In the early 1990s, North American feminists gave birth to the underground punk movement Riot GRRRLS. On a page from one of their zines titled My Life With Evan Dodo, Popstar, published in 1994, this sentence, in handwriting: Confuse “truth” with fiction. Attempt to decentralize the manufacturing of “truth”. Use images as as weapon. »(Confuse truth with fiction, try to decentralize the manufacture of truth. Use images as weapons.)

Énora Denis has seized on this aphorism, she triturates and confronts the pixels, ink and paper to bring out a rewrite of history. Creation after creation, she develops a work where reality and fiction intermingle in the service of a cynical, transgressive and often parodic re-reading of the world in which we live.

As a forger of the past, Énora Denis captures our gaze, penetrates our cranial box and reprograms the software of our brain to imprint a new collective memory on it. In this reinvented imagination, a stack of copies of the New York Times attest that the woman walked on the Moon (One giant leap for women, 2019), the Pope reveals herself a High Priestess (2019), the legendary console of the 90s 'Calls the Game Girl (2013) and female artists of centuries past are so recognized that they benefit from a plethora of Retrospectives (2018). A rewriting of myths to realize a fantasized imagination.

Énora Denis also brings out the hidden or invisible reality through a series of works on the body, whether it is the constrained body of gymnasts (Carcans, 2020), her own body, released illegally (Procréation , since 2020), of the proudly displayed female body of Cameltoe Pride (2020) or of the transformed body (Hands holding phone filming concert allowing to drink a beer, 2019).

Internet and tumblrism girl - which would consist for an artistic or curatorial practice in creating on demand the conditions for its own dissemination - the artist plays with images brilliantly. The Governmental Tapestries (2014), necessarily outrageous, to which its visual hackings cling, operate as a hiatus revealing both the appropriation of the show by the political field and its subsequent dissolution in the fields of information and communication.

In 2012, in her text History as a story-telling read during a concert conference, the musician and critic Tobi Vail questioned: sum of information, facts, characters, names and dates? Isn't that more a certain way of telling? The story told by Énora Denis is not factual. It is just a way of telling the story.

Clara Tellier Savary