{"id":104812,"date":"2021-02-15T14:42:14","date_gmt":"2021-02-15T13:42:14","guid":{"rendered":"https:\/\/blog.artsupp.com\/conversation-piece-part-vii-verso-narragonia\/"},"modified":"2021-02-15T14:42:14","modified_gmt":"2021-02-15T13:42:14","slug":"conversation-piece-part-vii-verso-narragonia","status":"publish","type":"post","link":"https:\/\/blog.artsupp.com\/fr\/conversation-piece-part-vii-verso-narragonia\/","title":{"rendered":"CONVERSATION PIECE | PART VII – Verso Narragonia"},"content":{"rendered":"\n

Verso Narragonia<\/em> est le titre de la septi\u00e8me \u00e9dition de l’exposition collective Conversation Piece<\/em>, accueillie dans les espaces d’exposition de la Fondazione Memmo<\/a> du 8 f\u00e9vrier au 1er juillet 2021. Le titre fait allusion \u00e0 un lieu mythique, Narragonia, d\u00e9crit par l’\u00e9crivain alsacien Sebastian Brant dans le po\u00e8me satirique La Nave dei folli<\/em> (Das Narrenschiff<\/em>), publi\u00e9 en 1494. Le livre raconte les p\u00e9r\u00e9grinations d’une embarcation charg\u00e9e de personnages consid\u00e9r\u00e9s comme fous, non conformes, marginalis\u00e9s, ind\u00e9sirables : Narragonia est la malheureuse et jamais atteinte destination de cette nef d’exil\u00e9s, abandonn\u00e9s \u00e0 leur sort, priv\u00e9s d’une guide et donc destin\u00e9s au naufrage, r\u00e9el et symbolique. Dans le texte de La Nave dei folli<\/em>, une humanit\u00e9 vari\u00e9e est esquiss\u00e9e, o\u00f9 chaque d\u00e9rogation \u00e0 la norme ou \u00e0 la morale, chaque forme d’alt\u00e9rit\u00e9 ou de pr\u00e9tendue d\u00e9viance est susceptible d’\u00eatre qualifi\u00e9e de folie.<\/p>\n\n\n\n

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Jos de Gruyter&Harald Thys, 23 Teste<\/em>, 2018. Vue de l’installation \u00e0 la Fondazione Memmo. Courtesy: Galerie Isabella Bortolozzi, Berlin; Micheline Szwajcer gallery, Antwerp; les artistes. ph. cr\u00e9dit Daniele Molajoli<\/em><\/figcaption><\/figure>\n\n\n\n

Partant de la consid\u00e9ration de la labilit\u00e9 du concept de \u201cfolie\u201d au cours de l’histoire et de l’acception n\u00e9gative qui en est donn\u00e9e dans le po\u00e8me de Brant \u00e0 propos de la Stultifera Navis<\/em>, Michel Foucault promeut un renversement de ce paradigme moralisateur : dans Histoire de la folie \u00e0 l’\u00e2ge classique<\/em>, publi\u00e9 par Foucault en 1961, l’\u00e9loignement de ce qui est diff\u00e9rent, des \u00e9l\u00e9ments perturbants pour l’ordre \u00e9tabli, repr\u00e9sente une forme de coercition \u00e0 la disposition de l’establishment pour r\u00e9primer les voix dissonantes ou les comportements non orthodoxes. Dans cette optique, fou est celui qui se place en dehors d’un syst\u00e8me, qui critique celui-ci, qui suit un principe d’alt\u00e9rit\u00e9.<\/p>\n\n\n\n

C’est dans cette potentialit\u00e9 subversive de la \u201cfolie\u201d et dans la graine de cr\u00e9ativit\u00e9 qui y r\u00e9side que se trouve la cl\u00e9 interpr\u00e9tative de la septi\u00e8me \u00e9dition de Conversation Piece<\/a><\/em>, sous la direction de Marcello Smarrelli, qui voit des artistes de nationalit\u00e9s diff\u00e9rentes, mais tous li\u00e9s \u00e0 Rome, se confronter au th\u00e8me de l’excentricit\u00e9, de la d\u00e9formation de la r\u00e9alit\u00e9, du perturbant, dans un moment historique comme celui actuel, d\u00e9routant et in\u00e9dit, donc profond\u00e9ment \u201cartistique\u201d.<\/p>\n\n\n\n

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Apolonia Sokol, La nave dei folli, 2021. Huile sur toile, ch\u00e2ssis en bois courb\u00e9. 400 x 180 x 85 cm. Courtesy: The Pill gallery, Istanbul; l’artiste. Ph. Cr\u00e9dit: Daniele Molajoli<\/em><\/figcaption><\/figure>\n\n\n\n

