{"id":297,"date":"2024-07-16T22:27:47","date_gmt":"2024-07-16T22:27:47","guid":{"rendered":"https:\/\/samuelperche.com\/?page_id=297"},"modified":"2026-04-08T05:54:49","modified_gmt":"2026-04-08T05:54:49","slug":"accueil","status":"publish","type":"page","link":"https:\/\/samuelperche.com\/fr\/","title":{"rendered":"Accueil"},"content":{"rendered":"\t\t
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\u00ab Nous aimons le vrai corps, fragile et vuln\u00e9rable, et non le corps id\u00e9al et tyrannique de la norme. <\/em><\/p>

Nous ne savons presque rien sur le corps vivant. <\/em><\/p>

Il faut donc l\u2019aimer l\u00e0 o\u00f9 il s\u2019exprime : dans sa fragilit\u00e9 tremblante. \u00bb<\/em><\/p>

Paul B. Preciado, 2020<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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sam\u00b7e<\/h1>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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A travers une pratique queer de la sculpture et de la peinture,<\/p>

Samuel Perche cherche \u00e0 d\u00e9construire la virilit\u00e9 h\u00e9ro\u00efque<\/p>

et \u00e0 interroger politiquement les corps et leurs repr\u00e9sentations.\u00a0<\/p>

\u00a0<\/p>

Iel signe d\u00e9sormais sous le pseudonyme de sam\u00b7e<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\u00ab D\u00e9placer la masculinit\u00e9 du registre de la domination vers celui de la sensibilit\u00e9 : mon travail engage le corps comme lieu de conflit, de m\u00e9moire et de r\u00e9sistance. En utilisant les codes de la virilit\u00e9 et de la monumentalit\u00e9, je cherche \u00e0 d\u00e9r\u00e9gler la lisibilit\u00e9 d\u2019un r\u00e9gime politique de repr\u00e9sentation pour donner \u00e0 voir des corps situ\u00e9s, vibrants et \u00e9mancip\u00e9s. \u00bb<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Gender landscape I. II. III<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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\u00abMe voil\u00e0 pr\u00eat \u00e0 dire la fa\u00e7on dont des corps <\/em><\/p>

se sont transform\u00e9s en d\u2019autres corps.\u00bb.<\/em><\/p>

Ovide, Les M\u00e9tamorphoses, 8 ap. J.-C<\/em><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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les m\u00e9tamorphes<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\n\t\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\td\u00e9couvrir le projet<\/span>\n\t\t\t\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"Les\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"Sculpture\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Les \u00c9treintes<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Ces deux corps enlac\u00e9s, suspendus entre passion et perte, \u00e9voquent \u00e0 la fois l\u2019abandon amoureux et la Pi\u00e9ta. Ils rappellent que \u00able personnel est politique\u00bb<\/em> lorsqu\u2019il acc\u00e8de \u00e0 l\u2019espace public. La fragmentation g\u00e9om\u00e9trique rompt avec la douceur acad\u00e9mique : les figures semblent reconstruites, \u00e0 l\u2019image d\u2019identit\u00e9s fa\u00e7onn\u00e9es par l\u2019histoire. Ici, le corps est assemblage, performance de la mati\u00e8re et pratique r\u00e9p\u00e9t\u00e9e. Le corps, comme \u00abfiction politique vivante\u00bb <\/em>appara\u00eet comme une construction m\u00e9ticuleuse et assum\u00e9e.<\/p>

\u00a0<\/p>

R\u00e9alis\u00e9e en bois de palettes, l\u2019\u0153uvre transforme le rebut en chair et fait de la pr\u00e9carit\u00e9 une force symbolique.<\/p>

