Without a doubt, it is her self-portraits that have aroused the greatest interest among theoreticians of contemporary culture. Here the artist uses her own image to expose, one by one, the clichés of feminine and masculine identity. Claude Cahun (née Lucy Renée Mathilde Schwob) reinvented herself through photography (just as she did in her writing), posing for the lens with an acute sense of “performance,” whether dressed as a woman or as a man, with her hair short, long or shaven (which was extremely incongruous for women at this time). However, to speak of identity is also to speak, indirectly, of the body, and by the same token of the self-image that one projects and that becomes social as soon as it is shared. Unlike other artists – mainly men – who made portraits but never or very rarely exposed their own person to the lens (Man Ray, Hans Bellmer, André Kertész), Claude Cahun was at once the object and the subject of her artistic experiments. This is borne out by the care with which she chose her poses and expressions, the backgrounds she used (fabric, bedspreads, sheets, hangings), and her use of specific props (masks, capes, overgarments, glass balls, etc.) – even if the real focus of the image was still the face.
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