Reader TTS

The title of the exhibition, with its science fiction ring, refers both to one of the artist's sculptural practices – "extrude" means "to shape a material such as metal

or plastic by forcing it through a die – and to one of her favourite materials: extruded polystyrene. Born in 1953 in Floirac (France), Anita Molinero graduated in 1977 from the École

Supérieure des Beaux-Arts in Marseille. Her work has been exhibited since the late 1990s in major institutions including MAMCO in Geneva and Le Consortium in Dijon.She has also carried out

public commissions, notably for the City of Paris and for the Ile de France Region, with the Porte de la Villette tram stop in 2012. Throughout her career, she has taught in various art

schools in France. Molinero is one of the few French artists of her generation to express herself exclusively through sculpture. Often monumental and chaotic, her works disfigure everyday

objects and cheap materials: trash cans, exhaust pipes, rebars, extruded polystyrene and other consumer society detritus. In transforming her materials she succeeds in bringing out all their

brutality and instability. This mainly chronological exhibition is divided into two parts. The first, a retrospective, focuses on the gestures characteristic of Molinero's work, while

the second is dedicated to new creations which anchor her work in a futuristic world. Echoing the forty or so works presented in the exhibition rooms, other areas of the museum – notably the

pool on the esplanade between the Palais de Tokyo and the Musée d'Art Moderne – will be occupied by monumental installations. In addition, _Extrudia 3D_, the experimental 3D film

directed by José Eon, presents Anita Molinero's studio work in fictional form. A lavishly illustrated catalogue (in French) confronts complementary points of view from theorists and art

world professionals, while situating the artist's work in the history of art and the contemporary art scene in essays by Anne Giffon-Selle (director of CRAC 19 Montbéliard) and Paul

Bernard (specialist advisor to the exhibition and curator at MAMCO Geneva). In addition, an interview between the artist and Olivia Gaultier-Jeanroy (curator of the exhibition) addresses the

issue of the future of sculpture. The specific character of Molinero's practice is considered in a text by artist Stéphanie Cherpin and her marked cinematic influences are gone into by

film critic Eugénie Filho. These essays are punctuated by commentaries on Molinero's works by artist Nina Childress, collector Natalie Seroussi and author Alain Damasio.