And perhaps that is the most decadent thing of all: a masterpiece that never wanted to be found, created by women who refused to be forgotten—yet built their art precisely from the materials of being overlooked.
“We are not pretending to decay,” said Marie-Thérèse, the event’s de facto organizer, in her only interview (published in a now-defunct zine called Velvet Walker ). “Young artists talk about chaos and rupture. But we have outlived husbands, careers, childbearing, even our own teeth. That is real decadence—not a pose, but a patience.” grandmams221015granniesdecadenceartpart
Yet precisely this obscurity makes the event valuable. In an era when every art gesture is tracked, tokenized, and monetized, the Grandmams created something un-capturable. No merch. No press kit. No follow-up show (they tried to plan one for 2016, but two members moved to Portugal, and one sadly passed away). And perhaps that is the most decadent thing
The date—October 22, 2015—was chosen for its insignificance. No holiday, no full moon, no biennial. Just a Thursday when the rent was due and the radiators barely worked. One of the most radical choices of “grandmams221015granniesdecadenceartpart” was its refusal to use elderly women as symbols. In contemporary art, older bodies often stand for memory, loss, or wisdom. The Grandmams rejected all three. They were not fragile storytellers or cute anarchists. They chewed hard candies loudly, argued about bingo strategy, and at one point, three of them performed a slow-motion mockery of a mosh pit while holding handbags. But we have outlived husbands, careers, childbearing, even
The surviving video ends with a shaky camera pan across the sofas. One Grandmam is asleep, snoring lightly, a half-knitted scarf in her lap. Another is whispering to a neighbor inaudibly. A third is staring directly at the camera for a full forty seconds, expressionless, then slowly winks.
The keyword itself——was never meant to be searchable. It was a private mnemonic, scrawled on the back of a grocery receipt by Marie-Thérèse’s grandson, who helped carry the folding chairs. That it survives at all is an accident of digital archaeology.
This was not nostalgia. There were no sentimental slideshows of youth. Instead, one installation—simply called The Second Wrinkle —featured a looped projection of a single hand applying cold cream for eighty-three minutes. The audience sat in folding chairs that squeaked every time someone shifted weight. A younger attendee reportedly whispered, “I think I’m supposed to be bored,” to which a Grandmam overheard and replied, “Finally. You’re getting it.” The latter half of the keyword—“artpart”—originally referred to the portion of the evening intended for “active viewing.” After two hours of unstructured murmuring and the occasional recitation of supermarket lists as poetry (delivered with deadpan seriousness by an 84-year-old former librarian named Odile), the art part began.