{"id":145301,"date":"2014-09-01T15:18:10","date_gmt":"2014-09-01T20:18:10","guid":{"rendered":"https:\/\/esse.ca\/?post_type=compte-rendu&p=145301"},"modified":"2023-05-31T14:52:02","modified_gmt":"2023-05-31T19:52:02","slug":"ragnar-kjartansson","status":"publish","type":"compte-rendu","link":"https:\/\/esse.ca\/compte-rendu\/ragnar-kjartansson\/","title":{"rendered":"Ragnar Kjartansson"},"content":{"rendered":"
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Ragnar Kjartansson<\/strong>
Me, My Mother, My Father, and I<\/em>, vue d\u2019installation, New Museum, New York, 2014.
Photo : Benoit Pailley, permission du New Museum, New York<\/figcaption><\/figure><\/div>\n\n\n
[In french] \n\nMe, My Mother, My Father, and I<\/em> de Ragnar Kjartansson joue de l\u2019entrelacement de la r\u00e9alit\u00e9 et de la fiction pour articuler sa mythologie factuelle d\u2019artiste. L\u2019\u0153uvre phare de l\u2019exposition Take Me Here by the Dishwasher : Memorial for a Marriage<\/em> (2011\/2014) participe de cette r\u00e9alit\u00e9 all\u00e9gorique. La projection en boucle est une sc\u00e8ne tir\u00e9e du film Mordsaga<\/em> (1977), tourn\u00e9e le jour m\u00eame de la conception de l\u2019artiste, o\u00f9 les parents de Kjartansson interpr\u00e8tent les protagonistes d\u2019un fantasme torride entre une m\u00e9nag\u00e8re et un plombier. Elle s\u2019accompagne d\u2019une performance continue de dix musiciens jouant une harmonie polyphonique compos\u00e9e par Kjartan Sveinsson \u00e0 partir des r\u00e9pliques de la sc\u00e8ne. Tels des troubadours, ils errent \u00e0 travers le public et le mobilier domestique mis \u00e0 leur disposition en scandant le dialogue laconique de la courte sc\u00e8ne, d\u00e9clamant en quelque sorte la l\u00e9gendaire gen\u00e8se de l\u2019artiste. Les voix envahissent l\u2019espace \u00e0 la mani\u00e8re d\u2019un chant liturgique troquant la parabole divine contre la m\u00e9taphore coquine des origines de Kjartansson. Dans un effet m\u00e9lancolique, la mise en sc\u00e8ne \u00e9l\u00e8ve l\u2019anecdotique au rang de l\u2019\u00e9pique, nous for\u00e7ant ainsi presque au recueillement.<\/pre>\n\n\n\n
Au-del\u00e0 de sa force fantaisiste, Take Me Here by the Dishwasher<\/em> \u00e9voque les rapports intimes et contradictoires des univers fictifs et r\u00e9els. Les r\u00e9alit\u00e9s perform\u00e9es et v\u00e9cues par les parents se nouent autour d\u2019une incontournable th\u00e9\u00e2tralit\u00e9 du quotidien. Le vrai est la mati\u00e8re de la fiction qui ne se manifeste en somme toujours que r\u00e9ellement. Ce tissage sensible de la fiction et du r\u00e9el se trouve aussi au c\u0153ur de Me and My Mother<\/em> (2000, 2005 et 2010), une s\u00e9rie de trois vid\u00e9os o\u00f9 la m\u00e8re de l\u2019artiste, l\u2019actrice Gudr\u00fan \u00c1smundsd\u00f3ttir, lui crache au visage \u00e0 r\u00e9p\u00e9tition. La violence du geste est jou\u00e9e et surjou\u00e9e jusqu\u2019\u00e0 y perdre sa cruaut\u00e9 et se muer en l\u2019expression touchante de l\u2019amour parental. La brutalit\u00e9 perform\u00e9e par la m\u00e8re aimante r\u00e9duit l\u2019actrice de talent au pi\u00e8tre cabotinage et, tandis que l\u2019affection authentique rattrape la fiction, notre aversion s\u2019estompe. Sous l\u2019allure d\u2019un memento mori grossier, Kjartansson nous fait la d\u00e9licate d\u00e9monstration de la p\u00e9rennit\u00e9 de l\u2019amour inconditionnel.<\/p>\n\n\n\n
La s\u00e9rie de dessins Raging Pornographic Sea<\/em> (2012), r\u00e9alis\u00e9e en collaboration avec son p\u00e8re, Kjartan Ragnarsson, met en \u00e9vidence les enjeux h\u00e9r\u00e9ditaires du mythe de Kjartansson. Les noms en miroir du p\u00e8re et du fils se doublent de la ressemblance d\u00e9concertante de leur style graphique. Les identit\u00e9s se dissolvent l\u2019une dans l\u2019autre, se rejoignant autour de la mer, motif incarn\u00e9 du romantisme, et font \u00e9cho \u00e0 la m\u00e9galomanie manifeste de Take Me Here by the Dishwasher<\/em>. L\u2019hymne \u00e0 la fois path\u00e9tique et glorieux prend, au contact des \u0153uvres, une dimension mystique, sans y perdre sa candeur. Kjartansson manipule les outils et les st\u00e9r\u00e9otypes romantiques et m\u00e9lodramatiques \u00e0 rebours de l\u2019ironie postmoderne, ce qui donne lieu \u00e0 une v\u00e9ritable \u00e9motion. \u00c9nonc\u00e9 hors des pr\u00e9jug\u00e9s divins, le g\u00e9nie artistique s\u2019incarne dans une g\u00e9n\u00e9alogie affectueuse comme le fier maillon d\u2019une histoire d\u2019amour \u00e9mouvante de banalit\u00e9. Cette inhabituelle na\u00efvet\u00e9 de la l\u00e9gende d\u2019artiste d\u00e9voile enfin une fable conviviale o\u00f9 l\u2019amour est c\u00e9l\u00e9br\u00e9 avec une profondeur franche qui nous pr\u00e9serve d\u2019une ennuyeuse gravit\u00e9.<\/p>\n
Dominique Sirois-Rouleau, Ragnar Kjartansson<\/div>","protected":false},"excerpt":{"rendered":"New Museum,<\/strong>    New York
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