{"id":169456,"date":"2022-07-13T11:00:00","date_gmt":"2022-07-13T16:00:00","guid":{"rendered":"https:\/\/esse.ca\/?post_type=compte-rendu&p=169456"},"modified":"2022-08-11T08:21:52","modified_gmt":"2022-08-11T13:21:52","slug":"claire-tabouret-i-am-spacious-singing-flesh","status":"publish","type":"compte-rendu","link":"https:\/\/esse.ca\/compte-rendu\/claire-tabouret-i-am-spacious-singing-flesh\/","title":{"rendered":"Claire Tabouret: I am spacious, singing flesh<\/em>"},"content":{"rendered":"\n
Les explorations de Claire Tabouret sur les subjectivit\u00e9s et les \u00e9tapes ponctuant le cheminement identitaire f\u00e9minin sont rendues visibles au Palazzo Cavanis, dans le quartier Dorsoduro. Figurant parmi les \u00e9v\u00e8nements collat\u00e9raux de la 59e<\/sup> Biennale de Venise, l\u2019exposition r\u00e9trospective de l\u2019artiste multidisciplinaire regroupe, dans une facture minimaliste, 25 \u0153uvres de la derni\u00e8re d\u00e9cennie qui rendent compte d\u2019une r\u00e9flexion sur le tiraillement des femmes entre leur identit\u00e9 propre et collective. \n<\/pre>\n\n\n\n
Dans des peintures, des sculptures et un film, tous r\u00e9partis dans diff\u00e9rentes salles donnant sur le canal de la Giudecca, Tabouret capte les \u00e9tapes de transformation de l\u2019identit\u00e9 f\u00e9minine, dont l\u2019adolescence. Les portraits The Spell<\/em> (2018), r\u00e9alis\u00e9 d\u2019apr\u00e8s une photographie de la jeune gymnaste Nadia Comaneci, et Makeup (Shadow)<\/em> (2018) repr\u00e9sentent l\u2019anxi\u00e9t\u00e9 qui se cache derri\u00e8re cette p\u00e9riode charni\u00e8re o\u00f9 les jeunes filles tentent d\u2019exprimer leur besoin d\u2019exister puissamment \u00e0 travers les artifices du maquillage et un touchant regard frontal. <\/p>\n\n\n\n
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\"Claire-Tabouret_The_Spell\"
Claire Tabouret<\/strong>
The Spell<\/em>, 2018.
Photo : Marten Elder, permission de l’artiste<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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\"Claire-Tabouret_Makeup(shadow)\"
Claire Tabouret<\/strong>
Makeup (Shadow)<\/em>, 2018.
Photo : Martin Argyroglo, permission de l’artiste
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Parall\u00e8lement, dans le jardin int\u00e9rieur du b\u00e2timent, se trouvent deux sculptures de baigneuses faisant office de fontaines. Les deux compositions regroupent des adolescentes dont la posture et l\u2019expression faciale traduisent un ennui et un profond mal\u00eatre \u00e0 vivre dans un monde o\u00f9 l\u2019on ne les consid\u00e8re que tr\u00e8s peu. L\u2019artiste semble \u00e9galement fascin\u00e9e par diff\u00e9rentes formes de rituels identitaires. La commissaire Kathryn Weir engage ainsi un dialogue entre les \u0153uvres de Tabouret et d\u2019autres pi\u00e8ces provenant des collections d\u2019art ancien de divers mus\u00e9es italiens. Parmi elles, deux exvotos sculpt\u00e9s dans la pierre volcanique entre 500 et 200 avant notre \u00e8re. Ils constituent des objets de culte consacr\u00e9s \u00e0 la maternit\u00e9 et \u00e0 la fertilit\u00e9 auxquels on attribuait autrefois un pouvoir magique. Leur composition robuste et leur position auguste jouent d\u2019un contraste frappant avec la fragilit\u00e9 de la qu\u00eate identitaire des diverses portraitur\u00e9es qui les entourent. La mise en relation anachronique entre les diff\u00e9rents langages visuels comporte une richesse r\u00e9flexive ind\u00e9niable, ne serait-ce que sur la repr\u00e9sentation des femmes au cours de l\u2019histoire de l\u2019art. <\/p>\n\n\n\n
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Claire Tabouret<\/strong>
Claire Tabouret: I am spacious, singing flesh<\/em>, vue d’exposition, Palazzo Cavanis, Venise, 2022.
Photo : Ugo Carmeni, permission de l’artiste et de Almine Rech<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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L\u2019identit\u00e9 mise \u00e0 l\u2019\u00e9preuve du groupe figure \u00e9galement parmi les th\u00e8mes de pr\u00e9dilection de l\u2019artiste, qui s\u2019int\u00e9resse aux rituels qu\u2019implique le fait de \u00ab faire partie \u00bb d\u2019une \u00e9quipe, sportive, scolaire ou autre. De jeunes femmes tiennent ainsi une pose de groupe dans Les blouses bleues<\/em> (2014) et Sitting<\/em> (2016). Le rendu des \u0153uvres t\u00e9moigne d\u2019une oscillation entre le renforcement subjectif que procure l\u2019appartenance \u00e0 un groupe et la dissolution des individualit\u00e9s dans un ensemble en apparence soud\u00e9. C\u2019est \u00e9galement le cas pour l\u2019\u0153uvre The Team <\/em>(2016), malgr\u00e9 la pr\u00e9sence d\u2019une diversit\u00e9 culturelle, par l\u2019homog\u00e9n\u00e9it\u00e9 de sa mise en sc\u00e8ne photographique. L\u2019\u0153uvre La pieuvre<\/em> (2015) constitue par ailleurs un bel hommage aux propos de l\u2019autrice H\u00e9l\u00e8ne Cixous dans Le rire de la M\u00e9duse <\/em>(1975) en cr\u00e9ant un parall\u00e8le entre \u00ab la femme \u00bb et cet \u00eatre hybride myst\u00e9rieux dont la m\u00e9tamorphose en dehors des cat\u00e9gories binaires du genre assure la survie. L\u2019exposition de Tabouret propose ainsi une actualisation des repr\u00e9sentations des subjectivit\u00e9s f\u00e9minines ax\u00e9e sur leur ambivalence et la traduction plastique de sensibilit\u00e9s plurielles.<\/p>\n\n\n\n
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\"Claire-Tabouret_Les_Blousesbleues\"
Claire Tabouret<\/strong>
Les blouses bleues<\/em>, 2014.
Photo : Jeff McLane, permission de l’artiste<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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\"Claire-Tabouret_LaPieuvre\"
Claire Tabouret<\/strong>
La Pieuvre<\/em>, 2015.
Photo : Martin Argyroglo, permission de l’artiste<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n
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\"Claire-Tabouret\"
Claire Tabouret<\/strong>
Claire Tabouret: I am spacious, singing flesh<\/em>, vue d’exposition, Palazzo Cavanis, Venise, 2022.
Photo : Ugo Carmeni, permission de l’artiste et de Almine Rech<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Claire Tabouret, Julie Richard<\/div>","protected":false},"excerpt":{"rendered":"Palazzo Cavanis<\/strong>, Venise,
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