{"id":147646,"date":"2018-09-01T11:05:00","date_gmt":"2018-09-01T16:05:00","guid":{"rendered":"https:\/\/esse.ca\/?post_type=portfolio&p=147646"},"modified":"2022-06-02T15:11:34","modified_gmt":"2022-06-02T20:11:34","slug":"brendan-fernandes","status":"publish","type":"portfolio","link":"https:\/\/esse.ca\/portfolio\/brendan-fernandes\/","title":{"rendered":"Brendan Fernandes"},"content":{"rendered":"\n

Regarder quelqu\u2019un nettoyer et astiquer une chambre d\u2019h\u00f4tel chic est curieusement inconfortable. Les \u00e9tapes r\u00e9p\u00e9titives, d\u00e9taill\u00e9es, que constitue l\u2019acte de faire un lit, d\u2019essuyer un comptoir, de r\u00e9curer une toilette \u2013 des chor\u00e9graphies en elles-m\u00eames \u2013 sont emplies d\u2019intention, de rythme, de texture. Souvent ex\u00e9cut\u00e9es par des travailleurs immigrants ou migrants, ces t\u00e2ches transmettent certaines r\u00e9alit\u00e9s raciales ou socio\u00e9conomiques. Les employ\u00e9s d\u2019entretien d\u2019un h\u00f4tel et les t\u00e2ches quotidiennes qu\u2019ils r\u00e9alisent, souvent pour un salaire injuste et sans avantages sociaux, sont cens\u00e9s \u00eatre, sinon invisibles, du moins aussi discrets que possible. N\u00e9anmoins, ce travail \u00ab\u2009dans les coulisses\u2009\u00bb est la force motrice de l\u2019industrie h\u00f4teli\u00e8re.<\/p>\n\n\n\n

C\u2019est dans cette \u00ab\u2009\u00e9conomie du mouvement\u2009\u00bb que Fernandes met en sc\u00e8ne Clean Labour <\/em>(2017) au Wythe Hotel (New York). Inspir\u00e9e par la routine des travailleurs h\u00f4teliers et des professionnels de l\u2019entretien, la performance fait un rapprochement entre leur travail physique exigeant et la virtuosit\u00e9 demand\u00e9e aux danseurs classiques professionnels. Le r\u00e9sultat, collaboration et dialogue entre artiste, travailleurs h\u00f4teliers et danseurs, explore la notion d\u2019agentivit\u00e9 dans ces professions. La danse contemporaine souligne les habilet\u00e9s et les efforts des travailleurs m\u00e9nagers tout comme l\u2019h\u00e9g\u00e9monie raciale et \u00e9conomique de cette industrie. Librement orchestr\u00e9s, mais bas\u00e9s sur des mouvements improvis\u00e9s inspir\u00e9s par les caract\u00e9ristiques de chaque \u00e9tage, l\u2019observation et le partage des t\u00e2ches entre danseurs et employ\u00e9s montrent que les corps sont sculpt\u00e9s par le travail qu\u2019ils accomplissent.<\/p>\n\n\n\n

Dans plusieurs \u0153uvres r\u00e9centes de Fernandes, la forme et le corps du danseur sont mis \u00e0 l\u2019\u00e9preuve dans un proc\u00e9d\u00e9 d\u2019exposition et de d\u00e9construction, soulignant les vuln\u00e9rabilit\u00e9s et les ins\u00e9curit\u00e9s des mouvements appris. The Master and Form<\/em> (2018), performance et s\u00e9rie de sculptures pr\u00e9sent\u00e9es \u00e0 la Graham Foundation (Chicago), explore de fa\u00e7on similaire la maitrise et la discipline associ\u00e9es au ballet en r\u00e9v\u00e9lant le travail kinesth\u00e9sique strict qu\u2019il exige. Dans sa pratique, Fernandes, qui \u00e9tait danseur avant de se blesser, accentue l\u2019imperceptible \u00e0 travers le regard que son public pose sur des sujets particuliers comme les art\u00e9facts de la colonisation, les activit\u00e9s quotidiennes, les institutions artistiques ou les pratiques de la danse et du mouvement.<\/p>\n\n\n\n

