her left arm. She was nude under her dark furs. Her right hand played with a lash, while her bare foot rested carelessly on a man lying before her like a slave, like a dog” Venus in Furs, Leopold von Sacher-Masoch (page 59, Blast Books, New York) https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1380548118452-YIOALPVJ2F1427SMNWLV/DSC00079.jpg Main Gallery - The Venus in Furs, 2006 Video Performance “It was a large oil painting, done in the robust full-bodied manner of the Belgian school. Its subject was strange enough. A beautiful woman with a radiant smile upon a face, with abundant hair tied into a classical knot, on which white powder lay like soft hoarfrost, was resting on an ottoman, supported on her left arm. She was nude under her dark furs. Her right hand played with a lash, while her bare foot rested carelessly on a man lying before her like a slave, like a dog” Venus in Furs, Leopold von Sacher-Masoch (page 59, Blast Books, New York)  https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643991038234-CJLK6M0EGGGXJ0GWY2J7/image-asset.jpeg Main Gallery https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1380448389447-ZZ46L7Q5FF0K1FIFIFYK/Chorale47.jpg Main Gallery - Choir, 2003 Digital photography https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1380448262572-NSZ2WO05MWKNZTHYCT3B/Chorale21.jpg Main Gallery - The Choir, 2003 Digital photography https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1380448485803-IHW1X1Z8MUT75AV214OF/Chorale38.jpg Main Gallery - The Choir, 2003 Digital photography https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1380448466161-Q35ZNOOPZYM4BOVKPYJR/Chorale125.jpg Main Gallery - The Choir, 2003 Digital photography https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643485615208-JSLPU1MR2CW0CN1ODF10/image-asset.jpeg Main Gallery - The Sound of the Princess, 2004 In Japan “The sound of the Princess” is called Oto Hime. It is a little machine one can find in the ladies. If you press on its button an artificial noise of flash is generated in order to cover the sound of the urine falling into the toilet bowl “I did not know that women can pee like men” by anonymous in the toilet of the French Art School: Les Beaux-Arts de Paris, France, 2000 https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1381105902216-M8VV8JWEFCPRB80RCIHY/image-asset.jpeg Main Gallery - The Sound of the Princess, 2004 https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1413936533190-7FPH4D0T29KHMAU9G4H8/image-asset.jpeg Main Gallery https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1381131194872-AN1Q1PR6ON89YMUX3IOG/DSC07026.jpg Main Gallery - The Sound of the Princess, 2004 In Japan “The sound of the Princess” is called Oto Hime. It is a little machine one can find in the ladies. If you press on its button an artificial noise of flash is generated in order to cover the sound of the urine falling into the toilet bowl “I did not know that women can pee like men” by anonymous in the toilet of the French Art School: Les Beaux-Arts de Paris, France, 2000 https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643817580430-M1A16MW7B4NGS6PKHHGT/Andree+Weschler+%2B+Javier+Canales.JPG Main Gallery - Yagashaga Tierra de Sueños… 2020 Collaboration by Andrée Weschler and Javier Canales Museo Martin Gusinde, Puerto Williams, Chile https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1584102985643-YMWMRIGYG2KADU2QFIOU/Javier+Canales+Andree+Weschler+Art+in+Chile+2.jpg Main Gallery - Yagashaga Tierra de Sueños… 2020 Collaboration by Andrée Weschler and Javier Canales Museo Martin Gusinde, Puerto Williams, Chile https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643817285937-IC6E9EIW9X0IW9BYUDX3/Weschler+Andree+%2B+Javier+Canales.JPG Main Gallery - Yagashaga Tierra de Sueños… 2020 Collaboration by Andrée Weschler and Javier Canales Museo Martin Gusinde, Puerto Williams, Chile https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1584103269408-W5T0XQNK1A1M8PPYGSHF/Museo+Martin+Gusinde+Andree+Weschler+Javier+Canales+2.jpg Main Gallery - Yagashaga Tierra de Sueños… 2020 Collaboration by Andrée Weschler and Javier Canales Museo Martin Gusinde, Puerto Williams, Chile https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1381309821319-A3VH248KI1JMMHL6MB7M/Aisselle1.JPG Main Gallery - Between the Hair and the Stone, 2000 Digital photography The hair and especially pubic hair is the last territory of the modesty. The hair betrays us. We can shave it, pluck it, it will always come back, revealing our instincts, reminding the primates in us.” Andrée Weschler https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1380630657476-9BSWX6TGFNWSO0DFBSGP/Aisselle2.JPG Main Gallery - Between the Hair and the Stone, 2000 Digital photography “The hair and especially pubic hair is the last territory of the modesty. The hair betrays us. We can shave it, pluck it, it will always come back, revealing our instincts, reminding the primates in us.” Andrée Weschler https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1380635580019-9YFDX0EBNMRY03E2FOQL/Invitation+Peppers+Gallery.jpg Main Gallery - Between the Hair and the Stone, 2020 Digital photography The hair and especially pubic hair is the last territory of the modesty. The hair betrays us. We can shave it, pluck it, it will always come back, revealing our instincts, reminding the primates in us.” Andrée Weschler https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1380804314495-FNZW3TDTZJE23J8BDRTW/image-asset.jpeg Main Gallery - Between the Hair and the Stone by Andrée Weschler, 2000 https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1644168837800-TH6IH9UYSRH6SDS3LIZN/Andree+Weschler+%2B+porcelain.jpg Main Gallery - Les Graines du temps, 2021 Andrée Weschler, artiste performeuse, parle du temps et de la manière de le remplir quand rien ne se passe. Son œuvre « Les Graines du temps », présente comment le processus de création artistique, de la fabrication des matériaux avec lesquels elle travaille à la performance en direct, comble temporairement un vide. Ce vide temporel remplit un vide spatial d’où émergent des idées. Un vide temporel métaphysique qui mène à un plein tangible et physique. Le vide stagnant est un facteur de motivation pour créer https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1644171872472-DFMJBNKHV3A5BCWYH7AK/Perle+de+porcelaine.jpg Main Gallery - Les graines du temps, 2021 Andrée Weschler, artiste performeuse, parle du temps et de la manière de le remplir quand rien ne se passe. Son œuvre « Les Graines du temps », présente comment le processus de création artistique, de la fabrication des matériaux avec lesquels elle travaille à la performance en direct, comble temporairement un vide. Ce vide temporel remplit un vide spatial d’où émergent des idées. Un vide temporel métaphysique qui mène à un plein tangible et physique. Le vide stagnant est un facteur de motivation pour créer https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1644168848855-SXH46U7SFMTZ7FCT4GEA/porcelain.jpg Main Gallery - Les Graines du temps, 2021 Andrée Weschler, artiste performeuse, parle du temps et de la manière de le remplir quand rien ne se passe. Son œuvre « Les Graines du temps », présente comment le processus de création artistique, de la fabrication des matériaux avec lesquels elle travaille à la performance en direct, comble temporairement un vide. Ce vide temporel remplit un vide spatial d’où émergent des idées. Un vide temporel métaphysique qui mène à un plein tangible et physique. Le vide stagnant est un facteur de motivation pour créer. https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1644168862831-CZYRHAPLSGCL35OEZEDH/weschler+%2B+porcelain.jpg Main Gallery - Les graines du temps, 2021 Andrée Weschler, artiste performeuse, parle du temps et de la manière de le remplir quand rien ne se passe. Son œuvre « Les Graines du temps », présente comment le processus de création artistique, de la fabrication des matériaux avec lesquels elle travaille à la performance en direct, comble temporairement un vide. Ce vide temporel remplit un vide spatial d’où émergent des idées. Un vide temporel métaphysique qui mène à un plein tangible et physique. Le vide stagnant est un facteur de motivation pour créer. https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1456661847662-JP6WDR8AMWD416ATS4SO/DSC01059.jpg Main Gallery - If you imagine my dear that... 2011 “If you imagine my dear that is going to last forever the season of love, you got it all wrong” are the lyrics of a French poem by Raymond Queneau, written in 1950 and interpreted by Juliette Gréco. The images and the material of the video & pictures are taken from a surgery the artist went through. The surgeon, after the surgery gave the video and said: “ Since you are an artist, I thought that you will be interested in it.” The trauma of the surgery over, it took three years to face the brutal reality of the images and dare to look at them and finally do an art work with it. Translation of the French poem: “If you imagine, if you imagine, girl girl, if you imagine, that is going to last forever the season of the season of season of love, you got it all wrong girl, you got it all wrong If you think my dear, if you think that your rosy complexion, your hourglass figure, your cute biceps, your nails, your nymph’s thigh and your light-hearted foot, if you think my dear that is going to last forever, you got it all wrong girl, you got it all wrong Beautiful days go away, the beautiful festive days, suns and planets, all turn in circles, but you my dear, you walk straight, towards what you cannot see, approaching very sneakily, the swift wrinkle, the heavy fat, the triple chin, the limp muscle, come on pick roses, the roses of life and may their petals be the slack sea of all the happiness. Come on pick, if you do not, you got it all wrong, girl girl, you got it all wrong” https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1380981717979-L265DFPY3N5ZOISN8KRV/DSC01055.jpg Main Gallery - If you imagine my dear that... 2011 “If you imagine my dear that is going to last forever the season of love, you got it all wrong” are the lyrics of a French poem by Raymond Queneau, written in 1950 and interpreted by Juliette Gréco. The images and the material of the video & pictures are taken from a surgery the artist went through. The surgeon, after the surgery gave the video and said: “ Since you are an artist, I thought that you will be interested in it.” The trauma of the surgery over, it took three years to face the brutal reality of the images and dare to look at them and finally do an art work with it. Translation of the French poem: “If you imagine, if you imagine, girl girl, if you imagine, that is going to last forever the season of the season of season of love, you got it all wrong girl, you got it all wrong If you think my dear, if you think that your rosy complexion, your hourglass figure, your cute biceps, your nails, your nymph’s thigh and your light-hearted foot, if you think my dear that is going to last forever, you got it all wrong girl, you got it all wrong Beautiful days go away, the beautiful festive days, suns and planets, all turn in circles, but you my dear, you walk straight, towards what you cannot see, approaching very sneakily, the swift wrinkle, the heavy fat, the triple chin, the limp muscle, come on pick roses, the roses of life and may their petals be the slack sea of all the happiness. Come on pick, if you do not, you got it all wrong, girl girl, you got it all wrong” https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1380981558017-WXD855XVHW9EH93J9I5Q/DSC01063.jpg Main Gallery - If you imagine my dear that... 2011 “If you imagine my dear that is going to last forever the season of love, you got it all wrong” are the lyrics of a French poem by Raymond Queneau, written in 1950 and interpreted by Juliette Gréco. The images and the material of the video & pictures are taken from a surgery the artist went through. The surgeon, after the surgery gave the video and said: “ Since you are an artist, I thought that you will be interested in it.” The trauma of the surgery over, it took three years to face the brutal reality of the images and dare to look at them and finally do an art work with it. Translation of the French poem: “If you imagine, if you imagine, girl girl, if you imagine, that is going to last forever the season of the season of season of love, you got it all wrong girl, you got it all wrong If you think my dear, if you think that your rosy complexion, your hourglass figure, your cute biceps, your nails, your nymph’s thigh and your light-hearted foot, if you think my dear that is going to last forever, you got it all wrong girl, you got it all wrong Beautiful days go away, the beautiful festive days, suns and planets, all turn in circles, but you my dear, you walk straight, towards what you cannot see, approaching very sneakily, the swift wrinkle, the heavy fat, the triple chin, the limp muscle, come on pick roses, the roses of life and may their petals be the slack sea of all the happiness. Come on pick, if you do not, you got it all wrong, girl girl, you got it all wrong” https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1456661901479-5AU39FVK5NLGDAM72AAT/DSC01061.jpg Main Gallery - If you imagine my dear that... 2011 “If you imagine my dear that is going to last forever the season of love, you got it all wrong” are the lyrics of a French poem by Raymond Queneau, written in 1950 and interpreted by Juliette Gréco. The images and the material of the video & pictures are taken from a surgery the artist went through. The surgeon, after the surgery gave the video and said: “ Since you are an artist, I thought that you will be interested in it.” The trauma of the surgery over, it took three years to face the brutal reality of the images and dare to look at them and finally do an art work with it. Translation of the French poem: “If you imagine, if you imagine, girl girl, if you imagine, that is going to last forever the season of the season of season of love, you got it all wrong girl, you got it all wrong If you think my dear, if you think that your rosy complexion, your hourglass figure, your cute biceps, your nails, your nymph’s thigh and your light-hearted foot, if you think my dear that is going to last forever, you got it all wrong girl, you got it all wrong Beautiful days go away, the beautiful festive days, suns and planets, all turn in circles, but you my dear, you walk straight, towards what you cannot see, approaching very sneakily, the swift wrinkle, the heavy fat, the triple chin, the limp muscle, come on pick roses, the roses of life and may their petals be the slack sea of all the happiness. Come on pick, if you do not, you got it all wrong, girl girl, you got it all wrong” https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643921549717-Q2S40XIHJYB5FEL25EO1/DSC_0064.jpg Main Gallery - The Memory of Water, 2012 The Memory of Water, part of Singapore Intensive, presented by Future Perfect Three videos screened on a different liquid: Chinese ink, milk and a blue liquid, where each colour and material alludes to distinctive emotions and moments: Gilman Barracks, Singapore https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643921595741-GIKEDM0VDP9HFID8EY1S/image-asset.jpg Main Gallery - The Memory of Water, 2012 The Memory of Water, part of Singapore Intensive, presented by Future Perfect Three videos screened on a different liquid: Chinese ink, milk and a blue liquid, where each colour and material alludes to distinctive emotions and moments: Gilman Barracks, Singapore https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643921197229-ORFG9G2WD82W7ZBVV7R7/Gillman%252BBarracks.jpg Main Gallery - The Memory of Water, 2012 The Memory of Water, part of Singapore Intensive, presented by Future Perfect Three videos screened on a different liquid: Chinese ink, milk and a blue liquid, where each colour and material alludes to distinctive emotions and moments: Gilman Barracks, Singapore https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1642872306659-HWBNQU20Z8ZDFZLALNQI/Tha+Hairy+Virgin+La+vierge+Velue.jpg Main Gallery - The Hairy Virgin, Paris 2021 “A hairy virgin was shown completely covered with hair like a bear; she was born thus deformed and hideous because her mother had gazed too intensely upon an effigy of St John dressed in animal skins which hung at the foot of her bed when she conceived. It is certain that these monstrous creatures most often are the consequence of divine judgment, justice, punishment, and curse; horrified by their sin, God allows [women] to produce such abominations because they hurl themselves forward indifferently, like savage beasts that only follow their appetites, with no consideration of age, place, time, and the other laws established by Nature” Extract of the original book “Histoires prodigieuses” by Pierre Boaistuau, 1560 https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643921503232-II5AYTVZCEM3XL2ST16L/Lee%2BWeng%2BChoy.jpg Main Gallery - The Memory of Water, 2012 The Memory of Water, part of Singapore Intensive, presented by Future Perfect Three videos screened on a different liquid: Chinese ink, milk and a blue liquid, where each colour and material alludes to distinctive emotions and moments: Gilman Barracks, Singapore https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643909078778-IY96G95BJVAPGH4QHKN0/image-asset.jpg Main Gallery - Black #02, 2013 Guangzhou Live 04, China Black #02 is part of a series of performances using the colour black. The material for the performance is a pair of black stocking and red shoes The initial inspiration of this performance is a memory of her childhood. The performance was not planned and was a kind of adventure for the artist https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643909272859-260FLD7UU3WSWYFRSOE9/image-asset.jpg Main Gallery - Black #02, 2013 Guangzhou Live 04, China Black #02 is part of a series of performances using the colour black. The material for the performance is a pair of black stocking and red shoes The initial inspiration of this performance is a memory of her childhood. The performance was not planned and was a kind of adventure for the artist https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643909319829-GQA5793RHBKBIAQFFUIN/image-asset.jpeg Main Gallery - Black #02, 2013 Guangzhou Live 04, China Black #02 is part of a series of performances using the colour black. The material for the performance is a pair of black stocking and red shoes The initial inspiration of this performance is a memory of her childhood. The performance was not planned and was a kind of adventure for the artist https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643909195908-8NTNGM0HA49V0G8GWR9S/image-asset.jpg Main Gallery - Black #02, 2013 Guangzhou Live 04, China Black #02 is part of a series of performances using the colour black. The material for the performance is a pair of black stocking and red shoes The initial inspiration of this performance is a memory of her childhood. The performance was not planned and was a kind of adventure for the artist https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643823899491-PASK6N2L3I8EJCHADV79/image-asset.jpeg Main Gallery - Can a first performance be truly relived? [2003-2015] In 2003, I finally accepted that I was living in Singapore and that my time in Japan was over. I decided then that it was about time to meet artists and to look for a space for an exhibition. Lee Wen invited me to participate to the first FOI. It was the first time I was invited to an art event, I was very happy to be invited but the last thing I wanted to do in my art practice and in my entire life was a live performance! However I thought that if I refused, I may never be invited anymore, so I said yes. For three weeks, I was completely petrified, worried, and tense. My performance was titled after Jean-Pierre Enard’s book 'To make little hoods blush'. How the performance surprised me! It was an enthralling feeling as if I were a puppet conducted by a mysterious puppeteer. Since then my relationship with performance has vacillated between love and hate. For FOI 10, I will try to re-do my first performance art as if it were the first time. Can a first performance be truly relived? [2003-2015] https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643823844776-3J677770IXRBT2JN0HFP/image-asset.jpeg Main Gallery - Can a first performance be truly relived? [2003-2015] In 2003, I finally accepted that I was living in Singapore and that my time in Japan was over. I decided then that it was about time to meet artists and to look for a space for an exhibition. Lee Wen invited me to participate to the first FOI. It was the first time I was invited to an art event, I was very happy to be invited but the last thing I wanted to do in my art practice and in my entire life was a live performance! However I thought that if I refused, I may never be invited anymore, so I said yes. For three weeks, I was completely petrified, worried, and tense.EndFragment My performance was titled after Jean-Pierre Enard’s book 'To make little hoods blush'. How the performance surprised me! It was an enthralling feeling as if I were a puppet conducted by a mysterious puppeteer. Since then my relationship with performance has vacillated between love and hate. For FOI 10, I will try to re-do my first performance art as if it were the first time. Can a first performance be truly relived? [2003-2015] https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643823784983-FFF3SK5TCPNTQCMHXB53/image-asset.jpeg Main Gallery - Can a first performance be truly relived? [2003-2015] In 2003, I finally accepted that I was living in Singapore and that my time in Japan was over. I decided then that it was about time to meet artists and to look for a space for an exhibition. Lee Wen invited me to participate to the first FOI. It was the first time I was invited to an art event, I was very happy to be invited but the last thing I wanted to do in my art practice and in my entire life was a live performance! However I thought that if I refused, I may never be invited anymore, so I said yes. For three weeks, I was completely petrified, worried, and tense.EndFragment   My performance was titled after Jean-Pierre Enard’s book 'To make little hoods blush'. How the performance surprised me! It was an enthralling feeling as if I were a puppet conducted by a mysterious puppeteer.   Since then my relationship with performance has vacillated between love and hate.   For FOI 10, I will try to re-do my first performance art as if it were the first time. Can a first performance be truly relived? [2003-2015] https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1449815058814-8JJR5G2A7K8BO2NMHQ0O/image-asset.jpeg Main Gallery - Can a first performance be truly relived? [2003-2015] In 2003, I finally accepted that I was living in Singapore and that my time in Japan was over. I decided then that it was about time to meet artists and to look for a space for an exhibition. Lee Wen invited me to participate to the first FOI. It was the first time I was invited to an art event, I was very happy to be invited but the last thing I wanted to do in my art practice and in my entire life was a live performance! However I thought that if I refused, I may never be invited anymore, so I said yes. For three weeks, I was completely petrified, worried, and tense.EndFragment My performance was titled after Jean-Pierre Enard’s book 'To make little hoods blush'. How the performance surprised me! It was an enthralling feeling as if I were a puppet conducted by a mysterious puppeteer. Since then my relationship with performance has vacillated between love and hate. For FOI 10, I will try to re-do my first performance art as if it were the first time. Can a first performance be truly relived? [2003-2015] https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1380462788531-JTX5S8S3H31SCJ14HSJ6/DSC03392.jpg Main Gallery - Sexual Landscape, 2002 Peppers Gallery, Tokyo, Japan https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1380462804824-6XV5E7VYNSPHZQEKY0FV/DSC03616.jpg Main Gallery - Sexual Landscape, 2002 Peppers Gallery, Tokyo, Japan https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1380462943501-YNFE5SHJ9UDFMKOGSV49/DSC03692.jpg Main Gallery - Sexual Landscape, 2002 Peppers Gallery, Tokyo, Japan https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1380462925561-KW5S9OEC8ZDUDGL60MVE/DSC03628.jpg Main Gallery - Sexual Landscape, 2002 Peppers Gallery, Tokyo, Japan https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643912325312-NJD7GXPK8UH4HA19WTTX/Hairy%252BVirgin%252B.jpg Main Gallery - The Hairy Virgin, drawing 1560 The Hairy Virgin is a true story of a girl whose entire body was covered with hair. She was introduced to the King Charles the 4th, Emperor and King. In his book “Histoires Prodigieuses”, Pierre Boaistuau explains that during her pregnancy, the mother of the Hairy Virgin had seen a statue of Saint John that was covered with animal fur. With the power of her imagination, the mother “transferred” the hair onto the body of her forthcoming baby. The maternal imagination has the power to shape the progeny, it is called the “monstrous imagination”.
 “A hairy virgin was shown completely covered with hair like a bear; she was born thus deformed and hideous because her mother had gazed too intensely upon an effigy of St John dressed in animal skins which hung at the foot of her bed when she conceived.
