{"id":3720,"date":"2020-01-01T22:48:00","date_gmt":"2020-01-02T03:48:00","guid":{"rendered":"https:\/\/esse.ca\/?post_type=compte-rendu&p=3720"},"modified":"2022-02-10T13:45:00","modified_gmt":"2022-02-10T18:45:00","slug":"kathy-acker","status":"publish","type":"compte-rendu","link":"https:\/\/esse.ca\/compte-rendu\/kathy-acker\/","title":{"rendered":"Kathy Acker"},"content":{"rendered":"\n
\"\"
Kathy Acker<\/strong>
I,I,I,I,I,I,I, <\/em>vues d\u2019installation, Institute of Contemporary Arts, Londres, 2019.
Photos : readsreads.info<\/figcaption><\/figure>\n\n\n\n

[In French]<\/p>\n\n\n\n

Can one see oneself? Do we only see when separate?<\/em> griffonne Kathy Acker sur la premi\u00e8re page de son exemplaire personnelle, Pouvoirs de l\u2019horreur de Julia Kristeva. Comment devient-on un I<\/em> (un Eye\u2009?), questionne-t-elle. Le travail de l\u2019artiste, que l\u2019on connait particuli\u00e8rement gr\u00e2ce \u00e0 son roman Blood and Guts in High School (1984), constitue une exploration du sujet qui fait face \u00e0 lui-m\u00eame dans l\u2019abject \u2013 un passage oblig\u00e9 dans la formation identitaire. Elle fragmente ses personnages en leur collant \u2013 au sens le plus litt\u00e9ral \u2013 divers I sur la peau. L\u2019exposition I, I, I, I, I, I, I,<\/em> Kathy Acker pr\u00e9sente ainsi une r\u00e9flexion de groupe sur le processus artistique et m\u00e9thodologique de l\u2019artiste en entretenant un rapport dialogique vis-\u00e0-vis l\u2019\u00e9criture et la sexualit\u00e9. Reconnue pour son calque et ses emprunts constants aux figures classiques de la litt\u00e9rature \u2013 pensons \u00e0 Dickens, Cervantes, Burroughs, Woolf, l\u2019auteure construit \u00e0 partir de ces monuments litt\u00e9raires une narrativit\u00e9 nouvelle qui aborde les th\u00e8mes de l\u2019inceste, du capitalisme, de l\u2019avortement et du travail du sexe. Le ICA convoque ici un nombre d\u2019artistes contemporains dont le travail partage des interrogations similaires \u00e0 celui d\u2019Acker ou qui, de mani\u00e8re indirecte, est fortement marqu\u00e9 par son influence.<\/pre>\n\n\n\n

Un hautparleur plac\u00e9 au niveau de l\u2019oreille diffuse It\u2019s Dissociation Season<\/em> (2017), po\u00e8me de l\u2019artiste multidisciplinaire Precious Okoyomon, un flux de la conscience qui navigue entre l\u2019\u00e9tat de r\u00eave et une posture de r\u00e9sistance. \u00ab\u2009Nothing is pure, invert yourself\u2009\u00bb, lit-elle avec douceur. L\u2019inexistence de la puret\u00e9 est une image qui se manifeste sur l\u2019ensemble des \u0153uvres pr\u00e9sent\u00e9es dans l\u2019espace. L\u2019installation Hormonal Fog<\/em> (2016-2019) de Candice Lin et Patrick Staff sugg\u00e8re un instrument d\u2019\u00e9tude qui contribue aux r\u00e9flexions d\u2019Okoyomon. L\u2019objet consiste en une machine \u00e0 brouillard pirat\u00e9e dont la diffusion transmet un m\u00e9lange d\u2019herbes s\u00e8ches ayant des propri\u00e9t\u00e9s de perturbation hormonales. Le duo travaille de pr\u00e8s la notion de toxicit\u00e9 dans l\u2019imaginaire du corps, et plus particuli\u00e8rement celui du corps queer, de mani\u00e8re \u00e0 repenser les concepts de puret\u00e9 et d\u2019impuret\u00e9 au sein d\u2019un syst\u00e8me de contr\u00f4le patriarcal. De mani\u00e8re similaire, l\u2019\u0153uvre d\u2019Acker questionne les strat\u00e9gies de contr\u00f4le du corps en rendant compte des s\u00e9parations, r\u00e9p\u00e9titions et d\u00e9sincarnations ressenties au sein d\u2019une soci\u00e9t\u00e9 capitaliste.<\/p>\n\n\n\n

