{"id":95677,"date":"2021-04-28T10:05:17","date_gmt":"2021-04-28T08:05:17","guid":{"rendered":"https:\/\/www.centredelagravure.be\/?post_type=extra&p=95677"},"modified":"2021-04-28T10:05:17","modified_gmt":"2021-04-28T08:05:17","slug":"b38","status":"publish","type":"extra","link":"https:\/\/www.centredelagravure.be\/en\/extra\/b38\/","title":{"rendered":"Marianne Mispela\u00ebre"},"content":{"rendered":"\n

Marianne Mispela\u00ebre est une plasticienne fran\u00e7aise dont le travail, essentiellement graphique et performatif, \u0153uvre sur un territoire sensible en d\u00e9ployant des gestes \u00e9ph\u00e9m\u00e8res gardant la trace de d\u00e9couvertes et d\u2019\u00e9changes oraux et intellectuels. Le superflu <\/em>doit attendre est un protocole qui s\u2019articule en une s\u00e9rie de plaques de cuivres oxyd\u00e9es et s\u00e9rigraphi\u00e9es. <\/span>Ces \u0153uvres expriment une r\u00e9flexion et un engagement politiques et f\u00e9ministes. L\u2019artiste a en effet d\u00e9cid\u00e9 de lire un ensemble de 18 ouvrages f\u00e9ministes <\/span>et\/ou traitant de questions de genre, ayant un rapport \u00e0 l\u2019autonomie, l\u2019\u00e9mancipation, sur des plaques de cuivres qu\u2019elle utilise comme une esp\u00e8ce de sous\u2011main pendant la dur\u00e9e de la lecture. Les plaques,<\/span> matrices traditionnelles de techniques de gravure et d\u2019impression des ouvrages papier, gardent ainsi les traces corporelles d’oxydation<\/span> \u2011 variables en fonction d\u2019une multitude de param\u00e8tres (la temp\u00e9rature, la longueur de l\u2019ouvrage, l\u2019humeur ou l\u2019\u00e9tat \u00e9motionnel de l\u2019artiste) \u2011 des lectures qu\u2019y a faites l\u2019artiste. Au terme de celle\u2011ci, la plaque est simplement, \u00e0 l\u2019instar d\u2019une \u00e9pitaphe bibliographique, s\u00e9rigraphi\u00e9e avec le titre de l\u2019ouvrage qui y a \u00e9t\u00e9 lu, <\/span>avant d\u2019\u00eatre scell\u00e9e par un verre venant conserver l\u2019alt\u00e9ration du cuivre par le labeur et la sueur de l\u2019artiste. Nous pr\u00e9sentons en vis\u2011\u00e0\u2011vis deux plaques r\u00e9alis\u00e9es \u00e0 quelques mois d\u2019intervalles. Le dispositif de pr\u00e9sentation que nous avons choisi reproduit le processus de r\u00e9alisation des \u0153uvres, comme \u00e0 y inviter virtuellement les spectateurs ou \u00e0 y imaginer l\u2019artiste en train de lire les deux ouvrages ayant donn\u00e9 naissance aux \u0153uvres. Le contraste est saisissant entre les marques laiss\u00e9es par la lecture de Cynthia Fleury, La fin du courage : la reconqu\u00eate d\u2019une vertu d\u00e9mocratique<\/em> et celles, plus fortement marqu\u00e9es, laiss\u00e9es par la lecture de cet ouvrage\u2011cl\u00e9 de la th\u00e9orie politique de la performance Judith Butler, Excitable Speech or the Politics of the Performative<\/em>, 1997. (Le pouvoir des mots : Discours de haine ou politique du performatif<\/em>).<\/p>\n\n\n\n

English<\/h2>\n\n\n\n

Marianne Mispela\u00ebre is a French visual artist whose essentially graphic and performative work operates on a sensitive territory by deploying ephemeral gestures that bear witness of intellectual discoveries or oral exchanges.<\/span>
It takes paths and strategies that are often discreet, even marginal, while nevertheless tackling urgent societal issues.
Le superflu doit attendre <\/em>is a protocol that is articulated in a series of silkscreened brass plates. These works express a political and feminist reflection and engagement. The artist has thus opted to read a set of 18 feminist works and\/or works relating to issues of gender, autonomy, and emancipation, from copper plates that she uses as a kind of desk-blotter for the duration of the reading. The plates, traditional matrices for engraving and printing techniques for works on paper, thus retain bodily traces – variable depending on a multitude of parameters (temperature, length of the work, mood or condition). of the artist) – from the artist’s reading sessions. At the end of this process, the plate is simply, like a bibliographic epitaph, screen-printed with the title of the work that has been read there, <\/span>before being sealed with a glass which preserves the deterioration of the copper caused by the toil and the sweat of the artist. We present, facing each other, two plates made a few months apart. The presentation system we have chosen reproduces the process by which the works were made, as if inviting spectators virtually or imagining the artist reading the two works that engendered them. The contrast is striking between the marks left by the reading of Cynthia Fleury, La fin du courage: la reconqu\u00eate d\u2019une vertu d\u00e9mocratique<\/em> and those, more strongly marked, left by the reading of the key work of the political theory of performance by Judith Butler, Excitable Speech or the Politics of the Performative<\/em>, 1997.
(In French: Le pouvoir des mots : Discours de haine ou politique du performatif<\/em>).<\/p>\n","protected":false},"featured_media":0,"template":"","class_list":["post-95677","extra","type-extra","status-publish","hentry"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.centredelagravure.be\/en\/wp-json\/wp\/v2\/extra\/95677","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.centredelagravure.be\/en\/wp-json\/wp\/v2\/extra"}],"about":[{"href":"https:\/\/www.centredelagravure.be\/en\/wp-json\/wp\/v2\/types\/extra"}],"wp:attachment":[{"href":"https:\/\/www.centredelagravure.be\/en\/wp-json\/wp\/v2\/media?parent=95677"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}