{"id":5307,"date":"2024-04-04T13:33:13","date_gmt":"2024-04-04T13:33:13","guid":{"rendered":"https:\/\/soundimageculture.org\/team\/peggy-ahwesh\/"},"modified":"2024-04-04T13:40:09","modified_gmt":"2024-04-04T13:40:09","slug":"peggy-ahwesh","status":"publish","type":"team","link":"https:\/\/soundimageculture.org\/fr\/team\/peggy-ahwesh\/","title":{"rendered":"Peggy Ahwesh"},"content":{"rendered":"

Biographie<\/h2>

Au cours de sa carri\u00e8re, Peggy Ahwesh a produit l’un des corpus d’\u0153uvres les plus h\u00e9t\u00e9rog\u00e8nes dans le domaine du film et de la vid\u00e9o exp\u00e9rimentaux. V\u00e9ritable bricoleuse<\/i>, ses outils incluent des styles narratifs et documentaires, des performances improvis\u00e9es et des dialogues sc\u00e9naris\u00e9s, des films \u00e0 son synchrone, des s\u00e9quences trouv\u00e9es, des animations num\u00e9riques et des vid\u00e9os Pixelvision brutes. Gr\u00e2ce \u00e0 cet \u00e9ventail d’approches, elle a prolong\u00e9 le projet initi\u00e9 par le cin\u00e9ma d’avant-garde am\u00e9ricain des ann\u00e9es 1960 et 1970, et a compl\u00e9t\u00e9 cette tradition par une enqu\u00eate sur l’identit\u00e9 culturelle et le r\u00f4le du sujet.<\/p>\n

Ahwesh a commenc\u00e9 \u00e0 travailler en Super-8, attir\u00e9e par l’\u00e9vocation des films familiaux. Pour elle, il s’agissait d’une forme d’amateurisme subversif, mais aussi d’un discours qui abordait des th\u00e8mes traditionnellement f\u00e9minins tels que le foyer et la famille, les relations et les confessions, qu’elle s’est appropri\u00e9s comme sc\u00e9narios. Elle et d’autres cin\u00e9astes de l’\u00e9poque, dont Sally Potter, Su Friedrich et Leslie Thornton, n’avaient que faire des strat\u00e9gies essentiellement formelles de la tradition cin\u00e9matographique mat\u00e9rialiste structurelle (qui \u00e9tait de toute fa\u00e7on domin\u00e9e par les hommes), et consid\u00e9raient les conventions de mise en sc\u00e8ne, de personnage et de performance comme des outils. Pour ces cin\u00e9astes, le f\u00e9minisme repr\u00e9sentait une praxis d’avant-garde viable : contrairement aux dislocations formelles radicales du cin\u00e9ma mat\u00e9rialiste, le r\u00e9cit politique inh\u00e9rent \u00e0 l’art f\u00e9ministe \u00e9tait extr\u00eamement r\u00e9sistant \u00e0 la cooptation par les m\u00e9dias dominants ou la publicit\u00e9.<\/p>\n

Le travail d’Ahwesh, m\u00eame s’il repose sur des pr\u00e9occupations th\u00e9oriques, n’est pas aride ou r\u00e9barbatif. Elle accorde de l’importance \u00e0 l’humour, \u00e0 l’espi\u00e8glerie et, en fin de compte, au plaisir du public. Les d\u00e9cors encombr\u00e9s et les histoires fragment\u00e9es d’une grande partie de son travail \u00e9voquent une sensibilit\u00e9 baroque et presque mystique, qui s’inscrit dans la lign\u00e9e des films orn\u00e9s de Jack Smith et de Kenneth Anger. Bien entendu, il s’agit d’un mysticisme qui situe ses syst\u00e8mes de signification dans la culture de masse et, ces derni\u00e8res ann\u00e9es, Ahwesh a \u00e9tendu son travail aux techniques et aux critiques de la culture num\u00e9rique naissante, y compris les jeux vid\u00e9o et l’internet.
\nEn fin de compte, Ahwesh a d\u00e9velopp\u00e9 une pratique qui insiste sur l’actualit\u00e9 politique et sociale, trait\u00e9e avec une rigueur th\u00e9orique et formelle, tout en n’oubliant pas le public. C’est sa touche plus l\u00e9g\u00e8re qui a contribu\u00e9 \u00e0 rendre son travail, aussi dense et critique soit-il, si accessible \u00e0 tant de gens. Elle les entra\u00eene dans le monde et les traditions du cin\u00e9ma et de la vid\u00e9o d’avant-garde, o\u00f9, comme elle l’a fait remarquer, \u00ab\u00a0il n’y a rien \u00e0 prouver et pas d’argent \u00e0 gagner\u00a0\u00bb, seulement le plaisir du texte.<\/p>\n

Peggy Ahwesh est n\u00e9e en 1954. Elle a obtenu une licence en arts plastiques \u00e0 l’Antioch College. Son travail a \u00e9t\u00e9 largement expos\u00e9, notamment au Solomon R. Guggenheim Museum, New York ; au Yerba Buena Center for the Arts, San Francisco ; au Balie Theater, Amsterdam ; au Filmmuseum, Francfort ; au Rotterdam International Film Festival ; au Museu d’Art Contemporani Barcelona (MACBA), Barcelone ; au Wexner Center for the Arts, Columbus, Ohio ; au Whitney Museum of American Art, New York ; au Museum of Modern Art, New York ; \u00e0 la Microscope Gallery, New York et \u00e0 Anat Ebgi, Los Angeles, parmi d’autres lieux. Parmi les nombreuses r\u00e9compenses qu’elle a re\u00e7ues, citons un Alpert Award in the Arts, une bourse de la John Simon Guggenheim Memorial Foundation et des subventions de la Jerome Foundation, de Creative Capital et du New York State Council on the Arts. Elle a enseign\u00e9 au Bard College, \u00e0 Annandale-on-Hudson, dans l’\u00c9tat de New York.<\/p>\n

Ahwesh vit \u00e0 Brooklyn, New York.<\/p>\n<\/div><\/section>","protected":false},"excerpt":{"rendered":"","protected":false},"featured_media":5305,"template":"","class_list":["post-5307","team","type-team","status-publish","has-post-thumbnail","hentry"],"acf":[],"yoast_head":"\nPeggy Ahwesh – Sound Image Culture<\/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:\/\/soundimageculture.org\/fr\/team\/peggy-ahwesh\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Peggy Ahwesh – Sound Image Culture\" \/>\n<meta property=\"og:url\" content=\"https:\/\/soundimageculture.org\/fr\/team\/peggy-ahwesh\/\" \/>\n<meta property=\"og:site_name\" content=\"Sound Image Culture\" \/>\n<meta property=\"article:modified_time\" content=\"2024-04-04T13:40:09+00:00\" \/>\n<meta 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