{"id":"8ca7d754-7992-4919-bb62-4d0274fcc795","archive_id":"a2743feb-2c10-4548-a5ce-4ee609af4889","original_id":"383","data":{"meta":{"data":{"monocol":["0"],"_monocol":["field_5b3270c993349"],"_edit_last":["7"],"_edit_lock":["1608281870:7"],"artiste_nom":["Abdessemed"],"_artiste_nom":["field_58e4e48e089a5"],"artiste_image":[""],"artiste_liens":[""],"_artiste_image":["field_58fb346839e05"],"_artiste_liens":["field_5919c99b0334c"],"artiste_prenom":["Adel"],"artistes_liens":["2"],"_artiste_prenom":["field_58e4e463089a4"],"_artistes_liens":["field_5919c99b0334c"],"artiste_minibio":["né en 1971 à Constantine, Algérie\r\nvit et travaille à Paris, France et Londres, Royaume-Uni"],"artiste_oeuvres":["2"],"_artiste_minibio":["field_58e4e4e07239a"],"_artiste_oeuvres":["field_58f74caed64c7"],"artiste_nom_suite":[""],"_artiste_nom_suite":["field_5924208378024"],"coupure_paragraphe":["0"],"_coupure_paragraphe":["field_59f8365397245"],"_yoast_wpseo_primary_type":["116"],"artistes_liens_0_lien_url":["http://www.facebook.com"],"artistes_liens_1_lien_url":["http://www.facebook.com"],"_artistes_liens_0_lien_url":["field_5919c9bd0334e"],"_artistes_liens_1_lien_url":["field_5919c9bd0334e"],"artistes_liens_0_lien_titre":["Site de l'artiste"],"artistes_liens_1_lien_titre":["Site de la galerie"],"_artistes_liens_0_lien_titre":["field_5919c9ad0334d"],"_artistes_liens_1_lien_titre":["field_5919c9ad0334d"],"_yoast_wpseo_primary_category":[""],"artiste_oeuvres_0_oeuvre_annee":["2006"],"artiste_oeuvres_0_oeuvre_texte":["\u003cp class=\"chapeau\"\u003eCinquante-et-une vrilles en acier agrandies et redimensionnées pour correspondre à différentes tailles de croissance du corps humain, sont sculptées dans du marbre noir. Parfaitement usiné, le marbre fait osciller les tiges des forets entre une finesse extrême à une épaisseur dense et lourde.\u003c/p\u003e\r\nÉrigées dans l’espace d’exposition, les forets de marbre noir s’organisent en un large carré d’unités paradoxales, à la fois compactes et dispersées, fragiles et consistantes, hétérogènes et solidaires. Le marbre noir, lisse et mat, confère à l’œuvre deux qualités contradictoires, celle d’une sensualité tactile et celle d’une froideur menaçante, comme si une forme érotique s’engendrait à une forme guerrière.\r\n\r\n\u003cem\u003ePluie noire\u003c/em\u003e visualise des enjeux de construction du sujet : l’autonomie de l’individu et son inévitable ouverture à l’autre, la participation de l’individu à la collectivité, l’absorption de l’individu et de la collectivité dans un processus de massification concentrationnaire…\r\n\r\n\u003cem\u003ePluie noire\u003c/em\u003e autorise également des sauts qualitatifs inhabituels dans l’histoire de l’art : des drapés incarnés des sculptures du Bernin aux modules géométriques minimalistes des années 1960, des colonnes antiques à la Kaaba musulmane, du cube noir de Tony Smith aux objets désagréables de Giacometti…"],"artiste_oeuvres_0_oeuvre_titre":["Pluie noire"],"artiste_oeuvres_0_oeuvre_video":[""],"artiste_oeuvres_1_oeuvre_annee":["2000"],"artiste_oeuvres_1_oeuvre_texte":["\u003cp class=\"chapeau\"\u003e\u003cem\u003eZen\u003c/em\u003e est une action filmée. On y voit un homme noir, torse nu, debout dans un jardin public. Un premier plan en plongée au-dessus du corps dévoile une présence stable et tranquille en attente d’un événement proche.\u003c/p\u003e\r\nEffectivement, une main, celle de Julie Abdessemed, entre dans le champ de l’image pour déverser une bouteille de lait sur les cheveux, les épaules et le reste du corps de l’homme noir.\r\n\r\nMagie de la rencontre et du don : par la présence calme et accueillante de l’homme noir, l’artiste offre, au-delà de son regard, un bien précieux et nourricier, le lait. Entre ta peau et ma peau, l’acte du toucher s’effectue par la caresse liquide du lait blanc. \u003cem\u003eZen\u003c/em\u003e est une œuvre généreuse, humble et brute dans le rapport qu’Adel Abdessemed instaure au vivant. \u003cem\u003eZen\u003c/em\u003e fait se succéder des plans en plongée de cette douche de lait avec des plans frontaux et rapprochés du visage. De ce montage d’images émerge une sensibilité trouble du contact du corps à la matière lactée : beauté extrême des ruissellements du liquide blanc sur les cheveux crépus et sur la peau noire rétive à tout blanchissement ; expressivité du visage réagissant au lait froid déversé sur le corps. Ce qui aurait pu être vécu par l’homme noir comme une agression est reçu tout simplement comme un pacte mutuel de sensations à 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