[7], In 2004, the tent was destroyed in a fire at the East London Momart warehouse, along with two of Emin's other works and some 100 more from Saatchi's collection, including works by Damien Hirst, Jake and Dinos Chapman and Martin Maloney. Everyone I Have Ever Slept With 1963–1995, qui a atteint le statut d'icône[1], était la propriété de Charles Saatchi et a été détruite lors de l'incendie de l'entrepôt de Momart à Londres en 2004. BBC (2004). In 2004, the tent was destroyed in a fire, and Emin refused to re-create it. La tente était carrée et de couleur bleue ; sa forme rappelait celle de la grotte Shell à Margate, avec laquelle Emin était très familière depuis son enfance ; à l'intérieur de la tente se trouvait le texte « Avec moi-même, toujours moi-même, ne jamais oublier » (With myself, always myself, never forgetting)[4]. [15] Semple stated that among the debris collected there were fragments of Emin's tent. La dernière modification de cette page a été faite le 21 septembre 2020 à 12:19. I would never laugh at a disaster like that — I just have some empathy and sympathy with people's loss. Barnes, Anthony (2006). Didcock, Barry (2006). "Fire devastates Saatchi artworks", 26 May 2004. L'œuvre se compose d'une tente avec les noms appliqués, littéralement, de toutes les personnes avec qui Tracey Emin a couché, mais pas nécessairement au sens sexuel. The name was scandalous, specially because the tent contained over 100 names, but it was quite literal: it included the name of her grandmother and other family members, because she literally meant sleeping in the same bed with someone. [5] Instead Saatchi bought it on the secondary market from a private dealer, Eric Franck, at a premium price of £40,000 — Emin had sold it originally for £12,000. Retrieved 19 June 2007. Taylor, Jerome. Amusement? Excessive Violence "Emin anger over public 'sniggers'", BBC online, 30 May 2004. Cependant, Saatchi parvient à acheter l'œuvre sur le marché secondaire à un marchand d'art, Eric Franck, à un prix majoré de 40 000 £ — Emin l'avait vendu à l'origine pour 12 000 £ [6]. [3], In May 2009, Dinos Chapman said that he and his brother Jake recreated the tent. Thereâs nothing essentially remarkable about Tracey Eminâs bed, but it gained value the moment she saw what the bed could represent: the display of our lowest intimate moments, the ones we generally hide from others and even from ourselves once we get over them or repress them. Everyone I Have Ever Slept With 1963–1995, The Physical Impossibility of Death in the Mind of Someone Living. Une critique était vraiment drôle, le journaliste avait écrit quelque chose comme : « Elle a couché avec tout le monde - même le conservateur ! Retrieved 19 June 2007. The assemblage was offered to, but rejected by, the Tate gallery. "Saatchi's new sensation: the Peeing Madonna". Wade, Mike, The Times, 2 August 2008. "Everyone I Have Ever Slept With" or "The Tent" marked a turning point in contemporary art and gained an iconic status. The work was a tent with the appliquéd names of, literally, everyone she had ever slept with, but not necessarily in the sexual sense. Template:Cquote, Saatchi exhibited the tent in the 1997 Sensation exhibition held at the Royal Academy in London; public outrage was centred on Marcus Harvey's portrait of Myra Hindley and, at the later staging of the exhibition at the Brooklyn Museum of Art in New York, on Chris Ofili's The Holy Virgin Mary with collaged pornographic images. "[13] At her 2008 Edinburgh retrospective show, she said that after the fire she had been offered £1 million (the amount of the insurance payment) by the Saatchi Gallery to remake the tent, but that, although she had recreated some small pieces for the retrospective, to have remade the tent "would just be silly". Everyone I Have Ever Slept With 1963–1995 (1995), also known as The Tent, was an artwork created by Tracey Emin. The name was scandalous, specially because the tent contained over 100 names, but it was quite literal: it included the name of her grandmother and other family members, because she literally meant 'Chapmans rebuild Emin's tent'. Retrieved from findarticles.com, 19 June 2007. BBC (2004). Gleadell, Colin (2003). Lors de son exposition rétrospective à Edimbourg en 2008, elle a déclaré qu'après l'incendie, on lui avait offert 1 000 000 £. ». 'Chapmans rebuild Emin's tent'. Le commentaire d'Emin à ce sujet était : « Il ne revendra pas, mais l'art lui appartient. La galerie Saatchi a dû reconstruire la tente pour un million de dollars (le montant du paiement de l'assurance), mais bien que, même si elle avait recréé quelques petites pièces pour la rétrospective, il aurait été ridicule de refaire la tente[3]. The Daily Telegraph, 28 March 2003. Retrieved 19 June 2007. Barker, Barry (2003). "In camera - Tracey Emin". Crowd sourced content that is contributed to World Heritage Encyclopedia is peer reviewed and edited by our editorial staff to ensure quality scholarly research articles. Take Everyone I've Ever Slept With, where names of lovers, family and unborn babies are embroidered on the inside of a tent. Retrieved 19 June 2007. It achieved iconic status,[1] was owned by Charles Saatchi, and was destroyed in the 2004 Momart London warehouse fire. Elle décrit ces deux pièces comme « un travail séminal, fantastique et étonnant »[3]. But it wasnât a crime scene, it was just the evidence of her perfectly human vulnerability. Both Emin and the Chapmans are represented by White Cube gallery in London. ; Hugh Rifkind in The Times thought similarly