{"id":149891,"date":"2018-09-01T12:34:00","date_gmt":"2018-09-01T17:34:00","guid":{"rendered":"https:\/\/esse.ca\/?post_type=compte-rendu&p=149891"},"modified":"2022-03-24T09:39:52","modified_gmt":"2022-03-24T14:39:52","slug":"celia-perrin-sidarous","status":"publish","type":"compte-rendu","link":"https:\/\/esse.ca\/en\/reviews\/celia-perrin-sidarous\/","title":{"rendered":"Celia Perrin Sidarous"},"content":{"rendered":"\n
\"Siadrous_Toujours
Celia Perrin Sidarous<\/strong>
Toujours la coquille de l\u2019autre always the shell of another,<\/em> vue d\u2019installation, Parisian Laundry, Montr\u00e9al, 2018.
Photo : Maxime Brouillet, permission de l\u2019artiste et de Parisian Laundry, Montr\u00e9al<\/figcaption><\/figure>\n\n\n\n
\u00ab\u2009Des coquillages comme des madeleines.\u2009\u00bb Cette phrase, \u00e9crite par Iliana Antonova, accompagne la deuxi\u00e8me exposition individuelle de Celia Perrin Sidarous pr\u00e9sent\u00e9e par sa galerie, comprenant une s\u00e9rie de photographies, des objets en c\u00e9ramique et un film 16 mm. Rendues c\u00e9l\u00e8bres par Proust dans son roman \u00c0 la recherche du temps perdu, les madeleines sont synonymes du ph\u00e9nom\u00e8ne de r\u00e9miniscence, lorsque la m\u00e9moire ram\u00e8ne \u00e0 l\u2019esprit un souvenir lointain, souvent associ\u00e9 aux affects, dont on ne sait plus s\u2019il nous appartient vraiment ou s\u2019il r\u00e9f\u00e8re \u00e0 une exp\u00e9rience collective, qui nous aurait \u00e9t\u00e9 racont\u00e9e et qu\u2019on aurait \u00e9trangement faite sienne. Toute la d\u00e9marche de Perrin Sidarous, dont les collages photographiques s\u2019apparentent \u00e0 de petits po\u00e8mes visuels, tient dans ce concept.<\/pre>\n\n\n\n
V\u00e9ritables palimpsestes, les \u0153uvres condensent en elles-m\u00eames plusieurs temporalit\u00e9s suscit\u00e9es par leurs m\u00e9diums aux connotations pr\u00e9cises \u2013 le noir et blanc ou la couleur, la pellicule, la c\u00e9ramique \u2013 et les mati\u00e8res repr\u00e9sent\u00e9es. Min\u00e9raux, v\u00e9g\u00e9taux, poteries ou vestiges architecturaux \u00e9rig\u00e9s par l\u2019\u00eatre humain cohabitent et t\u00e9moignent alternativement du temps long, du temps court et du temps cyclique. Alors que l\u2019artiste a d\u00e9j\u00e0 us\u00e9 de l\u2019id\u00e9e du point de vue pour \u00e9voquer le travail m\u00e9moriel, des ouvertures et des effets de cadrage dirigeant le regard, et les pens\u00e9es qui l\u2019accompagnent, du pr\u00e9sent vers le pass\u00e9 ou le futur, ici, c\u2019est plut\u00f4t le processus d\u2019\u00e9rosion, provoqu\u00e9 par la force des \u00e9l\u00e9ments \u2013 l\u2019eau, le vent, le soleil \u2013, qui engage cette r\u00e9flexion. Explor\u00e9 \u00e0 travers une m\u00e9taphore fil\u00e9e, il touche aussi bien au contenu qu\u2019au traitement du film : les ruines grecques et leurs versions miniatures sont rong\u00e9es au m\u00eame titre que la pellicule, trou\u00e9e ou surexpos\u00e9e par le soleil. La r\u00e9p\u00e9tition ou le retour d\u2019une m\u00eame s\u00e9quence, hoquet de l\u2019esprit qui revisite un \u00e9v\u00e8nement pass\u00e9 pour l\u2019observer \u00e0 la lumi\u00e8re d\u2019un contexte pr\u00e9sent, est une autre strat\u00e9gie formelle exploit\u00e9e par Perrin Sidarous, qui en fait un proc\u00e9d\u00e9 d\u2019articulation du film et de l\u2019exposition. Les m\u00eames c\u00e9ramiques existent ainsi dans leur mat\u00e9rialit\u00e9, sur le socle tr\u00f4nant au centre de la galerie, dans leurs versions photographiques, pr\u00e9sent\u00e9es au mur, et dans leur fonction utilitaire, manipul\u00e9es dans le film au sous-sol, ce qui provoque des sensations de d\u00e9j\u00e0-vu.<\/p>\n\n\n\n
Si ces moyens sont ceux auxquels l\u2019artiste nous a habitu\u00e9s, c\u2019est la rh\u00e9torique des modes de pr\u00e9sentation choisis, les dispositifs sc\u00e9nographiques du mus\u00e9e ethnographique rencontrant les codes typiques des publicit\u00e9s des Trente Glorieuses, qui surprennent ici, sugg\u00e9rant une autre piste \u00e0 suivre. Des mains f\u00e9minines, \u00e9l\u00e9gantes et manucur\u00e9es, manipulent de fa\u00e7on didactique des r\u00e9cipients et un livre, en prenant parfois la pose\u2009; des objets d\u00e9coratifs de facture artisanale, fonctionnels en apparence, sont \u00e9tal\u00e9s le long d\u2019un comptoir, telles des marchandises. Ce focus sur les mains, le maniement et le faire, ram\u00e8ne \u00e0 l\u2019avant-plan l\u2019importance des traces qui survivent au passage du temps, et gr\u00e2ce auxquelles on interpr\u00e8te les \u00e9poques qui nous ont pr\u00e9c\u00e9d\u00e9s. Quels seront les vestiges de notre pr\u00e9sent\u2009?<\/p>\n
