MILO MOIRÉ | Conceptual Artist

Milo Moiré was born in Switzerland and is of Spanish-Slovakian descent. The swiss artist lives and works in Dusseldorf, Germany.

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As a child she preferred drawing to dolls. When she was seven years old, there was nothing else she wanted more for her birthday than a large box of crayons. Observing people, interpreting and capturing their moods, developed into an urge to express things in images and to provide them with a space between speech and perceived apprehension.

“Since I was able to think, I have always been interested in unusual things. I liked to watch. I was an introverted child. Ecs laptops & desktops driver download for windows. In every school there are the so-called misfits. These were exactly the children that fascinated me. For me they were like a rainbow, the ascent from the earthly to the heavenly dimension.”

The expressive works of Edvard Munch, Käthe Kollwitz, Maria Lassnig, Frida Kahlo, Francis Bacon and H.R. Giger inspired a young Milo to create her own paintings, in which man and his body are central themes. Consistently concentrating on man and his perception, the artist studied psychology with a focus on cognitive, neuro- and perceptual psychology at the University of Bern, in Switzerland. After graduating with a degree in psychology, she decided to fully implement the elements of the body and her knowledge of the psyche to her art.

Milo Moiré credits her fascination with performance art to a 2006 radio interview with Marina Abramovic. At the time, Moiré was on the Spanish island of Tenerife. She listened attentively to Abramovic’s words on the radio and was completely captivated by the artist’s courage and the artistic power of her body. She began to develop ideas for her own performances. Milo Moiré also began to grapple with the pornographic content in art, as in the works of performance artists Paul McCarthy, Carolee Schneemann, Valie Export and in the comics of author Alan Moore (“Lost Girls”).

Milo Moiré’s works are inspired by satirical images of sexuality, and are shaped by the feeling of otherness and the admiration for moral distance. Her art suddenly experienced international exposure following the online debut of her performance “The Script System” in 2013.

Milo Moiré and the renowned photographer Peter Palm have been an unconventional artist couple for over a decade. The world-famous art performances were created in close collaboration between the two. From 2005 to 2020, Peter Palm also produced a large series of eclectic and aesthetic nude photographs featuring Milo Moiré. The pictures exude a powerful confidence of the naked body – strong, striking, challenging and always seductive.

“The intimacy and candour in the pictures result from a symbiotic bond between the person in front of the camera and the person behind it, from the intimate dialogue between Peter and I“, Moiré explains.

A selection of fine art nude photographs by Milo Moiré/ Peter Palm, is now available in the online art gallery (www.unlimitedmuse.com). The galerie offers a selection of hand-signed, limited photo prints from Milo Moiré’s works.

