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Work in progress
Les Protagonistes


7, rue des filles du Calvaire, 75003 Paris


« Faccia a Faccia, venni, vidi, vissi », literally translated by « face to face, I came, I saw, I lived », is a solo show of the artist Sarah Trouche elaborated around the diversion of the latin expression. The exhibition is a walk during which Sarah Trouche explores the plasticity of the notion of resiliency.

This project was established after the violent aggression the artist was subject to during a project abroad, one which almost cost her the life. This trauma led her to re-tame her body, which was - until now - her main creative tool. From this very intimate event was born the wish to think about resiliency, which designates the capacity for the body or any system to find its initial properties after deterioration. The psychanalyst and neuropsychiatrist Boris Cyrulnik popularizes this notion in France and sees resiliency as the process of overtaking and as the vector for hope. It is exactly at the heart of this principle of sublimation, as defined by Boris Cyrulnik, that the artist Sarah Trouche dives us. At the 1 of the visit, the spectator discovers some contemporary traumas (geopolitical situation, colonial heritage, terrorism, etc.) and personal to the artist, which faces each other in a real memorial choreography and in which, the body of protest and dialog becomes a method for commemoration.

The exhibition’s title reveals implicitly the passage from a temporality to another: form the collective trauma to the personal one in a process of impaired memory (je voulais dire mnesique). Moreover, this title reflects the stake of dialog with the Other. This game with the latin expression lets glimpse the different tandems: “body and temporality”, “the traumatic – the traumatized” in order to illustrate the idea of movement and overtaking of the trauma. This way, symbolically, the dual relations are inversed to finally face each other and open a possible dialog toward a more radiant future. Sarah Trouche skilfully handles the different stages of the process of resiliency and their emotional repercussions. Indeed, she questions the idea of “perception” during traumatic phases. During the first step, you will fall in a threshold of memories threw shadow drawings... You will breath smells echoing the principle of recollection... You will face the principle of resistance and the one of overtaking, to finally let you seduce by this cathartic choreography.

The spectator assists to a real performativity of the body and seems to be dived at the heart of a process of transformation, of mutation, as highlighted by the game of shadows and lights present during the exhibition. Fragmented bodies, shadows, smells, incomplete memories, frozen traumas and sometimes outdated make hatch a real game of “outbreaks” set up by scenography. Omnipresent, the disjointed and dismantled body seems to have alternately the role to hide or resurrect mnemic traces and therefore becomes a true allegory of the notion of resiliency. Works are erected as many testimonials and show with delicacy our relation with the other and wither ourselves. In watermark, this exhibition allows to think about the social and political representation of the woman’s body jointly to to a principle of transmission and memory.

This exhibition is the opportunity to take the politico-social reality to a poetic act in which the body, material tool, sounds like a need of utopia...