Morbid/god/dess

Series: 
L'habitée
Creator: 
Elisabeth Morcellet
Performer: 
Elisabeth Morcellet
Producer: 
Simone Dibo-Cohen
Theoretical background: 

CONTEXT

EXHIBITION/SHOWING. The entire evening, the night, involves an explosion of energy with its galleries, its spaces, its artists and its multiple events. The programming plays on cultural overconsumption, on distraction and the fusion of genres. Explosion. Energie. Variety. Movement. The performance gives way to the presentation of its English version. All the scenic inspirations: street theatre, dance, actor’s games, disguises… various attractions are invited. The goal is to attract, to shine, to make a mark, to stand out. In this principle of “circulation,” my presence will be wandering but it will be inscribed in time, permanence, stopping. A pause.

Elisabeth Morcellet

Occurence: 

IV. L’HABITEE. LA MORBIDE/DEE/SSE »

Synopsis / Description: 
vidéo couleur, montage original projetée pendant action et exposition
Performances: 

copie mise en boucle quatre fois soit 45 minutes x 4

Synopsis / Description: 
copie mise en boucle quatre fois soit 45 minutes x 4
Performances: 

vidéo rushes couleur

Synopsis / Description: 
vidéo rushes couleur
Performances: 

copie remontée

Synopsis / Description: 
copie remontée
Performances: 

Ceci était notre corps

90 minutes
Synopsis / Description: 
Bande son originale de 2 fois 45 mn passée pendant action et exposition.
Enregistrement de la voix d'Elisabeth Morcellet avec textes personnels, prières, silences...
cassette audioMORCEL
Notes: 
en cours de numérisation (avril 2012)
Objets: 

14 séries de radios médicales (38 images radiologiques maximum), noir blanc, de 1975 à 2001 (radios persos).

Technique description référence: 
14 séries de radios médicales (38 images radiologiques maximum), noir blanc, de 1975 à 2001 (radios persos).
dimensions variables : 43 x 35,2 cm, 23,7 x 29,5 cm, 39,6 x 19,8 cm, 29,7 x 11,7 cm, 17,7 x 23,8 cm, 23,7 x 17,7 cm

lettres argent découpées titrant phrases

Technique description référence: 
lettres argent découpées titrant phrases

couverture de survie, double face or et argent, utilisée dans de nombreuses performances depuis 1987. Face argent utilisée.

Technique description référence: 
couverture de survie, double face or et argent, utilisée dans de nombreuses performances depuis 1987. Face argent utilisée.
Documents: 

CARTON INVITATION (3) « La nuit des Galeries » recto verso avec plan toutes galeries participantes

Type: 
Imprimé
Technique description référence: 
CARTON INVITATION (3) « La nuit des Galeries » recto verso avec plan toutes galeries participantes
MORCEL

CARTON DU LABORATOIRE d’analyses Janton (1)

Type: 
Imprimé
Technique description référence: 
CARTON DU LABORATOIRE d’analyses Janton (1)
MORCEL

CARTE de visite de Marc Danyach

Type: 
Imprimé
Technique description référence: 
CARTE de visite de Marc Danyach
MORCEL

« 7 NON-LIEUX GALERIE ART 7 » Sept espaces avec adresse et artistes participants (1 page)

Type: 
Imprimé
Technique description référence: 
« 7 NON-LIEUX GALERIE ART 7 » Sept espaces avec adresse et artistes participants (1 page)
MORCEL

BROCHURE/CATALOGUE couleur Galerie Art 7 « 7 NON LIEUX GALERIE ART 7 » 50 artistes : 7 pages couleur (impression mauvaise qualité) (+ copies)

Type: 
Imprimé
Technique description référence: 
BROCHURE/CATALOGUE couleur Galerie Art 7 « 7 NON LIEUX GALERIE ART 7 » 50 artistes : 7 pages couleur (impression mauvaise qualité) (+ copies)
MORCEL

« ART D’AZUR » Supplément Hebdomadaire « Le petit niçois »30 Mai 2002… « LA NUIT DES GALERIES » (page couverture et dernière) avec 3 grandes photos et 3 portraits + article. Version galeriste sans trop de précisions sur œuvres présentées

Type: 
Presse
Technique description référence: 
« ART D’AZUR » Supplément Hebdomadaire « Le petit niçois »30 Mai 2002… « LA NUIT DES GALERIES » (page couverture et dernière) avec 3 grandes photos et 3 portraits + article. Version galeriste sans trop de précisions sur œuvres présentées
MORCEL

RECHERCHE PREPARATOIRE (textes tapés)<br /> a. « HISTOIRE VISUELLE MEDICALE DE E. » Liste images radiologiques (14 radios en 26 ans)<br /> b. Manuscrit : DICTIONNAIRE définition « Habiter » « Morbide » « Déesse » « Morbidesse » et rec...

