![\"\"](\"http:\/\/yanndatessen.fr\/yann-2\/wp-content\/uploads\/2017\/08\/amontacheron01fleuve-1024x466.jpg\")
<\/p>\n<\/p>\n
\u00ab\u00a0Prends garde quand tu passes\u00a0! Va, si tu peux, sans fouler sous tes pieds les t\u00eates de tes fr\u00e8res humains, qui souffrent.\u00a0\u00bb\u00a0<\/span>—————- Dante \/ La Divine Com\u00e9die, L\u2019Enfer, Chant 32<\/em><\/span><\/p>\n L\u2019entr\u00e9e des enfers\u00a0<\/em>est un vaste mar\u00e9cage, une mer int\u00e9rieure funeste qui se nourrit du d\u00e9bit de plusieurs fleuves. Parmi eux coule l\u2019Ach\u00e9ron, fronti\u00e8re glaciale et visqueuse dont les eaux sont connues pour \u00eatre le territoire de Charon, passeur intraitable qui sur sa barque permet aux d\u00e9funts de rejoindre leur nouvelle demeure.<\/p>\n Mais pour franchir le seuil liquide du tr\u00e9pas et s\u2019orienter selon ses vices et vertus aux champs Elys\u00e9es ou au Tartare, il faut respecter au moins deux r\u00e8gles : avoir re\u00e7u une s\u00e9pulture et s\u2019acquitter d\u2019un droit de p\u00e9age, en g\u00e9n\u00e9ral une obole plac\u00e9e dans la bouche du mort. Et malheur \u00e0 ceux qui ne pourront payer, malheur \u00e0 ceux qui n\u2019auront pu \u00eatre enterr\u00e9s ou br\u00fbl\u00e9s, ceux-l\u00e0 se verront condamn\u00e9s \u00e0 errer cent ans entre les roseaux sinistres et les boues noires d\u2019un affluent\u00a0: Le Cocyte, la rivi\u00e8re qui n\u2019est faite que de larmes.<\/p>\n Chapitre deuxi\u00e8me d\u2019un triptyque consacr\u00e9 aux enfers, l\u2019Ach\u00e9ron<\/em> entend s\u2019emparer de th\u00e8mes r\u00e9currents propres aux trag\u00e9dies antiques. Dans ces images composites qui font appel aussi bien \u00e0 la coupure qu\u2019\u00e0 l\u2019association, \u00e0 l\u2019ellipse qu\u2019\u00e0 la suite, dans ces images fragments remont\u00e9es des sous-sols telles des morceaux de mosa\u00efque, il est question de d\u00e9racinement, d\u2019exode, de transgression, de d\u00e9terminisme, d\u2019absurdit\u00e9, de deuil, de cons\u00e9quentialisme, de vanit\u00e9, ces mamelles \u00e9ternelles au travers desquelles chacune des rives du bassin m\u00e9diterran\u00e9en n\u2019a eu de cesse de puiser des laits de sang, de sperme et de larme. Et parce que tout fleuve est une le\u00e7on de vie et de mort, toute surface d\u2019eau un miroir philosophique dans lequel se noie parfois nos valeurs et s\u2019\u00e9panouissent nos parts d\u2019ombre, il faut rejoindre dans la barque nos glorieux a\u00efeux et demander encore et encore \u00e0 Orph\u00e9e l\u2019amoureux, Ulysse le vagabond, Tantale le cannibale, Antigone la digne ou Narcisse le solitaire, ce qu\u2019ils pensent de nous.<\/p>\n \n<\/div>\n The entrance to the hells is a vast swamp, a fatal inland sea which feeds on the flow of several rivers. Among them runs the Acheron, glacial and viscous border whose waters are known to be the territory of Charon, the boatman who ferry the dead to their new home.<\/em><\/span><\/p>\n But to cross the liquid threshold of death and orientate oneself according to his vices and virtues in the Elysian fields or in Tartarus, we must respect at least two rules: to have received a burial and to pay a toll (usually an obol placed in the mouth of the deceased). And woe to those who can not pay, woe to those who could not be buried or burned, they will be condemned to wander a hundred years between the sinister reeds and the black mud of a tributary : The Cocyte, the river which is only made of tears.<\/em><\/span><\/p>\n Second chapter of a triptych devoted to the underworld, the Acheron project intends to take up recurring themes peculiar to ancient tragedies. In these composite images that appeal to both the cut and the association, to the ellipse and to the continuation, in these fragmented images found in the basements such as pieces of mosaic, it is about uprooting, exodus, transgression, determinism, absurdity, mourning, consequentialism, vanity, these eternal breasts through which each of the shores of the Mediterranean basin has always extract blood, Sperm and tears. And because every river is a lesson of life and death, every surface of water a philosophical mirror in which our values \u200b\u200bare sometimes drowned and our shadows are blossoming, we must rejoin our glorious ancestors in the boat and ask again and again to Orpheus the lover, Ulysses the vagabond, Tantalus the cannibal, Antigone the worthy or Narcissus the lonely, what they think of us.<\/em><\/span><\/p>\n \n<\/div>\n \n<\/div>\n\n","protected":false},"excerpt":{"rendered":" \u00ab\u00a0Prends garde quand tu passes\u00a0! Va, si tu peux, sans fouler sous tes pieds les t\u00eates de tes fr\u00e8res humains, qui souffrent.\u00a0\u00bb\u00a0—————- Dante \/ La Divine Com\u00e9die, L\u2019Enfer, Chant 32<\/p>\n","protected":false},"author":2,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-6983","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/yanndatessen.fr\/index.php?rest_route=\/wp\/v2\/pages\/6983","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/yanndatessen.fr\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/yanndatessen.fr\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/yanndatessen.fr\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/yanndatessen.fr\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=6983"}],"version-history":[{"count":17,"href":"https:\/\/yanndatessen.fr\/index.php?rest_route=\/wp\/v2\/pages\/6983\/revisions"}],"predecessor-version":[{"id":7237,"href":"https:\/\/yanndatessen.fr\/index.php?rest_route=\/wp\/v2\/pages\/6983\/revisions\/7237"}],"wp:attachment":[{"href":"https:\/\/yanndatessen.fr\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=6983"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}\n\n\n\n\n\n