{"id":920,"date":"2022-02-22T11:55:22","date_gmt":"2022-02-22T10:55:22","guid":{"rendered":"https:\/\/danaepanchaud.net\/?page_id=920"},"modified":"2022-03-03T13:54:04","modified_gmt":"2022-03-03T12:54:04","slug":"celine-burnand-retour-a-helwan-la-maison-des-vivants","status":"publish","type":"page","link":"https:\/\/danaepanchaud.net\/index.php\/exhibitions\/celine-burnand-retour-a-helwan-la-maison-des-vivants\/","title":{"rendered":"C\u00e9line Burnand. Retour \u00e0 Helwan \u2013 La Maison des vivants"},"content":{"rendered":"\n
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2021 | Photoforum Pasquart, Biel<\/strong><\/p>\n\n\n\n

C\u00e9line Burnand’s artistic practice is inspired by her training in visual arts as well as in visual anthropology and literature. Her works frequently stage an investigation, and tend to reconstitute or re-enact an existing visual representations. Her research was initially inspired by the fate and work of Aby Warburg, \u201ca German intellectual who revolutionised the aesthetic approach to art history in his search for a \u2018diagnosis\u2019 of Western man struggling to heal his contradictions.\u201d He spent five years in a private clinic due to psychosis, and created two unfinished projects, the Mnemosyne Atlas, \u201csome forty screens of black canvas on which are fixed thousands of photographs on iconographic subjects of his research\u201d, and his immense library \u201cwhere the works are ordered by the principle of the \u2018good neighbour\u2019 by which the solution to the problem must be found not in the book one is looking for, but in the one next to it.\u201d<\/p>\n\n\n\n

In this same logic of questioning a Western, Cartesian, Christian and neo-colonial heritage, C\u00e9line Burnand questions her family archives and visual heritage. She has also been following since 2013 the figure of the snake in several socio-cultural contexts (the religious ceremony of San Domenico in Abruzzo (Italy) or within the Sufi festival of Rifa\u2019i in Egypt), focusing on the subversive power of this symbol in the restoration of the relationship with the other, notably through collaborative practices.<\/p>\n\n\n\n

The starting point of this exhibition is the photographic archive of her great-grandfather Ren\u00e9 Burnand (1882-1960). A Swiss writer and physician, a tuberculosis specialist and director of the Leysin sanatorium, he responded to the call of the Egyptian King Fouad I, who was looking for a candidate to run a hospital for tuberculosis patients. From 1926 to 1929, he directed the rehabilitation and operation of a sanatorium in Helwan (south of Cairo). His personal archive includes 700 photographs and several books on this episode of his life.<\/p>\n\n\n\n

In the exhibition, Ren\u00e9 Burnand\u2019s archives are presented in dialogue with photographic and video images produced by C\u00e9line Burnand, often in collaboration with Egyptian friends or descendants of Burnand\u2019s collaborators. She returns to the site of the sanatorium, now in ruins and in the hands of a local mafia, and films dancers, actors and extras in a contemporary and fictional reinterpretation of the history of the hospital and its legacy.<\/p>\n\n\n\n

By taking studio portraits of her friends and acquaintances, she explores the historical codes of Western photographic portraiture and their implications for the representation of Egyptian people and their identity. The exhibition thus confronts, without seeking a final resolution, themes such as collective and family history, and the relationship between medicine, colonial heritage and visual culture.<\/p>\n\n\n\n

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La pratique artistique de C\u00e9line Burnand s\u2019inspire de sa formation en arts plastiques aussi bien qu\u2019en anthropologie visuelle et en litt\u00e9rature. Fr\u00e9quemment, ses \u0153uvres mettent en sc\u00e8ne une enqu\u00eate, et tendent \u00e0 la reconstitution ou au reenactement<\/em> (remise en sc\u00e8ne) d\u2019une repr\u00e9sentation visuelle existante. A l\u2019origine, ses recherches s\u2019inspirent du destin et de l\u2019\u0153uvre d\u2019Aby Warburg, \u00ab\u00a0un intellectuel allemand qui r\u00e9volutionna l\u2019approche esth\u00e9tique de l\u2019histoire de l\u2019art dans sa recherche d\u2019un \u00abdiagnostic\u00bb de l\u2019homme occidental en lutte pour gu\u00e9rir de ses contradictions.\u00a0\u00bb Il passa cinq ans dans une clinique priv\u00e9e pour cause de psychose, et cr\u00e9a deux projets inachev\u00e9s, l\u2019Atlas mn\u00e9mosyne, \u00ab\u00a0une quarantaine d\u2019\u00e9crans de toile noire o\u00f9 sont fix\u00e9es des milliers de photographies sur des sujets iconographiques de sa recherche\u00a0\u00bb, et son immense biblioth\u00e8que \u00ab\u00a0o\u00f9 les ouvrages sont ordonn\u00e9s par le principe du \u00abbon voisin\u00bb par lequel la solution au probl\u00e8me doit se trouver non dans le livre qu\u2019on cherche, mais dans celui qui est \u00e0 c\u00f4t\u00e9.\u00a0\u00bb [1]<\/p>\n\n\n\n

