{"id":15440,"date":"2019-10-08T16:35:50","date_gmt":"2019-10-08T14:35:50","guid":{"rendered":"https:\/\/www.laboite-kilanigroupe.com\/?page_id=15440"},"modified":"2025-09-19T17:50:29","modified_gmt":"2025-09-19T15:50:29","slug":"inviolable-image-meriem-bouderbala","status":"publish","type":"page","link":"https:\/\/www.laboite-kilanigroupe.com\/en\/inviolable-image-meriem-bouderbala\/","title":{"rendered":"Inviolable image- Meriem Bouderbala"},"content":{"rendered":"[vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_row_inner column_margin=”default” text_align=”left”][vc_column_inner column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” el_class=”colLeftPub” width=”1\/2″ tablet_width_inherit=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text el_class=”descriptionPub pub-1 textExpoInterne”]\n

Meriem Bouderbala<\/span><\/strong>
\nInviolable image<\/span><\/strong><\/h1>\n

April 2013 I September 2013
\nLa Bo\u00eete I Un lieu d\u2019art contemporain<\/p>\n

Text of Meriem Bouderbala.<\/p>\n

Images of women between the dead and the living, as if created by the void.
\nHow do you confront representation? How do we approach the mystery that by its very nature it conceals from the eye?
\nBetween Eastern art and contemporary art, two directions that I try to bring together. On the one hand, geometry sets its codified narrative against the forbidden representation of the body. On the other, contemporary Western art responds to the academicism of representations by presenting them without background. My work is an attempt to escape from an alternative that I reject. I want to get back to the point where the human figure is both flesh and signs. I turn my body, its altered and disrupted photographic display, into a stage, an ephemeral stage for a tragedy that has no origin and no end.<\/p>\n

 <\/p>\n

“L\u2019approche de Meriem Bouderbala, autre, plus ambivalente, diverge de celle de Filali. Bouderbala, notamment, est l\u2019auteur de nombreux autoportraits, souvent r\u00e9alis\u00e9s avec l\u2019appareillage num\u00e9rique, une fa\u00e7on pour cette artiste prodige de faire muter l\u2019apparence de son corps et, partant, sa signification. L\u2019option de l\u2019exposition \u00ab Inviolable Image \u00bb qu\u2019elle propose \u00e0 La Bo\u00eete est la suivante : \u00ab Des images de femmes
\nentre le mort et le vivant, comme engendr\u00e9es par le vide \u00bb, dit-elle, en ayant soin d\u2019ajouter \u00e0 sa pr\u00e9sentation cette question princeps, avec\u00a0 laquelle on n\u2019en aura sans doute jamais fini : \u00ab Comment affronter la repr\u00e9sentation ? Comment approcher le myst\u00e8re que par nature elle d\u00e9robe au regard. Entre l\u2019art de l\u2019Orient et l\u2019art contemporain, deux
\ndirections que je tente de conjoindre. D\u2019un c\u00f4t\u00e9, la g\u00e9om\u00e9trie oppose son r\u00e9cit codifi\u00e9 \u00e0 l\u2019interdit de la repr\u00e9sentation du corps. De l\u2019autre, l\u2019art occidental contemporain r\u00e9pond par la pr\u00e9sentation sans arri\u00e8re-plan \u00e0 l\u2019acad\u00e9misme des repr\u00e9sentations. Mon parcours est une tentative d\u2019\u00e9chapper \u00e0 une alternative que je r\u00e9fute. Je veux retrouver ce point o\u00f9 la figure humaine est \u00e0 la fois de chair et de signes. Je fais de mon corps, de son exposition photographique alt\u00e9r\u00e9e, boulevers\u00e9e, une sc\u00e8ne, un praticable \u00e9ph\u00e9m\u00e8re pour une trag\u00e9die sans origine et qui n\u2019a pas de fin. \u00bb Comment mieux dire, comme l\u2019entend Meriem Bouderbala, ce d\u00e9sarroi fondamental, une fois nos corps pris dans les rets de cultures multiples qui toutes nous appellent, nous aspirent \u2013 le d\u00e9sarroi que repr\u00e9sente l\u2019incertitude ? D\u00e9sarroi de l\u2019incertitude que\u00a0l\u2019artiste, avec ses cr\u00e9ations-cam\u00e9l\u00e9on, s\u2019essaie du moins \u00e0 surmonter, \u00e0 sublimer. Dissolution : je veux me dissoudre, dispara\u00eetre, m\u2019atomiser, \u00eatre un
\ncorps-particules ; Karakouz : je veux \u00eatre un personnage de th\u00e9\u00e2tre, la Madama ou Nina de ce th\u00e9\u00e2tre guignolesque qu\u2019est le karakouz, une
\nbourgeoise de haute classe ou une petite effront\u00e9e l\u00e9g\u00e8re ; Psichedelyk : je veux \u00eatre couleurs, formes libres, \u00e9clat\u00e9es, joyeuses\u2026 Ces portraits de femme o\u00f9 reconna\u00eetre l\u2019artiste en personne, sur papier ou tissu, montrent un trafic, une constante redistribution des formes, avec ce r\u00e9sultat, le corps se diss\u00e9mine, son apparence exacte \u00e9chappe, il est
\nplusieurs. Prenez et regardez, spectateurs, nous dit Meriem Bouderbala, ceci est mon corps et ce corps est insaisissable, il me glisse entre les doigts et les sens. La femme, moi-femme, un \u00eatre Janus, apte \u00e0 changer de forme, de destin, voire de genre, selon l\u2019humeur, selon l\u2019ambiance, selon l\u2019heure.”<\/p>\n

Paul Ardenne<\/a><\/p>\n

 <\/p>\n

> Biographie<\/a>[\/vc_column_text][\/vc_column_inner][vc_column_inner column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” width=”1\/2″ tablet_width_inherit=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_gallery type=”nectarslider_style” images=”6767,6764,6765,6766,6769,6770,6771,6772,6773,6774,6775,6768″ flexible_slider_height=”true” bullet_navigation_style=”see_through” onclick=”link_no”][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text][\/vc_column_text][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

[vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none”…<\/p>\n","protected":false},"author":8,"featured_media":11969,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"inline_featured_image":false,"footnotes":""},"categories":[],"tags":[],"class_list":["post-15440","page","type-page","status-publish","has-post-thumbnail"],"aioseo_notices":[],"jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.laboite-kilanigroupe.com\/en\/wp-json\/wp\/v2\/pages\/15440","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.laboite-kilanigroupe.com\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.laboite-kilanigroupe.com\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.laboite-kilanigroupe.com\/en\/wp-json\/wp\/v2\/users\/8"}],"replies":[{"embeddable":true,"href":"https:\/\/www.laboite-kilanigroupe.com\/en\/wp-json\/wp\/v2\/comments?post=15440"}],"version-history":[{"count":1,"href":"https:\/\/www.laboite-kilanigroupe.com\/en\/wp-json\/wp\/v2\/pages\/15440\/revisions"}],"predecessor-version":[{"id":15457,"href":"https:\/\/www.laboite-kilanigroupe.com\/en\/wp-json\/wp\/v2\/pages\/15440\/revisions\/15457"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.laboite-kilanigroupe.com\/en\/wp-json\/wp\/v2\/media\/11969"}],"wp:attachment":[{"href":"https:\/\/www.laboite-kilanigroupe.com\/en\/wp-json\/wp\/v2\/media?parent=15440"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.laboite-kilanigroupe.com\/en\/wp-json\/wp\/v2\/categories?post=15440"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.laboite-kilanigroupe.com\/en\/wp-json\/wp\/v2\/tags?post=15440"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}