Type: 
Manuscrit
Technique description référence: 
RECHERCHE PREPARATOIRE (textes tapés)<br /> a. « HISTOIRE VISUELLE MEDICALE DE E. » Liste images radiologiques (14 radios en 26 ans)<br /> b. Manuscrit : DICTIONNAIRE définition « Habiter » « Morbide » « Déesse » « Morbidesse » et recherche titre. Pour les Habitées c. Copie partie PLAN de Nice (1 page)<br /> d. PLANS (1 page) dessiné pour le premier espace proposé chez le DOCTEUR ARNAULT G. avec indications ambiances couleur : cabinet, bureau, salle d’attente, couloir entrée et petit salon.<br /> e. DESSIN corps en pied linéaire, « ELISABETH MORCELET années radiologiques » 1975….2001 avec cadrage et dates localisant les zones traitées ( + copies)<br /> f. « HISTOIRE MEDICALE » Elisabeth Morcellet (1 page) avec interventions...<br /> g.« CECI ETAIT NOTRE CORPS » TEXTE ENREGISTRE de 7 pages avec paragraphes : Je tu il elle nous vous ils elles ; Objectif médical ; L’Art de la boucherie ; Corps sain ; Salle d’attente ;Une couche ; Long temps ; Ma chambre ; La lumière ; Une patiente ; Notre père qui allait aux cieux : Fin. Ce texte sera enregistrée sur une K7 SON et diffusée pendant toute la durée de l’expo et de la performance avec un additif improvisé a la fin. Avec prières.<br /> h.6 PLANCHES COULEURS MEDICALES. ANATOMIE HUMAINE
MORCEL

PROJET FINAL LABO JANTON textes manuscrits<br /> a. 7 NON LIEUX ACTION DALLE D’ATTENTE et HALL. Timing en quatre parties. 45 mn prévues (1 page)<br /> b. ACTION prévue avec CROQUIS. PLAN. Numérotations actions. Emplacement radios. (1 page)<br />...

Type: 
Manuscrit
Technique description référence: 
PROJET FINAL LABO JANTON textes manuscrits<br /> a. 7 NON LIEUX ACTION DALLE D’ATTENTE et HALL. Timing en quatre parties. 45 mn prévues (1 page)<br /> b. ACTION prévue avec CROQUIS. PLAN. Numérotations actions. Emplacement radios. (1 page)<br /> c. ACCESSOIRES ACTION/INSTALLATION (1 page)<br /> d. DIAPORAMA VIDEO (diapos non utilisées finalement)<br /> e. CARTON ACTION TIMING MEMO : accessoires/ radios/ Plans et mouvements prévus
MORCEL
Description: 

MEDICAL ANALYSIS LAB

The act here is intended as a working drawing: stripping bare, it will reference the primal BODY, functional mechanism. The body as flesh, the sick body, the dead body. No coincidence though, faced with this artistic proposition, which fuses with the painful experience of the illness and passing of my own father in December of this very year. The artistic action always works echoing real life. A sick body is a body that waits, that rests. Dependent on and spectator of the life of others.

INTENTION
DEATH/SCENE/VIDEO/PHOTO/PAINTING/MODEL

In this approach to the body, in this perspective, a video from the series “HABITÉE” (“INHABITED”) was shot in the Montreuil apartment, his final resting place. The body there plays on an ambiguity, that of a still image video-recorded for thirty-three breaths. The number thirty-three that doctors sometimes require. This figure, motionless and naked, disturbs. Watching something where almost nothing happens. Choice of medium? Why film what doesn’t move? Why not a photo? Only the breathing attests to the body’s life. The body is lying down. It looks like a painting. These are a model’s poses. It is as if it “fell” to the ground, but gracefully, in different rooms of the apartment. The living room, the bedroom, the hallway, the kitchen, the toilets, the bathroom, the entryway...

From this filmed image of a body that does not move, this image like a photo, this image like a painting, this image like the corpses in the morgue, we had to slip further down. To set this transposition in real action.

The dictionary explains “morbidezza” as the delicacy of touch in painting.

SETTING

There is the waiting room with its table and catalogues, its black leather folding chairs, its umbrella stand. There is my video “L’HABITÉE” (“THE INHABITED”) which runs for forty-five minutes. Looping. There are windows, some of which are obscured by my X-rays. There is a fireplace. There are art objects exhibited on the walls, the fireplace... pretty much everywhere. The ground is clear. Wooden flooring (?). The room is accessible by a large entryway, like a porch. In the foreground, in the hall, there are currents of air, concrete, and street noises that enter.

 

ACTION: THE WAITING ROOM

I am naked and wrapped in a thin black cloth, the kind used for linings. I am standing, I wait; I will begin when I want to. Some people will have to be there already, looking at the exhibition. It must be past 7:30 pm, perhaps. Here we go, I move, I move around slowly, I enter the waiting and exhibition room. Slow movements. I let the cloth drop to my feet. I place on the ground a first title, letter by letter. Cut from silver cardboard. TITLE I: “ELISABETH MORCELLET.” Then I freeze, standing, feet on this “shell” of black cloth....Venus coming out of nowhere. A number of letters are scattered on the ground; they will form: “JUNE 13, 2002.” “THE MORBID/GOD/DESS.” “MORBIDNESS DELICACY” “DWELL REMAIN” “33 INHALES EXHALES”. Being silent. Writing and freezing. Standing soberly, feet anchored to the black cloth.

