PIERRE RIVIERRE COLLECTION BY TAHA HAMED

The “pierre rivierre” was a French boy who killed his family as a justify process.

He thought, he can make everything better and he decided to do that but in his own way and by using a lot of violence.

The main concept of his ideology is from napoleon, from 18th And also we can see the familiar radical point of views in many other leaders

so in this collection painter trying to illustrating different scene of pierres life and maybe the places that he first start to think about crime.

In farms , the place that he born, grow up and died.

This catalog present a collection of paintings and silk prints with psychological and asthmatics trends , to figure out what happen when someone become murderer or antisocial.

is it a momentary reaction or a deep seed in memory and brains of A PERSON ?

this artworks also trying to show the desires, characters and people to cause ‘pierre’ messed up and make him insane, including his family and freands.

When The two big tormentor of his memory are in the war it’s very HARD for him to realize good from bad and reality from illusion.

edited book, I, Pierre Rivière, having slaughtered my mother, my sister and my brother… A case of parricide in the 19th century, includes the court documents and newspaper reports from the 1835 trial of Pierre Rivière, Pierre Rivière’s memoir written while in prison, and the “analytic notes” written by Foucault and his colleagues. Whereas the court focused on the question of whether Pierre Rivière was of sane mind or not, Foucault and his colleagues sought to avoid the closure that such categorical thinking invites the reader into. This paper introduces the story of Pierre Rivière, and opens up some of the questions to be addressed in this special issue. The papers examine the memoir, the accompanying documents, and Foucault’s and his colleagues’ take on them, and reopen discussion of the Pierre Rivière case and its contemporary twenty-first century relevance, using a combination of both philosophical ethnography and arts-based enquiry. These contemporary papers are based upon a series of interdisciplinary workshops and seminars that took place at the University of Bristol during 2010. In this introductory paper we ask what was the emotional geography of this young man who engaged in such an unthinkable act? And how did that geography intersect with the emotional geography of his village in France in 1835, and what does it still have to tell us about our own contemporary society?