Une portion des archives personnelles de sa biblioth\u00e8que est rassembl\u00e9e dans l\u2019espace et partage les influences th\u00e9oriques principales de l\u2019artiste, notamment celles de Kristeva et Deleuze, de m\u00eame que litt\u00e9raires. L\u2019int\u00e9r\u00eat de l\u2019artiste pour le collage et l\u2019agencement de d\u00e9bris textuels s\u2019est d\u00e9velopp\u00e9 durant l\u2019\u00e9criture de son premier texte publi\u00e9, The Childlike Life of the Black Tarantula<\/em> (1973), dans lequel les identit\u00e9s multiples du personnage se transforment graduellement en une seule entit\u00e9 complexe. Chacun des I pr\u00e9sents dans I, I, I, I, I, I, I,<\/em> Kathy Acker constitue ainsi non pas une r\u00e9p\u00e9tition narcissique du m\u00eame sujet, mais plut\u00f4t une invitation \u00e0 la multitude et \u00e0 la d\u00e9sidentification par la rencontre de soi \u2013 un soi impur, toxique et fragment\u00e9.<\/p>\n
Francis Desruisseaux, Kathy Acker<\/div>","protected":false},"excerpt":{"rendered":"Institute of Contemporary Arts,<\/strong><\/br>Londres, <\/br>du 1er mai au 4 aout 2019 <\/br>","protected":false},"author":5,"featured_media":3501,"template":"","categories":[131],"numeros":[317],"disciplines":[],"statuts":[],"checklist":[],"auteurs":[380],"artistes":[1353],"type_compte-rendu":[],"yoast_head":"\nKathy Acker – 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\/compte-rendu\/kathy-acker\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Kathy Acker\" \/>\n<meta property=\"og:description\" content=\"Institute of Contemporary Arts, Londres, du 1er mai au 4 aout 2019\" \/>\n<meta property=\"og:url\" content=\"https:\/\/esse.ca\/compte-rendu\/kathy-acker\/\" \/>\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=\"2022-02-10T18:45:00+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/esse.ca\/wp-content\/uploads\/2021\/08\/98-CR6-IMG1-IM_Desruisseaux_Kathy-Acker_PhotoTomasRydin_3_CMYK_resultat.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1920\" \/>\n\t<meta property=\"og:image:height\" content=\"1282\" \/>\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=\"Dur\u00e9e de lecture estim\u00e9e\" \/>\n\t<meta name=\"twitter:data1\" content=\"3 minutes\" \/>\n<!-- \/ Yoast SEO Premium plugin. -->","yoast_head_json":{"title":"Kathy Acker – 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\/compte-rendu\/kathy-acker\/","og_locale":"fr_FR","og_type":"article","og_title":"Kathy Acker","og_description":"Institute of Contemporary Arts, Londres, du 1er mai au 4 aout 2019","og_url":"https:\/\/esse.ca\/compte-rendu\/kathy-acker\/","og_site_name":"Esse","article_publisher":"https:\/\/fr-ca.facebook.com\/revue.esse","article_modified_time":"2022-02-10T18:45:00+00:00","og_image":[{"width":1920,"height":1282,"url":"https:\/\/esse.ca\/wp-content\/uploads\/2021\/08\/98-CR6-IMG1-IM_Desruisseaux_Kathy-Acker_PhotoTomasRydin_3_CMYK_resultat.jpg","type":"image\/jpeg"}],"twitter_card":"summary_large_image","twitter_site":"@revue_esse","twitter_misc":{"Dur\u00e9e de lecture estim\u00e9e":"3 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"WebPage","@id":"https:\/\/esse.ca\/compte-rendu\/kathy-acker\/","url":"https:\/\/esse.ca\/compte-rendu\/kathy-acker\/","name":"Kathy Acker – Esse","isPartOf":{"@id":"https:\/\/esse.ca\/#website"},"primaryImageOfPage":{"@id":"https:\/\/esse.ca\/compte-rendu\/kathy-acker\/#primaryimage"},"image":{"@id":"https:\/\/esse.ca\/compte-rendu\/kathy-acker\/#primaryimage"},"thumbnailUrl":"https:\/\/esse.ca\/wp-content\/uploads\/2021\/08\/98-CR6-IMG1-IM_Desruisseaux_Kathy-Acker_PhotoTomasRydin_3_CMYK_resultat.jpg","datePublished":"2020-01-02T03:48:00+00:00","dateModified":"2022-02-10T18:45:00+00:00","breadcrumb":{"@id":"https:\/\/esse.ca\/compte-rendu\/kathy-acker\/#breadcrumb"},"inLanguage":"fr-FR","potentialAction":[{"@type":"ReadAction","target":["https:\/\/esse.ca\/compte-rendu\/kathy-acker\/"]}]},{"@type":"ImageObject","inLanguage":"fr-FR","@id":"https:\/\/esse.ca\/compte-rendu\/kathy-acker\/#primaryimage","url":"https:\/\/esse.ca\/wp-content\/uploads\/2021\/08\/98-CR6-IMG1-IM_Desruisseaux_Kathy-Acker_PhotoTomasRydin_3_CMYK_resultat.jpg","contentUrl":"https:\/\/esse.ca\/wp-content\/uploads\/2021\/08\/98-CR6-IMG1-IM_Desruisseaux_Kathy-Acker_PhotoTomasRydin_3_CMYK_resultat.jpg","width":1920,"height":1282,"caption":"Kathy Acker I,I,I,I,I,I,I, vues d\u2019installation, Institute of Contemporary Arts, Londres, 2019. 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