{"id":18599396,"date":"2026-04-10T09:30:00","date_gmt":"2026-04-10T08:30:00","guid":{"rendered":"https:\/\/kapitalis.com\/tunisie\/?p=18599396"},"modified":"2026-04-10T09:17:49","modified_gmt":"2026-04-10T08:17:49","slug":"el-kitab-gallery-une-relecture-contemporaine-de-la-divine-comedie","status":"publish","type":"post","link":"https:\/\/kapitalis.com\/tunisie\/2026\/04\/10\/el-kitab-gallery-une-relecture-contemporaine-de-la-divine-comedie\/","title":{"rendered":"El Kitab Gallery | Une relecture contemporaine de \u2018\u2018La Divine Com\u00e9die\u2019\u2019"},"content":{"rendered":"\n

\u00c0 El Kitab Gallery, dans le quartier de Mutuelleville \u00e0 Tunis, l\u2019exposition collective \u2018\u2018Aux portes de l\u2019Enfer\u2019\u2019, ouverte le 30 mars et qui se poursuivra jusqu\u2019au 30 avril 2026, propose une relecture contemporaine de \u2018\u2018La Divine Com\u00e9die\u2019\u2019 de Dante Alighieri, plus pr\u00e9cis\u00e9ment de son \u2018\u2018Enfer\u2019\u2019.<\/em><\/strong><\/p>\n\n\n\n

Manel Albouchi<\/strong><\/p>\n\n\n\n\n\n\n\n

Sous le commissariat de Michela Margherita Sarti, l\u2019exposition ne cherche ni \u00e0 illustrer ni \u00e0 traduire fid\u00e8lement l\u2019\u0153uvre de Dante. Elle en propose une relecture contemporaine, o\u00f9 \u2018\u2018L\u2019Enfer\u2019\u2019<\/em> cesse d\u2019\u00eatre un lieu mythologique pour devenir un territoire psychique.<\/p>\n\n\n\n

Le texte curatorial donne d\u2019embl\u00e9e la tonalit\u00e9 : il ne s\u2019agit pas de voir \u2018\u2018L\u2019Enfer\u2019\u2019<\/em>, mais de s\u2019y reconna\u00eetre. L\u2019exposition n\u2019est pas une repr\u00e9sentation, c\u2019est un miroir. Et ce d\u00e9placement, en apparence subtil, produit une rupture profonde dans la mani\u00e8re de regarder.<\/p>\n\n\n\n

Une immersion sensorielle<\/h2>\n\n\n\n

D\u00e8s les premiers pas, le visiteur est plong\u00e9 dans une atmosph\u00e8re dense : rideaux noirs, lumi\u00e8res rouges, autel, cr\u00e2nes, bougies, livres, masques, cha\u00eenes. L\u2019espace \u00e9voque un rituel contemporain, o\u00f9 chaque \u00e9l\u00e9ment semble charg\u00e9 de sens. Mais l\u2019exp\u00e9rience ne passe pas uniquement par le regard. Le corps r\u00e9agit. Avant m\u00eame toute interpr\u00e9tation, une sensation s\u2019installe : une tension, certes, mais aussi un apaisement inattendu. Comme si cet univers sombre offrait paradoxalement un espace o\u00f9 quelque chose, enfin, pouvait exister sans \u00eatre ni\u00e9. C\u2019est peut-\u00eatre l\u00e0 que l\u2019exposition atteint une justesse rare : elle ne cherche pas \u00e0 convaincre l\u2019intellect. Elle travaille ailleurs, dans cette zone interm\u00e9diaire o\u00f9 les images ne sont pas encore des mots, mais d\u00e9j\u00e0 plus que de simples perceptions.<\/p>\n\n\n\n

Un motif traverse presque l\u2019ensemble des \u0153uvres : le corps. Fragment\u00e9, d\u00e9form\u00e9, parfois dissoci\u00e9, il appara\u00eet comme le lieu principal de l\u2019exp\u00e9rience. Non pas un corps id\u00e9alis\u00e9, mais un corps \u00e9prouv\u00e9, travers\u00e9 par des tensions, des contradictions, des exc\u00e8s. Ce traitement fait \u00e9cho \u00e0 une r\u00e9alit\u00e9 contemporaine : celle d\u2019un sujet expos\u00e9 \u00e0 une multiplicit\u00e9 de pressions (sociales, psychiques, symboliques) et qui ne se vit plus comme une unit\u00e9 stable. L\u2019exposition ne cherche pas \u00e0 r\u00e9soudre cette crise. Elle la montre. Elle la fait ressentir.<\/p>\n\n\n\n

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

Un enfer contemporain<\/h2>\n\n\n\n

Le dialogue avec Dante Alighieri devient alors vertigineux. Chez lui, l\u2019Enfer \u00e9tait structur\u00e9, hi\u00e9rarchis\u00e9, inscrit dans une logique morale. Ici, il devient diffus. Il ne se manifeste plus par la punition, mais par la saturation : saturation d\u2019images, saturation d\u2019\u00e9motions, saturation de sens. Un exc\u00e8s qui caract\u00e9rise largement notre \u00e9poque.<\/p>\n\n\n\n

