{"id":17944829,"date":"2025-11-19T09:01:40","date_gmt":"2025-11-19T08:01:40","guid":{"rendered":"https:\/\/kapitalis.com\/tunisie\/?p=17944829"},"modified":"2025-11-19T09:01:42","modified_gmt":"2025-11-19T08:01:42","slug":"tetanos-de-aicha-snoussi-un-opera-metallique","status":"publish","type":"post","link":"https:\/\/kapitalis.com\/tunisie\/2025\/11\/19\/tetanos-de-aicha-snoussi-un-opera-metallique\/","title":{"rendered":"\u2018\u2018T\u00e9tanos\u2019\u2019 de A\u00efcha Snoussi | Un op\u00e9ra m\u00e9tallique"},"content":{"rendered":"\n

Dans la p\u00e9nombre sacrale de la galerie 32bis (Rue Ben Ghedhahom, Tunis) , A\u00efcha Snoussi ne pr\u00e9sente pas une simple exposition, mais ouvre les portes d\u2019une n\u00e9cropole o\u00f9 gisent les cadavres brillants de notre modernit\u00e9. \u2018\u2018T\u00e9tanos\u2019\u2019 (31 octobre 2025- 13 f\u00e9vrier 2026) est bien plus qu\u2019un assemblage de ferraille : c\u2019est un op\u00e9ra m\u00e9tallique o\u00f9 chaque pi\u00e8ce rouill\u00e9e devient le personnage d\u2019une trag\u00e9die industrielle.<\/em><\/strong><\/p>\n\n\n\n

Abdelhamid Largu\u00e8che *<\/strong><\/p>\n\n\n\n\n\n\n

\n
\"\"<\/figure>\n<\/div>\n\n\n

Notre amie Imen nous guide dans les d\u00e9dales de la galerie, d\u00e9voilant l\u2019origine des pi\u00e8ces, leur agencement pens\u00e9, leurs significations multiples. Sous son regard, l\u2019exposition se fait r\u00e9cit.<\/p>\n\n\n\n

D\u00e8s l\u2019entr\u00e9e, une pi\u00e8ce de cuivre, probablement inspir\u00e9e des croquis de L\u00e9onard de Vinci, nous saisit par son ironie tragique. Ce qui fut jadis l\u2019incarnation du g\u00e9nie humain n\u2019est plus qu\u2019un squelette de m\u00e9tal tordu.<\/p>\n\n\n\n

Aicha Snoussi nous confronte \u00e0 ce paradoxe : nos machines les plus ambitieuses finiront peut-\u00eatre un jour dans le m\u00eame \u00e9tat de d\u00e9labrement que les inventions de la Renaissance. La rouille devient ici un grand \u00e9galisateur temporel, r\u00e9duisant tous les progr\u00e8s technologiques \u00e0 leur commune vuln\u00e9rabilit\u00e9.<\/p>\n\n\n\n

Kafka dans l\u2019atelier<\/h2>\n\n\n\n

Cette machine \u00e0 supplice aux allures kafka\u00efennes, incarne l\u2019absurdit\u00e9 des syst\u00e8mes que nous avons cr\u00e9\u00e9s. Ses engrenages sans fonction, ses cha\u00eenes d\u00e9tendues, \u00e9voquent la bureaucratie de la torture \u2014 un syst\u00e8me qui continue de fonctionner m\u00eame lorsqu\u2019il a perdu son sens originel. On y lit toute la violence sourde des dispositifs disciplinaires, ces architectures de contr\u00f4le qui survivent \u00e0 leur propre utilit\u00e9.<\/p>\n\n\n\n

Un tournant dans le parcours : la ferraille cesse d\u2019\u00eatre documentaire pour devenir mythologique. Le dragon de t\u00f4le et la machine \u00e0 \u00e9crire les destins transforment l\u2019exposition en une sorte d\u2019Ovide des d\u00e9chets.<\/p>\n\n\n\n

Snoussi semble nous dire que nos rejets engendrent leurs propres cr\u00e9atures l\u00e9gendaires, leurs propres r\u00e9cits fondateurs. Le dragon n\u2019est plus une b\u00eate m\u00e9di\u00e9vale, mais l\u2019incarnation de nos peurs \u00e9cologiques; la machine \u00e0 \u00e9crire ne trace plus des lettres, mais des sorts m\u00e9talliques.<\/p>\n\n\n\n

