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== Biography and works ==
== Biography and works ==
Born in [[Agen, France]], she lived her life in [[Bordeaux]]. She began her career by painting [[Landscape art|landscapes]] until her work soon turned towards a [[Sexual fetishism|fetishistic]] eroticism.
Born in [[Agen, France]], he lived his life in [[Bordeaux]]. He began his career by painting [[Landscape art|landscapes]] until his work soon turned towards a [[Sexual fetishism|fetishistic]] eroticism.


Molinier began to take photographs at the age of 18. As listed in her birth record, she was married to Andrea Lafaye, on July 7, 1931, at Bordeaux.<ref>[http://www.archinoe.fr/cg47/visualiseur/registre_visu.php?PHPSID=a2ba744e89b76f545756a1f2c0b8ea74&id=470026952# Birth record of Pierre Molinier, nº 94, page 34/370]</ref> A [[homosexual]] and a transgender individual, Pierre Molinier lived the violence and sexual obsessions her fellow surrealists had only dreamt about.
Molinier began to take photographs at the age of 18. As listed in his birth record, he was married to Andrea Lafaye, on July 7, 1931, at Bordeaux.<ref>[http://www.archinoe.fr/cg47/visualiseur/registre_visu.php?PHPSID=a2ba744e89b76f545756a1f2c0b8ea74&id=470026952# Birth record of Pierre Molinier, nº 94, page 34/370]</ref> A [[homosexual]] and a [[transvestite]], Pierre Molinier lived the violence and sexual obsessions his fellow surrealists only dreamt about.


She began a correspondence with [[André Breton]] and sent him photographs of her paintings. Later Breton integrated her into the [[Surrealist]] group. Breton organized an exhibition of Molinier's paintings in Paris, in January–February 1956.
He began a correspondence with [[André Breton]] and sent him photographs of his paintings. Later Breton integrated him into the [[Surrealist]] group. Breton organized an exhibition of Molinier's paintings in Paris, in January–February 1956.


In 1955 Molinier made contact with the leading surrealist [[Andre Breton]] and by 1959 was showing at the [[International Surrealist Exhibition]]. At this time she defined the purpose of her art as 'for my own stimulation', indicating her future direction in one of her exhibits in the 1965 Surrealist show - a [[dildo]]. She defined eroticism as 'a privileged place, a theatre in which incitement and prohibition play their roles, and where the most profound moments of life make sport'.
In 1955 Molinier made contact with the leading surrealist [[Andre Breton]] and by 1959 was showing at the [[International Surrealist Exhibition]]. At this time he defined the purpose of his art as 'for my own stimulation', indicating his future direction in one of his exhibits in the 1965 Surrealist show - a [[dildo]]. He defined eroticism as 'a privileged place, a theatre in which incitement and prohibition play their roles, and where the most profound moments of life make sport'.


Between 1965 and her suicide in 1976, she chronicled her exploration of her struggle with gender dysphoria in "Cent Photographies Erotiques": graphically detailed images of pain and pleasure now on show in London. It was also in this year that Molinier, with the aid of a [[remote control]] switch, began to create photographs in which she assumed the roles of [[dominatrix]] and [[succuba]] previously taken by the women of her paintings. In these beautifully-made, intimate black and white photographs, Molinier, either alone with doll-like [[mannequin]]s or with female models, appears as a transgender woman, transformed by her 'fetish' wardrobe of [[fishnet stocking]]s, suspender belt, [[stiletto]]s, mask and [[corset]]. In [[Photomontage|montage]]s, an unlikely number of stockinged limbs intertwine to create the women of Molinier's paintings.
Between 1965 and his suicide in 1976, he chronicled his exploration of his subconscious transsexual desires in "Cent Photographies Erotiques": graphically detailed images of pain and pleasure now on show in London. It was also in this year that Molinier, with the aid of a [[remote control]] switch, began to create photographs in which he assumed the roles of [[dominatrix]] and [[succuba]] previously taken by the women of his paintings. In these beautifully-made, intimate black and white photographs, Molinier, either alone with doll-like [[mannequin]]s or with female models, appears as a transvestite, transformed by his 'fetish' wardrobe of [[fishnet stocking]]s, suspender belt, [[stiletto]]s, mask and [[corset]]. In [[Photomontage|montage]]s, an unlikely number of stockinged limbs intertwine to create the women of Molinier's paintings.


For the last 11 years of her life Molinier played out her own most profound moments in the 'theatre' of her Bordeaux '[[boudoir]] - [[atelier]]'. She intended her photographs to shock, inviting the viewer to bring to the images their own response of excitement or disgust.
For the last 11 years of his life Molinier played out his own most profound moments in the 'theatre' of his Bordeaux '[[boudoir]] - [[atelier]]'. He intended his photographs to shock, inviting the viewer to bring to the images his or her own response of excitement or disgust.


In the 1970s, Molinier's health began to decline. Like her father before her, Pierre Molinier committed suicide at 76 years of age by a self-inflicted gunshot wound.
In the 1970s, Molinier's health began to decline. Like his father before him, Pierre Molinier committed suicide at 76 years of age by a self-inflicted gunshot wound.


== Influences ==
== Influences ==
Molinier explored connections between religious ritual and sexuality which she believed had been obscured by the post-Renaissance morality she so despised. She was a transgender woman[[Baudelaire]] who rather than words, chose as her medium the corset, the mask and the chain. She challenged received orthodoxies of art and morality and, like a [[jester]], seeks to destroy [[taboo]]s.
Molinier explored connections between religious ritual and sexuality which he believed had been obscured by the post-Renaissance morality he so despised. He was a transvestite [[Baudelaire]] who rather than words, chose as his medium the corset, the mask and the chain. He challenged received orthodoxies of art and morality and, like a [[jester]], seeks to destroy [[taboo]]s.


