L’art transgenre, vers d’autres expériences corporelles du temps

This article compares the representation of time in its relation to the transformation of the body, in the hegemonic (artistic) culture and in the semiological content of transgender works. First, the study focuses on the criticism of the before-after trope of transsexuality in Yishay Garbasz’s work...

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Main Author: Luc Schicharin
Format: Article
Language:fra
Published: Association Genres, sexualités, langage 2019-07-01
Series:Glad!
Subjects:
Online Access:https://journals.openedition.org/glad/1554
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author Luc Schicharin
author_facet Luc Schicharin
author_sort Luc Schicharin
collection DOAJ
description This article compares the representation of time in its relation to the transformation of the body, in the hegemonic (artistic) culture and in the semiological content of transgender works. First, the study focuses on the criticism of the before-after trope of transsexuality in Yishay Garbasz’s work "Becoming". According to our hypothesis, this visual dialectic derives from an evolutionary temporal norm appeared in the nineteenth century (with Darwin and the invention of cinema). Next, Wynne Neilly’s "Female-to-‘Male’" installation exposes the artist’s transgender "second puberty" experience, turning away from a hetero-cisnormative chronobiology focused on sexual maturity and reproduction. Finally, the performances of Kris Grey’s "Untitled" and Cassils’ "Cuts: A Traditional Sculpture" question the body as a living sculpture: they deconstruct the idea that the medical identification of sex is "the fruitful moment" (Lessing) of gender and the eternal "biological bedrock" (Freud) of subjectivity. Transgender art thus invites us to think of other bodily temporalities.
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publisher Association Genres, sexualités, langage
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spelling doaj-art-cd0082bd5e4648a1963cc29a4e0dcb252025-01-30T10:37:51ZfraAssociation Genres, sexualités, langageGlad!2551-08192019-07-01610.4000/glad.1554L’art transgenre, vers d’autres expériences corporelles du tempsLuc SchicharinThis article compares the representation of time in its relation to the transformation of the body, in the hegemonic (artistic) culture and in the semiological content of transgender works. First, the study focuses on the criticism of the before-after trope of transsexuality in Yishay Garbasz’s work "Becoming". According to our hypothesis, this visual dialectic derives from an evolutionary temporal norm appeared in the nineteenth century (with Darwin and the invention of cinema). Next, Wynne Neilly’s "Female-to-‘Male’" installation exposes the artist’s transgender "second puberty" experience, turning away from a hetero-cisnormative chronobiology focused on sexual maturity and reproduction. Finally, the performances of Kris Grey’s "Untitled" and Cassils’ "Cuts: A Traditional Sculpture" question the body as a living sculpture: they deconstruct the idea that the medical identification of sex is "the fruitful moment" (Lessing) of gender and the eternal "biological bedrock" (Freud) of subjectivity. Transgender art thus invites us to think of other bodily temporalities.https://journals.openedition.org/glad/1554transgenderbodyarttimecritical theory
spellingShingle Luc Schicharin
L’art transgenre, vers d’autres expériences corporelles du temps
Glad!
transgender
body
art
time
critical theory
title L’art transgenre, vers d’autres expériences corporelles du temps
title_full L’art transgenre, vers d’autres expériences corporelles du temps
title_fullStr L’art transgenre, vers d’autres expériences corporelles du temps
title_full_unstemmed L’art transgenre, vers d’autres expériences corporelles du temps
title_short L’art transgenre, vers d’autres expériences corporelles du temps
title_sort l art transgenre vers d autres experiences corporelles du temps
topic transgender
body
art
time
critical theory
url https://journals.openedition.org/glad/1554
work_keys_str_mv AT lucschicharin larttransgenreversdautresexperiencescorporellesdutemps