Markos Zafiropoulos. Lacan presque queer, Toulouse, érès, coll. « Entre les lignes », 2023
Cassils, a transgender artist, uses their body as the material and protagonist of their live performances. Their art centers on the history of violence affecting the lgbtqi + community, along with its struggles for representation and survival. For Cassils, performances are kinds of social sculptures...
Kaydedildi:
| Yazar: | |
|---|---|
| Materyal Türü: | Article ou chapitre numérique |
| Dil: | Français |
| Baskı/Yayın Bilgisi: |
2025
|
| Online Erişim: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| id |
cairn-SC_032_0145 |
|---|---|
| record_format |
cairn |
| spelling |
cairn-SC_032_0145SCSavoirs et clinique https://shs.cairn.info/revue-savoirs-et-cliniques-2025-1-page-145?lang=fr https://doi.org/10.3917/sc.032.0145 Markos Zafiropoulos. Lacan presque queer, Toulouse, érès, coll. « Entre les lignes », 2023 Trichet, Geneviève2025 fre Savoirs et clinique | º32 | 1 | 2025-03-13 | p. 145-146 | 1634-3298 SC_03232 Cassils, a transgender artist, uses their body as the material and protagonist of their live performances. Their art centers on the history of violence affecting the lgbtqi + community, along with its struggles for representation and survival. For Cassils, performances are kinds of social sculptures illustrating the fact that bodies are molded by social expectations and political forces. As such, the artist explores historical contexts the better to scrutinize the present moment. In Cassils’s art, gender becomes a corporeal sculpture, where neither sex nor anatomy are destiny.Cassils, artiste transgenre, fait de son propre corps le matériau et le protagoniste de ses performances. L’art de Cassils porte sur l’histoire de la violence, de la représentation, de la lutte et de la survie lgbtqi+. Pour Cassils, la performance est une forme de sculpture sociale : partant de l’idée que les corps se forment en relation avec les forces du pouvoir et les attentes sociales, le travail de Cassils explore les contextes historiques pour examiner le moment présent. Le genre devient une sculpture corporelle. Ni le sexe ni l’anatomie n’y sont un destin.Cairn free access |
| language |
Français |
| format |
Article ou chapitre numérique |
| building |
0/Bibliothèque numérique/ 1/Bibliothèque numérique/Cairn/ |
| description |
Cassils, a transgender artist, uses their body as the material and protagonist of their live performances. Their art centers on the history of violence affecting the lgbtqi + community, along with its struggles for representation and survival. For Cassils, performances are kinds of social sculptures illustrating the fact that bodies are molded by social expectations and political forces. As such, the artist explores historical contexts the better to scrutinize the present moment. In Cassils’s art, gender becomes a corporeal sculpture, where neither sex nor anatomy are destiny. |
| author |
Trichet, Geneviève |
| spellingShingle |
Trichet, Geneviève Markos Zafiropoulos. Lacan presque queer, Toulouse, érès, coll. « Entre les lignes », 2023 |
| author_facet |
Trichet, Geneviève |
| author_sort |
Trichet, Geneviève |
| title |
Markos Zafiropoulos. Lacan presque queer, Toulouse, érès, coll. « Entre les lignes », 2023 |
| title_short |
Markos Zafiropoulos. Lacan presque queer, Toulouse, érès, coll. « Entre les lignes », 2023 |
| title_full |
Markos Zafiropoulos. Lacan presque queer, Toulouse, érès, coll. « Entre les lignes », 2023 |
| title_fullStr |
Markos Zafiropoulos. Lacan presque queer, Toulouse, érès, coll. « Entre les lignes », 2023 |
| title_full_unstemmed |
Markos Zafiropoulos. Lacan presque queer, Toulouse, érès, coll. « Entre les lignes », 2023 |
| title_sort |
markos zafiropoulos. lacan presque queer, toulouse, érès, coll. « entre les lignes », 2023 |
| publishDate |
2025 |
| container_title |
|
| container_issue |
|
| url |
https://ezproxy.univ-orleans.fr/login?url=https://shs.cairn.info/revue-savoirs-et-cliniques-2025-1-page-145?lang=fr https://ezproxy.univ-orleans.fr/login?url=https://doi.org/10.3917/sc.032.0145 |
| _version_ |
1877246818524332032 |