It is certain that these monstrous creatures most often are the consequence of divine judgment, justice, punishment, and curse; horrified by their sin, God allows [women] to produce such abominations because they hurl themselves forward indifferently, like savage beasts that only follow their appetites, with no consideration of age, place, time, and the other laws established by Nature”
Pierre Boaistuau, Histoires prodigieuses, 1560 https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1733112917162-Q23YOMSVV92BWHCHNYPP/28-Z71A3633.jpg Main Gallery - The Hairy Virgin, 2013 The Hairy Virgin is a true story of a girl whose entire body was covered with hair. She was introduced to the King Charles the 4th, Emperor and King. In his book “Histoires Prodigieuses”, Pierre Boaistuau explains that during her pregnancy, the mother of the Hairy Virgin had seen a statue of Saint John that was covered with animal fur. With the power of her imagination, the mother “transferred” the hair onto the body of her forthcoming baby. The maternal imagination has the power to shape the progeny, it is called the “monstrous imagination”. “A hairy virgin was shown completely covered with hair like a bear; she was born thus deformed and hideous because her mother had gazed too intensely upon an effigy of St John dressed in animal skins which hung at the foot of her bed when she conceived. It is certain that these monstrous creatures most often are the consequence of divine judgment, justice, punishment, and curse; horrified by their sin, God allows [women] to produce such abominations because they hurl themselves forward indifferently, like savage beasts that only follow their appetites, with no consideration of age, place, time, and the other laws established by Nature” Pierre Boaistuau, Histoires prodigieuses, 1560 https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1379251343311-ZBAQXPAC0912J298ZBMT/DSC07254.jpg Main Gallery - The Hairy Virgin, 2004 The Hairy Virgin is a true story of a girl whose entire body was covered with hair. She was introduced to the King Charles the 4th, Emperor and King. In his book “Histoires Prodigieuses”, Pierre Boaistuau explains that during her pregnancy, the mother of the Hairy Virgin had seen a statue of Saint John that was covered with animal fur. With the power of her imagination, the mother “transferred” the hair onto the body of her forthcoming baby. The maternal imagination has the power to shape the progeny, it is called the “monstrous imagination”. “A hairy virgin was shown completely covered with hair like a bear; she was born thus deformed and hideous because her mother had gazed too intensely upon an effigy of St John dressed in animal skins which hung at the foot of her bed when she conceived. It is certain that these monstrous creatures most often are the consequence of divine judgment, justice, punishment, and curse; horrified by their sin, God allows [women] to produce such abominations because they hurl themselves forward indifferently, like savage beasts that only follow their appetites, with no consideration of age, place, time, and the other laws established by Nature” Pierre Boaistuau, Histoires prodigieuses, 1560 https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643915512324-39WGB3P4HQB0TUOF7G6F/DSCF0065.jpg Main Gallery - The Hairy Virgin, 2008 The Hairy Virgin is a true story of a girl whose entire body was covered with hair. She was introduced to the King Charles the 4th, Emperor and King. In his book “Histoires Prodigieuses”, Pierre Boaistuau explains that during her pregnancy, the mother of the Hairy Virgin had seen a statue of Saint John that was covered with animal fur. With the power of her imagination, the mother “transferred” the hair onto the body of her forthcoming baby. The maternal imagination has the power to shape the progeny, it is called the “monstrous imagination”. “A hairy virgin was shown completely covered with hair like a bear; she was born thus deformed and hideous because her mother had gazed too intensely upon an effigy of St John dressed in animal skins which hung at the foot of her bed when she conceived. It is certain that these monstrous creatures most often are the consequence of divine judgment, justice, punishment, and curse; horrified by their sin, God allows [women] to produce such abominations because they hurl themselves forward indifferently, like savage beasts that only follow their appetites, with no consideration of age, place, time, and the other laws established by Nature” Pierre Boaistuau, Histoires prodigieuses, 1560 https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1644079396701-AVJ6KQ7ETXWQETP0630T/Andree+Weschler.jpg Main Gallery - Domesticated in her Animality, 2002 The hair is uncontrollable I can pluck, shave and erase I can act, hide and lie The hair will always grow back Pointing out with insolence Caught between the hairless model and the hairy Virgin I am https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1380720542308-HIBDJ80D34D0UKC0I4HX/DSC02289.jpg Main Gallery - Domesticated in her Animality, 2002 The hair is uncontrollable I can pluck, shave and erase I can act, hide and lie The hair will always grow back Pointing out with insolence Caught between the hairless model and the hairy Virgin I am https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1380720523342-UNAA45DXFWJVRY12MFOP/DSC02282.jpg Main Gallery - Domesticated in her Animality, 2002 The hair is uncontrollable I can pluck, shave and erase I can act, hide and lie The hair will always grow back Pointing out with insolence Caught between the hairless model and the hairy Virgin I am https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1380720563630-N8K6KX31ZC8C4WXWHHIS/DSC02285.jpg Main Gallery - Domesticated in her Animality, 2002 The hair is uncontrollable I can pluck, shave and erase I can act, hide and lie The hair will always grow back Pointing out with insolence Caught between the hairless model and the hairy Virgin I am https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643824874704-U7CTISOAEPQ8MDBXXA1G/Andr%25C3%25A9e%2BWeschler.jpg Main Gallery - MAKE THE in VISIBLE, 2015 Zentai Art Festival, Invisible whole 2 Institute of Contemporary Arts Singapore LASALLE College of the Arts Picture by Jun https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643825192360-J89WWO23YPBH50FFTRVW/Lasalle+School+of+Arts+Singapore.jpg Main Gallery - MAKE THE in VISIBLE, 2015 Zentai Art Festival, Invisible whole 2Institute of Contemporary Arts SingaporeLASALLE College of the Arts Picture by Jun https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1432109853372-MANP2OBOWN7ABBQOKEH1/Weschler+Andree.jpg Main Gallery - ​MAKE THE in VISIBLE, 2015 Zentai Art Festival, Invisible whole 2 Institute of Contemporary Arts Singapore LASALLE College of the Arts Picture by Jun https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643997881874-0KMSNKIV6B91N00OUWIO/Andree%2BWeschler.jpg Main Gallery - ​MAKE THE in VISIBLE, 2015 Zentai Art Festival, Invisible whole 2 Institute of Contemporary Arts Singapore LASALLE College of the Arts Picture by Jun https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1456386373239-B0KMUK0AO3JYLXJ4EKJL/Wescher+Andr%C3%A9e.jpg Main Gallery - Wild Flowers, 2001 Kangnung, Korea Collaboration with CHUA Ka-Inn It started with a collaboration between two artists and the landscape, a dialogue among the three elements. Having come from two very different environments, it was their first visit to the Kangnung landscape (Korea). Thus begins the communication between nature and human experience. https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1456386304326-4Y6YXVPE5FC0JAX6G5UE/Andr%C3%A9e+Weschler.jpg Main Gallery - Wild Flowers, 2001 Kangnung, Korea Collaboration with CHUA Ka-Inn It started with a collaboration between two artists and the landscape, a dialogue among the three elements. Having come from two very different environments, it was their first visit to the Kangnung landscape (Korea). Thus begins the communication between nature and human experience. https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643920410102-BD7RMSAWJHH3JGP1S8GN/Artiste+fran%C3%A7ais+en+Asie.jpg Main Gallery - Wild Flowers, 2001 Kangnung, Korea Collaboration with CHUA Ka-Inn It started with a collaboration between two artists and the landscape, a dialogue among the three elements. Having come from two very different environments, it was their first visit to the Kangnung landscape (Korea). Thus begins the communication between nature and human experience. https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643920341417-TO53XW4SIRIBQ00FFO9E/Artiste%2Bfran%25C3%25A7ais%2Ben%2BCor%25C3%25A9e.jpg Main Gallery - Wild Flowers, 2001 Kangnung, Korea Collaboration with CHUA Ka-Inn It started with a collaboration between two artists and the landscape, a dialogue among the three elements. Having come from two very different environments, it was their first visit to the Kangnung landscape (Korea). Thus begins the communication between nature and human experience. https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1380547963704-WP18LQQY8SCSPB12UI41/DSC00040.jpg Main Gallery - The Venus in Furs, 2006 Video Performance “It was a large oil painting, done in the robust full-bodied manner of the Belgian school. Its subject was strange enough. A beautiful woman with a radiant smile upon a face, with abundant hair tied into a classical knot, on which white powder lay like soft hoarfrost, was resting on an ottoman, supported on her left arm. She was nude under her dark furs. Her right hand played with a lash, while her bare foot rested carelessly on a man lying before her like a slave, like a dog” Venus in Furs, Leopold von Sacher-Masoch (page 59, Blast Books, New York) https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643993904217-G651PH2XG41689MU33GL/image-asset.jpeg Main Gallery - Story to make the little hoods blush, 2003 Story to make the little hoods blush- * Ref title of French erotic short stories, Contes a faire rougir les petits chaperons, de Jean-Pierre Enard https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643994020404-C53J0ECZWAGAXFRKQKFK/image-asset.jpeg Main Gallery - Story to make the little hoods blush, 2003 Story to make the little hoods blush * Ref title of French erotic short stories, Contes a faire rougir les petits chaperons, de Jean-Pierre Enard https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643993857997-S5I38CCMPEDYO2H2YXGP/image-asset.jpeg Main Gallery - Story to make the little hoods blush, 2003 Story to make the little hoods blush- * Ref title of French erotic short stories, Contes a faire rougir les petits chaperons, de Jean-Pierre Enard https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643995231246-QHEEDT1VI2GNIJ6OYDRW/Weschler+Andree.jpg Main Gallery - Story to make the little hoods blush, 2003 Story to make the little hoods blush- * Ref title of French erotic short stories, Contes a faire rougir les petits chaperons, de Jean-Pierre Enard https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1379571101799-JAGSVLWNB69BPWGFD4S4/DSC02050.jpg Main Gallery - The Need for an Alternation, 2011 Video Performance, 2011 The video is part of a series of works named Black that started with the performance "Black#01" done in 2010 at The Substation for the Night Festival Singapore. The color Black talks about Happiness. Title for this work has changed successively from “Happiness” to “Alternate Happiness”, then “Black #04” to “Image” and finally “The Need for an Alternation” https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1456219793440-Y7EUVBEY1GJ83VQYJ109/Performance+artist+in+Singapore.jpg Main Gallery - The Need for an Alternation, 2011 Video Performance, 2011 The video is part of a series of works named Black that started with the performance "Black#01" done in 2010 at The Substation for the Night Festival Singapore. The color Black talks about Happiness. Title for this work has changed successively from “Happiness” to “Alternate Happiness”, then “Black #04” to “Image” and finally “The Need for an Alternation” https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1379571382356-TFIAMIJ4T80OKL2GITZ9/DSC01999.jpg Main Gallery - The Need for an Alteration, 2011 Video Performance, 2011 The video is part of a series of works named Black that started with the performance "Black#01" done in 2010 at The Substation for the Night Festival Singapore. The color Black talks about Happiness. Title for this work has changed successively from “Happiness” to “Alternate Happiness”, then “Black #04” to “Image” and finally “The Need for an Alternation” https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1456221039832-G4R0HAXX40H3G7F962Q7/8Q.jpg Main Gallery - The Need for an Alternation, 2011 Video Performance The video is part of a series of works named Black that started with the performance "Black#01" done in 2010 at The Substation for the Night Festival Singapore. The color Black talks about Happiness. Title for this work has changed successively from “Happiness” to “Alternate Happiness”, then “Black #04” to “Image” and finally “The Need for an Alternation” https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643987251302-1S1GFLSA8JMX1GAZ4CYT/image-asset.jpeg Main Gallery - Bit by Bit, 2008 I slowly age Bit by bit Here and there In silence [Preoccupations: Things Artists Do Anyway, edited by Cornelia Erdmann & Michael Lee Hong Hwee https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1381064492381-NHW5HOFVIGY4IWOYPIQG/DSC01330.jpg Main Gallery - Bit by Bit, 2008 I slowly age Bit by bit Here and there In silence [Preoccupations: Things Artists Do Anyway, edited by Cornelia Erdmann & Michael Lee Hong Hwee] https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1381064415672-SF0FC9INNPFL2N1Y0QVY/DSC01308.jpg Main Gallery - Bit by Bit, 2008 I slowly age Bit by bit Here and there In silence [Preoccupations: Things Artists Do Anyway, edited by Cornelia Erdmann & Michael Lee Hong Hwee] https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1381064825954-9SE235OLQXLI7M3QUJ17/DSC01332.jpg Main Gallery - Bit by Bit, 2008 I slowly age Bit by bit Here and there In silence [Preoccupations: Things Artists Do Anyway, edited by Cornelia Erdmann & Michael Lee Hong Hwee] https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643996775078-257MB2G1HHVT4SPS4BDL/Andre%CC%81e+Weschler.jpg Main Gallery - Innocence #05, 2008 Fundraising for The Substation, Innocence#05, Supperclub, Singapore https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643996527831-YQZ7L04OAP1JZ7F2KLAV/Andree+Weschler.jpg Main Gallery - Innocence #05, 2008 Fundraising for The Substation, Innocence#05, Supperclub, Singapore https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643996851927-W7EDG6OR36Z7R50FPTI9/Weschler+Andree.jpg Main Gallery - Innocence #05, 2008 Fundraising for The Substation, Innocence#05, Supperclub, Singapore https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643996544138-GPQ8YA3N70FPSM8I9MQF/Weschler+Andre%CC%81e.jpg Main Gallery - Innocence #05, 2008 Fundraising for The Substation, Innocence#05, Supperclub, Singapore https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643822907599-V8DM4ER0XW64H4QHOUFF/DSC04930.jpg Main Gallery - Human Nature, 2003 “Covering the landscape with hair creates an other reality. I am interested in emphasising and enlightening the disarray of intimacy.” https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1380465630100-45TFRYD8OHA9O9IM9GFY/DSC04904.jpg Main Gallery - Human Nature, 2003 “Covering the landscape with hair creates an other reality. I am interested in emphasising and enlightening the disarray of intimacy.” https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1380465585138-Y8AQL1FUEOIMX6TFMU8P/DSC04920.jpg Main Gallery - Human Nature, 2003 Covering the landscape with hair creates an other reality. I am interested in emphasizing and enlightening the disarray of intimacy. https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643822755704-GVNA9OOBAGGV17FU9F1L/DSC04937.jpg Main Gallery - Human Nature, 2003 Covering the landscape with hair creates an other reality. I am interested in emphasising and enlightening the disarray of intimacy. https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643997212117-JJJ4XT8PE078ZOS9O8ZC/Weschler+Andre%CC%81e.jpg Main Gallery - Parasite, 2005 Parasite n. 1. An animal or plant that lives on or in another from which it draws its nourishment. 2. A person who lives off an-other or others and gives no useful return. The Oxford Paperback Dictionary https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643997236550-AC0CEX32OJV33WYMEMIW/Andree+Weschler.jpg Main Gallery - Parasite, 2005 Parasite n. 1. An animal or plant that lives on or in another from which it draws its nourishment. 2. A person who lives off an-other or others and gives no useful return. The Oxford Paperback Dictionary https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643997230039-J3X6DWKDHTO3ECYH8IMG/Weschler+Andree.jpg Main Gallery - Parasite, 2005 Parasite n. 1. An animal or plant that lives on or in another from which it draws its nourishment. 2. A person who lives off an-other or others and gives no useful return. The Oxford Paperback Dictionary https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643997223903-F9XY1IG5VQ4TG2XAAJRW/Andre%CC%81e+Weschler.jpg Main Gallery - Parasite, 2005 Parasite n. 1. An animal or plant that lives on or in another from which it draws its nourishment. 2. A person who lives off an-other or others and gives no useful return. The Oxford Paperback Dictionary https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643824346592-3ICI0S19I8T48D5GUF5U/_MG_2951.jpg Main Gallery - Black #01, 2010 “ The image of the performance in my head is like a plant. I can see it every day. Every day I think about it, I see it, I look at it, I treasure it and I nurture it like I water a plant daily to maintain it alive.” Giving a title to an artwork is a mysterious thing. I have experienced showing an artwork and changing each time the title as if the artwork was another one. Another time, on the contrary, I had a title that I was obsessed with and could not find the appropriate work for it; therefore I did a series of different work with the same title. https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643824394593-XLBU4BNIKZU0M305IGJC/_MG_2990.jpg Main Gallery - Black #01, 2010 “ The image of the performance in my head is like a plant. I can see it every day. Every day I think about it, I see it, I look at it, I treasure it and I nurture it like I water a plant daily to maintain it alive.” Giving a title to an artwork is a mysterious thing. I have experienced showing an artwork and changing each time the title as if the artwork was another one. Another time, on the contrary, I had a title that I was obsessed with and could not find the appropriate work for it; therefore I did a series of different work with the same title. https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643824540805-A8PV30GSDEPZMGZ3L8T6/Performance+artist+Singapore.jpg Main Gallery - Black #01, 2010 “ The image of the performance in my head is like a plant. I can see it every day. Every day I think about it, I see it, I look at it, I treasure it and I nurture it like I water a plant daily to maintain it alive.” Giving a title to an artwork is a mysterious thing. I have experienced showing an artwork and changing each time the title as if the artwork was another one. Another time, on the contrary, I had a title that I was obsessed with and could not find the appropriate work for it; therefore I did a series of different work with the same title. https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643824281672-8LAIMGHOE0JW02O4G1DB/Chinese+ink.jpg Main Gallery - Black #01, 2010 “ The image of the performance in my head is like a plant. I can see it every day. Every day I think about it, I see it, I look at it, I treasure it and I nurture it like I water a plant daily to maintain it alive.” Giving a title to an artwork is a mysterious thing. I have experienced showing an artwork and changing each time the title as if the artwork was another one. Another time, on the contrary, I had a title that I was obsessed with and could not find the appropriate work for it; therefore I did a series of different work with the same title. https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1517769622957-KJKS4FOLQDPO4S512RC4/Andre%CC%81e+Weschler+artist+Singapore.JPG Main Gallery - Untitled, 2014 Haslla Art Residency, Gangneung, Korea https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1517769910326-IORHF9G4KU0ZR2WTU5WW/Andree+Weschler.JPG Main Gallery - Untitled, 2014 Haslla Art Residency, Gangneung, Korea https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1517769937345-4JQ31HCME4158Z84CXG5/Weschler.jpg Main Gallery - Untitled, 2014 Haslla Art Residency, Gangneung, Korea https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1517769738978-DNZDL3CSJ4YH9KWA94B0/Drawing+Korea.JPG Main Gallery - Untitled, 2014 Haslla Art Residency, Gangneung, Korea https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1517767332243-DKRP90MLI8Y8BJCH2KJU/Weschler+Andree.JPG Main Gallery https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1381230501839-OCQV38T5HDXEGAWCUP7Z/DSC01504.jpg Main Gallery - Wok, 2011 Wok contains love seeds (saga seeds). During the process of covering patiently the wok with red thread, love seeds were rolling and making nice sound. Wok is a group exhibition project organised and held at Your Mother Gallery, Singapore. “The idea of using a signboard is to remind us about our mother or family using this utensil to make food for us everyday. The wok is a very special and unique tool that we use everyday and especially in Asia. There's a saying “What we eat is what we are”. And this is part of our Asian culture.”   https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1381230835613-K8VXIP0HH3X7JBI6IXG8/DSC01493.jpg Main Gallery - Wok, 2011 Wok contains love seeds (saga seeds). During the process of covering patiently the wok with red thread, love seeds were rolling and making nice sound. Wok is a group exhibition project organised and held at Your Mother Gallery, Singapore. “The idea of using a signboard is to remind us about our mother or family using this utensil to make food for us everyday. The wok is a very special and unique tool that we use everyday and especially in Asia. There's a saying “What we eat is what we are”. And this is part of our Asian culture.” https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1517767215186-1RHYVVYCGXHDF5N74FBX/Andre%CC%81e+Weschler.JPG Main Gallery https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1464850796870-NVA4H7RVC8H43TQ455RW/Performance+artist+in+Singapore.jpg Main Gallery - Photography, 2015 by Anita Vozza, https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1464569817941-YJSFXHVUTUS3GT4Y3UBR/Performance+artist+Andr%C3%A9e+Weschler.jpg Main Gallery - Photography, 2015 by Anita Vozza, https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1464569953332-VSSY7NQ4212KOZV0NCWB/Andr%C3%A9e+Weschler.jpg Main Gallery - Photography, 2015 by Anita Vozza, https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1464569883392-7CSEC10EW4UFUQ840N21/Weschler+Andr%C3%A9e.jpg Main Gallery - Photography, 2015 by Anita Vozza, https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1430379643816-OQGGYLG9V8CDLZ6K7ZXF/Andr%C3%A9e+weschler+.jpg Main Gallery - Love Letters, Video, 2015 Def. love letter /lʌv ˈlɛtə/ noun 1. a letter or note written by someone to his or her sweetheart or lover 2. in Singapore a type of biscuit, made from eggs and rice flour and rolled into a cylinder Collins English Dictionary Ref: Teresa Teng, Ni wen wo ai https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1444203563898-THM0OWQ0O4VNLWTFWE3I/image-asset.jpeg Main Gallery - Love Letter, Video, 2015 Def. love letter /lʌv ˈlɛtə/ noun 1. a letter or note written by someone to his or her sweetheart or lover 2. in Singapore a type of biscuit, made from eggs and rice flour and rolled into a cylinder Collins English Dictionary Ref: Teresa Teng, Ni wen wo ai https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1444203362965-00YQ0KVVYMA2H89QCRTZ/image-asset.jpeg Main Gallery - Love Letter, Video, 2015 Def. love letter /lʌv ˈlɛtə/ noun 1. a letter or note written by someone to his or her sweetheart or lover 2. in Singapore a type of biscuit, made from eggs and rice flour and rolled into a cylinder Collins English Dictionary Ref: Teresa Teng, Ni wen wo ai https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1430444363139-HX972OPBZVTS9UB575ZM/Weschler+Andree.jpg Main Gallery - Love Letter, Video, 2015 Def. love letter /lʌv ˈlɛtə/ noun 1. a letter or note written by someone to his or her sweetheart or lover 2. in Singapore a type of biscuit, made from eggs and rice flour and rolled into a cylinder Collins English Dictionary Ref: Teresa Teng, Ni wen wo ai https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1473782491998-85LBM5RQ0ML5DGIP8D0B/Andre%CC%81e.jpg Main Gallery The Prayer for Unfaithful Women is an Art Performance about Art and War Fringe Festival, Esplanade, Singapore 2005   https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1459403286915-FR11JWONK0M3FBH2GAK9/Andre%CC%81e.jpg Main Gallery - COLLABORATION with the photographer Simon Carr, 2010 https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1417862626502-AF440JGA69UAQ5J6FNTR/image-asset.jpeg Main Gallery - Honey honey /hʌni/ noun 1. a sweet, sticky yellowish-brown fluid made by bees and other insects from nectar collected from flowers. any sweet substance similar to bees' honey. 2. informal an excellent example of something. "it's one honey of an adaptation"   https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1541169535342-5XVP0SJNJE89S8CG56I0/Andre%CC%81e+Weschler.jpg Main Gallery https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1422431828422-WPTZNZEFB0M7NB6XCMKB/Andree+Weschler+The+Observatory.jpg Main Gallery - Anitya // Skhandas The Observatory with Elizabeth Lim & Andrée Weschler Latent Space, Haw Par Villa, Singapore January 2015 Picture by The Idealist https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1464569512350-6Z6323JK77EK1HV4CBEX/Performance+artist+in+Singapore.jpg Main Gallery - Photographer by Anita Vozza, 2015 https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1378710043900-W4LQ1YEFSQAH076TNVCV/AW+Icastica1.jpg Main Gallery - Innocence, Picture by Anita Vozza "The necklace was weighting 50 kilogrammes to embody my 50 years of life. It was a spontaneous idea that I had, which I expressed the idea with joy; 50 is a number so easily said but 50 kilogrammes of porcelain can be tedious and laborious. I tried to carry the necklace the way I carry my years" https://www.andree-weschler.com/blog daily 0.75 2025-11-26 https://www.andree-weschler.com/blog/2025/11/27/solitude-2008 monthly 0.5 2025-11-27 https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1764258067701-1PS3B8SC1NMCFNZWBTVI/drawing%2BAndree%2BWeschler.jpg Andrée Weschler's Blog - Drawing, hand engraved on glass, 2008 https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1764185288626-LW7Y1S34IVVDCWXQ3VB5/Weschler+Andree+contemporary+art+.jpeg Andrée Weschler's Blog - Drawing, hand engraved on glass, 2008 https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1764185357378-ACKCWEX1Q3XYV46D1P0Y/engraved+drawing.jpeg Andrée Weschler's Blog - Drawing, hand engraved on glass, 2008 https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1764185580491-U5Z8K5XHSG5643JZT4L9/installation+glass.jpeg Andrée Weschler's Blog - Drawing, hand engraved on glass, 2008 https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1764186281446-4TVXES55FXZ58SO659JO/bottle+installation.jpeg Andrée Weschler's Blog - Drawing, hand engraved on glass, 2008 https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1764186423691-HNHFUORA77PH1BLFYISG/light+installation.jpeg Andrée Weschler's Blog - Drawing, hand engraved on glass, 2008 https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1764187586317-GFOLDXHGP6F13BJY1VEV/drawing%2Bweschler%2Bandree.png Andrée Weschler's Blog - Drawing, hand engraved on glass, 2008 https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1764186738089-QLA1782HRCXBA6ZRROTY/Weschler+artist.jpeg Andrée Weschler's Blog - Drawing, hand engraved on glass, 2008 https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1764186805253-GXZ0JQT18RCKAME8Y4GU/South+east+art.jpeg Andrée Weschler's Blog - Drawing, hand engraved on glass, 2008 https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1764187038367-GCMWU6MWBGLUXXUI4FMK/drawing+Weschler+Andre%CC%81e.jpeg Andrée Weschler's Blog - Drawing, hand engraved on glass, 2008 https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1764187057295-878O5C6F9GHWC4PMGN3L/weschler+installation.jpeg Andrée Weschler's Blog - Drawing, hand engraved on glass, 2008 https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1764187211662-2ZF4X6E89XLRE8TUFCSP/Drawing+on+glass.jpeg Andrée Weschler's Blog - Drawing, hand engraved on glass, 2008 https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1764187375032-N80FDNLH1ALR2MYXRCSI/contemporary+art+installation+drawing.jpeg Andrée Weschler's Blog - Drawing, hand engraved on glass, 2008 https://www.andree-weschler.com/blog/2025/11/14/dresses-have-stories-to-tell monthly 0.5 2025-11-24 https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1763130063232-AE0NNLXWFZQYWDED35G2/Andre%CC%81e+Weschler.jpeg Andrée Weschler's Blog - Dresses have stories to tell https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1763130447118-50T3DZYD32RS73AUSFGX/angel+Donatien+Breiner.jpeg Andrée Weschler's Blog - Dresses have stories to tell - Photography by Donatien Breiner https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1763130100401-YGG9Q3GHL8NEOY6V2RXL/White+dress.jpeg Andrée Weschler's Blog - Dresses have stories to tell https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1763130257611-N29XL4RCKAVQ3EQKVZPG/vintage+wedding+dress.jpeg Andrée Weschler's Blog - Dresses have stories to tell https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1763130287260-U9UCVL2UCS7NMTJXC056/experimental+art.jpeg Andrée Weschler's Blog - Dresses have stories to tell https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1763130144432-0Q9Z2OPWWEXH84BPFI4E/Dress++Gilgamesh.jpeg