{"id":6537,"date":"2026-08-27T16:02:26","date_gmt":"2026-08-27T16:02:26","guid":{"rendered":"https:\/\/outsiderland.com\/danahilliot\/?p=6537"},"modified":"2026-08-27T16:03:09","modified_gmt":"2026-08-27T16:03:09","slug":"im-desperate","status":"publish","type":"post","link":"https:\/\/outsiderland.com\/danahilliot\/im-desperate\/","title":{"rendered":"I’m desperate"},"content":{"rendered":"

Je pense souvent \u00e0 cette photographie de Gillian Wearing, tir\u00e9e de la s\u00e9rie Signs That Say What You Want Them to Say and Not Signs That Say What Someone Else Wants You to Say<\/em>, r\u00e9alis\u00e9e dans les rues de Londres, en 1992. La brutalit\u00e9 n\u00e9olib\u00e9rale des ann\u00e9es Thatcher, que son successeur John Major n’ont en rien adouci, a laiss\u00e9 nombre de britanniques exsangues. La r\u00e9cession bat son plein. Cet homme, habill\u00e9 comme un jeune cadre dynamique, \u00e9crit sur son panneau : I’m desperate\u00a0\u00bb (il s’en voudra peu apr\u00e8s, choqu\u00e9 lui-m\u00eame d’avoir \u00e9crit ce message. Puis, explique Gillian Wearing, \u00ab\u00a0he got a bit angry, handed back the piece of paper and stormed off<\/em>.\u00a0\u00bb<\/p>\n

\"\"<\/p>\n

C’est \u00e0 mon sens l’image embl\u00e9matique de l’Europe contemporaine – et bien au-del\u00e0 de l’Europe, partout o\u00f9 l’id\u00e9ologie n\u00e9olib\u00e9rale, qui soumet tout un chacun \u00e0 une comp\u00e9tition f\u00e9roce et sans merci en vue d’obtenir une \u00ab\u00a0place\u00a0\u00bb, de chercher \u00e0 gagner un revenu par le travail, s’est impos\u00e9. C’est-\u00e0-dire, partout, ou peu s’en faut, sur la plan\u00e8te politique, sociale et \u00e9conomique.<\/p>\n

J’ai d\u00e9couvert l\u2019\u0153uvre de Gillian Wearing \u00e0 la fin des ann\u00e9es 90 lors d’une exposition je ne sais plus o\u00f9, peut-\u00eatre au Grand Palais, \u00e0 Paris. Il y avait des vid\u00e9os qu’elle avait tourn\u00e9es aupr\u00e8s des SDF dans les rues de Londres, et d’autres choses dont j’ai un vague souvenir, la confession d’une femme, alcoolique, ainsi qu’un conflit dans un couple plut\u00f4t ais\u00e9, la nuit, pr\u00e8s de leur maison. Cela m’avait touch\u00e9 jusqu’aux larmes et j’\u00e9tais rest\u00e9 l’apr\u00e8s-midi entier dans la salle d’exposition. Il y a quelques \u0153uvres comme \u00e7a, qui se sont inscrites dans mes archives, comme des points d’orientation, o\u00f9 je reviens toujours (et l’existence, il faut l’admettre, m’y ram\u00e8ne aussi) : une \u0153uvre de Boltanski, L\u2019inventaire des objets ayant appartenu \u00e0 la jeune fille de Bordeaux<\/em>, expos\u00e9e au CAPC \u00e0 Bordeaux, des s\u00e9ries photographiques de Cindy Sherman, et de Francisca Woodman, des \u0153uvres de Sophie Calle. Et le film qui m’a boulevers\u00e9, au point qu’il m’est difficile de le revoir aujourd’hui, en partie en raison des conditions dans lesquelles je l’ai vu, il y a une vingtaine d’ann\u00e9es, dans un cin\u00e9ma MKII pr\u00e8s de Beaubourg, My Winnipeg<\/em>, de Guy Maddin (2007) et plus r\u00e9cemment, Carol<\/em>, de Todd Haynes (2015)<\/p>\n

Disant cela, \u00e9num\u00e9rant ces \u0153uvres, j’ai l’impression de confesser quelque chose de tr\u00e8s intime me concernant.<\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

Je pense souvent \u00e0 cette photographie de Gillian Wearing, tir\u00e9e de la s\u00e9rie Signs That Say What You Want Them to Say and Not Signs That Say What Someone Else Wants You to Say, r\u00e9alis\u00e9e dans les rues de Londres, en 1992. La brutalit\u00e9 n\u00e9olib\u00e9rale des ann\u00e9es Thatcher, que son successeur John Major n’ont en…<\/p>\n Read More<\/span> I’m desperate<\/span><\/a>","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":true,"template":"","format":"standard","meta":{"Layout":"","footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[61],"tags":[],"class_list":["entry","author-danah","post-6537","post","type-post","status-publish","format-standard","category-chronique"],"yoast_head":"\nI'm desperate - Outside Dana Hilliot<\/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:\/\/outsiderland.com\/danahilliot\/im-desperate\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"I'm desperate - Outside Dana Hilliot\" \/>\n<meta property=\"og:description\" content=\"Je pense souvent \u00e0 cette photographie de Gillian Wearing, tir\u00e9e de la s\u00e9rie Signs That Say What You Want Them to Say and Not Signs That Say What Someone Else Wants You to Say, r\u00e9alis\u00e9e dans les rues de Londres, en 1992. 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