\u00a0<\/p>

Les \u00c9treintes<\/strong> \u00e9rige l\u2019amour queer en monument.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\n\t\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\tVoir plus<\/span>\n\t\t\t\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Elwen<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Tadig<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Martin<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\"Dennis\t\t\t\t\t\t\t\t\t\t\t
Dennis<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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De 2020 \u00e0 2025, de l\u2019\u00eele de La R\u00e9union jusqu’\u00e0 la Bretagne, la s\u00e9rie NO\u00b7MAN\u00b7MEN<\/strong> explore une morphologie du masculin et s\u2019attaque au mythe du m\u00e2le triomphant et conqu\u00e9rant. \u00c0 la fronti\u00e8re du fantasme, du r\u00e9el, de l\u2019esth\u00e9tique et du politique, les peintures sont pens\u00e9es comme des sculptures ou des images d\u00e9faillantes, issues de photographies rat\u00e9es, de fragments visuels intimes, parfois dissimul\u00e9s sur l\u2019\u00e9cran d\u2019un t\u00e9l\u00e9phone : des images marginales circulant hors des cadres dominants de l\u00e9gitimation.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\n\t\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\tNO\u00b7MAN\u00b7MEN<\/span>\n\t\t\t\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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La Col\u00e8re<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Jason<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Mano<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Le souffle<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Le Minotaure<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Lovers 3<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Ma\u00ebl <\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Bob<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Oreste<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Loi\u0308g<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Yanig <\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\"Elliot\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Greek Guys<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"Mano\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"Andreas\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"Nikos\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Ali<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"sculpture\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"sculpture\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Sculpter l\u2019indicible<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Aude-Emmanuelle Hoareau, 2017\n\nPhilosophe (1978-2017)<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Comment raconter une histoire tragique et complexe, en une seule figure ? Comment contenir dans la mati\u00e8re la puissance du d\u00e9sir et la trame d\u2019une vie humaine ? Samuel Perche r\u00e9pond \u00e0 ces d\u00e9fis par un travail de sculpture qui nous pr\u00e9sente, de mani\u00e8re assez figurative, un homme \u00e9tendu sur le dos, jambe pli\u00e9e, inspir\u00e9 d\u2019une photographie d\u2019un migrant mort en mer, r\u00e9alis\u00e9e par Aris Messinis.\u00a0<\/em><\/p>

\u00a0<\/p>

Pour le philosophe Giorgio Agamben, les l\u00e9gendaires statues grecques qui rompent leurs entraves pour commencer \u00e0 se mouvoir, brisent une \u00ab ligatio \u00bb, un pouvoir paralysant qui est \u00e0 l\u2019\u0153uvre dans toute image. Ils rendent \u00e0 l\u2019image la libert\u00e9 du geste. Comme ici o\u00f9 l\u2019image est celle d\u2019un mouvement du corps tout entier, qui se cambre et s\u2019offre \u00e0 l\u2019infini du ciel, entre l\u2019extase et la mort prochaine, presque certaine ou d\u00e9j\u00e0 advenue. Nous avons affaire \u00e0\u00a0 un geste au sens large du terme, \u00e0 l\u2019intention d\u2019un mouvement qui ne se laisse pas enfermer. L\u2019homme en bois est trop grand pour \u00eatre enti\u00e8rement consum\u00e9 par l\u2019app\u00e9tit cr\u00e9ateur du sculpteur ou d\u00e9vor\u00e9 par l\u2019\u0153il du public. Par son \u00e9chelle et son inspiration antique, il nous am\u00e8ne \u00e0 regarder au-del\u00e0, vers les mythes grecs, en direction d\u2019une destin\u00e9e \u00e9pique avec laquelle se confond celle des r\u00e9fugi\u00e9s d\u2019aujourd\u2019hui, qui prennent la mer pour accomplir leur destin et finissent souvent, en martyrs des flots.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\n\t\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\tLire la suite<\/span>\n\t\t\t\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"Ali,\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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\n\t\t\t\t\t\t\t\t\t\t\"Sulpture\t\t\t\t\t\t\t\t\t\t\t
David<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Torse<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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L'amour d'apr\u00e8s d'apr\u00e8s<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\"peinture\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\t\t\t\t
Adam<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Gurvan<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\"peinture\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\t\t\t\t
Asad<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\"peinture\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\t\t\t\t
Autoportrait 2<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

\u00ab Nous aimons le vrai corps, fragile et vuln\u00e9rable, et non le corps id\u00e9al et tyrannique de la norme. Nous ne savons presque rien sur le corps vivant. Il faut donc l\u2019aimer l\u00e0 o\u00f9 il s\u2019exprime : dans sa fragilit\u00e9 tremblante. \u00bb Paul B. Preciado, 2020 sam\u00b7e A travers une pratique queer de la sculpture […]<\/p>\n","protected":false},"author":1,"featured_media":6555,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"class_list":["post-297","page","type-page","status-publish","has-post-thumbnail","hentry"],"yoast_head":"\nSamuel Perche – Artiste Peintre Contemporain<\/title>\n<meta name=\"description\" content=\"D\u00e9couvrez l'univers artistique de Samuel Perche, artiste peintre contemporain homosexuel queer et militant LGBTQIA+.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/samuelperche.com\/fr\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" 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