Andrée Weschler's Blog - Dresses have stories to tell https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1763130414915-HM11LC180T9X5BVJ4HD7/Biennale+Italy.jpeg Andrée Weschler's Blog - Dresses have stories to tell https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1763130181548-DQTNGEJ6HKWAII5V5P4Q/relic.jpeg Andrée Weschler's Blog - Dresses have stories to tell https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1763130368764-RE0L4E7GI3L4N7YD20FY/dress+video+installation.jpeg Andrée Weschler's Blog - Dresses have stories to tell https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1763131814775-T0Q01M32UZKOCT0DQDA7/Performance%2Bdress.jpg Andrée Weschler's Blog - Dresses have stories to tell https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1763130000636-MRZTWKDGD1Y767BB8R90/live+art.jpeg Andrée Weschler's Blog - Dresses have stories to tell - Photography by Anita Vozza https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1763130329351-1C70JGN0HJJM7JPJB2PX/International+performance+art.jpeg Andrée Weschler's Blog - Dresses have stories to tell https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1763130390433-CZSD9Y4AQR3HWP4F1RT8/body+art.jpeg Andrée Weschler's Blog - Dresses have stories to tell - Photography by Daniela Guerra https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1763130480150-J3I5V7B0JZGXB0CDHNFC/South+East+Asia+art.jpeg Andrée Weschler's Blog - Dresses have stories to tell https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1763130508500-9PNM0AXLJ9I5SORZGSNJ/otherness+art.jpeg Andrée Weschler's Blog - Dresses have stories to tell https://www.andree-weschler.com/blog/2025/2/8/collaboration-with-the-photographer-donatien-breiner monthly 0.5 2025-02-28 https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1739069796916-T49VX6Z2V3JVINJPERXR/Andree+Weschler.jpeg Andrée Weschler's Blog - COLLABORATION with photographer Donatien Breiner https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1739069804106-OT89EE13JJ2KCJ74L2JO/Weschler+Andree.jpeg Andrée Weschler's Blog - COLLABORATION with photographer Donatien Breiner https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1739069819146-S5Y6RJXH52JGUBOFCK9W/Weschler+Andre%CC%81e.jpeg Andrée Weschler's Blog - COLLABORATION with photographer Donatien Breiner https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1739069829556-MA9OWOVWECDDDGF1VNO5/Angel.jpeg Andrée Weschler's Blog - COLLABORATION with photographer Donatien Breiner https://www.andree-weschler.com/blog/2020/1/8/earth-fire-and-dreams-by-andre-weschler-and-javier-canales-2017-2020 monthly 0.5 2024-12-02 https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1578425178917-JY6S47F67W2MNCPT1IPB/Chilean+artist+and+French+artist.jpg Andrée Weschler's Blog - 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https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1402996857724-0ESVU4G8THOX6C8YJSN8/Andree+Weschler.jpeg Andrée Weschler's Press - The Straits Times May 2014 https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1768766139224-1BRPB1B623GFR73786KE/image-asset.png Andrée Weschler's Press https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1765821648846-DYRE7S42CD7V3KJNY3MA/image-asset.jpg Andrée Weschler's Press - Simon Carr Andrée Weschler Merci infiniment à Luc Maechel pour ce beau texte plein de poésie https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1754051628335-C714ZCGIV0JVM4YK79BB/image-asset.jpg Andrée Weschler's Press - Racines Nomades: Weschler Andrée Merci infiniment à Luc Maechel pour ce beau texte plein de poésie https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1754143919380-BUZKPK8SNCLV5HTTHA4N/image-asset.jpeg Andrée Weschler's Press Merci infiniment à Geneviève Charras 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Giuseppe Fantasia L'Huffington Post, Giugno 2013 https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1382452719871-82GM7JHR45PHIG7YK8BH/2012+%28dragged%29.jpg Andrée Weschler's Press - Exhibition Review by Viviana Meija Singapore Architect November 2012 The Singapore Show: Future Perfect Singapore Art Museum ar 8Q https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1382452892594-D41U441E24SFNBL8F6DA/2012+%28dragged%29.jpg Andrée Weschler's Press - Exhibition Review by Viviana Meija Singapore Architect November 2012 The Singapore Show: Future Perfect Singapore Art Museum ar 8Q https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1382707011785-RUDY9RHQHNNMZCUJ8659/2012+%28dragged%29+2.jpg Andrée Weschler's Press - Exhibition Review by Viviana Meija Singapore Architect November 2012 The Singapore Show: Future Perfect Singapore Art Museum ar 8Q https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1382708641103-WJ1W0CNTIDFFJ23BR39R/image-asset.jpeg Andrée Weschler's Press - Performance di Andrée Weschler a San Lorentino e Pergentino https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1382441839774-5TODFN6XLTMS43SPBN22/2.Female.jpg Andrée Weschler's Press - Female Magazine June 2012 https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1382441853234-0MEMF80ZVP2V9GUZKEXN/3.Female.jpg Andrée Weschler's Press - Female Magazine June 2012 https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1382445209986-693SW4SGYZ0YHPQLB715/2012b.jpg Andrée Weschler's Press - The Straits Times 2012 The Singapore Show: Future Perfect Singapore Art Museum ar 8Q https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1382445238247-3RGHM8J2O8CRMR4RRK5I/2012a.jpg Andrée Weschler's Press - The Straits Times, 2012 The Singapore Show: Future Perfect Singapore Art Museum ar 8Q https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1382446517414-SDI9XYK7RHZ4TK8H8MZS/La+Carte+de+tendre+2011.jpg Andrée Weschler's Press - Singapore Art Gallery, December 2011 La Carte de Tendre Revisited Duo exhibition with Lynn Lu Voilah Festival, The Substation, Singapore https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1382446975882-72M7TNRGA4WMLAPUA28X/Change2011.jpg Andrée Weschler's Press - Singapore Art Gallery, October 2011 https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1382705372786-NJI9HAPUMFZ2OJ5UER77/Alliance+Francaise+2011.jpg Andrée Weschler's Press - Le Lien, March/April, 2011 https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1382449114660-QS2HZW87QUN1JOKZED1S/Lublin+1.jpg Andrée Weschler's Press - Lublin, Poland, 2011 https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1382454317216-KOBYNNG7L9H5BF7XDDDR/Lublin+2.jpg Andrée Weschler's Press - Lublin, Poland, 2011 https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1382449603931-KRF2X3YYZG14LVLG6Q3E/Lublin+2011.jpg Andrée Weschler's Press - Lublin, Poland, 2011 https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1382624584030-8CEW4WC0ETMETSODD8L3/Scan+14.jpg Andrée Weschler's Press - I-S MAGAZINE, August 2007 https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1382705597104-K2S82JYDB05SYFE9EY80/Strait+Times+2004.jpg Andrée Weschler's Press - The Straits Time, 2004 https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1382450262463-L21BPMW6PZTFJUF7JC8P/Asia%21+01003.jpg Andrée Weschler's Press - asia! issue nine, 2007 https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1382450479972-V30K08N7448V61SMK8PJ/Asia%21+01005.jpg Andrée Weschler's Press - asia! issue nine, 2007 https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1382450374181-VCM89PQ1GD0Z23PREXDF/Asia%21+01004.jpg Andrée Weschler's Press - asia! issue nine, 2007 https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1382454664241-W640PX8C0IDQTUSEHXAY/Todaypaper2007.jpg Andrée Weschler's Press - Today, November 2007 https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1382452560173-UYTC96D24SNP6WLAL4U0/Screen+Shot+2013-10-22+at+10.33.47+PM.jpg Andrée Weschler's Press - Today, March 2005 https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1382707312140-ZIOFB4M7J6Z3L1QVLURV/Scan+2.jpg Andrée Weschler's Press - Today’s Parents, January 2006 https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1382451633233-8HFCR5DQE1DXP4ORTMFP/Lasalle+2010.jpg Andrée Weschler's Press - Trispace, November 2010 https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1382622977247-HIIBTXB0AE207T6DNVCT/Scan+5.jpg Andrée Weschler's Press - Japan Traveler, November 2000 https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1382703882036-ZS01MIVXMD1TLGJV6SW4/Scan+1.jpg Andrée Weschler's Press - The Straits Times, June 2010 https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1382622868756-RMIWN7EID7DYCWUKEWA8/Scan.jpg Andrée Weschler's Press - The Straits Times, October 2006 https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1382707599707-PEPHNH04ES7HXCBSRALS/Confab+March+2010+%28dragged%29.jpg Andrée Weschler's Press - Confabulation, January 2010 https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1382623200846-1YIIMLW6NTA7X8BCL24K/Scan+1.jpg Andrée Weschler's Press - Korean NewsPaper, 2002 https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1382623161445-KJ6PRNGDLO6X5KPHYAHS/Scan+10.jpg Andrée Weschler's Press - The Busisness Times, 2003 https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1382450786775-CLW3P3CM2N4MDDRWZJ6V/IMG_0001.jpg Andrée Weschler's Press - Necklace by Andrée Weschler Juice, January 2011 https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1382623259691-NACY5TTVZOLN9JAT53BR/Scan+7.jpg Andrée Weschler's Press - Craftholic, April 2008 https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1382624964881-6D7LK1B04TFS2XDCW888/Scan+3.jpg Andrée Weschler's Press - 2008 https://www.andree-weschler.com/streets daily 0.75 2026-03-20 https://www.andree-weschler.com/bio daily 0.75 2025-09-30 https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1378709608552-OONXHXO9D5S6X4C9N7RC/Andree.jpg Andrée Weschler's Bio https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/e5aa67b9-8147-4c21-b8c4-10e2d1061eb0/Andree+Weschler.jpg Andrée Weschler's Bio Picture by Simon Carr https://www.andree-weschler.com/category daily 0.75 2013-12-18 https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1386928392282-6TI3JJSVR4MLHTRZFLQX/_DSC9463.jpg Category https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1530367694667-19M29S3C3XM6LMCO2SP6/Weschler+Andree+Javier+Canales.jpg Category - The Forgotten, 2018 Andrée Weschler pays homage to artists and models who have been forgotten in order to immortalize figures that society venerates. Her work is a tribute to the artists who have worked on the statues that line the roads in the countryside and mark important places for the protection of passersby. Her work illuminates those who have fallen into oblivion and who are never thought of. In her performance called “The Forgotten”, the body turns into an ephemeral statue and tries in vain to maintain the memory. The ephemeral sculpture leaves us the promise that we too will all be forgotten. The performer's body becomes the sculptor, the model and the subject. https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1530367681909-GG0VZ7ZAD3LH750M99EY/Performance+Andree+Weschler.jpg Category - The Forgotten, 2018 Andrée Weschler pays homage to artists and models who have been forgotten in order to immortalize figures that society venerates. Her work is a tribute to the artists who have worked on the statues that line the roads in the countryside and mark important places for the protection of passersby. Her work illuminates those who have fallen into oblivion and who are never thought of. In her performance called “The Forgotten”, the body turns into an ephemeral statue and tries in vain to maintain the memory. The ephemeral sculpture leaves us the promise that we too will all be forgotten. The performer's body becomes the sculptor, the model and the subject. Picture by Javier Canales https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1530367703801-VF6AGOPY5X4ZPMD7XLWE/Andree+Weschler+Javier+Canales.jpg Category - The Forgotten, 2018 Andrée Weschler pays homage to artists and models who have been forgotten in order to immortalize figures that society venerates. Her work is a tribute to the artists who have worked on the statues that line the roads in the countryside and mark important places for the protection of passersby. Her work illuminates those who have fallen into oblivion and who are never thought of. In her performance called “The Forgotten”, the body turns into an ephemeral statue and tries in vain to maintain the memory. The ephemeral sculpture leaves us the promise that we too will all be forgotten. The performer's body becomes the sculptor, the model and the subject. Picture by Javier Canales https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1530367216960-AAUKTUWTFLVWFTOBS16V/Andree+Weschler.jpg Category - The Forgotten, 2018 Andrée Weschler pays homage to artists and models who have been forgotten in order to immortalize figures that society venerates. Her work is a tribute to the artists who have worked on the statues that line the roads in the countryside and mark important places for the protection of passersby. Her work illuminates those who have fallen into oblivion and who are never thought of. In her performance called “The Forgotten”, the body turns into an ephemeral statue and tries in vain to maintain the memory. The ephemeral sculpture leaves us the promise that we too will all be forgotten. The performer's body becomes the sculptor, the model and the subject. Picture by Javier Canales https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1541169876977-J79PSLLJE4YHVU2ZC7X3/Andree+Weschler+Performance.jpg Category - The Forgotten, 2018 Andrée Weschler pays homage to artists and models who have been forgotten in order to immortalize figures that society venerates. Her work is a tribute to the artists who have worked on the statues that line the roads in the countryside and mark important places for the protection of passersby. Her work illuminates those who have fallen into oblivion and who are never thought of. In her performance called “The Forgotten”, the body turns into an ephemeral statue and tries in vain to maintain the memory. The ephemeral sculpture leaves us the promise that we too will all be forgotten. The performer's body becomes the sculptor, the model and the subject. Picture by Javier Canales https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1541173866767-YET8BBZOM0QOVCLRESJ4/Performance+Biennale+Andree+Weschler.jpg Category - The Forgotten, 2018 Andrée Weschler pays homage to artists and models who have been forgotten in order to immortalize figures that society venerates. Her work is a tribute to the artists who have worked on the statues that line the roads in the countryside and mark important places for the protection of passersby. Her work illuminates those who have fallen into oblivion and who are never thought of. In her performance called “The Forgotten”, the body turns into an ephemeral statue and tries in vain to maintain the memory. The ephemeral sculpture leaves us the promise that we too will all be forgotten. The performer's body becomes the sculptor, the model and the subject. Picture by Javier Canales https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1541169818084-WG0TTPKSQCLUC2JT28D6/The+Forgotten.jpg Category - The Forgotten, 2018 Andrée Weschler pays homage to artists and models who have been forgotten in order to immortalize figures that society venerates. Her work is a tribute to the artists who have worked on the statues that line the roads in the countryside and mark important places for the protection of passersby. Her work illuminates those who have fallen into oblivion and who are never thought of. In her performance called “The Forgotten”, the body turns into an ephemeral statue and tries in vain to maintain the memory. The ephemeral sculpture leaves us the promise that we too will all be forgotten. The performer's body becomes the sculptor, the model and the subject. Picture by Javier Canales https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1541169939981-ZUOQ6LDZA0XH7X5Y962W/Andree+Weschler+Biennale.jpg Category - The Forgotten, 2018 Andrée Weschler pays homage to artists and models who have been forgotten in order to immortalize figures that society venerates. Her work is a tribute to the artists who have worked on the statues that line the roads in the countryside and mark important places for the protection of passersby. Her work illuminates those who have fallen into oblivion and who are never thought of. In her performance called “The Forgotten”, the body turns into an ephemeral statue and tries in vain to maintain the memory. The ephemeral sculpture leaves us the promise that we too will all be forgotten. The performer's body becomes the sculptor, the model and the subject. Picture by Javier Canales https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1381307712019-27Z7Q1P7W7AT3PP2XD3B/DSC06303.jpg Category - To Wolf Down Covering the landscape with hair creates an other reality. I am interested in emphasising and enlightening the disarray of intimacy https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1380461003179-D086WURA9W33UQVXLRIR/DSC06319.jpg Category - To Wolf Down, 2006 Covering the landscape with hair creates an other reality. I am interested in emphasising and enlightening the disarray of intimacy https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1380460965240-8U0NEPWFWZMHREBMW72G/DSC06313.jpg Category - To Wolf Down, 2006 Covering the landscape with hair creates an other reality. I am interested in emphasising and enlightening the disarray of intimacy. https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1380460983659-BHVDD0VRE5UXXL5ET4P7/DSC06306.jpg Category - To Wolf Down, 2006 Covering the landscape with hair creates an other reality. I am interested in emphasising and enlightening the disarray of intimacy https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1738998620378-WU74DR6TA6UNAN2SIG60/The+Hairy+Virgin+Andree+Weschler.jpeg Category - Hairy Virgin, performance, Paris, 2021 “It all began in 1998, when I was a BA student in Singapore. During the program I traveled to Perth (Australia). It was there, in a small art bookshop, that I discovered the image of the Hairy Virgin. Her story struck me, or was it the name? A girl covered entirely in hair, presented to the King of Bohemia (Czech-Republic), recorded by Pierre Boaistuau in Histoires-prodigieuses (1560). Legend says her mother’s imagination, fixated on Saint John’s fur-coat, would mark the child she carried. Over the years, I returned repeatedly to this image. I wove a tapestry with hair, photographed armpits, covered a mannequin with hair. Eventually I embodied the character myself in performances in Seoul (2003), Singapore (2004),Tokyo (2008), Berlin (2013), Paris (2021), Santiago (2021).” https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1738998823216-XIS12MXO90VU1T2QNMZF/Hairy%252BVirgin.jpg Category - Hairy Virgin, performance, Paris, 2021 “It all began in 1998, when I was a BA student in Singapore. During the program I traveled to Perth (Australia). It was there, in a small art bookshop, that I discovered the image of the Hairy Virgin. Her story struck me, or was it the name? A girl covered entirely in hair, presented to the King of Bohemia (Czech-Republic), recorded by Pierre Boaistuau in Histoires-prodigieuses(1560). Legend says her mother’s imagination, fixated on Saint John’s fur-coat, would mark the child she carried. Over the years, I returned repeatedly to this image. I wove a tapestry with hair, photographed armpits, covered a mannequin with hair. Eventually I embodied the character myself in performances in Seoul (2003), Singapore (2004),Tokyo (2008), Berlin (2013), Paris (2021), Santiago (2021). https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1650014646829-FXIXG2BLCKX5MBBK1BH0/Pierre%2BBoaistuau%2Bthe%2Bhairy%2Bvirgin.jpg Category - Hairy Virgin, performance, Paris, 2021 “It all began in 1998, when I was a BA student in Singapore. During the program I traveled to Perth (Australia). It was there, in a small art bookshop, that I discovered the image of the Hairy Virgin. Her story struck me, or was it the name? A girl covered entirely in hair, presented to the King of Bohemia (Czech-Republic), recorded by Pierre Boaistuau in Histoires-prodigieuses (1560). Legend says her mother’s imagination, fixated on Saint John’s fur-coat, would mark the child she carried. Over the years, I returned repeatedly to this image. I wove a tapestry with hair, photographed armpits, covered a mannequin with hair. Eventually I embodied the character myself in performances in Seoul(2003), Singapore (2004), Tokyo (2008), Berlin (2013), Paris (2021), Santiago (2021). https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1739017345051-0CC648MIX15ISIVQZ2UB/Hairy+Virgin.jpeg Category - The Hairy Virgin, Paris 2021 “It all began in 1998, when I was a BA student in Singapore. During the program I traveled to Perth (Australia). It was there, in a small art bookshop, that I discovered the image of the Hairy Virgin. Her story struck me, or was it the name? A girl covered entirely in hair, presented to the King of Bohemia (Czech-Republic), recorded by Pierre Boaistuau in Histoires-prodigieuses (1560). Legend says her mother’s imagination, fixated on Saint John’s fur-coat, would mark the child she carried. Over the years, I returned repeatedly to this image. I wove a tapestry with hair, photographed armpits, covered a mannequin with hair. Eventually I embodied the character myself in performances in Seoul (2003), Singapore (2004),Tokyo (2008), Berlin (2013), Paris(2021), Santiago (2021). https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1413877449720-TDKU8P054MZ5CPYVUZX3/image-asset.jpeg Category - Innocence #02 Innocence #02 is part of a series of Performances Art using only material with the color white. The material for the performance is Baby Powder https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1378990095899-ICIOIVQRK92WKIFAQ36Z/baby_powder_innocence_11.jpg Category - Innocence #02 Innocence #02 is part of a series of Performances Art using only material with the color white. The material for the performance is Baby Powder https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1378990076106-BBGV6S1LYM1FRBQOWSHL/baby_powder_innocence_13.jpg Category - Innocence #02 Innocence #02 is part of a series of Performances Art using only material with the color white. The material for the performance is Baby Powder Picture by Anita Vozza https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1512401976576-95MKG6P6MVE5V20UI6Z3/Andre%CC%81e+Weschler.jpg Category - Innocence #02 Innocence #02 is part of a series of Performances Art using only material with the color white. The material for the performance is Baby Powder https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1759371074681-9VOP8IJEQM1ZCVFHET9B/drawing%252Bwoman%252Balone%252B2.jpg Category - Drawing, Chinese Ink, 2005 https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1754938802968-LABKD2V5JZNW7HYLNASJ/drawing%2Bbathtub%2B.jpg Category - Drawing, Chinese ink Drawing, Chinese Ink, 2005 https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1754938500177-Q2WBEZPXP56F7PY5CXHT/drawing+woman+2.jpeg Category - Drawing, Chinese ink Drawing, Chinese Ink, 2005 https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1754938974289-K1X0OXZWJ2C9A69BSNBW/Andre%2525CC%252581e%252BWeschler%252B2.jpg Category - Drawing, Chinese ink https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1381155007091-IF5SHOO0A69YZVEIP8ST/DSC00632.jpg Category - Love Seeds On les appelle "Love Seeds", graines de l'amour et elles poussent sur un arbre appelé le Saga https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1456380083020-RTCC2GDO0GB91OVTJO3E/IMG_2864.jpg Category - Love Seeds, 2012 On les appelle "Love Seeds", graines de l'amour et elles poussent sur un arbre appelé le Saga https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1456385859444-G564QM3D17IY0TKRHUQA/Performance+Singapore.jpg Category - Love seeds, 2012 On les appelle "Love Seeds", graines de l'amour et elles poussent sur un arbre appelé le Saga https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1456406864393-4UA7PV83KBSXBVG4S08V/Palais+de+Tokyo.JPG Category - Love Seeds, 2012 On les appelle "Love Seeds", graines de l'amour et elles poussent sur un arbre appelé le Saga https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1456386882321-XF7ZHI77L3RV7EAFVAUB/Ceramic+in+Singapore.jpg Category - Innocence #03 White is a recurring feature in Andrée Weschler's performances. White is a blank page on which she writes her story. The soft pearls had hardened through fire into becoming a 50kg necklace. The performance was held in a church in Toscana (Italy) where Andrée Weschler gradually wrapped herself with the long necklace. Eventually bounded and blinded by the pearls, she broke free from the chains she created. The church resonated like rain finally falling in the desert. Innocence was performed three times https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1378817508518-X437NOXE6G90XOHFXMLT/_DSC9558.jpg Category - Innocence #03 “In 2006, my life was a desert. Everybody seemed busy, active, alive, while I was a prisoner in my own apartment. Nothing was happening in my life, and I felt I was a thing among others in my home. One day I received from a friend a pack of clay. I started to roll small pearls of porcelain from the clay for no reason. They were cute. To escape from my lethargy, every night I rolled pearls made of porcelain, like Penelope weaving her tapestry while waiting for Ulysses, except that in my story there was no Ulysses. All the pearls together became a very long necklace of a few metres; very beautiful, very difficult to move, very heavy.” This was some years ago. Everything has changed since then: the others and I. This time the necklace weights 50 kilogrammes to embody my 50 years of life. It was a spontaneous idea that I had, which I expressed the idea with joy; 50 is a number so easily said but 50 kilogrammes of porcelain can be tedious and laborious. Picture by Anita Vozza https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1378865559607-AS3HD68OZ5QLYL2Q7FI2/_DSC9463.jpg Category - Innocence #03 "The necklace was weighting 50 kilogrammes to embody my 50 years of life. It was a spontaneous idea that I had, which I expressed the idea with joy; 50 is a number so easily said but 50 kilogrammes of porcelain can be tedious and laborious. I tried to carry the necklace the way I carry my years" Picture by Anita Vozza https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1413874418361-SESHFQO3YZV9NLM95RW2/DSC07702.jpg Category - Innocence, 2013 50 kilos of beats rolled in porcelain by Andrée Weschler https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643224054656-0GIDOQP9QZCIDMJF5Q2W/image-asset.jpeg Category - Tierra, fuegos y sueños… Andrée Weschler and Javier Canales decided to carry out a collaboration where the concept would relate to the territory of Patagonia, the body, time and memory. The intention of the two artists is to work on the relation of the body and the stone, the body and the clay, with performances and installations. Performance experimental and interactive with soft clay shaped in a stone, in situ, Strait of Magellan, Patagonia, Chile https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643225087378-3O6SYTS1ISPNIOEMOUAV/image-asset.jpeg Category - Tierra, fuegos y sueños… the territory of Patagonia, the body, time and memory. The intention of the two artists is to work on the relation of the body and the stone, the body and the clay, with performances and installations. Performance experimental and interactive with soft clay shaped in a stone, in situ, Strait of Magellan, Patagonia, Chile https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1497623591804-OGLBNVOSO5Z4RN3IGZTE/Andre%CC%81e+Weschler+et+Javier+Canales.jpg Category - Tierra, fuegos y sueños… Andrée Weschler and Javier Canales decided to carry out a collaboration where the concept would relate to the territory of Patagonia, the body, time and memory. The intention of the two artists is to work on the relation of the body and the stone, the body and the clay, with performances and installations. Performance experimental and interactive with soft clay shaped in a stone, in situ, Strait of Magellan, Patagonia, Chile https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1381123100592-IZJN7SATTSLZAGSZCT5V/IMG_9062.jpg Category - Amputation, 2006 To heal you need to amputateCut yourself off from The gangrene that is eating you up Gangrene is a person a thing a love a parasite Healing is about violence “My intention is to perform in or near the exhibition space - the life at the Singapore Art Museum - and interact with the installation. It is about exploring the space, material and concept all in the spirit of improvisation. In my performances, I aim to reduce and minimize time and material through a very simple visual act, as well as attempt to reach the essence of the concept. This simple visual act in this performance would be the act of “falling down” where the fall is a symbol of failure” https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1381122982687-FB8QCRKMC3OPPZBRUPAR/IMG_9064.jpg Category - Amputation, 2006 To heal you need to amputate Cut yourself off from The gangrene that is eating you up Gangrene is a person a thing a love a parasite Healing is about violence “My intention is to perform in or near the exhibition space - the life at the Singapore Art Museum - and interact with the installation. It is about exploring the space, material and concept all in the spirit of improvisation. In my performances, I aim to reduce and minimize time and material through a very simple visual act, as well as attempt to reach the essence of the concept. This simple visual act in this performance would be the act of “falling down” where the fall is a symbol of failure” https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643648176802-SAI4WFAMEM4XO6BM8I0C/image-asset.jpeg Category - Amputation, 2006 To heal you need to amputate Cut yourself off from The gangrene that is eating you up
Gangrene is a person a thing a love a parasite
Healing is about violence
 “My intention is to perform in or near the exhibition space - the life at the Singapore Art Museum - and interact with the installation. It is about exploring the space, material and concept all in the spirit of improvisation.
