![Accrochage [Vaud 2010] & <br> Elisabeth Llach, Prix du Jury 2009](https://www.mcba.ch/wp-content/uploads/2019/01/Affiche-Accrochage-2010-2304x3295.jpg)
Accrochage [Vaud 2010] &
Elisabeth Llach, Prix du Jury 2009
The Musée cantonal des Beaux-Arts de Lausanne presents the eighth edition of its annual exhibition dedicated to the contemporary art scene in the canton of Vaud. This showcase features recent works by artists of different generations, selected through an open submission process by a jury of professionals.
This year’s jury consists of:
Robert Ireland, artist, Lausanne
Sybille Omlin, Director of the École cantonale d’art du Valais, Sierre
Catherine Othenin-Girard, art historian, Lausanne
Valérie Mavridorakis, professor at the Haute École d’art et de design, Geneva
Jacqueline Uhlmann, independent curator, Zurich
The jury has selected 34 works by 26 artists.
The 2010 Jury Prize has been awarded to Pauline Boudry.
Selected Artists:
Frédéric Bott, Pauline Boudry, Geneviève Capitanio, Adrien Chevalley, Stéphane Cruko, Stéphane Devidal, Gaël Epiney, Nicolas Geiser, Patricia Glave, Anaïs Gumy, Clotilde Lataille, Beat Lippert, Alexandre Loye, Genêt Mayor, Sébastien Mettraux, Robin Michel, MK, Stéphanie Pfister, Jérôme Pfister, Anne-Julie Raccoursier, Virginie Rebetez, Claudia Renna, Isabelle Schiper, Pierre Schwerzmann, Cristiàn Valenzuela, Stéphane Zaech.
Elisabeth Llach. Alles wird gut – Tout ira bien. Jury Award 2009
Gathered under this unsettling title, a series of acrylics on paper were brought into resonance — an assortment of visual worlds oscillating between the strange and the familiar, the theatrical and the mundane, the fairytale-like and the macabre — with titles that in turn underlined their ambiguous nature. Don’t Worry, a series of small-format works initiated in 2007, subtly explored these shifts in meaning: circus or play scenes that appeared innocent at first glance sat alongside strange female figures with distorted, even mutilated bodies. All the protagonists in Llach’s work are female, many drawn from the endless reservoir of images that populate the history of art and women’s magazines. But the transition from glossy pages to drawing pushes them into a realm stripped of all complacency.In the Stillleben series, begun in 2009 and resembling a gallery of portraits, the figures appeared alone, set against backgrounds reminiscent of opera sets. They unfolded like so many versions of a cruel human comedy, endlessly repeating itself.