2002: Primary school teacher diploma with distinction for her final paper in art and design on the subject of “Separation“ (painting, drawing), Lucerne (Switzerland)
2011: Master/ Lic.phil. Psychology magna cum laude (Cognition, Perception and Neuropsychology), University of Berne (Switzerland)
2011: Performance “The Wall Speech“, Night of the museums Dusseldorf (Germany)
2012: Group exhibition Painting at the art house Popescu, Kunstpunkte Dusseldorf (Germany)
2013: Art-Movie-Performance “The Split Brain” – “The true face doesn’t exist!”, Dusseldorf (Germany)
2013: Website www.milomoire.com online
2013: Performance “The Script System” – “Daily life is characterized by “human automats “. Can we break the stereotyped action?”, Dusseldorf (Germany)
2014: Performance “The PlopEgg Painting” – “A Birth of A Picture”, Art Cologne, Cologne (Germany)
2014: Performance “The Script System“- “Art fairs- a Script, dominated by bills”, Art Basel (Basel, Switzerland)
2015: Performance “The naked life” – “How little abstraction can art tolerate?”, LWL-museum, Münster (Germany)
2015: Performance “Plopegg The Blue Mauritius“- “Milo Moiré’s tryst with the creation”, Mauritius
2015: Performance-Series “Naked Selfies” – “Milo Moiré as nude AVATAR of self-exposure”, Art Basel (Basel, Switzerland), Düsseldorf (Germany); Paris (France)
2015: Performance “Naked Selfies: Show everything and you are”, exhibition opening “Ego Update: The future of the digital identity, NRW-Forum Dusseldorf (Germany)
2016: Performance “Protest Over Cologne Sex Attacks”: Respect us! We’re not fair game, even when we are naked!!!, Cologne (Germany)
2016: Performance “Mirror Box: A Mirror of Consent in Sexual Activity”, Düsseldorf (Germany), London (UK), Amsterdam (NL)
2017: Performance “Ceci n’est pas une femme nue” – Documenta 14, Kassel (Germany)
2017: Performance “Ceci n’est pas une femme nue” – Opening of the retrospective of Tomislav Gotovac, Museum of Modern and Contemporary Art, Rijeka (Croatia)
2017: Performance “Plopegg Painting Performance” – Opening of the retrospective of Tomislav Gotovac, Museum of Modern and Contemporary Art, Rijeka (Croatia)
2019: Performance “Is this art or can I clean up?” –Art Academy Dusseldorf (Germany)
2020: Performance “Dildomobil” – Düsseldorf (Germany)

Milo Moiré’s performance series “Ceci n’est pas une femme nue” (This is not a naked woman) is a rudimentary and, to a certain extent, pioneering documentation of augmented reality (AR). The world we live in is full of computer-based reproductions. We often prefer to view the digital image rather than wishing to grasp the direct original with all our senses. Dynojet research port devices driver. This has led to an altered grammar of perception. We have augmented our reality through new technologies like smartphones. The era of a visible new reality has begun.

For her performances Moiré puts on a virtual reality (VR) headset and visits various major art exhibitions, for example, Documenta 14 in Kassel. She does so naked. On her backside and pubic area, binary codes represent the word “digitized” through a sequence of the digits 0 and 1. The sentence “Ceci n’est pas une femme nue” can be read between Moiré’s shoulders and on her chest. With her VR headset, the artist looks at an iPhone placed directly in front of her eyes. It provides an indirect, virtual view of the artworks supplemented with additional information, such as her coordinates. At the same time, Facebook viewers can follow and comment on the digital video images from Moiré’s VR headset in real time. A second camera simultaneously films the artist from an external perspective.

The Surrealist painter René Magritte made it clear that “an image is not to be confused with something you can touch”. In 1928 he painted a picture of a pipe and wrote “Ceci n’est pas une pipe” (This is not a pipe) on to the painting. “Can you fill my pipe? Of course not! It is only a representation. If I had written ‘This is a pipe’ on my picture, I would have been lying”, explained Magritte.

Milo Moire Twitter Profile

Almost exactly 90 years later, we find ourselves in the midst of a profound revolution. Our perspective on the world has completely changed. Today, instead of merging dream and reality like the Surrealists, we expand our real world through virtual aspects. Magritte’s pipe is more relevant than ever. Moiré provides a contemporarily relevant illustration of this through her performance “Ceci n’est pas une femme nue”.

Milo Moire Twitter Photos

We catch sight of a naked woman through digital media, but we can’t stroke her skin. “Ceci n’est pas une femme nue” raises the question: “How is the public space changing, as the digital space now replaces or, alternatively, reshapes the public space? As the digital nude superimposes itself over the optical nude? Is the reproduction and distribution in digital space triggering a disintegration in real space?”

People are connected in real time in front of their screens and take in additional information which goes beyond their eyes. The real body is shifting into the digital space. Will this result in our isolating ourselves within augmented reality? Paradoxically feeling trapped in our bodies through this expansion? Or will we finally dissolve the body beyond recognition within the digital space? “Ceci n’est pas une femme nue.” Really?!