 In my performances, I aim to reduce and minimize time and material through a very simple visual act, as well as attempt to reach the essence of the concept. This simple visual act in this performance would be the act of “falling down” where the fall is a symbol of failure” https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643647137802-9FPVXQ231RNOMRLXH5X5/image-asset.jpeg Category - Amputation, 2006 To heal you need to amputate Cut yourself off from The gangrene that is eating you up
 Gangrene is a person a thing a love a parasite
 Healing is about violence
 “My intention is to perform in or near the exhibition space - the life at the Singapore Art Museum - and interact with the installation. It is about exploring the space, material and concept all in the spirit of improvisation.
 In my performances, I aim to reduce and minimize time and material through a very simple visual act, as well as attempt to reach the essence of the concept. This simple visual act in this performance would be the act of “falling down” where the fall is a symbol of failure” https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1379854902627-DXQGB1EUBLBSI5G3GMKG/DSCF4801.jpg Category - Black #02, 2010 Performance Art Black #02 is part of a series of performances using the colour black. The material for the performance is a pair of black stocking and red shoes The initial inspiration of this performance is a memory of my childhood. The performance was not planned and was a kind of adventure for the artist https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1379854884916-UDRATWSP0IYYRM759C3F/DSCF4800.jpg Category - Black #02, 2010 Performance Art Black #02 is part of a series of performances using the colour black. The material for the performance is a pair of black stocking and red shoes The initial inspiration of this performance is a memory of my childhood. The performance was not planned and was a kind of adventure for the artist https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1379854546867-HT8SJOI3BLRJO25KE94Y/DSCF4803.jpg Category - Black #02, 2010 Performance Art Black #02 is part of a series of performances using the colour black. The material for the performance is a pair of black stocking and red shoes The initial inspiration of this performance is a memory of my childhood. The performance was not planned and was a kind of adventure for the artist https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1379854671793-BS6S81IRDFRYX61ZQEDE/DSCF4806%283%29.jpg Category - Black #02, 2010 Performance Art Black #02 is part of a series of performances using the colour black. The material for the performance is a pair of black stocking and red shoes The initial inspiration of this performance is a memory of my childhood. The performance was not planned and was a kind of adventure for the artist https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1414044976351-GH9XRUW371YS2Z9JZXJ3/Andree+Weschler+Art.jpg Category - The Egg Performance Art named "The Egg" done during the event Stopover at the gallery Front Room Gallery (Singapore) in 2005. https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1414044953979-NZP21EL0NR76T5WT5MIW/Art+Singapore.jpg Category - The Egg Performance Art named "The Egg" done during the event Stopover at the gallery Front Room Gallery (Singapore) in 2005. https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1414044833553-SABOZD5YOTX1J0YTTINV/Andree+Weschler+Singapore.jpg Category - The Egg, 2005 Performance Art named "The Egg" done during the event Stopover at the gallery Front Room Gallery (Singapore) in 2005. https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1414044477973-SATW9WPCKRT467SHYYFE/image-asset.jpeg Category - The Egg, 2005 Performance Art named "The Egg" done during the event Stopover at the gallery Front Room Gallery (Singapore) in 2005.   https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1380808427961-41OXFX27ED5EQ3R6ST9R/Flowers34.jpg Category - Some Flowers to Make it Look Beautiful, 2003 Flower n. 1. that part of a plant that produces seeds. 2. the flower of, the finest part of 3. the flower of speech, ornamental phrase Oxford Advanced Learner’s Dictionary of Current English https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1380808592257-DNSG3LIC1ZAZUFMD86TL/Flowers32.jpg Category - Some Flowers to Make it Look Beautiful, 2003 Flower n. 1. that part of a plant that produces seeds. 2. the flower of, the finest part of 3. the flower of speech, ornamental phrase Oxford Advanced Learner’s Dictionary of Current English https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1380808624655-YSDIEZPRR9K3FS8T2PGR/Flowers42.jpg Category - Some Flowers to Make it Look Beautiful, 2003 Flower n. 1. that part of a plant that produces seeds. 2. the flower of, the finest part of 3. the flower of speech, ornamental phrase Oxford Advanced Learner’s Dictionary of Current English https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1380808641014-ZHUIC0X9SWKK9YK9SMRZ/DSC06493.jpg Category - Some Flowers to Make it Look Beautiful, 2003 Flower n. 1. that part of a plant that produces seeds. 2. the flower of, the finest part of 3. the flower of speech, ornamental phrase Oxford Advanced Learner’s Dictionary of Current English https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1477665198474-J8TFJU09RFV0CI3UYJS0/Artist+Singapore+Andree+Weschler.jpg Category - The map of Love, 2011 La Carte de Tendre was a French map of an imaginary land called Tendre produced in the 17th Century, which depicts the "geography of love" according to the Precieuses of that era: the River of Inclination flows past the villages of "Billet Doux" (Love Letter), "Petits Soins" (Little Trinkets), and intrepid travelers brave the dangers of "Le Lac d' Indiference" (Lake of Indifference). The villages, roads, and topographic features in this allegorical representation trace the myriad facets of love and its associated perils. Lynn Lu and Andrée Weschler revisited the map of love with its successes and pitfalls and propose a new reading of the Carte of Tendre with video installation and performances art. Ref. Carte de Tendre, 17th Century print, Paris, Bibliothèque Nationale de France https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1477665475213-CA4J4IBQC86C9B1CVQII/Installation+Singapore.jpg Category - The map of Love, 2011 La Carte de Tendre was a French map of an imaginary land called Tendre produced in the 17th Century, which depicts the "geography of love" according to the Precieuses of that era: the River of Inclination flows past the villages of "Billet Doux" (Love Letter), "Petits Soins" (Little Trinkets), and intrepid travelers brave the dangers of "Le Lac d' Indiference" (Lake of Indifference). The villages, roads, and topographic features in this allegorical representation trace the myriad facets of love and its associated perils. Lynn Lu and Andrée Weschler revisited the map of love with its successes and pitfalls and propose a new reading of the Carte of Tendre with video installation and performances art. Ref. Carte de Tendre, 17th Century print, Paris, Bibliothèque Nationale de France https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643651662008-DKYL88LUXQRBM85BE25R/image-asset.jpeg Category - The map of Love, 2011 La Carte de Tendre was a French map of an imaginary land called Tendre produced in the 17th Century, which depicts the "geography of love" according to the Precieuses of that era: the River of Inclination flows past the villages of "Billet Doux" (Love Letter), "Petits Soins" (Little Trinkets), and intrepid travelers brave the dangers of "Le Lac d' Indiference" (Lake of Indifference). The villages, roads, and topographic features in this allegorical representation trace the myriad facets of love and its associated perils. Lynn Lu and Andrée Weschler revisited the map of love with its successes and pitfalls and propose a new reading of the Carte of Tendre with video installation and performances art. Ref. Carte de Tendre, 17th Century print, Paris, Bibliothèque Nationale de France https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1380547944218-P7P5LTTZGX6LDE21OMNU/DSC00008.jpg Category - The Venus in Furs, 2006 Video Performance “It was a large oil painting, done in the robust full-bodied manner of the Belgian school. Its subject was strange enough. A beautiful woman with a radiant smile upon a face, with abundant hair tied into a classical knot, on which white powder lay like soft hoarfrost, was resting on an ottoman, supported on her left arm. She was nude under her dark furs. Her right hand played with a lash, while her bare foot rested carelessly on a man lying before her like a slave, like a dog” Venus in Furs, Leopold von Sacher-Masoch (page 59, Blast Books, New York) https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643990941595-AC680WASIGTMMEZH7PZ5/DSC00041.jpg Category - The Venus in Furs, 2006  Video Performance “It was a large oil painting, done in the robust full-bodied manner of the Belgian school. Its subject was strange enough. A beautiful woman with a radiant smile upon a face, with abundant hair tied into a classical knot, on which white powder lay like soft hoarfrost, was resting on an ottoman, supported on her left arm. She was nude under her dark furs. Her right hand played with a lash, while her bare foot rested carelessly on a man lying before her like a slave, like a dog” Venus in Furs, Leopold von Sacher-Masoch (page 59, Blast Books, New York) https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1380548118452-YIOALPVJ2F1427SMNWLV/DSC00079.jpg Category - The Venus in Furs, 2006 Video Performance “It was a large oil painting, done in the robust full-bodied manner of the Belgian school. Its subject was strange enough. A beautiful woman with a radiant smile upon a face, with abundant hair tied into a classical knot, on which white powder lay like soft hoarfrost, was resting on an ottoman, supported on her left arm. She was nude under her dark furs. Her right hand played with a lash, while her bare foot rested carelessly on a man lying before her like a slave, like a dog” Venus in Furs, Leopold von Sacher-Masoch (page 59, Blast Books, New York)  https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643991038234-CJLK6M0EGGGXJ0GWY2J7/image-asset.jpeg Category https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1380448389447-ZZ46L7Q5FF0K1FIFIFYK/Chorale47.jpg Category - Choir, 2003 Digital photography https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1380448262572-NSZ2WO05MWKNZTHYCT3B/Chorale21.jpg Category - The Choir, 2003 Digital photography https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1380448485803-IHW1X1Z8MUT75AV214OF/Chorale38.jpg Category - The Choir, 2003 Digital photography https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1380448466161-Q35ZNOOPZYM4BOVKPYJR/Chorale125.jpg Category - The Choir, 2003 Digital photography https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643485615208-JSLPU1MR2CW0CN1ODF10/image-asset.jpeg Category - The Sound of the Princess, 2004 In Japan “The sound of the Princess” is called Oto Hime. It is a little machine one can find in the ladies. If you press on its button an artificial noise of flash is generated in order to cover the sound of the urine falling into the toilet bowl “I did not know that women can pee like men” by anonymous in the toilet of the French Art School: Les Beaux-Arts de Paris, France, 2000 https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1413936533190-7FPH4D0T29KHMAU9G4H8/image-asset.jpeg Category https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1381131194872-AN1Q1PR6ON89YMUX3IOG/DSC07026.jpg Category - The Sound of the Princess, 2004 In Japan “The sound of the Princess” is called Oto Hime. It is a little machine one can find in the ladies. If you press on its button an artificial noise of flash is generated in order to cover the sound of the urine falling into the toilet bowl “I did not know that women can pee like men” by anonymous in the toilet of the French Art School: Les Beaux-Arts de Paris, France, 2000 https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643817580430-M1A16MW7B4NGS6PKHHGT/Andree+Weschler+%2B+Javier+Canales.JPG Category - Yagashaga Tierra de Sueños… 2020 Collaboration by Andrée Weschler and Javier Canales Museo Martin Gusinde, Puerto Williams, Chile https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1584102985643-YMWMRIGYG2KADU2QFIOU/Javier+Canales+Andree+Weschler+Art+in+Chile+2.jpg Category - Yagashaga Tierra de Sueños… 2020 Collaboration by Andrée Weschler and Javier Canales Museo Martin Gusinde, Puerto Williams, Chile https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643817285937-IC6E9EIW9X0IW9BYUDX3/Weschler+Andree+%2B+Javier+Canales.JPG Category - Yagashaga Tierra de Sueños… 2020 Collaboration by Andrée Weschler and Javier Canales Museo Martin Gusinde, Puerto Williams, Chile https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1584103269408-W5T0XQNK1A1M8PPYGSHF/Museo+Martin+Gusinde+Andree+Weschler+Javier+Canales+2.jpg Category - Yagashaga Tierra de Sueños… 2020 Collaboration by Andrée Weschler and Javier Canales Museo Martin Gusinde, Puerto Williams, Chile https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1381309821319-A3VH248KI1JMMHL6MB7M/Aisselle1.JPG Category - Between the Hair and the Stone, 2000 Digital photography The hair and especially pubic hair is the last territory of the modesty. The hair betrays us. We can shave it, pluck it, it will always come back, revealing our instincts, reminding the primates in us.” Andrée Weschler https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1380630657476-9BSWX6TGFNWSO0DFBSGP/Aisselle2.JPG Category - Between the Hair and the Stone, 2000 Digital photography “The hair and especially pubic hair is the last territory of the modesty. The hair betrays us. We can shave it, pluck it, it will always come back, revealing our instincts, reminding the primates in us.” Andrée Weschler https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1380635580019-9YFDX0EBNMRY03E2FOQL/Invitation+Peppers+Gallery.jpg Category - Between the Hair and the Stone, 2020 Digital photography The hair and especially pubic hair is the last territory of the modesty. The hair betrays us. We can shave it, pluck it, it will always come back, revealing our instincts, reminding the primates in us.” Andrée Weschler https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1644168837800-TH6IH9UYSRH6SDS3LIZN/Andree+Weschler+%2B+porcelain.jpg Category - Les Graines du temps, 2021 Andrée Weschler, artiste performeuse, parle du temps et de la manière de le remplir quand rien ne se passe. Son œuvre « Les Graines du temps », présente comment le processus de création artistique, de la fabrication des matériaux avec lesquels elle travaille à la performance en direct, comble temporairement un vide. Ce vide temporel remplit un vide spatial d’où émergent des idées. Un vide temporel métaphysique qui mène à un plein tangible et physique. Le vide stagnant est un facteur de motivation pour créer https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1644171872472-DFMJBNKHV3A5BCWYH7AK/Perle+de+porcelaine.jpg Category - Les graines du temps, 2021 Andrée Weschler, artiste performeuse, parle du temps et de la manière de le remplir quand rien ne se passe. Son œuvre « Les Graines du temps », présente comment le processus de création artistique, de la fabrication des matériaux avec lesquels elle travaille à la performance en direct, comble temporairement un vide. Ce vide temporel remplit un vide spatial d’où émergent des idées. Un vide temporel métaphysique qui mène à un plein tangible et physique. Le vide stagnant est un facteur de motivation pour créer https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1644168848855-SXH46U7SFMTZ7FCT4GEA/porcelain.jpg Category - Les Graines du temps, 2021 Andrée Weschler, artiste performeuse, parle du temps et de la manière de le remplir quand rien ne se passe. Son œuvre « Les Graines du temps », présente comment le processus de création artistique, de la fabrication des matériaux avec lesquels elle travaille à la performance en direct, comble temporairement un vide. Ce vide temporel remplit un vide spatial d’où émergent des idées. Un vide temporel métaphysique qui mène à un plein tangible et physique. Le vide stagnant est un facteur de motivation pour créer. https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1644168862831-CZYRHAPLSGCL35OEZEDH/weschler+%2B+porcelain.jpg Category - Les graines du temps, 2021 Andrée Weschler, artiste performeuse, parle du temps et de la manière de le remplir quand rien ne se passe. Son œuvre « Les Graines du temps », présente comment le processus de création artistique, de la fabrication des matériaux avec lesquels elle travaille à la performance en direct, comble temporairement un vide. Ce vide temporel remplit un vide spatial d’où émergent des idées. Un vide temporel métaphysique qui mène à un plein tangible et physique. Le vide stagnant est un facteur de motivation pour créer. https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1456661847662-JP6WDR8AMWD416ATS4SO/DSC01059.jpg Category - If you imagine my dear that... 2011 “If you imagine my dear that is going to last forever the season of love, you got it all wrong” are the lyrics of a French poem by Raymond Queneau, written in 1950 and interpreted by Juliette Gréco. The images and the material of the video & pictures are taken from a surgery the artist went through. The surgeon, after the surgery gave the video and said: “ Since you are an artist, I thought that you will be interested in it.” The trauma of the surgery over, it took three years to face the brutal reality of the images and dare to look at them and finally do an art work with it. Translation of the French poem: “If you imagine, if you imagine, girl girl, if you imagine, that is going to last forever the season of the season of season of love, you got it all wrong girl, you got it all wrong If you think my dear, if you think that your rosy complexion, your hourglass figure, your cute biceps, your nails, your nymph’s thigh and your light-hearted foot, if you think my dear that is going to last forever, you got it all wrong girl, you got it all wrong Beautiful days go away, the beautiful festive days, suns and planets, all turn in circles, but you my dear, you walk straight, towards what you cannot see, approaching very sneakily, the swift wrinkle, the heavy fat, the triple chin, the limp muscle, come on pick roses, the roses of life and may their petals be the slack sea of all the happiness. Come on pick, if you do not, you got it all wrong, girl girl, you got it all wrong” https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1380981717979-L265DFPY3N5ZOISN8KRV/DSC01055.jpg Category - If you imagine my dear that... 2011 “If you imagine my dear that is going to last forever the season of love, you got it all wrong” are the lyrics of a French poem by Raymond Queneau, written in 1950 and interpreted by Juliette Gréco. The images and the material of the video & pictures are taken from a surgery the artist went through. The surgeon, after the surgery gave the video and said: “ Since you are an artist, I thought that you will be interested in it.” The trauma of the surgery over, it took three years to face the brutal reality of the images and dare to look at them and finally do an art work with it. Translation of the French poem: “If you imagine, if you imagine, girl girl, if you imagine, that is going to last forever the season of the season of season of love, you got it all wrong girl, you got it all wrong If you think my dear, if you think that your rosy complexion, your hourglass figure, your cute biceps, your nails, your nymph’s thigh and your light-hearted foot, if you think my dear that is going to last forever, you got it all wrong girl, you got it all wrong Beautiful days go away, the beautiful festive days, suns and planets, all turn in circles, but you my dear, you walk straight, towards what you cannot see, approaching very sneakily, the swift wrinkle, the heavy fat, the triple chin, the limp muscle, come on pick roses, the roses of life and may their petals be the slack sea of all the happiness. Come on pick, if you do not, you got it all wrong, girl girl, you got it all wrong” https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1380981558017-WXD855XVHW9EH93J9I5Q/DSC01063.jpg Category - If you imagine my dear that... 2011 “If you imagine my dear that is going to last forever the season of love, you got it all wrong” are the lyrics of a French poem by Raymond Queneau, written in 1950 and interpreted by Juliette Gréco. The images and the material of the video & pictures are taken from a surgery the artist went through. The surgeon, after the surgery gave the video and said: “ Since you are an artist, I thought that you will be interested in it.” The trauma of the surgery over, it took three years to face the brutal reality of the images and dare to look at them and finally do an art work with it. Translation of the French poem: “If you imagine, if you imagine, girl girl, if you imagine, that is going to last forever the season of the season of season of love, you got it all wrong girl, you got it all wrong If you think my dear, if you think that your rosy complexion, your hourglass figure, your cute biceps, your nails, your nymph’s thigh and your light-hearted foot, if you think my dear that is going to last forever, you got it all wrong girl, you got it all wrong Beautiful days go away, the beautiful festive days, suns and planets, all turn in circles, but you my dear, you walk straight, towards what you cannot see, approaching very sneakily, the swift wrinkle, the heavy fat, the triple chin, the limp muscle, come on pick roses, the roses of life and may their petals be the slack sea of all the happiness. Come on pick, if you do not, you got it all wrong, girl girl, you got it all wrong” https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1456661901479-5AU39FVK5NLGDAM72AAT/DSC01061.jpg Category - If you imagine my dear that... 2011 “If you imagine my dear that is going to last forever the season of love, you got it all wrong” are the lyrics of a French poem by Raymond Queneau, written in 1950 and interpreted by Juliette Gréco. The images and the material of the video & pictures are taken from a surgery the artist went through. The surgeon, after the surgery gave the video and said: “ Since you are an artist, I thought that you will be interested in it.” The trauma of the surgery over, it took three years to face the brutal reality of the images and dare to look at them and finally do an art work with it. Translation of the French poem: “If you imagine, if you imagine, girl girl, if you imagine, that is going to last forever the season of the season of season of love, you got it all wrong girl, you got it all wrong If you think my dear, if you think that your rosy complexion, your hourglass figure, your cute biceps, your nails, your nymph’s thigh and your light-hearted foot, if you think my dear that is going to last forever, you got it all wrong girl, you got it all wrong Beautiful days go away, the beautiful festive days, suns and planets, all turn in circles, but you my dear, you walk straight, towards what you cannot see, approaching very sneakily, the swift wrinkle, the heavy fat, the triple chin, the limp muscle, come on pick roses, the roses of life and may their petals be the slack sea of all the happiness. Come on pick, if you do not, you got it all wrong, girl girl, you got it all wrong” https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643921549717-Q2S40XIHJYB5FEL25EO1/DSC_0064.jpg Category - The Memory of Water, 2012 The Memory of Water, part of Singapore Intensive, presented by Future Perfect Three videos screened on a different liquid: Chinese ink, milk and a blue liquid, where each colour and material alludes to distinctive emotions and moments: Gilman Barracks, Singapore https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643921595741-GIKEDM0VDP9HFID8EY1S/image-asset.jpg Category - The Memory of Water, 2012 The Memory of Water, part of Singapore Intensive, presented by Future Perfect Three videos screened on a different liquid: Chinese ink, milk and a blue liquid, where each colour and material alludes to distinctive emotions and moments: Gilman Barracks, Singapore https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643921197229-ORFG9G2WD82W7ZBVV7R7/Gillman%252BBarracks.jpg Category - The Memory of Water, 2012 The Memory of Water, part of Singapore Intensive, presented by Future Perfect Three videos screened on a different liquid: Chinese ink, milk and a blue liquid, where each colour and material alludes to distinctive emotions and moments: Gilman Barracks, Singapore https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643921503232-II5AYTVZCEM3XL2ST16L/Lee%2BWeng%2BChoy.jpg Category - The Memory of Water, 2012 The Memory of Water, part of Singapore Intensive, presented by Future Perfect Three videos screened on a different liquid: Chinese ink, milk and a blue liquid, where each colour and material alludes to distinctive emotions and moments: Gilman Barracks, Singapore https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643909078778-IY96G95BJVAPGH4QHKN0/image-asset.jpg Category - Black #02, 2013 Guangzhou Live 04, China Black #02 is part of a series of performances using the colour black. The material for the performance is a pair of black stocking and red shoes The initial inspiration of this performance is a memory of her childhood. The performance was not planned and was a kind of adventure for the artist https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643909272859-260FLD7UU3WSWYFRSOE9/image-asset.jpg Category - Black #02, 2013 Guangzhou Live 04, China Black #02 is part of a series of performances using the colour black. The material for the performance is a pair of black stocking and red shoes The initial inspiration of this performance is a memory of her childhood. The performance was not planned and was a kind of adventure for the artist https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643909319829-GQA5793RHBKBIAQFFUIN/image-asset.jpeg Category - Black #02, 2013 Guangzhou Live 04, China Black #02 is part of a series of performances using the colour black. The material for the performance is a pair of black stocking and red shoes The initial inspiration of this performance is a memory of her childhood. The performance was not planned and was a kind of adventure for the artist https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643909195908-8NTNGM0HA49V0G8GWR9S/image-asset.jpg Category - Black #02, 2013 Guangzhou Live 04, China Black #02 is part of a series of performances using the colour black. The material for the performance is a pair of black stocking and red shoes The initial inspiration of this performance is a memory of her childhood. The performance was not planned and was a kind of adventure for the artist https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643823899491-PASK6N2L3I8EJCHADV79/image-asset.jpeg Category - Can a first performance be truly relived? [2003-2015] In 2003, I finally accepted that I was living in Singapore and that my time in Japan was over. I decided then that it was about time to meet artists and to look for a space for an exhibition. Lee Wen invited me to participate to the first FOI. It was the first time I was invited to an art event, I was very happy to be invited but the last thing I wanted to do in my art practice and in my entire life was a live performance! However I thought that if I refused, I may never be invited anymore, so I said yes. For three weeks, I was completely petrified, worried, and tense. My performance was titled after Jean-Pierre Enard’s book 'To make little hoods blush'. How the performance surprised me! It was an enthralling feeling as if I were a puppet conducted by a mysterious puppeteer. Since then my relationship with performance has vacillated between love and hate. For FOI 10, I will try to re-do my first performance art as if it were the first time. Can a first performance be truly relived? [2003-2015] https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643823844776-3J677770IXRBT2JN0HFP/image-asset.jpeg Category - Can a first performance be truly relived? [2003-2015] In 2003, I finally accepted that I was living in Singapore and that my time in Japan was over. I decided then that it was about time to meet artists and to look for a space for an exhibition. Lee Wen invited me to participate to the first FOI. It was the first time I was invited to an art event, I was very happy to be invited but the last thing I wanted to do in my art practice and in my entire life was a live performance! However I thought that if I refused, I may never be invited anymore, so I said yes. For three weeks, I was completely petrified, worried, and tense.EndFragment My performance was titled after Jean-Pierre Enard’s book 'To make little hoods blush'. How the performance surprised me! It was an enthralling feeling as if I were a puppet conducted by a mysterious puppeteer. Since then my relationship with performance has vacillated between love and hate. For FOI 10, I will try to re-do my first performance art as if it were the first time. Can a first performance be truly relived? [2003-2015] https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643823784983-FFF3SK5TCPNTQCMHXB53/image-asset.jpeg Category - Can a first performance be truly relived? [2003-2015] In 2003, I finally accepted that I was living in Singapore and that my time in Japan was over. I decided then that it was about time to meet artists and to look for a space for an exhibition. Lee Wen invited me to participate to the first FOI. It was the first time I was invited to an art event, I was very happy to be invited but the last thing I wanted to do in my art practice and in my entire life was a live performance! However I thought that if I refused, I may never be invited anymore, so I said yes. For three weeks, I was completely petrified, worried, and tense.EndFragment   My performance was titled after Jean-Pierre Enard’s book 'To make little hoods blush'. How the performance surprised me! It was an enthralling feeling as if I were a puppet conducted by a mysterious puppeteer.   Since then my relationship with performance has vacillated between love and hate.   For FOI 10, I will try to re-do my first performance art as if it were the first time. Can a first performance be truly relived? [2003-2015] https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1449815058814-8JJR5G2A7K8BO2NMHQ0O/image-asset.jpeg Category - Can a first performance be truly relived? [2003-2015] In 2003, I finally accepted that I was living in Singapore and that my time in Japan was over. I decided then that it was about time to meet artists and to look for a space for an exhibition. Lee Wen invited me to participate to the first FOI. It was the first time I was invited to an art event, I was very happy to be invited but the last thing I wanted to do in my art practice and in my entire life was a live performance! However I thought that if I refused, I may never be invited anymore, so I said yes. For three weeks, I was completely petrified, worried, and tense.EndFragment My performance was titled after Jean-Pierre Enard’s book 'To make little hoods blush'. How the performance surprised me! It was an enthralling feeling as if I were a puppet conducted by a mysterious puppeteer. Since then my relationship with performance has vacillated between love and hate. For FOI 10, I will try to re-do my first performance art as if it were the first time. Can a first performance be truly relived? [2003-2015] https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1380462788531-JTX5S8S3H31SCJ14HSJ6/DSC03392.jpg Category - Sexual Landscape, 2002 Peppers Gallery, Tokyo, Japan https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1380462804824-6XV5E7VYNSPHZQEKY0FV/DSC03616.jpg Category - Sexual Landscape, 2002 Peppers Gallery, Tokyo, Japan https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1380462943501-YNFE5SHJ9UDFMKOGSV49/DSC03692.jpg Category - Sexual Landscape, 2002 Peppers Gallery, Tokyo, Japan https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1380462925561-KW5S9OEC8ZDUDGL60MVE/DSC03628.jpg Category - Sexual Landscape, 2002 Peppers Gallery, Tokyo, Japan https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643912325312-NJD7GXPK8UH4HA19WTTX/Hairy%252BVirgin%252B.jpg Category - The Hairy Virgin, drawing 1560 The Hairy Virgin is a true story of a girl whose entire body was covered with hair. She was introduced to the King Charles the 4th, Emperor and King. In his book “Histoires Prodigieuses”, Pierre Boaistuau explains that during her pregnancy, the mother of the Hairy Virgin had seen a statue of Saint John that was covered with animal fur. With the power of her imagination, the mother “transferred” the hair onto the body of her forthcoming baby. The maternal imagination has the power to shape the progeny, it is called the “monstrous imagination”.