Avec l\u2019\u00e9tendard vert sacr\u00e9, l\u2019artiste op\u00e8re un geste radical de transsubstantiation. La ferraille, symbole de l\u2019impur par excellence, devient objet de v\u00e9n\u00e9ration. Ce renversement rappelle les pratiques alchimiques o\u00f9 la mati\u00e8re vile se transforme en or spirituel. Snoussi ne nettoie pas les d\u00e9chets, elle les sacralise, leur offrant une nouvelle liturgie.<\/p>\n\n\n\n

Une arch\u00e9ologie du pr\u00e9sent<\/h2>\n\n\n\n

Enfin, le sarcophage des tr\u00e9sors modernes fonctionne comme le point d\u2019orgue de l\u2019exposition. Que mettons-nous dans nos tombeaux ? Non plus de l\u2019or ou des bijoux, mais les restes de notre consommation. Ce coffre ferm\u00e9 devient le miroir de notre civilisation : nous serons jug\u00e9s sur ce que nous abandonnons.<\/p>\n\n\n\n

\u2018\u2018T\u00e9tanos\u2019\u2019<\/em> d\u00e9passe largement le cadre d\u2019une critique \u00e9cologique pour devenir une m\u00e9ditation sur le temps et la m\u00e9moire. L\u2019artiste pratique ce qu\u2019on pourrait appeler une \u00abarch\u00e9ologie du pr\u00e9sent\u00bb<\/em> \u2014 elle exhume non pas des civilisations disparues, mais la n\u00f4tre en train de dispara\u00eetre. Ses \u0153uvres sont les artefacts d\u2019une \u00e9poque qui pr\u00e9f\u00e8re oublier ce qu\u2019elle produit.<\/p>\n\n\n\n

Dans cette exposition, la rouille n\u2019est pas une fin, mais un langage. Elle raconte l\u2019usure des corps, la corrosion des institutions, la r\u00e9silience des mat\u00e9riaux.<\/p>\n\n\n\n

\u2018\u2018T\u00e9tanos\u2019\u2019<\/em> nous infecte d\u00e9lib\u00e9r\u00e9ment \u2014 non pas pour nous tuer, mais pour nous immuniser contre l\u2019oubli. C\u2019est une piq\u00fbre de rappel dans la chair molle de notre conscience collective.<\/p>\n\n\n\n

Au final, A\u00efcha Snoussi nous laisse avec cette question troublante : et si nos d\u00e9chets \u00e9taient notre v\u00e9ritable h\u00e9ritage ? Et si, dans mille ans, ce n\u2019\u00e9taient pas nos livres ou nos \u0153uvres d\u2019art qui parleraient de nous, mais nos ferrailles rouill\u00e9es?<\/p>\n\n\n\n

\u2018\u2018T\u00e9tanos\u2019\u2019<\/em> est cette proph\u00e9tie en acte \u2014 une beaut\u00e9 qui na\u00eet de la blessure, une m\u00e9moire qui surgit de l\u2019oubli, une r\u00e9surrection qui passe par la pourriture.<\/p>\n\n\n\n

* Historien.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

L’exposition \u2018\u2018T\u00e9tanos\u2019\u2019 de A\u00efcha Snoussi est un op\u00e9ra m\u00e9tallique o\u00f9 chaque pi\u00e8ce rouill\u00e9e devient le personnage d\u2019une trag\u00e9die industrielle.<\/p>\n","protected":false},"author":8,"featured_media":17944849,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[992,994,2433],"tags":[108027,102439,125703,125702],"class_list":["post-17944829","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-a-la-une","category-culture","category-tunisie","tag-abdelhamid-largueche","tag-aicha-snoussi","tag-galerie-32bis","tag-tetanos"],"yoast_head":"\n\u2018\u2018T\u00e9tanos\u2019\u2019 de A\u00efcha Snoussi | Un op\u00e9ra m\u00e9tallique - Kapitalis<\/title>\n<meta name=\"description\" content=\"L'exposition \u2018\u2018T\u00e9tanos\u2019\u2019 de A\u00efcha Snoussi est un op\u00e9ra m\u00e9tallique o\u00f9 chaque pi\u00e8ce rouill\u00e9e devient le personnage d\u2019une trag\u00e9die industrielle.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/kapitalis.com\/tunisie\/2025\/11\/19\/tetanos-de-aicha-snoussi-un-opera-metallique\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u2018\u2018T\u00e9tanos\u2019\u2019 de A\u00efcha Snoussi | Un op\u00e9ra m\u00e9tallique - 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