{"id":5559,"date":"2025-11-21T15:54:58","date_gmt":"2025-11-21T14:54:58","guid":{"rendered":"https:\/\/great-artmag.com\/?p=5559"},"modified":"2025-11-21T16:22:37","modified_gmt":"2025-11-21T15:22:37","slug":"theatre-of-cruelty-au-casino-luxembourg-une-cruaute-sans-ecrans","status":"publish","type":"post","link":"https:\/\/great-artmag.com\/en\/theatre-of-cruelty-au-casino-luxembourg-une-cruaute-sans-ecrans\/","title":{"rendered":"Theatre of Cruelty au Casino Luxembourg : une cruaut\u00e9 sans \u00e9crans"},"content":{"rendered":"

\u00ab Ainsi la r\u00e9alit\u00e9 est-elle cruelle \u2013 et indigeste \u2013 d\u00e8s lors qu\u2019on la d\u00e9pouille de tout ce qui n\u2019est pas elle pour ne la consid\u00e9rer qu\u2019en elle-m\u00eame \u00bb, \u00e9crit Cl\u00e9ment Rosset dans Le Principe de cruaut\u00e9<\/em> (1988). Cette formule condense ce que l\u2019exposition Theatre of Cruelty au Casino Luxembourg fait vibrer sous la peau : la mise \u00e0 nu du r\u00e9el, sans consolation. Jusqu\u2019au 8 f\u00e9vrier 2026.<\/strong><\/p>\n

Chez le philosophe, Cl\u00e9ment Rosset, la cruaut\u00e9 n\u2019est pas un exc\u00e8s de violence, elle est la rencontre frontale avec ce qui est. Une r\u00e9alit\u00e9 d\u00e9barrass\u00e9e de ses justifications, de ses illusions, de ses \u00ab accompagnements ordinaires \u00bb. Le geste curatoriel d\u2019Agn\u00e8s Gryczkowska \u00e9pouse pr\u00e9cis\u00e9ment cette mise \u00e0 nu : r\u00e9ordonner une constellation d\u2019\u0153uvres qui refusent la m\u00e9taphore pour faire surgir le r\u00e9el pur, celui qui ne pardonne pas, celui qu\u2019on ne peut \u00ab mettre en appel \u00bb.<\/p>\n

\u00ab La cruaut\u00e9 est cette propri\u00e9t\u00e9 qu\u2019a le r\u00e9el de ne pas se laisser alt\u00e9rer, ni attendrir, par ce qu\u2019on pense de lui. \u00bb
\nLe Principe de cruaut\u00e9<\/em><\/p><\/blockquote>\n

C\u2019est Antonin Artaud qui en constitue la premi\u00e8re secousse. Les dessins r\u00e9alis\u00e9s \u00e0 Rodez \u2014 L\u2019Homme et sa douleur<\/em>, La R\u00e9volte des anges sortis des limbes<\/em>, Le Totem<\/em> \u2014 sont d\u00e9pouill\u00e9s de toute \u00e9chappatoire psychologique. Ils montrent un corps sans d\u00e9fense, travers\u00e9 de forces qui le d\u00e9passent. Leur cruaut\u00e9 n\u2019est pas spectaculaire : elle est la co\u00efncidence sans \u00e9cart entre la douleur et ce qui en t\u00e9moigne. Cl\u00e9ment Rosset \u00e9crit que la cruaut\u00e9 du r\u00e9el r\u00e9side dans \u00ab l\u2019ex\u00e9cution qui suit automatiquement la condamnation \u00bb. Absence de d\u00e9lai, absence d\u2019intervalle. Les \u0153uvres d\u2019Artaud proc\u00e8dent de cette simultan\u00e9it\u00e9 : elles ne racontent pas la souffrance, elles sont la souffrance prise sur le vif, avant toute m\u00e9diation.<\/p>\n

\"\"Autour d\u2019Antonin Artaud, plusieurs artistes prolongent cette exp\u00e9rience d\u2019un r\u00e9el sans double, sans distance. L\u2019artiste chinoise Pan Daijing inscrit sur la surface les traces d\u2019un corps engag\u00e9 dans une performance-limite : les grandes surfaces noires et blanches ne repr\u00e9sentent pas une figure, elles sont l\u2019empreinte directe d\u2019une pr\u00e9sence. Leur violence sourde tient \u00e0 cette imm\u00e9diatet\u00e9 : pas de r\u00e9cit, pas d\u2019image construite, rien qu\u2019un geste d\u00e9pos\u00e9 tel quel, dans son opacit\u00e9. La bande sonore qui l\u2019accompagne, satur\u00e9e de glossolalies et de souffles, rejoint l\u2019id\u00e9e rossetienne d\u2019un r\u00e9el sans suppl\u00e9ment, une intensit\u00e9 qui ne s\u2019appuie sur rien.<\/p>\n