 “A hairy virgin was shown completely covered with hair like a bear; she was born thus deformed and hideous because her mother had gazed too intensely upon an effigy of St John dressed in animal skins which hung at the foot of her bed when she conceived.
It is certain that these monstrous creatures most often are the consequence of divine judgment, justice, punishment, and curse; horrified by their sin, God allows [women] to produce such abominations because they hurl themselves forward indifferently, like savage beasts that only follow their appetites, with no consideration of age, place, time, and the other laws established by Nature”
Pierre Boaistuau, Histoires prodigieuses, 1560 https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1733112917162-Q23YOMSVV92BWHCHNYPP/28-Z71A3633.jpg Category - The Hairy Virgin, 2013 The Hairy Virgin is a true story of a girl whose entire body was covered with hair. She was introduced to the King Charles the 4th, Emperor and King. In his book “Histoires Prodigieuses”, Pierre Boaistuau explains that during her pregnancy, the mother of the Hairy Virgin had seen a statue of Saint John that was covered with animal fur. With the power of her imagination, the mother “transferred” the hair onto the body of her forthcoming baby. The maternal imagination has the power to shape the progeny, it is called the “monstrous imagination”. “A hairy virgin was shown completely covered with hair like a bear; she was born thus deformed and hideous because her mother had gazed too intensely upon an effigy of St John dressed in animal skins which hung at the foot of her bed when she conceived. It is certain that these monstrous creatures most often are the consequence of divine judgment, justice, punishment, and curse; horrified by their sin, God allows [women] to produce such abominations because they hurl themselves forward indifferently, like savage beasts that only follow their appetites, with no consideration of age, place, time, and the other laws established by Nature” Pierre Boaistuau, Histoires prodigieuses, 1560 https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1379251343311-ZBAQXPAC0912J298ZBMT/DSC07254.jpg Category - The Hairy Virgin, 2004 The Hairy Virgin is a true story of a girl whose entire body was covered with hair. She was introduced to the King Charles the 4th, Emperor and King. In his book “Histoires Prodigieuses”, Pierre Boaistuau explains that during her pregnancy, the mother of the Hairy Virgin had seen a statue of Saint John that was covered with animal fur. With the power of her imagination, the mother “transferred” the hair onto the body of her forthcoming baby. The maternal imagination has the power to shape the progeny, it is called the “monstrous imagination”. “A hairy virgin was shown completely covered with hair like a bear; she was born thus deformed and hideous because her mother had gazed too intensely upon an effigy of St John dressed in animal skins which hung at the foot of her bed when she conceived. It is certain that these monstrous creatures most often are the consequence of divine judgment, justice, punishment, and curse; horrified by their sin, God allows [women] to produce such abominations because they hurl themselves forward indifferently, like savage beasts that only follow their appetites, with no consideration of age, place, time, and the other laws established by Nature” Pierre Boaistuau, Histoires prodigieuses, 1560 https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643915512324-39WGB3P4HQB0TUOF7G6F/DSCF0065.jpg Category - The Hairy Virgin, 2008 The Hairy Virgin is a true story of a girl whose entire body was covered with hair. She was introduced to the King Charles the 4th, Emperor and King. In his book “Histoires Prodigieuses”, Pierre Boaistuau explains that during her pregnancy, the mother of the Hairy Virgin had seen a statue of Saint John that was covered with animal fur. With the power of her imagination, the mother “transferred” the hair onto the body of her forthcoming baby. The maternal imagination has the power to shape the progeny, it is called the “monstrous imagination”. “A hairy virgin was shown completely covered with hair like a bear; she was born thus deformed and hideous because her mother had gazed too intensely upon an effigy of St John dressed in animal skins which hung at the foot of her bed when she conceived. It is certain that these monstrous creatures most often are the consequence of divine judgment, justice, punishment, and curse; horrified by their sin, God allows [women] to produce such abominations because they hurl themselves forward indifferently, like savage beasts that only follow their appetites, with no consideration of age, place, time, and the other laws established by Nature” Pierre Boaistuau, Histoires prodigieuses, 1560 https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1644079396701-AVJ6KQ7ETXWQETP0630T/Andree+Weschler.jpg Category - Domesticated in her Animality, 2002 The hair is uncontrollable I can pluck, shave and erase I can act, hide and lie The hair will always grow back Pointing out with insolence Caught between the hairless model and the hairy Virgin I am https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1380720542308-HIBDJ80D34D0UKC0I4HX/DSC02289.jpg Category - Domesticated in her Animality, 2002 The hair is uncontrollable I can pluck, shave and erase I can act, hide and lie The hair will always grow back Pointing out with insolence Caught between the hairless model and the hairy Virgin I am https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1380720523342-UNAA45DXFWJVRY12MFOP/DSC02282.jpg Category - Domesticated in her Animality, 2002 The hair is uncontrollable I can pluck, shave and erase I can act, hide and lie The hair will always grow back Pointing out with insolence Caught between the hairless model and the hairy Virgin I am https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1380720563630-N8K6KX31ZC8C4WXWHHIS/DSC02285.jpg Category - Domesticated in her Animality, 2002 The hair is uncontrollable I can pluck, shave and erase I can act, hide and lie The hair will always grow back Pointing out with insolence Caught between the hairless model and the hairy Virgin I am https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643824874704-U7CTISOAEPQ8MDBXXA1G/Andr%25C3%25A9e%2BWeschler.jpg Category - MAKE THE in VISIBLE, 2015 Zentai Art Festival, Invisible whole 2 Institute of Contemporary Arts Singapore LASALLE College of the Arts Picture by Jun https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643825192360-J89WWO23YPBH50FFTRVW/Lasalle+School+of+Arts+Singapore.jpg Category - MAKE THE in VISIBLE, 2015 Zentai Art Festival, Invisible whole 2Institute of Contemporary Arts SingaporeLASALLE College of the Arts Picture by Jun https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1432109853372-MANP2OBOWN7ABBQOKEH1/Weschler+Andree.jpg Category - ​MAKE THE in VISIBLE, 2015 Zentai Art Festival, Invisible whole 2 Institute of Contemporary Arts Singapore LASALLE College of the Arts Picture by Jun https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643997881874-0KMSNKIV6B91N00OUWIO/Andree%2BWeschler.jpg Category - ​MAKE THE in VISIBLE, 2015 Zentai Art Festival, Invisible whole 2 Institute of Contemporary Arts Singapore LASALLE College of the Arts Picture by Jun https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1456386373239-B0KMUK0AO3JYLXJ4EKJL/Wescher+Andr%C3%A9e.jpg Category - Wild Flowers, 2001 Kangnung, Korea Collaboration with CHUA Ka-Inn It started with a collaboration between two artists and the landscape, a dialogue among the three elements. Having come from two very different environments, it was their first visit to the Kangnung landscape (Korea). Thus begins the communication between nature and human experience. https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1456386304326-4Y6YXVPE5FC0JAX6G5UE/Andr%C3%A9e+Weschler.jpg Category - Wild Flowers, 2001 Kangnung, Korea Collaboration with CHUA Ka-Inn It started with a collaboration between two artists and the landscape, a dialogue among the three elements. Having come from two very different environments, it was their first visit to the Kangnung landscape (Korea). Thus begins the communication between nature and human experience. https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643920410102-BD7RMSAWJHH3JGP1S8GN/Artiste+fran%C3%A7ais+en+Asie.jpg Category - Wild Flowers, 2001 Kangnung, Korea Collaboration with CHUA Ka-Inn It started with a collaboration between two artists and the landscape, a dialogue among the three elements. Having come from two very different environments, it was their first visit to the Kangnung landscape (Korea). Thus begins the communication between nature and human experience. https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643920341417-TO53XW4SIRIBQ00FFO9E/Artiste%2Bfran%25C3%25A7ais%2Ben%2BCor%25C3%25A9e.jpg Category - Wild Flowers, 2001 Kangnung, Korea Collaboration with CHUA Ka-Inn It started with a collaboration between two artists and the landscape, a dialogue among the three elements. Having come from two very different environments, it was their first visit to the Kangnung landscape (Korea). Thus begins the communication between nature and human experience. https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643993904217-G651PH2XG41689MU33GL/image-asset.jpeg Category - Story to make the little hoods blush, 2003 Story to make the little hoods blush- * Ref title of French erotic short stories, Contes a faire rougir les petits chaperons, de Jean-Pierre Enard https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643994020404-C53J0ECZWAGAXFRKQKFK/image-asset.jpeg Category - Story to make the little hoods blush, 2003 Story to make the little hoods blush * Ref title of French erotic short stories, Contes a faire rougir les petits chaperons, de Jean-Pierre Enard https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643993857997-S5I38CCMPEDYO2H2YXGP/image-asset.jpeg Category - Story to make the little hoods blush, 2003 Story to make the little hoods blush- * Ref title of French erotic short stories, Contes a faire rougir les petits chaperons, de Jean-Pierre Enard https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643995231246-QHEEDT1VI2GNIJ6OYDRW/Weschler+Andree.jpg Category - Story to make the little hoods blush, 2003 Story to make the little hoods blush- * Ref title of French erotic short stories, Contes a faire rougir les petits chaperons, de Jean-Pierre Enard https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1379571101799-JAGSVLWNB69BPWGFD4S4/DSC02050.jpg Category - The Need for an Alternation, 2011 Video Performance, 2011 The video is part of a series of works named Black that started with the performance "Black#01" done in 2010 at The Substation for the Night Festival Singapore. The color Black talks about Happiness. Title for this work has changed successively from “Happiness” to “Alternate Happiness”, then “Black #04” to “Image” and finally “The Need for an Alternation” https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1456219793440-Y7EUVBEY1GJ83VQYJ109/Performance+artist+in+Singapore.jpg Category - The Need for an Alternation, 2011 Video Performance, 2011 The video is part of a series of works named Black that started with the performance "Black#01" done in 2010 at The Substation for the Night Festival Singapore. The color Black talks about Happiness. Title for this work has changed successively from “Happiness” to “Alternate Happiness”, then “Black #04” to “Image” and finally “The Need for an Alternation” https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1379571382356-TFIAMIJ4T80OKL2GITZ9/DSC01999.jpg Category - The Need for an Alteration, 2011 Video Performance, 2011 The video is part of a series of works named Black that started with the performance "Black#01" done in 2010 at The Substation for the Night Festival Singapore. The color Black talks about Happiness. Title for this work has changed successively from “Happiness” to “Alternate Happiness”, then “Black #04” to “Image” and finally “The Need for an Alternation” https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1456221039832-G4R0HAXX40H3G7F962Q7/8Q.jpg Category - The Need for an Alternation, 2011 Video Performance The video is part of a series of works named Black that started with the performance "Black#01" done in 2010 at The Substation for the Night Festival Singapore. The color Black talks about Happiness. Title for this work has changed successively from “Happiness” to “Alternate Happiness”, then “Black #04” to “Image” and finally “The Need for an Alternation” https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643987251302-1S1GFLSA8JMX1GAZ4CYT/image-asset.jpeg Category - Bit by Bit, 2008 I slowly age Bit by bit Here and there In silence [Preoccupations: Things Artists Do Anyway, edited by Cornelia Erdmann & Michael Lee Hong Hwee https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1381064492381-NHW5HOFVIGY4IWOYPIQG/DSC01330.jpg Category - Bit by Bit, 2008 I slowly age Bit by bit Here and there In silence [Preoccupations: Things Artists Do Anyway, edited by Cornelia Erdmann & Michael Lee Hong Hwee] https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1381064415672-SF0FC9INNPFL2N1Y0QVY/DSC01308.jpg Category - Bit by Bit, 2008 I slowly age Bit by bit Here and there In silence [Preoccupations: Things Artists Do Anyway, edited by Cornelia Erdmann & Michael Lee Hong Hwee] https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1381064825954-9SE235OLQXLI7M3QUJ17/DSC01332.jpg Category - Bit by Bit, 2008 I slowly age Bit by bit Here and there In silence [Preoccupations: Things Artists Do Anyway, edited by Cornelia Erdmann & Michael Lee Hong Hwee] https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643996775078-257MB2G1HHVT4SPS4BDL/Andre%CC%81e+Weschler.jpg Category - Innocence #05, 2008 Fundraising for The Substation, Innocence#05, Supperclub, Singapore https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643996527831-YQZ7L04OAP1JZ7F2KLAV/Andree+Weschler.jpg Category - Innocence #05, 2008 Fundraising for The Substation, Innocence#05, Supperclub, Singapore https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643996851927-W7EDG6OR36Z7R50FPTI9/Weschler+Andree.jpg Category - Innocence #05, 2008 Fundraising for The Substation, Innocence#05, Supperclub, Singapore https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643996544138-GPQ8YA3N70FPSM8I9MQF/Weschler+Andre%CC%81e.jpg Category - Innocence #05, 2008 Fundraising for The Substation, Innocence#05, Supperclub, Singapore https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643822907599-V8DM4ER0XW64H4QHOUFF/DSC04930.jpg Category - Human Nature, 2003 “Covering the landscape with hair creates an other reality. I am interested in emphasising and enlightening the disarray of intimacy.” https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1380465630100-45TFRYD8OHA9O9IM9GFY/DSC04904.jpg Category - Human Nature, 2003 “Covering the landscape with hair creates an other reality. I am interested in emphasising and enlightening the disarray of intimacy.” https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1380465585138-Y8AQL1FUEOIMX6TFMU8P/DSC04920.jpg Category - Human Nature, 2003 Covering the landscape with hair creates an other reality. I am interested in emphasizing and enlightening the disarray of intimacy. https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643822755704-GVNA9OOBAGGV17FU9F1L/DSC04937.jpg Category - Human Nature, 2003 Covering the landscape with hair creates an other reality. I am interested in emphasising and enlightening the disarray of intimacy. https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643997212117-JJJ4XT8PE078ZOS9O8ZC/Weschler+Andre%CC%81e.jpg Category - Parasite, 2005 Parasite n. 1. An animal or plant that lives on or in another from which it draws its nourishment. 2. A person who lives off an-other or others and gives no useful return. The Oxford Paperback Dictionary https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643997236550-AC0CEX32OJV33WYMEMIW/Andree+Weschler.jpg Category - Parasite, 2005 Parasite n. 1. An animal or plant that lives on or in another from which it draws its nourishment. 2. A person who lives off an-other or others and gives no useful return. The Oxford Paperback Dictionary https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643997230039-J3X6DWKDHTO3ECYH8IMG/Weschler+Andree.jpg Category - Parasite, 2005 Parasite n. 1. An animal or plant that lives on or in another from which it draws its nourishment. 2. A person who lives off an-other or others and gives no useful return. The Oxford Paperback Dictionary https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643997223903-F9XY1IG5VQ4TG2XAAJRW/Andre%CC%81e+Weschler.jpg Category - Parasite, 2005 Parasite n. 1. An animal or plant that lives on or in another from which it draws its nourishment. 2. A person who lives off an-other or others and gives no useful return. The Oxford Paperback Dictionary https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643824346592-3ICI0S19I8T48D5GUF5U/_MG_2951.jpg Category - Black #01, 2010 “ The image of the performance in my head is like a plant. I can see it every day. Every day I think about it, I see it, I look at it, I treasure it and I nurture it like I water a plant daily to maintain it alive.” Giving a title to an artwork is a mysterious thing. I have experienced showing an artwork and changing each time the title as if the artwork was another one. Another time, on the contrary, I had a title that I was obsessed with and could not find the appropriate work for it; therefore I did a series of different work with the same title. https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643824394593-XLBU4BNIKZU0M305IGJC/_MG_2990.jpg Category - Black #01, 2010 “ The image of the performance in my head is like a plant. I can see it every day. Every day I think about it, I see it, I look at it, I treasure it and I nurture it like I water a plant daily to maintain it alive.” Giving a title to an artwork is a mysterious thing. I have experienced showing an artwork and changing each time the title as if the artwork was another one. Another time, on the contrary, I had a title that I was obsessed with and could not find the appropriate work for it; therefore I did a series of different work with the same title. https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643824540805-A8PV30GSDEPZMGZ3L8T6/Performance+artist+Singapore.jpg Category - Black #01, 2010 “ The image of the performance in my head is like a plant. I can see it every day. Every day I think about it, I see it, I look at it, I treasure it and I nurture it like I water a plant daily to maintain it alive.” Giving a title to an artwork is a mysterious thing. I have experienced showing an artwork and changing each time the title as if the artwork was another one. Another time, on the contrary, I had a title that I was obsessed with and could not find the appropriate work for it; therefore I did a series of different work with the same title. https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643824281672-8LAIMGHOE0JW02O4G1DB/Chinese+ink.jpg Category - Black #01, 2010 “ The image of the performance in my head is like a plant. I can see it every day. Every day I think about it, I see it, I look at it, I treasure it and I nurture it like I water a plant daily to maintain it alive.” Giving a title to an artwork is a mysterious thing. I have experienced showing an artwork and changing each time the title as if the artwork was another one. Another time, on the contrary, I had a title that I was obsessed with and could not find the appropriate work for it; therefore I did a series of different work with the same title. https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1517769622957-KJKS4FOLQDPO4S512RC4/Andre%CC%81e+Weschler+artist+Singapore.JPG Category - Untitled, 2014 Haslla Art Residency, Gangneung, Korea https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1517769910326-IORHF9G4KU0ZR2WTU5WW/Andree+Weschler.JPG Category - Untitled, 2014 Haslla Art Residency, Gangneung, Korea https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1517769937345-4JQ31HCME4158Z84CXG5/Weschler.jpg Category - Untitled, 2014 Haslla Art Residency, Gangneung, Korea https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1517769738978-DNZDL3CSJ4YH9KWA94B0/Drawing+Korea.JPG Category - Untitled, 2014 Haslla Art Residency, Gangneung, Korea https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1517767332243-DKRP90MLI8Y8BJCH2KJU/Weschler+Andree.JPG Category https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1381230501839-OCQV38T5HDXEGAWCUP7Z/DSC01504.jpg Category - Wok, 2011 Wok contains love seeds (saga seeds). During the process of covering patiently the wok with red thread, love seeds were rolling and making nice sound. Wok is a group exhibition project organised and held at Your Mother Gallery, Singapore. “The idea of using a signboard is to remind us about our mother or family using this utensil to make food for us everyday. The wok is a very special and unique tool that we use everyday and especially in Asia. There's a saying “What we eat is what we are”. And this is part of our Asian culture.”   