After the last title, the lying down poses will begin.

The visitors enter full of energy, a glass of wine in hand. Children with their parents. The woman is naked. Well. Great. Unexpected. It passes. I’m in the middle of their feet. I hear heels that threaten my flesh. A fragile body. People avoid me. People barely look at me. A fallen body. There is this movement of the crowd. Surprise. Embarrassment. Stopping. Small islands skirt around me, look at me. They are quiet, waiting for something. Their presence. Warmth of bodies. Sweat. Breath. Alcohol. Some sit down. A breeze from outside carried by the clothes. Perfumes. Smoke. I am submerged, rigid, frozen in the middle of them. They move. In my passive appearance, I’m alive and breathing sixty miles an hour. At rest, listening. Boiling. Garish and crude painting. Skin color. Do you see? Inside. Outside. Eyes closed, open. Strength of nothing. Do nothing. Power of inertia: each space will be taken, conquered, felt, breathed. Its resonances, its odors, its dust, its light....

The cloth covers some body parts sometimes. Above, below.

When the body moves, it does so slowly. Choreography in slow motion. It wakes up, begins to move again. Does the sleeping goddess expect a prince’s kiss? The child recognizes it. And I leave the room. By another door. Out. A first end. Gold and X-rays. Time passes. I come back. In. Same door. I am wrapped in this gold and silver rescue blanket. Torn, resewn, restored ends, all wrinkled. Since 1987, I have used this accessory: as a screen, mirror, dazzle, reflection, protection. It envelops me, protects me. It saves lives on the brink of the abyss. Fallen to the ground. In a coma. After collapsing. Revive. Quick. Warm back up before death can...I will use the X-rays placed on my body on the corresponding spots. Poses and rigidness in the movement of the visitors. In the heart of the space. Again this turning of the body and then leaving. The same door. Out.

 

THE HALL

Reappearing then in the somber entryway of the hall. A video is projected directly on the wall. Gliding like a shadow in the golden gleam of the blanket. Along the walls. Standing on tiptoe. A place between inside and outside. Fresh air. They come in, they go out, they fidget. I watch. I will circle the room, standing up, step by step, delicately and coldly. They will spot me. They will leave. The loop will soon be finished. Pass under the archway to cross for the last time. I walk. A rigid, upright stone slab, advancing towards the exit. And it will be finished for me. Body drained. Longing for clothes, for words. No one applauds something that has neither beginning nor end. That’s fine. This is something else. Art, action is an existential search that seeks to confront the living. In quest of a unique experience. An attitude of intimacy that gazes deeply into the eyes of the other. Pleasure...

Elisabeth Morcellet | photographie de la performance "La Morbide/dee/sse", 2002 | © Elisabeth Morcellet - ADAGP, Paris 2012 | photographie : © Yves Hayat | courtesy de l'artiste
Elisabeth Morcellet | photographie de la performance "La Morbide/dee/sse", 2002 | © Elisabeth Morcellet - ADAGP, Paris 2012 | photographie : © Yves Hayat | courtesy de l'artiste
Elisabeth Morcellet | photographie de la performance "La Morbide/dee/sse", 2002 | © Elisabeth Morcellet - ADAGP, Paris 2012 | photographie : © Yves Hayat | courtesy de l'artiste
Elisabeth Morcellet | photographie de la performance "La Morbide/dee/sse", 2002 | © Elisabeth Morcellet - ADAGP, Paris 2012 | photographie : © Yves Hayat | courtesy de l'artiste
Elisabeth Morcellet | photographie de la performance "La Morbide/dee/sse", 2002 | © Elisabeth Morcellet - ADAGP, Paris 2012 | photographie : © Yves Hayat | courtesy de l'artiste
Elisabeth Morcellet | photographie de la performance "La Morbide/dee/sse", 2002 | © Elisabeth Morcellet - ADAGP, Paris 2012 | photographie : © Yves Hayat | courtesy de l'artiste
Elisabeth Morcellet | photographie de la performance "La Morbide/dee/sse", 2002 | © Elisabeth Morcellet - ADAGP, Paris 2012 | photographie : © Yves Hayat | courtesy de l'artiste
Elisabeth Morcellet | photographie de la performance "La Morbide/dee/sse", 2002 | © Elisabeth Morcellet - ADAGP, Paris 2012 | photographie : © Yves Hayat | courtesy de l'artiste
Elisabeth Morcellet | photographie de la performance "La Morbide/dee/sse", 2002 | © Elisabeth Morcellet - ADAGP, Paris 2012 | photographie : © Yves Hayat | courtesy de l'artiste