Découvre l'histoire d'Alice dans cet album richement illustré. Cherche et trouve les objets et les personnages de l'histoire et suis la petite fille dans son aventure au pays des merveilles.

Alice au Pays des Merveilles

Depuis vingt ans, Isabel Muñoz, figure centrale de la photographie espagnole, parcourt le monde pour mettre en forme les mouvements et les corps qu'elle croise ou choisit. Du tango au flamenco, de la danse orientale au ballet khmer, des grands maîtres des arts martiaux en Chine aux lutteurs de Turquie, elle prend prétexte des pratiques authentiques de la danse ou de sports traditionnels pour nous parler de la situation du corps dans la société. Revendiquant, dans des cadrages d'une rare précision, la sensualité, le plaisir, le désir, elle les oppose, de fait, à l'enfermement actuel de corps normés, bridés, brimés. Elle propose ainsi, en passant par Cuba ou l'Afrique, une géographie des corps, qui la ramène toujours vers les ballets classiques ou contemporains à Madrid qu'elle caresse d'un regard aussi aimant que rigoureux. Elle construit, en soignant jusqu'au moindre détail de tirage, une œuvre déjà classique, à la fois pure et érotique, éloge d'une liberté symbolisée par des corps capables d'échapper aux lourdeurs contingentes et à l'attraction terrestre.

Isabel Muñoz

Isabel Muï¿½oz is a photographer from Barcelona, living today in Madrid. She has found a way to liberate tango, flamenco, and oriental dancing from the anecdotes and exoticism that make up the basic sales strategy of so many post card publishers and tourism authorities. In black and white, from Buenos Aires to El Cairo, from Istanbul to Seville, and passing through Phnon Penh, Isabel Muï¿½oz has studied couples dancing, embracing, releasing, evoking the act of love, rejecting it, and transforming it in dance, in tension. She has revealed the elements of exacerbation, of desire, and sociability in the representation of those physical challenges, in those insinuated kisses that never come to be, in those failed embraces taken to the limits of frustration, in those manly hands tightly holding a thigh, in those curved waists that never join, in the flesh of the bodies that come into contact again and again, only to be rejected. She has discovered a wonderful manner of cropping and framing these bodies, of using backdrops of great historical content, and populating them with movements, evoking and suggesting rather than displaying.In the reclusion of her darkroom, Isabel Muï¿½oz struggled with the blackness, and in that space of alchemy she learned to use certain ancient and powerful techniques that required the use of enormous negatives: through the oxidation of platinum salts she was able to etch upon paper the images that she had previously separated. She did this with a passion for textures and materials, and it is characteristic of the vision of those who truly see. For example we can contemplate rough-textured skin in contact with the woven fabric of a skirt, or sequins that shine in the shadows of a sensual navel. She has discovered how to incorporate rhythm to the static images, to create dialogue in the extension of the spaces with attention on the details in the foreground. She sees the light in an ornamental comb thrust into tortuously black hair, yet she tells us that her intention is to show us those dances.

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