https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1381230835613-K8VXIP0HH3X7JBI6IXG8/DSC01493.jpg Category - Wok, 2011 Wok contains love seeds (saga seeds). During the process of covering patiently the wok with red thread, love seeds were rolling and making nice sound. Wok is a group exhibition project organised and held at Your Mother Gallery, Singapore. “The idea of using a signboard is to remind us about our mother or family using this utensil to make food for us everyday. The wok is a very special and unique tool that we use everyday and especially in Asia. There's a saying “What we eat is what we are”. And this is part of our Asian culture.” https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1517767215186-1RHYVVYCGXHDF5N74FBX/Andre%CC%81e+Weschler.JPG Category https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1464850796870-NVA4H7RVC8H43TQ455RW/Performance+artist+in+Singapore.jpg Category - Photography, 2015 by Anita Vozza, https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1464569817941-YJSFXHVUTUS3GT4Y3UBR/Performance+artist+Andr%C3%A9e+Weschler.jpg Category - Photography, 2015 by Anita Vozza, https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1464569953332-VSSY7NQ4212KOZV0NCWB/Andr%C3%A9e+Weschler.jpg Category - Photography, 2015 by Anita Vozza, https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1464569883392-7CSEC10EW4UFUQ840N21/Weschler+Andr%C3%A9e.jpg Category - Photography, 2015 by Anita Vozza, https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1430379643816-OQGGYLG9V8CDLZ6K7ZXF/Andr%C3%A9e+weschler+.jpg Category - Love Letters, Video, 2015 Def. love letter /lʌv ˈlɛtə/ noun 1. a letter or note written by someone to his or her sweetheart or lover 2. in Singapore a type of biscuit, made from eggs and rice flour and rolled into a cylinder Collins English Dictionary Ref: Teresa Teng, Ni wen wo ai https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1444203563898-THM0OWQ0O4VNLWTFWE3I/image-asset.jpeg Category - Love Letter, Video, 2015 Def. love letter /lʌv ˈlɛtə/ noun 1. a letter or note written by someone to his or her sweetheart or lover 2. in Singapore a type of biscuit, made from eggs and rice flour and rolled into a cylinder Collins English Dictionary Ref: Teresa Teng, Ni wen wo ai https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1444203362965-00YQ0KVVYMA2H89QCRTZ/image-asset.jpeg Category - Love Letter, Video, 2015 Def. love letter /lʌv ˈlɛtə/ noun 1. a letter or note written by someone to his or her sweetheart or lover 2. in Singapore a type of biscuit, made from eggs and rice flour and rolled into a cylinder Collins English Dictionary Ref: Teresa Teng, Ni wen wo ai https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1430444363139-HX972OPBZVTS9UB575ZM/Weschler+Andree.jpg Category - Love Letter, Video, 2015 Def. love letter /lʌv ˈlɛtə/ noun 1. a letter or note written by someone to his or her sweetheart or lover 2. in Singapore a type of biscuit, made from eggs and rice flour and rolled into a cylinder Collins English Dictionary Ref: Teresa Teng, Ni wen wo ai https://www.andree-weschler.com/portfolio daily 1.0 2024-11-30 https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1732972460715-VRTHAXEO7K6D887VU9Q1/art+lait.jpeg Portfolio https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1530367694667-19M29S3C3XM6LMCO2SP6/Weschler+Andree+Javier+Canales.jpg Portfolio - The Forgotten, 2018 Andrée Weschler pays homage to artists and models who have been forgotten in order to immortalize figures that society venerates. Her work is a tribute to the artists who have worked on the statues that line the roads in the countryside and mark important places for the protection of passersby. Her work illuminates those who have fallen into oblivion and who are never thought of. In her performance called “The Forgotten”, the body turns into an ephemeral statue and tries in vain to maintain the memory. The ephemeral sculpture leaves us the promise that we too will all be forgotten. The performer's body becomes the sculptor, the model and the subject. https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1530367681909-GG0VZ7ZAD3LH750M99EY/Performance+Andree+Weschler.jpg Portfolio - The Forgotten, 2018 Andrée Weschler pays homage to artists and models who have been forgotten in order to immortalize figures that society venerates. Her work is a tribute to the artists who have worked on the statues that line the roads in the countryside and mark important places for the protection of passersby. Her work illuminates those who have fallen into oblivion and who are never thought of. In her performance called “The Forgotten”, the body turns into an ephemeral statue and tries in vain to maintain the memory. The ephemeral sculpture leaves us the promise that we too will all be forgotten. The performer's body becomes the sculptor, the model and the subject. Picture by Javier Canales https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1530367703801-VF6AGOPY5X4ZPMD7XLWE/Andree+Weschler+Javier+Canales.jpg Portfolio - The Forgotten, 2018 Andrée Weschler pays homage to artists and models who have been forgotten in order to immortalize figures that society venerates. Her work is a tribute to the artists who have worked on the statues that line the roads in the countryside and mark important places for the protection of passersby. Her work illuminates those who have fallen into oblivion and who are never thought of. In her performance called “The Forgotten”, the body turns into an ephemeral statue and tries in vain to maintain the memory. The ephemeral sculpture leaves us the promise that we too will all be forgotten. The performer's body becomes the sculptor, the model and the subject. Picture by Javier Canales https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1530367216960-AAUKTUWTFLVWFTOBS16V/Andree+Weschler.jpg Portfolio - The Forgotten, 2018 Andrée Weschler pays homage to artists and models who have been forgotten in order to immortalize figures that society venerates. Her work is a tribute to the artists who have worked on the statues that line the roads in the countryside and mark important places for the protection of passersby. Her work illuminates those who have fallen into oblivion and who are never thought of. In her performance called “The Forgotten”, the body turns into an ephemeral statue and tries in vain to maintain the memory. The ephemeral sculpture leaves us the promise that we too will all be forgotten. The performer's body becomes the sculptor, the model and the subject. Picture by Javier Canales https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1541169876977-J79PSLLJE4YHVU2ZC7X3/Andree+Weschler+Performance.jpg Portfolio - The Forgotten, 2018 Andrée Weschler pays homage to artists and models who have been forgotten in order to immortalize figures that society venerates. Her work is a tribute to the artists who have worked on the statues that line the roads in the countryside and mark important places for the protection of passersby. Her work illuminates those who have fallen into oblivion and who are never thought of. In her performance called “The Forgotten”, the body turns into an ephemeral statue and tries in vain to maintain the memory. The ephemeral sculpture leaves us the promise that we too will all be forgotten. The performer's body becomes the sculptor, the model and the subject. Picture by Javier Canales https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1541173866767-YET8BBZOM0QOVCLRESJ4/Performance+Biennale+Andree+Weschler.jpg Portfolio - The Forgotten, 2018 Andrée Weschler pays homage to artists and models who have been forgotten in order to immortalize figures that society venerates. Her work is a tribute to the artists who have worked on the statues that line the roads in the countryside and mark important places for the protection of passersby. Her work illuminates those who have fallen into oblivion and who are never thought of. In her performance called “The Forgotten”, the body turns into an ephemeral statue and tries in vain to maintain the memory. The ephemeral sculpture leaves us the promise that we too will all be forgotten. The performer's body becomes the sculptor, the model and the subject. Picture by Javier Canales https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1541169818084-WG0TTPKSQCLUC2JT28D6/The+Forgotten.jpg Portfolio - The Forgotten, 2018 Andrée Weschler pays homage to artists and models who have been forgotten in order to immortalize figures that society venerates. Her work is a tribute to the artists who have worked on the statues that line the roads in the countryside and mark important places for the protection of passersby. Her work illuminates those who have fallen into oblivion and who are never thought of. In her performance called “The Forgotten”, the body turns into an ephemeral statue and tries in vain to maintain the memory. The ephemeral sculpture leaves us the promise that we too will all be forgotten. The performer's body becomes the sculptor, the model and the subject. Picture by Javier Canales https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1541169939981-ZUOQ6LDZA0XH7X5Y962W/Andree+Weschler+Biennale.jpg Portfolio - The Forgotten, 2018 Andrée Weschler pays homage to artists and models who have been forgotten in order to immortalize figures that society venerates. Her work is a tribute to the artists who have worked on the statues that line the roads in the countryside and mark important places for the protection of passersby. Her work illuminates those who have fallen into oblivion and who are never thought of. In her performance called “The Forgotten”, the body turns into an ephemeral statue and tries in vain to maintain the memory. The ephemeral sculpture leaves us the promise that we too will all be forgotten. The performer's body becomes the sculptor, the model and the subject. Picture by Javier Canales https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1381307712019-27Z7Q1P7W7AT3PP2XD3B/DSC06303.jpg Portfolio - To Wolf Down Covering the landscape with hair creates an other reality. I am interested in emphasising and enlightening the disarray of intimacy https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1380461003179-D086WURA9W33UQVXLRIR/DSC06319.jpg Portfolio - To Wolf Down, 2006 Covering the landscape with hair creates an other reality. I am interested in emphasising and enlightening the disarray of intimacy https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1380460965240-8U0NEPWFWZMHREBMW72G/DSC06313.jpg Portfolio - To Wolf Down, 2006 Covering the landscape with hair creates an other reality. I am interested in emphasising and enlightening the disarray of intimacy. https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1380460983659-BHVDD0VRE5UXXL5ET4P7/DSC06306.jpg Portfolio - To Wolf Down, 2006 Covering the landscape with hair creates an other reality. I am interested in emphasising and enlightening the disarray of intimacy https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1738998620378-WU74DR6TA6UNAN2SIG60/The+Hairy+Virgin+Andree+Weschler.jpeg Portfolio - Hairy Virgin, performance, Paris, 2021 “It all began in 1998, when I was a BA student in Singapore. During the program I traveled to Perth (Australia). It was there, in a small art bookshop, that I discovered the image of the Hairy Virgin. Her story struck me, or was it the name? A girl covered entirely in hair, presented to the King of Bohemia (Czech-Republic), recorded by Pierre Boaistuau in Histoires-prodigieuses (1560). Legend says her mother’s imagination, fixated on Saint John’s fur-coat, would mark the child she carried. Over the years, I returned repeatedly to this image. I wove a tapestry with hair, photographed armpits, covered a mannequin with hair. Eventually I embodied the character myself in performances in Seoul (2003), Singapore (2004),Tokyo (2008), Berlin (2013), Paris (2021), Santiago (2021).” https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1738998823216-XIS12MXO90VU1T2QNMZF/Hairy%252BVirgin.jpg Portfolio - Hairy Virgin, performance, Paris, 2021 “It all began in 1998, when I was a BA student in Singapore. During the program I traveled to Perth (Australia). It was there, in a small art bookshop, that I discovered the image of the Hairy Virgin. Her story struck me, or was it the name? A girl covered entirely in hair, presented to the King of Bohemia (Czech-Republic), recorded by Pierre Boaistuau in Histoires-prodigieuses(1560). Legend says her mother’s imagination, fixated on Saint John’s fur-coat, would mark the child she carried. Over the years, I returned repeatedly to this image. I wove a tapestry with hair, photographed armpits, covered a mannequin with hair. Eventually I embodied the character myself in performances in Seoul (2003), Singapore (2004),Tokyo (2008), Berlin (2013), Paris (2021), Santiago (2021). https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1650014646829-FXIXG2BLCKX5MBBK1BH0/Pierre%2BBoaistuau%2Bthe%2Bhairy%2Bvirgin.jpg Portfolio - Hairy Virgin, performance, Paris, 2021 “It all began in 1998, when I was a BA student in Singapore. During the program I traveled to Perth (Australia). It was there, in a small art bookshop, that I discovered the image of the Hairy Virgin. Her story struck me, or was it the name? A girl covered entirely in hair, presented to the King of Bohemia (Czech-Republic), recorded by Pierre Boaistuau in Histoires-prodigieuses (1560). Legend says her mother’s imagination, fixated on Saint John’s fur-coat, would mark the child she carried. Over the years, I returned repeatedly to this image. I wove a tapestry with hair, photographed armpits, covered a mannequin with hair. Eventually I embodied the character myself in performances in Seoul(2003), Singapore (2004), Tokyo (2008), Berlin (2013), Paris (2021), Santiago (2021). https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1739017345051-0CC648MIX15ISIVQZ2UB/Hairy+Virgin.jpeg Portfolio - The Hairy Virgin, Paris 2021 “It all began in 1998, when I was a BA student in Singapore. During the program I traveled to Perth (Australia). It was there, in a small art bookshop, that I discovered the image of the Hairy Virgin. Her story struck me, or was it the name? A girl covered entirely in hair, presented to the King of Bohemia (Czech-Republic), recorded by Pierre Boaistuau in Histoires-prodigieuses (1560). Legend says her mother’s imagination, fixated on Saint John’s fur-coat, would mark the child she carried. Over the years, I returned repeatedly to this image. I wove a tapestry with hair, photographed armpits, covered a mannequin with hair. Eventually I embodied the character myself in performances in Seoul (2003), Singapore (2004),Tokyo (2008), Berlin (2013), Paris(2021), Santiago (2021). https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1413877449720-TDKU8P054MZ5CPYVUZX3/image-asset.jpeg Portfolio - Innocence #02 Innocence #02 is part of a series of Performances Art using only material with the color white. The material for the performance is Baby Powder https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1378990095899-ICIOIVQRK92WKIFAQ36Z/baby_powder_innocence_11.jpg Portfolio - Innocence #02 Innocence #02 is part of a series of Performances Art using only material with the color white. The material for the performance is Baby Powder https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1378990076106-BBGV6S1LYM1FRBQOWSHL/baby_powder_innocence_13.jpg Portfolio - Innocence #02 Innocence #02 is part of a series of Performances Art using only material with the color white. The material for the performance is Baby Powder Picture by Anita Vozza https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1512401976576-95MKG6P6MVE5V20UI6Z3/Andre%CC%81e+Weschler.jpg Portfolio - Innocence #02 Innocence #02 is part of a series of Performances Art using only material with the color white. The material for the performance is Baby Powder https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1759371074681-9VOP8IJEQM1ZCVFHET9B/drawing%252Bwoman%252Balone%252B2.jpg Portfolio - Drawing, Chinese Ink, 2005 https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1754938802968-LABKD2V5JZNW7HYLNASJ/drawing%2Bbathtub%2B.jpg Portfolio - Drawing, Chinese ink Drawing, Chinese Ink, 2005 https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1754938500177-Q2WBEZPXP56F7PY5CXHT/drawing+woman+2.jpeg Portfolio - Drawing, Chinese ink Drawing, Chinese Ink, 2005 https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1754938974289-K1X0OXZWJ2C9A69BSNBW/Andre%2525CC%252581e%252BWeschler%252B2.jpg Portfolio - Drawing, Chinese ink https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1381155007091-IF5SHOO0A69YZVEIP8ST/DSC00632.jpg Portfolio - Love Seeds On les appelle "Love Seeds", graines de l'amour et elles poussent sur un arbre appelé le Saga https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1456380083020-RTCC2GDO0GB91OVTJO3E/IMG_2864.jpg Portfolio - Love Seeds, 2012 On les appelle "Love Seeds", graines de l'amour et elles poussent sur un arbre appelé le Saga https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1456385859444-G564QM3D17IY0TKRHUQA/Performance+Singapore.jpg Portfolio - Love seeds, 2012 On les appelle "Love Seeds", graines de l'amour et elles poussent sur un arbre appelé le Saga https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1456406864393-4UA7PV83KBSXBVG4S08V/Palais+de+Tokyo.JPG Portfolio - Love Seeds, 2012 On les appelle "Love Seeds", graines de l'amour et elles poussent sur un arbre appelé le Saga https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1456386882321-XF7ZHI77L3RV7EAFVAUB/Ceramic+in+Singapore.jpg Portfolio - Innocence #03 White is a recurring feature in Andrée Weschler's performances. White is a blank page on which she writes her story. The soft pearls had hardened through fire into becoming a 50kg necklace. The performance was held in a church in Toscana (Italy) where Andrée Weschler gradually wrapped herself with the long necklace. Eventually bounded and blinded by the pearls, she broke free from the chains she created. The church resonated like rain finally falling in the desert. Innocence was performed three times https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1378817508518-X437NOXE6G90XOHFXMLT/_DSC9558.jpg Portfolio - Innocence #03 “In 2006, my life was a desert. Everybody seemed busy, active, alive, while I was a prisoner in my own apartment. Nothing was happening in my life, and I felt I was a thing among others in my home. One day I received from a friend a pack of clay. I started to roll small pearls of porcelain from the clay for no reason. They were cute. To escape from my lethargy, every night I rolled pearls made of porcelain, like Penelope weaving her tapestry while waiting for Ulysses, except that in my story there was no Ulysses. All the pearls together became a very long necklace of a few metres; very beautiful, very difficult to move, very heavy.” This was some years ago. Everything has changed since then: the others and I. This time the necklace weights 50 kilogrammes to embody my 50 years of life. It was a spontaneous idea that I had, which I expressed the idea with joy; 50 is a number so easily said but 50 kilogrammes of porcelain can be tedious and laborious. Picture by Anita Vozza https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1378865559607-AS3HD68OZ5QLYL2Q7FI2/_DSC9463.jpg Portfolio - Innocence #03 "The necklace was weighting 50 kilogrammes to embody my 50 years of life. It was a spontaneous idea that I had, which I expressed the idea with joy; 50 is a number so easily said but 50 kilogrammes of porcelain can be tedious and laborious. I tried to carry the necklace the way I carry my years" Picture by Anita Vozza https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1413874418361-SESHFQO3YZV9NLM95RW2/DSC07702.jpg Portfolio - Innocence, 2013 50 kilos of beats rolled in porcelain by Andrée Weschler https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643224054656-0GIDOQP9QZCIDMJF5Q2W/image-asset.jpeg Portfolio - Tierra, fuegos y sueños… Andrée Weschler and Javier Canales decided to carry out a collaboration where the concept would relate to the territory of Patagonia, the body, time and memory. The intention of the two artists is to work on the relation of the body and the stone, the body and the clay, with performances and installations. Performance experimental and interactive with soft clay shaped in a stone, in situ, Strait of Magellan, Patagonia, Chile https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643225087378-3O6SYTS1ISPNIOEMOUAV/image-asset.jpeg Portfolio - Tierra, fuegos y sueños… the territory of Patagonia, the body, time and memory. The intention of the two artists is to work on the relation of the body and the stone, the body and the clay, with performances and installations. Performance experimental and interactive with soft clay shaped in a stone, in situ, Strait of Magellan, Patagonia, Chile https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1497623591804-OGLBNVOSO5Z4RN3IGZTE/Andre%CC%81e+Weschler+et+Javier+Canales.jpg Portfolio - Tierra, fuegos y sueños… Andrée Weschler and Javier Canales decided to carry out a collaboration where the concept would relate to the territory of Patagonia, the body, time and memory. The intention of the two artists is to work on the relation of the body and the stone, the body and the clay, with performances and installations. Performance experimental and interactive with soft clay shaped in a stone, in situ, Strait of Magellan, Patagonia, Chile https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1381123100592-IZJN7SATTSLZAGSZCT5V/IMG_9062.jpg Portfolio - Amputation, 2006 To heal you need to amputateCut yourself off from The gangrene that is eating you up Gangrene is a person a thing a love a parasite Healing is about violence “My intention is to perform in or near the exhibition space - the life at the Singapore Art Museum - and interact with the installation. It is about exploring the space, material and concept all in the spirit of improvisation. In my performances, I aim to reduce and minimize time and material through a very simple visual act, as well as attempt to reach the essence of the concept. This simple visual act in this performance would be the act of “falling down” where the fall is a symbol of failure” https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1381122982687-FB8QCRKMC3OPPZBRUPAR/IMG_9064.jpg Portfolio - Amputation, 2006 To heal you need to amputate Cut yourself off from The gangrene that is eating you up Gangrene is a person a thing a love a parasite Healing is about violence “My intention is to perform in or near the exhibition space - the life at the Singapore Art Museum - and interact with the installation. It is about exploring the space, material and concept all in the spirit of improvisation. In my performances, I aim to reduce and minimize time and material through a very simple visual act, as well as attempt to reach the essence of the concept. This simple visual act in this performance would be the act of “falling down” where the fall is a symbol of failure” https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643648176802-SAI4WFAMEM4XO6BM8I0C/image-asset.jpeg Portfolio - Amputation, 2006 To heal you need to amputate Cut yourself off from The gangrene that is eating you up
Gangrene is a person a thing a love a parasite
Healing is about violence
 “My intention is to perform in or near the exhibition space - the life at the Singapore Art Museum - and interact with the installation. It is about exploring the space, material and concept all in the spirit of improvisation.
 In my performances, I aim to reduce and minimize time and material through a very simple visual act, as well as attempt to reach the essence of the concept. This simple visual act in this performance would be the act of “falling down” where the fall is a symbol of failure” https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643647137802-9FPVXQ231RNOMRLXH5X5/image-asset.jpeg Portfolio - Amputation, 2006 To heal you need to amputate Cut yourself off from The gangrene that is eating you up
 Gangrene is a person a thing a love a parasite
 Healing is about violence
 “My intention is to perform in or near the exhibition space - the life at the Singapore Art Museum - and interact with the installation. It is about exploring the space, material and concept all in the spirit of improvisation.