Les artistes <\/h3>\n\n\n\n

Les artistes accueillis interpr\u00e8tent chacun selon leur propre grammaire le th\u00e8me propos\u00e9, cr\u00e9ant au sein de l’exposition une narration coh\u00e9rente malgr\u00e9 la diversit\u00e9 des \u0153uvres pr\u00e9sent\u00e9es. Ouvre le parcours d’exposition l’installation 23 Teste<\/em> du duo belge compos\u00e9 de Jos de Gruyter & Harald Thys : une galerie \u201clombrosienne\u201d de t\u00eates tranch\u00e9es, une d\u00e9sacralisation de la folie et du grotesque \u00e0 travers laquelle normaliser des personnages plus ou moins inconfortables, pervers, dans certains cas malveillants, mais tous avec des \u201czones d’ombre\u201d.<\/p>\n\n\n\n

\"\"
Jos de Gruyter&Harald Thys, 23 Teste<\/em>, 2018. Vue de l’installation \u00e0 la Fondazione Memmo. Courtesy: Galerie Isabella Bortolozzi, Berlin; Micheline Szwajcer gallery, Antwerp; les artistes. ph. cr\u00e9dit Daniele Molajoli<\/em><\/figcaption><\/figure>\n\n\n\n

Suit l’\u0153uvre picturale d’Apolonia Sokol, en r\u00e9sidence \u00e0 l’Acad\u00e9mie de France de Villa Medici.<\/a> La sienne est une r\u00e9\u00e9laboration imm\u00e9diate et explicite du sujet de la Nave dei folli<\/em>, selon une interpr\u00e9tation contemporaine et personnelle : ses fous sont des personnes r\u00e9elles, li\u00e9es \u00e0 l’exp\u00e9rience v\u00e9cue et \u00e0 la r\u00e9alit\u00e9 quotidienne de l’artiste, mais filtr\u00e9es \u00e0 travers le regard d\u00e9formant de l’observateur. Le travail pr\u00e9sent\u00e9 est sensible aux enjeux du f\u00e9minisme intersectionnel, nous montrant une cohorte h\u00e9t\u00e9rog\u00e8ne de figures dans lesquelles le concept de f\u00e9minit\u00e9 est \u00e9tendu pour embrasser une cat\u00e9gorie large, non d\u00e9finie selon un crit\u00e8re exclusivement biologique.<\/p>\n\n\n\n

\"\"
Apolonia Sokol, La nave dei folli, 2021. Huile sur toile, ch\u00e2ssis en bois courb\u00e9. 400 x 180 x 85 cm. Courtesy: The Pill gallery, Istanbul; l’artiste. Ph. Cr\u00e9dit: Daniele Molajoli<\/em><\/figcaption><\/figure><\/div>\n\n\n\n

Cl\u00f4turant l’exposition, la production de Benedikt Hipp, artiste provenant de l’Acad\u00e9mie Allemande de Villa Massimo, o\u00f9 architecture, sculpture et peinture s’int\u00e8grent habilement : des formes organiques disloqu\u00e9es, r\u00e9siduelles, proches de la dimension du \u201cfiguratif\u201d, se composent dans un jeu complexe de dissections et d’assemblages, g\u00e9n\u00e9rant un paysage psychologique inquiet, sombre et perturbant.<\/p>\n\n\n\n

  • \"\"
    Sebastian Brant, Stultifera navis mortalium, in qua fatui affectus, mores, conatus atque studia, quibus vita haec nostra, in omni hominum genere, scatet, cunctis sapientiae cultoribus depinguntur, & velut in speculo ob oculos ponuntur<\/em>, B\u00e2le, Sebastian Henricpetri, 1572. Biblioth\u00e8que Oliveriana, Pesaro. <\/figcaption><\/figure><\/li>
  • \"\"
    Benedikt Hipp, Plastizit\u00e4t als Voraussetzung<\/em>, 2020. Huile et \u00e9mail sur bois MDF. 104 x 76 cm. Courtesy: Monitor, Rome Lisbon Pereto; Kadel Willborn, D\u00fcsseldorf; l\u2019artiste.
    Ph Cr\u00e9dit: Daniele Molajoli<\/em><\/figcaption><\/figure><\/li><\/ul><\/figure>\n\n\n\n

    <\/p>\n","protected":false},"excerpt":{"rendered":"

    Verso Narragonia est le titre de la septi\u00e8me \u00e9dition de l’exposition collective Conversation Piece, accueillie dans les espaces d’exposition de la Fondazione Memmo du 8 f\u00e9vrier au 1er juillet 2021. Le titre fait allusion \u00e0 un lieu mythique, Narragonia, d\u00e9crit par l’\u00e9crivain alsacien Sebastian Brant dans le po\u00e8me satirique La Nave dei folli (Das Narrenschiff), …<\/p>\n<\/div><\/div>","protected":false},"author":32,"featured_media":84669,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[1539],"tags":[],"class_list":["post-104812","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-guide-bref-de-lexposition-fr"],"acf":[],"yoast_head":"\nLa Fondazione Memmo et Conversation Piece pt. 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