Traduit de l\u2019anglais par Catherine Barnab\u00e9<\/strong><\/p>\n\n\n\n

\"Ferndandes_Clean<\/figure>\n\n\n\n
\"Ferndandes_Clean
Brendan Fernandes<\/strong>
Clean Labour<\/em>, performance, Wythe Hotel, Brooklyn, 2017. Performeurs : Charles Gowin & Khadijia Griffith\u2009; employ\u00e9s d\u2019entretien m\u00e9nager du Wythe Hotel : Tenzin Thokme & Tenzin Woiden.
Photo : Chester Toye, permission de l\u2019artiste, produit en collaboration avec More Art<\/figcaption><\/figure>\n
Brendan Fernandes, Didier Morelli<\/div>","protected":false},"excerpt":{"rendered":"","protected":false},"author":15,"featured_media":159203,"template":"","meta":[],"categories":[134],"numeros":[780],"disciplines":[],"statuts":[],"checklist":[],"auteurs":[163],"artistes":[1540],"type_portfolio":[],"yoast_head":"\nBrendan Fernandes – 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\/portfolio\/brendan-fernandes\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Brendan Fernandes\" \/>\n<meta property=\"og:url\" content=\"https:\/\/esse.ca\/portfolio\/brendan-fernandes\/\" \/>\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=\"2022-06-02T20:11:34+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/esse.ca\/wp-content\/uploads\/2022\/03\/94_PF05_Morelli_Ferndandes_MasterForm-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=\"Dur\u00e9e de lecture estim\u00e9e\" \/>\n\t<meta name=\"twitter:data1\" content=\"3 minutes\" \/>\n<!-- \/ Yoast SEO Premium plugin. -->","yoast_head_json":{"title":"Brendan Fernandes – 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\/portfolio\/brendan-fernandes\/","og_locale":"fr_FR","og_type":"article","og_title":"Brendan Fernandes","og_url":"https:\/\/esse.ca\/portfolio\/brendan-fernandes\/","og_site_name":"Esse","article_publisher":"https:\/\/fr-ca.facebook.com\/revue.esse","article_modified_time":"2022-06-02T20:11:34+00:00","og_image":[{"width":2560,"height":1707,"url":"https:\/\/esse.ca\/wp-content\/uploads\/2022\/03\/94_PF05_Morelli_Ferndandes_MasterForm-scaled.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\/portfolio\/brendan-fernandes\/","url":"https:\/\/esse.ca\/portfolio\/brendan-fernandes\/","name":"Brendan Fernandes – Esse","isPartOf":{"@id":"https:\/\/esse.ca\/#website"},"primaryImageOfPage":{"@id":"https:\/\/esse.ca\/portfolio\/brendan-fernandes\/#primaryimage"},"image":{"@id":"https:\/\/esse.ca\/portfolio\/brendan-fernandes\/#primaryimage"},"thumbnailUrl":"https:\/\/esse.ca\/wp-content\/uploads\/2022\/03\/94_PF05_Morelli_Ferndandes_MasterForm-scaled.jpg","datePublished":"2018-09-01T16:05:00+00:00","dateModified":"2022-06-02T20:11:34+00:00","breadcrumb":{"@id":"https:\/\/esse.ca\/portfolio\/brendan-fernandes\/#breadcrumb"},"inLanguage":"fr-FR","potentialAction":[{"@type":"ReadAction","target":["https:\/\/esse.ca\/portfolio\/brendan-fernandes\/"]}]},{"@type":"ImageObject","inLanguage":"fr-FR","@id":"https:\/\/esse.ca\/portfolio\/brendan-fernandes\/#primaryimage","url":"https:\/\/esse.ca\/wp-content\/uploads\/2022\/03\/94_PF05_Morelli_Ferndandes_MasterForm-scaled.jpg","contentUrl":"https:\/\/esse.ca\/wp-content\/uploads\/2022\/03\/94_PF05_Morelli_Ferndandes_MasterForm-scaled.jpg","width":1920,"height":1280,"caption":"Brendan Fernandes The Master and Form, 2018, design\u00a0: Norman Kelley, danseur.se.s : Satoru Iwasaki, Yuha Kamoto, Andrea de Le\u00f3n Rivera, Antonio Mannino & Leah Upchurch. 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