 In my performances, I aim to reduce and minimize time and material through a very simple visual act, as well as attempt to reach the essence of the concept. This simple visual act in this performance would be the act of “falling down” where the fall is a symbol of failure” https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1379854902627-DXQGB1EUBLBSI5G3GMKG/DSCF4801.jpg Portfolio - Black #02, 2010 Performance Art Black #02 is part of a series of performances using the colour black. The material for the performance is a pair of black stocking and red shoes The initial inspiration of this performance is a memory of my childhood. The performance was not planned and was a kind of adventure for the artist https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1379854884916-UDRATWSP0IYYRM759C3F/DSCF4800.jpg Portfolio - Black #02, 2010 Performance Art Black #02 is part of a series of performances using the colour black. The material for the performance is a pair of black stocking and red shoes The initial inspiration of this performance is a memory of my childhood. The performance was not planned and was a kind of adventure for the artist https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1379854546867-HT8SJOI3BLRJO25KE94Y/DSCF4803.jpg Portfolio - Black #02, 2010 Performance Art Black #02 is part of a series of performances using the colour black. The material for the performance is a pair of black stocking and red shoes The initial inspiration of this performance is a memory of my childhood. The performance was not planned and was a kind of adventure for the artist https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1379854671793-BS6S81IRDFRYX61ZQEDE/DSCF4806%283%29.jpg Portfolio - Black #02, 2010 Performance Art Black #02 is part of a series of performances using the colour black. The material for the performance is a pair of black stocking and red shoes The initial inspiration of this performance is a memory of my childhood. The performance was not planned and was a kind of adventure for the artist https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1414044976351-GH9XRUW371YS2Z9JZXJ3/Andree+Weschler+Art.jpg Portfolio - The Egg Performance Art named "The Egg" done during the event Stopover at the gallery Front Room Gallery (Singapore) in 2005. https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1414044953979-NZP21EL0NR76T5WT5MIW/Art+Singapore.jpg Portfolio - The Egg Performance Art named "The Egg" done during the event Stopover at the gallery Front Room Gallery (Singapore) in 2005. https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1414044833553-SABOZD5YOTX1J0YTTINV/Andree+Weschler+Singapore.jpg Portfolio - The Egg, 2005 Performance Art named "The Egg" done during the event Stopover at the gallery Front Room Gallery (Singapore) in 2005. https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1414044477973-SATW9WPCKRT467SHYYFE/image-asset.jpeg Portfolio - The Egg, 2005 Performance Art named "The Egg" done during the event Stopover at the gallery Front Room Gallery (Singapore) in 2005.   https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1380808427961-41OXFX27ED5EQ3R6ST9R/Flowers34.jpg Portfolio - Some Flowers to Make it Look Beautiful, 2003 Flower n. 1. that part of a plant that produces seeds. 2. the flower of, the finest part of 3. the flower of speech, ornamental phrase Oxford Advanced Learner’s Dictionary of Current English https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1380808592257-DNSG3LIC1ZAZUFMD86TL/Flowers32.jpg Portfolio - Some Flowers to Make it Look Beautiful, 2003 Flower n. 1. that part of a plant that produces seeds. 2. the flower of, the finest part of 3. the flower of speech, ornamental phrase Oxford Advanced Learner’s Dictionary of Current English https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1380808624655-YSDIEZPRR9K3FS8T2PGR/Flowers42.jpg Portfolio - Some Flowers to Make it Look Beautiful, 2003 Flower n. 1. that part of a plant that produces seeds. 2. the flower of, the finest part of 3. the flower of speech, ornamental phrase Oxford Advanced Learner’s Dictionary of Current English https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1380808641014-ZHUIC0X9SWKK9YK9SMRZ/DSC06493.jpg Portfolio - Some Flowers to Make it Look Beautiful, 2003 Flower n. 1. that part of a plant that produces seeds. 2. the flower of, the finest part of 3. the flower of speech, ornamental phrase Oxford Advanced Learner’s Dictionary of Current English https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1477665198474-J8TFJU09RFV0CI3UYJS0/Artist+Singapore+Andree+Weschler.jpg Portfolio - The map of Love, 2011 La Carte de Tendre was a French map of an imaginary land called Tendre produced in the 17th Century, which depicts the "geography of love" according to the Precieuses of that era: the River of Inclination flows past the villages of "Billet Doux" (Love Letter), "Petits Soins" (Little Trinkets), and intrepid travelers brave the dangers of "Le Lac d' Indiference" (Lake of Indifference). The villages, roads, and topographic features in this allegorical representation trace the myriad facets of love and its associated perils. Lynn Lu and Andrée Weschler revisited the map of love with its successes and pitfalls and propose a new reading of the Carte of Tendre with video installation and performances art. Ref. Carte de Tendre, 17th Century print, Paris, Bibliothèque Nationale de France https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1477665475213-CA4J4IBQC86C9B1CVQII/Installation+Singapore.jpg Portfolio - The map of Love, 2011 La Carte de Tendre was a French map of an imaginary land called Tendre produced in the 17th Century, which depicts the "geography of love" according to the Precieuses of that era: the River of Inclination flows past the villages of "Billet Doux" (Love Letter), "Petits Soins" (Little Trinkets), and intrepid travelers brave the dangers of "Le Lac d' Indiference" (Lake of Indifference). The villages, roads, and topographic features in this allegorical representation trace the myriad facets of love and its associated perils. Lynn Lu and Andrée Weschler revisited the map of love with its successes and pitfalls and propose a new reading of the Carte of Tendre with video installation and performances art. Ref. Carte de Tendre, 17th Century print, Paris, Bibliothèque Nationale de France https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643651662008-DKYL88LUXQRBM85BE25R/image-asset.jpeg Portfolio - The map of Love, 2011 La Carte de Tendre was a French map of an imaginary land called Tendre produced in the 17th Century, which depicts the "geography of love" according to the Precieuses of that era: the River of Inclination flows past the villages of "Billet Doux" (Love Letter), "Petits Soins" (Little Trinkets), and intrepid travelers brave the dangers of "Le Lac d' Indiference" (Lake of Indifference). The villages, roads, and topographic features in this allegorical representation trace the myriad facets of love and its associated perils. Lynn Lu and Andrée Weschler revisited the map of love with its successes and pitfalls and propose a new reading of the Carte of Tendre with video installation and performances art. Ref. Carte de Tendre, 17th Century print, Paris, Bibliothèque Nationale de France https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1380547944218-P7P5LTTZGX6LDE21OMNU/DSC00008.jpg Portfolio - The Venus in Furs, 2006 Video Performance “It was a large oil painting, done in the robust full-bodied manner of the Belgian school. Its subject was strange enough. A beautiful woman with a radiant smile upon a face, with abundant hair tied into a classical knot, on which white powder lay like soft hoarfrost, was resting on an ottoman, supported on her left arm. She was nude under her dark furs. Her right hand played with a lash, while her bare foot rested carelessly on a man lying before her like a slave, like a dog” Venus in Furs, Leopold von Sacher-Masoch (page 59, Blast Books, New York) https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643990941595-AC680WASIGTMMEZH7PZ5/DSC00041.jpg Portfolio - The Venus in Furs, 2006  Video Performance “It was a large oil painting, done in the robust full-bodied manner of the Belgian school. Its subject was strange enough. A beautiful woman with a radiant smile upon a face, with abundant hair tied into a classical knot, on which white powder lay like soft hoarfrost, was resting on an ottoman, supported on her left arm. She was nude under her dark furs. Her right hand played with a lash, while her bare foot rested carelessly on a man lying before her like a slave, like a dog” Venus in Furs, Leopold von Sacher-Masoch (page 59, Blast Books, New York) https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1380548118452-YIOALPVJ2F1427SMNWLV/DSC00079.jpg Portfolio - The Venus in Furs, 2006 Video Performance “It was a large oil painting, done in the robust full-bodied manner of the Belgian school. Its subject was strange enough. A beautiful woman with a radiant smile upon a face, with abundant hair tied into a classical knot, on which white powder lay like soft hoarfrost, was resting on an ottoman, supported on her left arm. She was nude under her dark furs. Her right hand played with a lash, while her bare foot rested carelessly on a man lying before her like a slave, like a dog” Venus in Furs, Leopold von Sacher-Masoch (page 59, Blast Books, New York)  https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643991038234-CJLK6M0EGGGXJ0GWY2J7/image-asset.jpeg Portfolio https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1380448389447-ZZ46L7Q5FF0K1FIFIFYK/Chorale47.jpg Portfolio - Choir, 2003 Digital photography https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1380448262572-NSZ2WO05MWKNZTHYCT3B/Chorale21.jpg Portfolio - The Choir, 2003 Digital photography https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1380448485803-IHW1X1Z8MUT75AV214OF/Chorale38.jpg Portfolio - The Choir, 2003 Digital photography https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1380448466161-Q35ZNOOPZYM4BOVKPYJR/Chorale125.jpg Portfolio - The Choir, 2003 Digital photography https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643485615208-JSLPU1MR2CW0CN1ODF10/image-asset.jpeg Portfolio - The Sound of the Princess, 2004 In Japan “The sound of the Princess” is called Oto Hime. It is a little machine one can find in the ladies. If you press on its button an artificial noise of flash is generated in order to cover the sound of the urine falling into the toilet bowl “I did not know that women can pee like men” by anonymous in the toilet of the French Art School: Les Beaux-Arts de Paris, France, 2000 https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1413936533190-7FPH4D0T29KHMAU9G4H8/image-asset.jpeg Portfolio https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1381131194872-AN1Q1PR6ON89YMUX3IOG/DSC07026.jpg Portfolio - The Sound of the Princess, 2004 In Japan “The sound of the Princess” is called Oto Hime. It is a little machine one can find in the ladies. If you press on its button an artificial noise of flash is generated in order to cover the sound of the urine falling into the toilet bowl “I did not know that women can pee like men” by anonymous in the toilet of the French Art School: Les Beaux-Arts de Paris, France, 2000 https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643817580430-M1A16MW7B4NGS6PKHHGT/Andree+Weschler+%2B+Javier+Canales.JPG Portfolio - Yagashaga Tierra de Sueños… 2020 Collaboration by Andrée Weschler and Javier Canales Museo Martin Gusinde, Puerto Williams, Chile https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1584102985643-YMWMRIGYG2KADU2QFIOU/Javier+Canales+Andree+Weschler+Art+in+Chile+2.jpg Portfolio - Yagashaga Tierra de Sueños… 2020 Collaboration by Andrée Weschler and Javier Canales Museo Martin Gusinde, Puerto Williams, Chile https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643817285937-IC6E9EIW9X0IW9BYUDX3/Weschler+Andree+%2B+Javier+Canales.JPG Portfolio - Yagashaga Tierra de Sueños… 2020 Collaboration by Andrée Weschler and Javier Canales Museo Martin Gusinde, Puerto Williams, Chile https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1584103269408-W5T0XQNK1A1M8PPYGSHF/Museo+Martin+Gusinde+Andree+Weschler+Javier+Canales+2.jpg Portfolio - Yagashaga Tierra de Sueños… 2020 Collaboration by Andrée Weschler and Javier Canales Museo Martin Gusinde, Puerto Williams, Chile https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1381309821319-A3VH248KI1JMMHL6MB7M/Aisselle1.JPG Portfolio - Between the Hair and the Stone, 2000 Digital photography The hair and especially pubic hair is the last territory of the modesty. The hair betrays us. We can shave it, pluck it, it will always come back, revealing our instincts, reminding the primates in us.” Andrée Weschler https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1380630657476-9BSWX6TGFNWSO0DFBSGP/Aisselle2.JPG Portfolio - Between the Hair and the Stone, 2000 Digital photography “The hair and especially pubic hair is the last territory of the modesty. The hair betrays us. We can shave it, pluck it, it will always come back, revealing our instincts, reminding the primates in us.” Andrée Weschler https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1380635580019-9YFDX0EBNMRY03E2FOQL/Invitation+Peppers+Gallery.jpg Portfolio - Between the Hair and the Stone, 2020 Digital photography The hair and especially pubic hair is the last territory of the modesty. The hair betrays us. We can shave it, pluck it, it will always come back, revealing our instincts, reminding the primates in us.” Andrée Weschler https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1644168837800-TH6IH9UYSRH6SDS3LIZN/Andree+Weschler+%2B+porcelain.jpg Portfolio - Les Graines du temps, 2021 Andrée Weschler, artiste performeuse, parle du temps et de la manière de le remplir quand rien ne se passe. Son œuvre « Les Graines du temps », présente comment le processus de création artistique, de la fabrication des matériaux avec lesquels elle travaille à la performance en direct, comble temporairement un vide. Ce vide temporel remplit un vide spatial d’où émergent des idées. Un vide temporel métaphysique qui mène à un plein tangible et physique. Le vide stagnant est un facteur de motivation pour créer https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1644171872472-DFMJBNKHV3A5BCWYH7AK/Perle+de+porcelaine.jpg Portfolio - Les graines du temps, 2021 Andrée Weschler, artiste performeuse, parle du temps et de la manière de le remplir quand rien ne se passe. Son œuvre « Les Graines du temps », présente comment le processus de création artistique, de la fabrication des matériaux avec lesquels elle travaille à la performance en direct, comble temporairement un vide. Ce vide temporel remplit un vide spatial d’où émergent des idées. Un vide temporel métaphysique qui mène à un plein tangible et physique. Le vide stagnant est un facteur de motivation pour créer https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1644168848855-SXH46U7SFMTZ7FCT4GEA/porcelain.jpg Portfolio - Les Graines du temps, 2021 Andrée Weschler, artiste performeuse, parle du temps et de la manière de le remplir quand rien ne se passe. Son œuvre « Les Graines du temps », présente comment le processus de création artistique, de la fabrication des matériaux avec lesquels elle travaille à la performance en direct, comble temporairement un vide. Ce vide temporel remplit un vide spatial d’où émergent des idées. Un vide temporel métaphysique qui mène à un plein tangible et physique. Le vide stagnant est un facteur de motivation pour créer. https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1644168862831-CZYRHAPLSGCL35OEZEDH/weschler+%2B+porcelain.jpg Portfolio - Les graines du temps, 2021 Andrée Weschler, artiste performeuse, parle du temps et de la manière de le remplir quand rien ne se passe. Son œuvre « Les Graines du temps », présente comment le processus de création artistique, de la fabrication des matériaux avec lesquels elle travaille à la performance en direct, comble temporairement un vide. Ce vide temporel remplit un vide spatial d’où émergent des idées. Un vide temporel métaphysique qui mène à un plein tangible et physique. Le vide stagnant est un facteur de motivation pour créer. https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1456661847662-JP6WDR8AMWD416ATS4SO/DSC01059.jpg Portfolio - If you imagine my dear that... 2011 “If you imagine my dear that is going to last forever the season of love, you got it all wrong” are the lyrics of a French poem by Raymond Queneau, written in 1950 and interpreted by Juliette Gréco. The images and the material of the video & pictures are taken from a surgery the artist went through. The surgeon, after the surgery gave the video and said: “ Since you are an artist, I thought that you will be interested in it.” The trauma of the surgery over, it took three years to face the brutal reality of the images and dare to look at them and finally do an art work with it. Translation of the French poem: “If you imagine, if you imagine, girl girl, if you imagine, that is going to last forever the season of the season of season of love, you got it all wrong girl, you got it all wrong If you think my dear, if you think that your rosy complexion, your hourglass figure, your cute biceps, your nails, your nymph’s thigh and your light-hearted foot, if you think my dear that is going to last forever, you got it all wrong girl, you got it all wrong Beautiful days go away, the beautiful festive days, suns and planets, all turn in circles, but you my dear, you walk straight, towards what you cannot see, approaching very sneakily, the swift wrinkle, the heavy fat, the triple chin, the limp muscle, come on pick roses, the roses of life and may their petals be the slack sea of all the happiness. Come on pick, if you do not, you got it all wrong, girl girl, you got it all wrong” https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1380981717979-L265DFPY3N5ZOISN8KRV/DSC01055.jpg Portfolio - If you imagine my dear that... 2011 “If you imagine my dear that is going to last forever the season of love, you got it all wrong” are the lyrics of a French poem by Raymond Queneau, written in 1950 and interpreted by Juliette Gréco. The images and the material of the video & pictures are taken from a surgery the artist went through. The surgeon, after the surgery gave the video and said: “ Since you are an artist, I thought that you will be interested in it.” The trauma of the surgery over, it took three years to face the brutal reality of the images and dare to look at them and finally do an art work with it. Translation of the French poem: “If you imagine, if you imagine, girl girl, if you imagine, that is going to last forever the season of the season of season of love, you got it all wrong girl, you got it all wrong If you think my dear, if you think that your rosy complexion, your hourglass figure, your cute biceps, your nails, your nymph’s thigh and your light-hearted foot, if you think my dear that is going to last forever, you got it all wrong girl, you got it all wrong Beautiful days go away, the beautiful festive days, suns and planets, all turn in circles, but you my dear, you walk straight, towards what you cannot see, approaching very sneakily, the swift wrinkle, the heavy fat, the triple chin, the limp muscle, come on pick roses, the roses of life and may their petals be the slack sea of all the happiness. Come on pick, if you do not, you got it all wrong, girl girl, you got it all wrong” https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1380981558017-WXD855XVHW9EH93J9I5Q/DSC01063.jpg Portfolio - If you imagine my dear that... 2011 “If you imagine my dear that is going to last forever the season of love, you got it all wrong” are the lyrics of a French poem by Raymond Queneau, written in 1950 and interpreted by Juliette Gréco. The images and the material of the video & pictures are taken from a surgery the artist went through. The surgeon, after the surgery gave the video and said: “ Since you are an artist, I thought that you will be interested in it.” The trauma of the surgery over, it took three years to face the brutal reality of the images and dare to look at them and finally do an art work with it. Translation of the French poem: “If you imagine, if you imagine, girl girl, if you imagine, that is going to last forever the season of the season of season of love, you got it all wrong girl, you got it all wrong If you think my dear, if you think that your rosy complexion, your hourglass figure, your cute biceps, your nails, your nymph’s thigh and your light-hearted foot, if you think my dear that is going to last forever, you got it all wrong girl, you got it all wrong Beautiful days go away, the beautiful festive days, suns and planets, all turn in circles, but you my dear, you walk straight, towards what you cannot see, approaching very sneakily, the swift wrinkle, the heavy fat, the triple chin, the limp muscle, come on pick roses, the roses of life and may their petals be the slack sea of all the happiness. Come on pick, if you do not, you got it all wrong, girl girl, you got it all wrong” https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1456661901479-5AU39FVK5NLGDAM72AAT/DSC01061.jpg Portfolio - If you imagine my dear that... 2011 “If you imagine my dear that is going to last forever the season of love, you got it all wrong” are the lyrics of a French poem by Raymond Queneau, written in 1950 and interpreted by Juliette Gréco. The images and the material of the video & pictures are taken from a surgery the artist went through. The surgeon, after the surgery gave the video and said: “ Since you are an artist, I thought that you will be interested in it.” The trauma of the surgery over, it took three years to face the brutal reality of the images and dare to look at them and finally do an art work with it. Translation of the French poem: “If you imagine, if you imagine, girl girl, if you imagine, that is going to last forever the season of the season of season of love, you got it all wrong girl, you got it all wrong If you think my dear, if you think that your rosy complexion, your hourglass figure, your cute biceps, your nails, your nymph’s thigh and your light-hearted foot, if you think my dear that is going to last forever, you got it all wrong girl, you got it all wrong Beautiful days go away, the beautiful festive days, suns and planets, all turn in circles, but you my dear, you walk straight, towards what you cannot see, approaching very sneakily, the swift wrinkle, the heavy fat, the triple chin, the limp muscle, come on pick roses, the roses of life and may their petals be the slack sea of all the happiness. Come on pick, if you do not, you got it all wrong, girl girl, you got it all wrong” https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643921549717-Q2S40XIHJYB5FEL25EO1/DSC_0064.jpg Portfolio - The Memory of Water, 2012 The Memory of Water, part of Singapore Intensive, presented by Future Perfect Three videos screened on a different liquid: Chinese ink, milk and a blue liquid, where each colour and material alludes to distinctive emotions and moments: Gilman Barracks, Singapore https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643921595741-GIKEDM0VDP9HFID8EY1S/image-asset.jpg Portfolio - The Memory of Water, 2012 The Memory of Water, part of Singapore Intensive, presented by Future Perfect Three videos screened on a different liquid: Chinese ink, milk and a blue liquid, where each colour and material alludes to distinctive emotions and moments: Gilman Barracks, Singapore https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643921197229-ORFG9G2WD82W7ZBVV7R7/Gillman%252BBarracks.jpg Portfolio - The Memory of Water, 2012 The Memory of Water, part of Singapore Intensive, presented by Future Perfect Three videos screened on a different liquid: Chinese ink, milk and a blue liquid, where each colour and material alludes to distinctive emotions and moments: Gilman Barracks, Singapore https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643921503232-II5AYTVZCEM3XL2ST16L/Lee%2BWeng%2BChoy.jpg Portfolio - The Memory of Water, 2012 The Memory of Water, part of Singapore Intensive, presented by Future Perfect Three videos screened on a different liquid: Chinese ink, milk and a blue liquid, where each colour and material alludes to distinctive emotions and moments: Gilman Barracks, Singapore https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643909078778-IY96G95BJVAPGH4QHKN0/image-asset.jpg Portfolio - Black #02, 2013 Guangzhou Live 04, China Black #02 is part of a series of performances using the colour black. The material for the performance is a pair of black stocking and red shoes The initial inspiration of this performance is a memory of her childhood. The performance was not planned and was a kind of adventure for the artist https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643909272859-260FLD7UU3WSWYFRSOE9/image-asset.jpg Portfolio - Black #02, 2013 Guangzhou Live 04, China Black #02 is part of a series of performances using the colour black. The material for the performance is a pair of black stocking and red shoes The initial inspiration of this performance is a memory of her childhood. The performance was not planned and was a kind of adventure for the artist https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643909319829-GQA5793RHBKBIAQFFUIN/image-asset.jpeg Portfolio - Black #02, 2013 Guangzhou Live 04, China Black #02 is part of a series of performances using the colour black. The material for the performance is a pair of black stocking and red shoes The initial inspiration of this performance is a memory of her childhood. The performance was not planned and was a kind of adventure for the artist https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643909195908-8NTNGM0HA49V0G8GWR9S/image-asset.jpg Portfolio - Black #02, 2013 Guangzhou Live 04, China Black #02 is part of a series of performances using the colour black. The material for the performance is a pair of black stocking and red shoes The initial inspiration of this performance is a memory of her childhood. The performance was not planned and was a kind of adventure for the artist https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643823899491-PASK6N2L3I8EJCHADV79/image-asset.jpeg Portfolio - Can a first performance be truly relived? [2003-2015] In 2003, I finally accepted that I was living in Singapore and that my time in Japan was over. I decided then that it was about time to meet artists and to look for a space for an exhibition. Lee Wen invited me to participate to the first FOI. It was the first time I was invited to an art event, I was very happy to be invited but the last thing I wanted to do in my art practice and in my entire life was a live performance! However I thought that if I refused, I may never be invited anymore, so I said yes. For three weeks, I was completely petrified, worried, and tense. My performance was titled after Jean-Pierre Enard’s book 'To make little hoods blush'. How the performance surprised me! It was an enthralling feeling as if I were a puppet conducted by a mysterious puppeteer. Since then my relationship with performance has vacillated between love and hate. For FOI 10, I will try to re-do my first performance art as if it were the first time. Can a first performance be truly relived? [2003-2015] https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643823844776-3J677770IXRBT2JN0HFP/image-asset.jpeg Portfolio - Can a first performance be truly relived? [2003-2015] In 2003, I finally accepted that I was living in Singapore and that my time in Japan was over. I decided then that it was about time to meet artists and to look for a space for an exhibition. Lee Wen invited me to participate to the first FOI. It was the first time I was invited to an art event, I was very happy to be invited but the last thing I wanted to do in my art practice and in my entire life was a live performance! However I thought that if I refused, I may never be invited anymore, so I said yes. For three weeks, I was completely petrified, worried, and tense.EndFragment My performance was titled after Jean-Pierre Enard’s book 'To make little hoods blush'. How the performance surprised me! It was an enthralling feeling as if I were a puppet conducted by a mysterious puppeteer. Since then my relationship with performance has vacillated between love and hate. For FOI 10, I will try to re-do my first performance art as if it were the first time. Can a first performance be truly relived? [2003-2015] https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643823784983-FFF3SK5TCPNTQCMHXB53/image-asset.jpeg Portfolio - Can a first performance be truly relived? [2003-2015] In 2003, I finally accepted that I was living in Singapore and that my time in Japan was over. I decided then that it was about time to meet artists and to look for a space for an exhibition. Lee Wen invited me to participate to the first FOI. It was the first time I was invited to an art event, I was very happy to be invited but the last thing I wanted to do in my art practice and in my entire life was a live performance! However I thought that if I refused, I may never be invited anymore, so I said yes. For three weeks, I was completely petrified, worried, and tense.EndFragment   My performance was titled after Jean-Pierre Enard’s book 'To make little hoods blush'. How the performance surprised me! It was an enthralling feeling as if I were a puppet conducted by a mysterious puppeteer.   Since then my relationship with performance has vacillated between love and hate.   For FOI 10, I will try to re-do my first performance art as if it were the first time. Can a first performance be truly relived? [2003-2015] https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1449815058814-8JJR5G2A7K8BO2NMHQ0O/image-asset.jpeg Portfolio - Can a first performance be truly relived? [2003-2015] In 2003, I finally accepted that I was living in Singapore and that my time in Japan was over. I decided then that it was about time to meet artists and to look for a space for an exhibition. Lee Wen invited me to participate to the first FOI. It was the first time I was invited to an art event, I was very happy to be invited but the last thing I wanted to do in my art practice and in my entire life was a live performance! However I thought that if I refused, I may never be invited anymore, so I said yes. For three weeks, I was completely petrified, worried, and tense.EndFragment My performance was titled after Jean-Pierre Enard’s book 'To make little hoods blush'. How the performance surprised me! It was an enthralling feeling as if I were a puppet conducted by a mysterious puppeteer. Since then my relationship with performance has vacillated between love and hate. For FOI 10, I will try to re-do my first performance art as if it were the first time. Can a first performance be truly relived? [2003-2015] https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1380462788531-JTX5S8S3H31SCJ14HSJ6/DSC03392.jpg Portfolio - Sexual Landscape, 2002 Peppers Gallery, Tokyo, Japan https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1380462804824-6XV5E7VYNSPHZQEKY0FV/DSC03616.jpg Portfolio - Sexual Landscape, 2002 Peppers Gallery, Tokyo, Japan https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1380462943501-YNFE5SHJ9UDFMKOGSV49/DSC03692.jpg Portfolio - Sexual Landscape, 2002 Peppers Gallery, Tokyo, Japan https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1380462925561-KW5S9OEC8ZDUDGL60MVE/DSC03628.jpg Portfolio - Sexual Landscape, 2002 Peppers Gallery, Tokyo, Japan https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643912325312-NJD7GXPK8UH4HA19WTTX/Hairy%252BVirgin%252B.jpg Portfolio - The Hairy Virgin, drawing 1560 The Hairy Virgin is a true story of a girl whose entire body was covered with hair. She was introduced to the King Charles the 4th, Emperor and King. In his book “Histoires Prodigieuses”, Pierre Boaistuau explains that during her pregnancy, the mother of the Hairy Virgin had seen a statue of Saint John that was covered with animal fur. With the power of her imagination, the mother “transferred” the hair onto the body of her forthcoming baby. The maternal imagination has the power to shape the progeny, it is called the “monstrous imagination”.