L\u2019exposition ne propose ni r\u00e9cit lin\u00e9aire ni conclusion apaisante. Elle oblige le visiteur \u00e0 rester face \u00e0 ce qu\u2019il voit ou \u00e0 reconna\u00eetre son incapacit\u00e9 \u00e0 le faire. Ce choix peut d\u00e9stabiliser, mais il correspond \u00e0 une r\u00e9alit\u00e9 contemporaine : l\u2019effacement progressif des rep\u00e8res collectifs et la n\u00e9cessit\u00e9, pour chacun, de construire sa propre lecture. La n\u00e9cessit\u00e9 de la travers\u00e9e Au-del\u00e0 de la proposition artistique, \u2018\u2018Aux portes de l\u2019Enfer\u2019\u2019<\/em> pose une question plus intime : Peut-on \u00e9viter ce qui, en nous, rel\u00e8ve de l\u2019ombre ? L\u2019exposition semble r\u00e9pondre par la n\u00e9gative. Aucune mol\u00e9cule, aucune substance, aucune fuite ni distraction ne peut dissoudre ce qui, en nous, rel\u00e8ve de \u2018\u2018L\u2019Enfer\u2019\u2019<\/em>. Ce territoire intime fait de peurs, de contradictions et de d\u00e9sirs inavou\u00e9s\u2026 ne dispara\u00eet pas. Il attend. Et il faut le traverser.<\/p>\n\n\n\n

Abandonner tout espoir<\/h2>\n\n\n\n

Au fond, chacun porte en lui son enfer, sa r\u00e9demption, et peut-\u00eatre, dans un silence plus discret, son paradis. Mais aucun de ces lieux n\u2019est accessible sans passage. C\u2019est peut-\u00eatre ce que cette exposition murmure, sans jamais l\u2019\u00e9noncer frontalement.<\/p>\n\n\n\n

Une phrase ancienne, presque oubli\u00e9e, qui r\u00e9sonne encore \u00ablasciate ogni speranza\u00bb<\/em> (abandonner tout espoir) non pas comme une condamnation, mais comme une invitation radicale : abandonner l\u2019illusion de contourner ce qui doit \u00eatre v\u00e9cu et symbolis\u00e9. Car entre chute et \u00e9l\u00e9vation, il existe toujours un espace de travers\u00e9e : le purgatoire. Un lieu qui, de tout temps, a eu ses gardiens. Un lieu de transformation lente, exigeante. Un lieu qui ne promet rien, mais qui veille. On n\u2019y entre pas librement. On n\u2019en sort pas indemne. Et pourtant, c\u2019est l\u00e0 que quelque chose se joue.<\/p>\n\n\n\n

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

Une exposition \u00e0 vivre<\/h2>\n\n\n\n

On quitte \u2018\u2018Aux portes de l\u2019Enfer\u2019\u2019<\/em> sans certitude, sans explication claire. Mais avec quelque chose de plus pr\u00e9cis : une sensation persistante. Comme si l\u2019exp\u00e9rience ne s\u2019arr\u00eatait pas \u00e0 la sortie, mais continuait ailleurs.<\/p>\n\n\n\n

Dans un contexte o\u00f9 les images sont souvent consomm\u00e9es rapidement, \u2018\u2018Aux portes de l\u2019Enfer\u2019\u2019<\/em> propose une temporalit\u00e9 diff\u00e9rente : plus lente, plus introspective. Une exposition \u00e0 voir, bien s\u00fbr. Mais surtout \u00e0 ressentir.<\/p>\n","protected":false},"excerpt":{"rendered":"

Exposition collective \u2018\u2018Aux portes de l\u2019Enfer\u2019\u2019, inspir\u00e9e de Dante Alghieri, \u00c0 El Kitab Gallery, \u00e0 Mutuelleville, Tunis. <\/p>\n","protected":false},"author":8,"featured_media":18599437,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[992,994,2433],"tags":[97832,127757,97831,71764],"class_list":["post-18599396","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-a-la-une","category-culture","category-tunisie","tag-dante-alighieri","tag-el-kitab-gallery","tag-la-divine-comedie","tag-michela-margherita-sarti"],"yoast_head":"\nEl Kitab Gallery | Une relecture contemporaine de \u2018\u2018La Divine Com\u00e9die\u2019\u2019 - Kapitalis<\/title>\n<meta name=\"description\" content=\"Exposition collective \u2018\u2018Aux portes de l\u2019Enfer\u2019\u2019, inspir\u00e9e de Dante Alghieri, \u00c0 El Kitab Gallery, \u00e0 Mutuelleville, Tunis.\" \/>\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\/2026\/04\/10\/el-kitab-gallery-une-relecture-contemporaine-de-la-divine-comedie\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"El Kitab Gallery | Une relecture contemporaine de \u2018\u2018La Divine Com\u00e9die\u2019\u2019 - 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