Avec Tobias Bradford, cette cruaut\u00e9 de l\u2019existence se mat\u00e9rialise dans un dispositif minimal : une jambe m\u00e9canique qui tourne ind\u00e9finiment sur elle-m\u00eame, incapable d\u2019avancer. Le r\u00e9el comme r\u00e9p\u00e9tition sans but, comme mouvement sans horizon, en boucle, l\u2019une des intuitions centrales de Cl\u00e9ment Rosset, pour qui la cruaut\u00e9 tient au fait que la r\u00e9alit\u00e9 se suffit \u00e0 elle-m\u00eame. \"\"Cette absence de m\u00e9diation se retrouve chez Tadeusz Kantor. Ses bio-objets, qu\u2019il activait sur sc\u00e8ne, sont pr\u00e9cis\u00e9ment ce que Cl\u00e9ment Rosset appellerait des r\u00e9alit\u00e9s \u00ab d\u00e9nud\u00e9es \u00bb : des structures absurdes, grotesques, qui paraissent anim\u00e9es d\u2019une n\u00e9cessit\u00e9 interne. Dans La Machine familiale<\/em> ou le Pi\u00e8ge \u00e0 rats (photo d’ouverture)<\/em>, la cruaut\u00e9 n\u2019est pas celle de l\u2019objet mais celle du fonctionnement. Quelque chose se d\u00e9roule, m\u00e9caniquement, comme dans la vie elle-m\u00eame. Kantor abolit la marge entre l\u2019humain et l\u2019objet, laissant \u00e9merger la fatalit\u00e9 nue des gestes, une logique implacable qui n\u2019a besoin d\u2019aucune explication morale.
\nLes poup\u00e9es de Michel Nedjar poussent encore plus loin cette frontalit\u00e9 : objets de deuil, de boue, de sang, elles sont litt\u00e9ralement ce qu\u2019elles sont, r\u00e9tives \u00e0 toute interpr\u00e9tation psychologique. Elles n\u2019expriment rien : elles existent, et cette existence suffit \u00e0 produire le choc.<\/p>\n

Le parcours se cl\u00f4t avec une vid\u00e9o de Ed Atkins et la forme la plus contemporaine de cette cruaut\u00e9 philosophique : l\u2019avatar num\u00e9rique. Dans Pianoworks 2<\/em>, ce double tremblant, hyperr\u00e9aliste et pourtant imparfait, performe une \u0153uvre r\u00e9p\u00e9titive jusqu\u2019\u00e0 l\u2019\u00e9puisement. L\u00e0 encore, la violence n\u2019est pas celle de l\u2019image, mais celle de la co\u00efncidence : le geste r\u00e9p\u00e9titif, lent, le souffle court, la fragilit\u00e9 du visage virtuel qui r\u00e9v\u00e8le la tension entre ce qui est repr\u00e9sent\u00e9 et ce qui est v\u00e9cu. L\u2019artiste britannique montre un r\u00e9el intensifi\u00e9, un r\u00e9el qui ne cherche pas \u00e0 signifier, un r\u00e9el qui insiste.<\/p>\n

Ce que l\u2019exposition “Theatre of Cruelty” met en sc\u00e8ne : la cruaut\u00e9 comme absence de d\u00e9tour, la r\u00e9alit\u00e9 sans commentaire, la pr\u00e9sence sans fioriture. La commissaire Agn\u00e8s Gryczkowska parle d\u2019un art qui \u00ab nous force \u00e0 regarder l\u00e0 o\u00f9 \u00e7a fait mal \u00bb. Cl\u00e9ment Rosset aurait ajout\u00e9 : l\u00e0 o\u00f9 il n\u2019y a plus rien \u00e0 interpr\u00e9ter. La cruaut\u00e9 n\u2019est pas un effet dramatique, c\u2019est une v\u00e9rit\u00e9 sans alternative, sans double, la seule qui reste quand tous les d\u00e9cors sont tomb\u00e9s.<\/p>\n

Infos pratiques<\/strong>
\nExposition : Theatre of Cruelty<\/em>
\nLieu : Casino Luxembourg \u2013 Forum d\u2019art contemporain, 41 rue Notre-Dame, L-2240 Luxembourg
\nDates : du 15 novembre 2025 au 8 f\u00e9vrier 2026
\nSite : www.casino-luxembourg.lu<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

\u00ab Ainsi la r\u00e9alit\u00e9 est-elle cruelle \u2013 et indigeste \u2013 d\u00e8s lors qu\u2019on la d\u00e9pouille de tout ce qui n\u2019est pas elle pour ne la consid\u00e9rer qu\u2019en elle-m\u00eame \u00bb, \u00e9crit Cl\u00e9ment Rosset dans Le Principe de cruaut\u00e9 (1988). Cette formule condense ce que l\u2019exposition Theatre of Cruelty au Casino Luxembourg fait vibrer sous la peau […]<\/p>\n","protected":false},"author":1,"featured_media":5560,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"tdm_status":"","tdm_grid_status":"","footnotes":""},"categories":[1163],"tags":[],"class_list":["post-5559","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-exposition"],"yoast_head":"\nTheatre of Cruelty au Casino Luxembourg : une cruaut\u00e9 sans \u00e9crans - GREAT-ARTMAG<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/great-artmag.com\/en\/theatre-of-cruelty-au-casino-luxembourg-une-cruaute-sans-ecrans\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Theatre of Cruelty au Casino Luxembourg : une cruaut\u00e9 sans \u00e9crans - GREAT-ARTMAG\" \/>\n<meta property=\"og:description\" content=\"\u00ab Ainsi la r\u00e9alit\u00e9 est-elle cruelle \u2013 et indigeste \u2013 d\u00e8s lors qu\u2019on la d\u00e9pouille de tout ce qui n\u2019est pas elle pour ne la consid\u00e9rer qu\u2019en elle-m\u00eame \u00bb, \u00e9crit Cl\u00e9ment Rosset dans Le Principe de cruaut\u00e9 (1988). 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