 “A hairy virgin was shown completely covered with hair like a bear; she was born thus deformed and hideous because her mother had gazed too intensely upon an effigy of St John dressed in animal skins which hung at the foot of her bed when she conceived.
It is certain that these monstrous creatures most often are the consequence of divine judgment, justice, punishment, and curse; horrified by their sin, God allows [women] to produce such abominations because they hurl themselves forward indifferently, like savage beasts that only follow their appetites, with no consideration of age, place, time, and the other laws established by Nature”
Pierre Boaistuau, Histoires prodigieuses, 1560 https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1733112917162-Q23YOMSVV92BWHCHNYPP/28-Z71A3633.jpg Portfolio - The Hairy Virgin, 2013 The Hairy Virgin is a true story of a girl whose entire body was covered with hair. She was introduced to the King Charles the 4th, Emperor and King. In his book “Histoires Prodigieuses”, Pierre Boaistuau explains that during her pregnancy, the mother of the Hairy Virgin had seen a statue of Saint John that was covered with animal fur. With the power of her imagination, the mother “transferred” the hair onto the body of her forthcoming baby. The maternal imagination has the power to shape the progeny, it is called the “monstrous imagination”. “A hairy virgin was shown completely covered with hair like a bear; she was born thus deformed and hideous because her mother had gazed too intensely upon an effigy of St John dressed in animal skins which hung at the foot of her bed when she conceived. It is certain that these monstrous creatures most often are the consequence of divine judgment, justice, punishment, and curse; horrified by their sin, God allows [women] to produce such abominations because they hurl themselves forward indifferently, like savage beasts that only follow their appetites, with no consideration of age, place, time, and the other laws established by Nature” Pierre Boaistuau, Histoires prodigieuses, 1560 https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1379251343311-ZBAQXPAC0912J298ZBMT/DSC07254.jpg Portfolio - The Hairy Virgin, 2004 The Hairy Virgin is a true story of a girl whose entire body was covered with hair. She was introduced to the King Charles the 4th, Emperor and King. In his book “Histoires Prodigieuses”, Pierre Boaistuau explains that during her pregnancy, the mother of the Hairy Virgin had seen a statue of Saint John that was covered with animal fur. With the power of her imagination, the mother “transferred” the hair onto the body of her forthcoming baby. The maternal imagination has the power to shape the progeny, it is called the “monstrous imagination”. “A hairy virgin was shown completely covered with hair like a bear; she was born thus deformed and hideous because her mother had gazed too intensely upon an effigy of St John dressed in animal skins which hung at the foot of her bed when she conceived. It is certain that these monstrous creatures most often are the consequence of divine judgment, justice, punishment, and curse; horrified by their sin, God allows [women] to produce such abominations because they hurl themselves forward indifferently, like savage beasts that only follow their appetites, with no consideration of age, place, time, and the other laws established by Nature” Pierre Boaistuau, Histoires prodigieuses, 1560 https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643915512324-39WGB3P4HQB0TUOF7G6F/DSCF0065.jpg Portfolio - The Hairy Virgin, 2008 The Hairy Virgin is a true story of a girl whose entire body was covered with hair. She was introduced to the King Charles the 4th, Emperor and King. In his book “Histoires Prodigieuses”, Pierre Boaistuau explains that during her pregnancy, the mother of the Hairy Virgin had seen a statue of Saint John that was covered with animal fur. With the power of her imagination, the mother “transferred” the hair onto the body of her forthcoming baby. The maternal imagination has the power to shape the progeny, it is called the “monstrous imagination”. “A hairy virgin was shown completely covered with hair like a bear; she was born thus deformed and hideous because her mother had gazed too intensely upon an effigy of St John dressed in animal skins which hung at the foot of her bed when she conceived. It is certain that these monstrous creatures most often are the consequence of divine judgment, justice, punishment, and curse; horrified by their sin, God allows [women] to produce such abominations because they hurl themselves forward indifferently, like savage beasts that only follow their appetites, with no consideration of age, place, time, and the other laws established by Nature” Pierre Boaistuau, Histoires prodigieuses, 1560 https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1644079396701-AVJ6KQ7ETXWQETP0630T/Andree+Weschler.jpg Portfolio - Domesticated in her Animality, 2002 The hair is uncontrollable I can pluck, shave and erase I can act, hide and lie The hair will always grow back Pointing out with insolence Caught between the hairless model and the hairy Virgin I am https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1380720542308-HIBDJ80D34D0UKC0I4HX/DSC02289.jpg Portfolio - Domesticated in her Animality, 2002 The hair is uncontrollable I can pluck, shave and erase I can act, hide and lie The hair will always grow back Pointing out with insolence Caught between the hairless model and the hairy Virgin I am https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1380720523342-UNAA45DXFWJVRY12MFOP/DSC02282.jpg Portfolio - Domesticated in her Animality, 2002 The hair is uncontrollable I can pluck, shave and erase I can act, hide and lie The hair will always grow back Pointing out with insolence Caught between the hairless model and the hairy Virgin I am https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1380720563630-N8K6KX31ZC8C4WXWHHIS/DSC02285.jpg Portfolio - Domesticated in her Animality, 2002 The hair is uncontrollable I can pluck, shave and erase I can act, hide and lie The hair will always grow back Pointing out with insolence Caught between the hairless model and the hairy Virgin I am https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643824874704-U7CTISOAEPQ8MDBXXA1G/Andr%25C3%25A9e%2BWeschler.jpg Portfolio - MAKE THE in VISIBLE, 2015 Zentai Art Festival, Invisible whole 2 Institute of Contemporary Arts Singapore LASALLE College of the Arts Picture by Jun https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643825192360-J89WWO23YPBH50FFTRVW/Lasalle+School+of+Arts+Singapore.jpg Portfolio - MAKE THE in VISIBLE, 2015 Zentai Art Festival, Invisible whole 2Institute of Contemporary Arts SingaporeLASALLE College of the Arts Picture by Jun https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1432109853372-MANP2OBOWN7ABBQOKEH1/Weschler+Andree.jpg Portfolio - ​MAKE THE in VISIBLE, 2015 Zentai Art Festival, Invisible whole 2 Institute of Contemporary Arts Singapore LASALLE College of the Arts Picture by Jun https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643997881874-0KMSNKIV6B91N00OUWIO/Andree%2BWeschler.jpg Portfolio - ​MAKE THE in VISIBLE, 2015 Zentai Art Festival, Invisible whole 2 Institute of Contemporary Arts Singapore LASALLE College of the Arts Picture by Jun https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1456386373239-B0KMUK0AO3JYLXJ4EKJL/Wescher+Andr%C3%A9e.jpg Portfolio - Wild Flowers, 2001 Kangnung, Korea Collaboration with CHUA Ka-Inn It started with a collaboration between two artists and the landscape, a dialogue among the three elements. Having come from two very different environments, it was their first visit to the Kangnung landscape (Korea). Thus begins the communication between nature and human experience. https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1456386304326-4Y6YXVPE5FC0JAX6G5UE/Andr%C3%A9e+Weschler.jpg Portfolio - Wild Flowers, 2001 Kangnung, Korea Collaboration with CHUA Ka-Inn It started with a collaboration between two artists and the landscape, a dialogue among the three elements. Having come from two very different environments, it was their first visit to the Kangnung landscape (Korea). Thus begins the communication between nature and human experience. https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643920410102-BD7RMSAWJHH3JGP1S8GN/Artiste+fran%C3%A7ais+en+Asie.jpg Portfolio - Wild Flowers, 2001 Kangnung, Korea Collaboration with CHUA Ka-Inn It started with a collaboration between two artists and the landscape, a dialogue among the three elements. Having come from two very different environments, it was their first visit to the Kangnung landscape (Korea). Thus begins the communication between nature and human experience. https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643920341417-TO53XW4SIRIBQ00FFO9E/Artiste%2Bfran%25C3%25A7ais%2Ben%2BCor%25C3%25A9e.jpg Portfolio - Wild Flowers, 2001 Kangnung, Korea Collaboration with CHUA Ka-Inn It started with a collaboration between two artists and the landscape, a dialogue among the three elements. Having come from two very different environments, it was their first visit to the Kangnung landscape (Korea). Thus begins the communication between nature and human experience. https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643993904217-G651PH2XG41689MU33GL/image-asset.jpeg Portfolio - Story to make the little hoods blush, 2003 Story to make the little hoods blush- * Ref title of French erotic short stories, Contes a faire rougir les petits chaperons, de Jean-Pierre Enard https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643994020404-C53J0ECZWAGAXFRKQKFK/image-asset.jpeg Portfolio - Story to make the little hoods blush, 2003 Story to make the little hoods blush * Ref title of French erotic short stories, Contes a faire rougir les petits chaperons, de Jean-Pierre Enard https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643993857997-S5I38CCMPEDYO2H2YXGP/image-asset.jpeg Portfolio - Story to make the little hoods blush, 2003 Story to make the little hoods blush- * Ref title of French erotic short stories, Contes a faire rougir les petits chaperons, de Jean-Pierre Enard https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643995231246-QHEEDT1VI2GNIJ6OYDRW/Weschler+Andree.jpg Portfolio - Story to make the little hoods blush, 2003 Story to make the little hoods blush- * Ref title of French erotic short stories, Contes a faire rougir les petits chaperons, de Jean-Pierre Enard https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1379571101799-JAGSVLWNB69BPWGFD4S4/DSC02050.jpg Portfolio - The Need for an Alternation, 2011 Video Performance, 2011 The video is part of a series of works named Black that started with the performance "Black#01" done in 2010 at The Substation for the Night Festival Singapore. The color Black talks about Happiness. Title for this work has changed successively from “Happiness” to “Alternate Happiness”, then “Black #04” to “Image” and finally “The Need for an Alternation” https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1456219793440-Y7EUVBEY1GJ83VQYJ109/Performance+artist+in+Singapore.jpg Portfolio - The Need for an Alternation, 2011 Video Performance, 2011 The video is part of a series of works named Black that started with the performance "Black#01" done in 2010 at The Substation for the Night Festival Singapore. The color Black talks about Happiness. Title for this work has changed successively from “Happiness” to “Alternate Happiness”, then “Black #04” to “Image” and finally “The Need for an Alternation” https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1379571382356-TFIAMIJ4T80OKL2GITZ9/DSC01999.jpg Portfolio - The Need for an Alteration, 2011 Video Performance, 2011 The video is part of a series of works named Black that started with the performance "Black#01" done in 2010 at The Substation for the Night Festival Singapore. The color Black talks about Happiness. Title for this work has changed successively from “Happiness” to “Alternate Happiness”, then “Black #04” to “Image” and finally “The Need for an Alternation” https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1456221039832-G4R0HAXX40H3G7F962Q7/8Q.jpg Portfolio - The Need for an Alternation, 2011 Video Performance The video is part of a series of works named Black that started with the performance "Black#01" done in 2010 at The Substation for the Night Festival Singapore. The color Black talks about Happiness. Title for this work has changed successively from “Happiness” to “Alternate Happiness”, then “Black #04” to “Image” and finally “The Need for an Alternation” https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643987251302-1S1GFLSA8JMX1GAZ4CYT/image-asset.jpeg Portfolio - Bit by Bit, 2008 I slowly age Bit by bit Here and there In silence [Preoccupations: Things Artists Do Anyway, edited by Cornelia Erdmann & Michael Lee Hong Hwee https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1381064492381-NHW5HOFVIGY4IWOYPIQG/DSC01330.jpg Portfolio - Bit by Bit, 2008 I slowly age Bit by bit Here and there In silence [Preoccupations: Things Artists Do Anyway, edited by Cornelia Erdmann & Michael Lee Hong Hwee] https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1381064415672-SF0FC9INNPFL2N1Y0QVY/DSC01308.jpg Portfolio - Bit by Bit, 2008 I slowly age Bit by bit Here and there In silence [Preoccupations: Things Artists Do Anyway, edited by Cornelia Erdmann & Michael Lee Hong Hwee] https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1381064825954-9SE235OLQXLI7M3QUJ17/DSC01332.jpg Portfolio - Bit by Bit, 2008 I slowly age Bit by bit Here and there In silence [Preoccupations: Things Artists Do Anyway, edited by Cornelia Erdmann & Michael Lee Hong Hwee] https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643996775078-257MB2G1HHVT4SPS4BDL/Andre%CC%81e+Weschler.jpg Portfolio - Innocence #05, 2008 Fundraising for The Substation, Innocence#05, Supperclub, Singapore https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643996527831-YQZ7L04OAP1JZ7F2KLAV/Andree+Weschler.jpg Portfolio - Innocence #05, 2008 Fundraising for The Substation, Innocence#05, Supperclub, Singapore https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643996851927-W7EDG6OR36Z7R50FPTI9/Weschler+Andree.jpg Portfolio - Innocence #05, 2008 Fundraising for The Substation, Innocence#05, Supperclub, Singapore https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643996544138-GPQ8YA3N70FPSM8I9MQF/Weschler+Andre%CC%81e.jpg Portfolio - Innocence #05, 2008 Fundraising for The Substation, Innocence#05, Supperclub, Singapore https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643822907599-V8DM4ER0XW64H4QHOUFF/DSC04930.jpg Portfolio - Human Nature, 2003 “Covering the landscape with hair creates an other reality. I am interested in emphasising and enlightening the disarray of intimacy.” https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1380465630100-45TFRYD8OHA9O9IM9GFY/DSC04904.jpg Portfolio - Human Nature, 2003 “Covering the landscape with hair creates an other reality. I am interested in emphasising and enlightening the disarray of intimacy.” https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1380465585138-Y8AQL1FUEOIMX6TFMU8P/DSC04920.jpg Portfolio - Human Nature, 2003 Covering the landscape with hair creates an other reality. I am interested in emphasizing and enlightening the disarray of intimacy. https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643822755704-GVNA9OOBAGGV17FU9F1L/DSC04937.jpg Portfolio - Human Nature, 2003 Covering the landscape with hair creates an other reality. I am interested in emphasising and enlightening the disarray of intimacy. https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643997212117-JJJ4XT8PE078ZOS9O8ZC/Weschler+Andre%CC%81e.jpg Portfolio - Parasite, 2005 Parasite n. 1. An animal or plant that lives on or in another from which it draws its nourishment. 2. A person who lives off an-other or others and gives no useful return. The Oxford Paperback Dictionary https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643997236550-AC0CEX32OJV33WYMEMIW/Andree+Weschler.jpg Portfolio - Parasite, 2005 Parasite n. 1. An animal or plant that lives on or in another from which it draws its nourishment. 2. A person who lives off an-other or others and gives no useful return. The Oxford Paperback Dictionary https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643997230039-J3X6DWKDHTO3ECYH8IMG/Weschler+Andree.jpg Portfolio - Parasite, 2005 Parasite n. 1. An animal or plant that lives on or in another from which it draws its nourishment. 2. A person who lives off an-other or others and gives no useful return. The Oxford Paperback Dictionary https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643997223903-F9XY1IG5VQ4TG2XAAJRW/Andre%CC%81e+Weschler.jpg Portfolio - Parasite, 2005 Parasite n. 1. An animal or plant that lives on or in another from which it draws its nourishment. 2. A person who lives off an-other or others and gives no useful return. The Oxford Paperback Dictionary https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643824346592-3ICI0S19I8T48D5GUF5U/_MG_2951.jpg Portfolio - Black #01, 2010 “ The image of the performance in my head is like a plant. I can see it every day. Every day I think about it, I see it, I look at it, I treasure it and I nurture it like I water a plant daily to maintain it alive.” Giving a title to an artwork is a mysterious thing. I have experienced showing an artwork and changing each time the title as if the artwork was another one. Another time, on the contrary, I had a title that I was obsessed with and could not find the appropriate work for it; therefore I did a series of different work with the same title. https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643824394593-XLBU4BNIKZU0M305IGJC/_MG_2990.jpg Portfolio - Black #01, 2010 “ The image of the performance in my head is like a plant. I can see it every day. Every day I think about it, I see it, I look at it, I treasure it and I nurture it like I water a plant daily to maintain it alive.” Giving a title to an artwork is a mysterious thing. I have experienced showing an artwork and changing each time the title as if the artwork was another one. Another time, on the contrary, I had a title that I was obsessed with and could not find the appropriate work for it; therefore I did a series of different work with the same title. https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643824540805-A8PV30GSDEPZMGZ3L8T6/Performance+artist+Singapore.jpg Portfolio - Black #01, 2010 “ The image of the performance in my head is like a plant. I can see it every day. Every day I think about it, I see it, I look at it, I treasure it and I nurture it like I water a plant daily to maintain it alive.” Giving a title to an artwork is a mysterious thing. I have experienced showing an artwork and changing each time the title as if the artwork was another one. Another time, on the contrary, I had a title that I was obsessed with and could not find the appropriate work for it; therefore I did a series of different work with the same title. https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1643824281672-8LAIMGHOE0JW02O4G1DB/Chinese+ink.jpg Portfolio - Black #01, 2010 “ The image of the performance in my head is like a plant. I can see it every day. Every day I think about it, I see it, I look at it, I treasure it and I nurture it like I water a plant daily to maintain it alive.” Giving a title to an artwork is a mysterious thing. I have experienced showing an artwork and changing each time the title as if the artwork was another one. Another time, on the contrary, I had a title that I was obsessed with and could not find the appropriate work for it; therefore I did a series of different work with the same title. https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1517769622957-KJKS4FOLQDPO4S512RC4/Andre%CC%81e+Weschler+artist+Singapore.JPG Portfolio - Untitled, 2014 Haslla Art Residency, Gangneung, Korea https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1517769910326-IORHF9G4KU0ZR2WTU5WW/Andree+Weschler.JPG Portfolio - Untitled, 2014 Haslla Art Residency, Gangneung, Korea https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1517769937345-4JQ31HCME4158Z84CXG5/Weschler.jpg Portfolio - Untitled, 2014 Haslla Art Residency, Gangneung, Korea https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1517769738978-DNZDL3CSJ4YH9KWA94B0/Drawing+Korea.JPG Portfolio - Untitled, 2014 Haslla Art Residency, Gangneung, Korea https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1517767332243-DKRP90MLI8Y8BJCH2KJU/Weschler+Andree.JPG Portfolio https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1381230501839-OCQV38T5HDXEGAWCUP7Z/DSC01504.jpg Portfolio - Wok, 2011 Wok contains love seeds (saga seeds). During the process of covering patiently the wok with red thread, love seeds were rolling and making nice sound. Wok is a group exhibition project organised and held at Your Mother Gallery, Singapore. “The idea of using a signboard is to remind us about our mother or family using this utensil to make food for us everyday. The wok is a very special and unique tool that we use everyday and especially in Asia. There's a saying “What we eat is what we are”. And this is part of our Asian culture.”   https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1381230835613-K8VXIP0HH3X7JBI6IXG8/DSC01493.jpg Portfolio - Wok, 2011 Wok contains love seeds (saga seeds). During the process of covering patiently the wok with red thread, love seeds were rolling and making nice sound. Wok is a group exhibition project organised and held at Your Mother Gallery, Singapore. “The idea of using a signboard is to remind us about our mother or family using this utensil to make food for us everyday. The wok is a very special and unique tool that we use everyday and especially in Asia. There's a saying “What we eat is what we are”. And this is part of our Asian culture.” https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1517767215186-1RHYVVYCGXHDF5N74FBX/Andre%CC%81e+Weschler.JPG Portfolio https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1464850796870-NVA4H7RVC8H43TQ455RW/Performance+artist+in+Singapore.jpg Portfolio - Photography, 2015 by Anita Vozza, https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1464569817941-YJSFXHVUTUS3GT4Y3UBR/Performance+artist+Andr%C3%A9e+Weschler.jpg Portfolio - Photography, 2015 by Anita Vozza, https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1464569953332-VSSY7NQ4212KOZV0NCWB/Andr%C3%A9e+Weschler.jpg Portfolio - Photography, 2015 by Anita Vozza, https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1464569883392-7CSEC10EW4UFUQ840N21/Weschler+Andr%C3%A9e.jpg Portfolio - Photography, 2015 by Anita Vozza, https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1430379643816-OQGGYLG9V8CDLZ6K7ZXF/Andr%C3%A9e+weschler+.jpg Portfolio - Love Letters, Video, 2015 Def. love letter /lʌv ˈlɛtə/ noun 1. a letter or note written by someone to his or her sweetheart or lover 2. in Singapore a type of biscuit, made from eggs and rice flour and rolled into a cylinder Collins English Dictionary Ref: Teresa Teng, Ni wen wo ai https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1444203563898-THM0OWQ0O4VNLWTFWE3I/image-asset.jpeg Portfolio - Love Letter, Video, 2015 Def. love letter /lʌv ˈlɛtə/ noun 1. a letter or note written by someone to his or her sweetheart or lover 2. in Singapore a type of biscuit, made from eggs and rice flour and rolled into a cylinder Collins English Dictionary Ref: Teresa Teng, Ni wen wo ai https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1444203362965-00YQ0KVVYMA2H89QCRTZ/image-asset.jpeg Portfolio - Love Letter, Video, 2015 Def. love letter /lʌv ˈlɛtə/ noun 1. a letter or note written by someone to his or her sweetheart or lover 2. in Singapore a type of biscuit, made from eggs and rice flour and rolled into a cylinder Collins English Dictionary Ref: Teresa Teng, Ni wen wo ai https://images.squarespace-cdn.com/content/v1/522d6829e4b04c838fafb30e/1430444363139-HX972OPBZVTS9UB575ZM/Weschler+Andree.jpg Portfolio - Love Letter, Video, 2015 Def. love letter /lʌv ˈlɛtə/ noun 1. a letter or note written by someone to his or her sweetheart or lover 2. in Singapore a type of biscuit, made from eggs and rice flour and rolled into a cylinder Collins English Dictionary Ref: Teresa Teng, Ni wen wo ai https://www.andree-weschler.com/contact daily 0.75 2018-10-16 https://www.andree-weschler.com/exhibition daily 0.75 2026-01-17 https://www.andree-weschler.com/shop daily 0.75 2026-03-20 https://www.andree-weschler.com/shop/handmade-leather-album-black-xw2tk monthly 0.5 2013-02-08 https://images.squarespace-cdn.com/content/v1/4fbff6b4c4aac2e9749c152f/1360341057083-E691CJ7BARR3F4PIJC7D/black-front.jpg Shop - Black https://images.squarespace-cdn.com/content/v1/4fbff6b4c4aac2e9749c152f/1360343082452-5AQU4RQQ7ABXZ3GNWRTQ/black-2.jpg Shop - Black https://www.andree-weschler.com/shop/handmade-leather-album-set-russet-gcs9r monthly 0.5 2013-02-08 https://images.squarespace-cdn.com/content/v1/4fbff6b4c4aac2e9749c152f/1360341046109-33TW8RF6FU9CA4UK0ER8/set-front.jpg Shop - 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