Molinier echoes the ancient [[Shaman]]ic tradition and her experiments in sexual transformation can be interpreted as an attempt to regain the primordial, Platonic perfection of the androgyne. It is significant that her (unrealised) biography was to have been entitled The Shaman and His Creatures.
Molinier echoes the ancient [[Shaman]]ic tradition and his experiments in sexual transformation can be interpreted as an attempt to regain the primordial, Platonic perfection of the androgyne. It is significant that his (unrealised) biography was to have been entitled The Shaman and His Creatures.


Pierre Molinier's enigmatic photographs have influenced European and North American [[body art]]ists since the 1970s, including [[Jürgen Klauke]], [[Cindy Sherman]], [[Ron Athey]], [[Rick Castro]] and her work continues to engage artists, critics, and collectors today.
Pierre Molinier's enigmatic photographs have influenced European and North American [[body art]]ists since the 1970s, including [[Jürgen Klauke]], [[Cindy Sherman]], [[Ron Athey]], [[Rick Castro]] and his work continues to engage artists, critics, and collectors today.


== Bibliography ==
== Bibliography ==

Revision as of 23:22, 20 March 2018

File:AR005.jpg
Arnulf Rainer painting Pierre Molinier Overpainted ("Übermalung")

Pierre Molinier (April 13, 1900 – March 3, 1976) was a French painter, photographer and "maker of objects".

Biography and works

Born in Agen, France, he lived his life in Bordeaux. He began his career by painting landscapes until his work soon turned towards a fetishistic eroticism.

Molinier began to take photographs at the age of 18. As listed in his birth record, he was married to Andrea Lafaye, on July 7, 1931, at Bordeaux.[1] A homosexual and a transvestite, Pierre Molinier lived the violence and sexual obsessions his fellow surrealists only dreamt about.

He began a correspondence with André Breton and sent him photographs of his paintings. Later Breton integrated him into the Surrealist group. Breton organized an exhibition of Molinier's paintings in Paris, in January–February 1956.

In 1955 Molinier made contact with the leading surrealist Andre Breton and by 1959 was showing at the International Surrealist Exhibition. At this time he defined the purpose of his art as 'for my own stimulation', indicating his future direction in one of his exhibits in the 1965 Surrealist show - a dildo. He defined eroticism as 'a privileged place, a theatre in which incitement and prohibition play their roles, and where the most profound moments of life make sport'.

Between 1965 and his suicide in 1976, he chronicled his exploration of his subconscious transsexual desires in "Cent Photographies Erotiques": graphically detailed images of pain and pleasure now on show in London. It was also in this year that Molinier, with the aid of a remote control switch, began to create photographs in which he assumed the roles of dominatrix and succuba previously taken by the women of his paintings. In these beautifully-made, intimate black and white photographs, Molinier, either alone with doll-like mannequins or with female models, appears as a transvestite, transformed by his 'fetish' wardrobe of fishnet stockings, suspender belt, stilettos, mask and corset. In montages, an unlikely number of stockinged limbs intertwine to create the women of Molinier's paintings.

For the last 11 years of his life Molinier played out his own most profound moments in the 'theatre' of his Bordeaux 'boudoir - atelier'. He intended his photographs to shock, inviting the viewer to bring to the images his or her own response of excitement or disgust.

In the 1970s, Molinier's health began to decline. Like his father before him, Pierre Molinier committed suicide at 76 years of age by a self-inflicted gunshot wound.

Influences

Molinier explored connections between religious ritual and sexuality which he believed had been obscured by the post-Renaissance morality he so despised. He was a transvestite Baudelaire who rather than words, chose as his medium the corset, the mask and the chain. He challenged received orthodoxies of art and morality and, like a jester, seeks to destroy taboos.

Molinier echoes the ancient Shamanic tradition and his experiments in sexual transformation can be interpreted as an attempt to regain the primordial, Platonic perfection of the androgyne. It is significant that his (unrealised) biography was to have been entitled The Shaman and His Creatures.

Pierre Molinier's enigmatic photographs have influenced European and North American body artists since the 1970s, including Jürgen Klauke, Cindy Sherman, Ron Athey, Rick Castro and his work continues to engage artists, critics, and collectors today.

Bibliography

  • Borde, Raymond/Breton, André – "Pierre Molinier", Paris, Terrain Vague, 1964.
  • Gorsen, Peter/Molinier Pierre – "Pierre Molinier,lui meme", Munchen, 1972.
  • Molinier, Pierre – "Cent photographies érotiques", Paris, Obliques, 1979.
  • Molinier, Pierre – Le chaman et ses créatures, Bordeaux : William Blake & Co., 1995, 96 p. [Preface by Pierre Molinier, introduction by Roland Villeneuve, photomontages, drawings and reproductions of paintings]
  • PETIT, Pierre – Molinier, une vie d'enfer, Paris : Editions Ramsay/Jean-Jacques Pauvert, 1992, 267 p., 86 ill. [Biography in French] and Kyoto : Jimbun Shoin, 2000, 300 p., 86 ill. [Translation in Japanese]
  • PETIT, Pierre – Pierre Molinier et la tentation de l'Orient, Bordeaux : Opales / Pleine Page éditeurs, 2005, 64 p., 24 ill.
  • OUDIN, Alain Molinier, une vie magique, Paris Edition en ligne Enseigne-des-oudin, 2006, 205 pages
  • Moi, Petit Vampire de Molinier (Interview de Michelle Sesquès. Introduction et notes de Pierre Petit, Editions Monplaisir, 2012, 76 p., 1 ill.

See also

References