to The Independent's Tom Lubbock, who wrote: Emin took a phlegmatic view of her work's destruction, saying, "The news comes between Iraqi weddings being bombed and people dying in the Dominican Republic in flash floods, so we have to get it into perspective. Selon le magazine Art World, en 2001, Saatchi s'était vu offrir 300 000 £. [4], The work was created during a relationship she had in the mid-1990s with Carl Freedman, who had been an early friend of, and collaborator with, Damien Hirst and who had co-curated seminal Britart shows, such as Modern Medicine and Gambler. That was her inspiration for her next work, . Recalling those lost connections can be overwhelming, sad, relieving, or even enraging, and Tracey Emin, a contemporary artist from England, recognized the power of that experience. "Emin anger over public 'sniggers'", BBC online, 30 May 2004. Retrieved 19 June 2007. [1] The name of former boyfriend, Billy Childish, could be seen prominently through the tent opening. WHEBN0011846868 Barker, Barry (2003). In addition to that, she also included the words âfoetus Iâ and âfoetus II,â her two abortions. Reproduction Date: Everyone I Have Ever Slept With 1963–1995 (1995), also known as "The Tent",[1] was an artwork created by Tracey Emin RA (born 3 July 1963), an English artist and a leading member of the group known as Britartists or YBAs (Young British Artists). When you think about your sexual history, what do you feel? The name was scandalous, specially because the tent contained over 100 names, but it was quite literal: it included the name of her grandmother and other family members, because she literally meant. [5] She reconciled with Saatchi in 1999. Regret? Gleadell, Colin (2003). Carl m'a dit que je devais faire un travail plus important car il pensait que les petites choses que je faisais à l'époque ne sont pas assez consistantes. Le titre est souvent mal interprété, comme un euphémisme indiquant les partenaires sexuels et le travail renommé « la liste de toutes les personnes avec qui Emin a eu des relations sexuelles », mais se veut en fait plus inclusif[1] : La liste des noms reprend des membres de sa famille, des amis, des partenaires buveurs, des amants et même deux fœtus numérotés[1]. Retrieved 19 June 2007. Emin a décrit la genèse du travail, qui s'est avéré inopinément être le clou de la série[1] : Emin refuse de vendre son travail à Charles Saatchi parce qu'elle désapprouvait son travail de publicités électorales pour Margaret Thatcher, qu'elle accusait de « crimes contre l'humanité »[6]. À cette époque, Emin n'avait pas atteint le niveau de célébrité auquel elle est arrivée par la suite, et était principalement connue dans les milieux de l'art. At that time Emin had not achieved the level of fame which she was to later, and was mainly known in art circles; she was fortunate to be able to exhibit alongside much better-known artists such as Damien Hirst, Gilbert and George and Sarah Lucas. Template:Cquote, The names include family, friends, drinking partners, lovers and even two numbered foetuses. Everyone I Have Ever Slept With 1963–1995 (1995), also known as "The Tent", [1] was an artwork created by Tracey Emin RA (born 3 July 1963), an English artist and a leading member of the group known as Britartists or YBAs (Young British Artists).The work was a tent with the appliquéd names of, literally, everyone she had ever slept with, but not necessarily in the sexual sense. You probably feel a mix of all of those things, because even if you currently have a great sex life, everyone had a rocky start. An exterior view of the work. Emin became famous after she nearly received the coveted Turner Prize in 1999. Of course, people misinterpreted this work about intimacy and closeness. Dans The Independent, Jerome Taylor s'est demandé s'il s'agissait d'un coup de publicité[14]. Tracey Emin calls Everyone I Have Ever Slept With 1963–1995 "my tent"[2] or "the tent"[3] and considers it to be one of the two "seminal pieces" she has created (the other being My Bed);[2] she has described both pieces as "seminal, fantastic and amazing work". Embarrassment? Retrieved 3 August 2008. Retrieved 19 June 2007. World Heritage Encyclopedia™ is a registered trademark of the World Public Library Association, a non-profit organization. [14], In collaboration with Uri Geller, artist Stuart Semple collected remains from the Momart fire site and packaged them in 8 plastic boxes under the title Burn Baby Burn; the boxes had slogans in pink lettering, including "RIP YBA" which referred to the Young British Artists amongst whom Emin is classified. "Tracey Emin with Barry Barker", University of Brighton, 3 December 2003. Emin a donné un point de vue flegmatique sur la destruction de son travail, déclarant que « La nouvelle survient entre les mariages irakiens bombardés et les morts en République dominicaine lors d'inondations soudaines, nous devons donc la mettre en perspective »[11]. The Daily Telegraph, 18 July 2004. This article will be permanently flagged as inappropriate and made unaccessible to everyone. in the same bed with someone. Retrieved 19 June 2007. Emin et les Chapman sont représentés par la galerie White Cube à Londres. That was her inspiration for her next work, Everyone I Have Ever Slept With 1963-1995. Nonetheless, those who entered the tent perceived the feelings that inspired this piece thanks to the reduced and enclosed space. That was her inspiration for her next work, Everyone I Have Ever Slept With 1963-1995.
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