Anne-Marie St-Jean Aubre, Celia Perrin Sidarous<\/div>","protected":false},"excerpt":{"rendered":" Parisian Laundry,<\/strong> Montr\u00e9al,
 <\/br>du 13 avril au 19 mai 2018<\/br>","protected":false},"author":15,"featured_media":159034,"template":"","categories":[884],"numeros":[6512],"disciplines":[],"statuts":[],"checklist":[],"auteurs":[1058],"artistes":[1836],"type_compte-rendu":[],"yoast_head":"\nCelia Perrin Sidarous – Esse<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/esse.ca\/en\/reviews\/celia-perrin-sidarous\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Celia Perrin Sidarous\" \/>\n<meta property=\"og:description\" content=\"Parisian Laundry, Montr\u00e9al, du 13 avril au 19 mai 2018\" \/>\n<meta property=\"og:url\" content=\"https:\/\/esse.ca\/en\/reviews\/celia-perrin-sidarous\/\" \/>\n<meta property=\"og:site_name\" content=\"Esse\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/fr-ca.facebook.com\/revue.esse\" \/>\n<meta property=\"article:modified_time\" content=\"2022-03-24T14:39:52+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/esse.ca\/wp-content\/uploads\/2022\/03\/94_CR10_St-JeanAubre_Siadrous_Toujours-la-coquille-de-lautre2-scaled.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"2560\" \/>\n\t<meta property=\"og:image:height\" content=\"1707\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:site\" content=\"@revue_esse\" \/>\n<meta name=\"twitter:label1\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data1\" content=\"3 minutes\" \/>\n<!-- \/ Yoast SEO Premium plugin. -->","yoast_head_json":{"title":"Celia Perrin Sidarous – Esse","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/esse.ca\/en\/reviews\/celia-perrin-sidarous\/","og_locale":"en_US","og_type":"article","og_title":"Celia Perrin Sidarous","og_description":"Parisian Laundry, Montr\u00e9al, du 13 avril au 19 mai 2018","og_url":"https:\/\/esse.ca\/en\/reviews\/celia-perrin-sidarous\/","og_site_name":"Esse","article_publisher":"https:\/\/fr-ca.facebook.com\/revue.esse","article_modified_time":"2022-03-24T14:39:52+00:00","og_image":[{"width":2560,"height":1707,"url":"https:\/\/esse.ca\/wp-content\/uploads\/2022\/03\/94_CR10_St-JeanAubre_Siadrous_Toujours-la-coquille-de-lautre2-scaled.jpg","type":"image\/jpeg"}],"twitter_card":"summary_large_image","twitter_site":"@revue_esse","twitter_misc":{"Est. reading time":"3 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"WebPage","@id":"https:\/\/esse.ca\/en\/reviews\/celia-perrin-sidarous\/","url":"https:\/\/esse.ca\/en\/reviews\/celia-perrin-sidarous\/","name":"Celia Perrin Sidarous – Esse","isPartOf":{"@id":"https:\/\/esse.ca\/#website"},"primaryImageOfPage":{"@id":"https:\/\/esse.ca\/en\/reviews\/celia-perrin-sidarous\/#primaryimage"},"image":{"@id":"https:\/\/esse.ca\/en\/reviews\/celia-perrin-sidarous\/#primaryimage"},"thumbnailUrl":"https:\/\/esse.ca\/wp-content\/uploads\/2022\/03\/94_CR10_St-JeanAubre_Siadrous_Toujours-la-coquille-de-lautre2-scaled.jpg","datePublished":"2018-09-01T17:34:00+00:00","dateModified":"2022-03-24T14:39:52+00:00","breadcrumb":{"@id":"https:\/\/esse.ca\/en\/reviews\/celia-perrin-sidarous\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/esse.ca\/en\/reviews\/celia-perrin-sidarous\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/esse.ca\/en\/reviews\/celia-perrin-sidarous\/#primaryimage","url":"https:\/\/esse.ca\/wp-content\/uploads\/2022\/03\/94_CR10_St-JeanAubre_Siadrous_Toujours-la-coquille-de-lautre2-scaled.jpg","contentUrl":"https:\/\/esse.ca\/wp-content\/uploads\/2022\/03\/94_CR10_St-JeanAubre_Siadrous_Toujours-la-coquille-de-lautre2-scaled.jpg","width":2560,"height":1707,"caption":"Celia Perrin Sidarous, Toujours la coquille de l\u2019autre always the shell of another, vue d\u2019installation, Parisian Laundry, Montr\u00e9al, 2018. 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