Dans cette m\u00eame logique de remise en question d\u2019un h\u00e9ritage occidental, cart\u00e9sien, chr\u00e9tien et n\u00e9ocolonial, C\u00e9line Burnand questionne ses archives familiale et h\u00e9ritages visuels d\u2019un c\u00f4t\u00e9, et de l\u2019autre suit depuis 2013 la figure du serpent dans plusieurs contextes socio-culturels (la c\u00e9r\u00e9monie religieuse de San Domenico dans les Abruzzes (Italie) ou au sein du festival soufi des Rifa\u2019i en \u00c9gypte), s\u2019int\u00e9ressant au pouvoir subversif de ce symbole dans la restauration de la relation \u00e0 l\u2019autre, notamment \u00e0 travers des pratiques collaboratives.<\/p>\n\n\n\n

Le point de d\u00e9part de cette exposition est l\u2019archive photographique de son arri\u00e8re-grand-p\u00e8re Ren\u00e9 Burnand (1882-1960). \u00c9crivain et m\u00e9decin suisse, sp\u00e9cialiste de la tuberculose et directeur du sanatorium de Leysin, il r\u00e9pondit \u00e0 l\u2019appel du roi \u00e9gyptien Fouad Ier, qui cherchait un candidat pour diriger un h\u00f4pital pour les malades de la tuberculose. De 1926 \u00e0 1929, il dirigea la r\u00e9habilitation et le fonctionnement d\u2019un sanatorium \u00e0 Helwan (au sud du Caire). Ses archives personnelles comprennent 700 clich\u00e9s et plusieurs livres retra\u00e7ant cet \u00e9pisode de sa vie.<\/p>\n\n\n\n

Dans l\u2019exposition, les archives de Ren\u00e9 Burnand dialoguent avec les images photographiques et vid\u00e9os, produites par C\u00e9line Burnand, souvent en collaboration avec des amis \u00e9gyptiens ou les descendants des collaborateurs de Ren\u00e9 Burnand. Elle revient sur le site du sanatorium, aujourd\u2019hui en ruine et aux mains d\u2019une mafia locale, et y filme des danseuses et des acteurs et figurants dans une r\u00e9interpr\u00e9tation contemporaine et fictionnelle de l\u2019histoire de l\u2019h\u00f4pital et de son h\u00e9ritage.<\/p>\n\n\n\n

En r\u00e9alisant en studio des portraits de ses amis et connaissances, elle explore les codes historiques du portrait photographique occidental, et leurs implications dans la repr\u00e9sentation des personnes \u00e9gyptiennes et de leur identit\u00e9. L\u2019exposition se confronte ainsi, sans chercher de r\u00e9solution finale des th\u00e9matiques telles que l\u2019histoire collective et familiale, et les relations entre la m\u00e9decine, l\u2019h\u00e9ritage colonial et la culture visuelle.<\/p>\n\n\n\n

[1] Eduardo Mahieu, La gu\u00e9rison infinie, de Ludwig Binswanger et Aby Warburg<\/em><\/a>, in L\u2019information psychiatrique, 2007\/4 (Volume 83), pages 316 \u00e0 318<\/p>\n\n\n\n

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Exhibition views by Aline Bovard Rudaz<\/p>\n","protected":false},"excerpt":{"rendered":"

2021 | Photoforum Pasquart, Biel C\u00e9line Burnand’s artistic practice is inspired by her training in visual arts as well as in visual anthropology and literature. Her works frequently stage an investigation, and tend to reconstitute or re-enact an existing visual representations. Her research was initially inspired by the fate and work of Aby Warburg, \u201ca […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":182,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-920","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/danaepanchaud.net\/index.php\/wp-json\/wp\/v2\/pages\/920","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/danaepanchaud.net\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/danaepanchaud.net\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/danaepanchaud.net\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/danaepanchaud.net\/index.php\/wp-json\/wp\/v2\/comments?post=920"}],"version-history":[{"count":1,"href":"https:\/\/danaepanchaud.net\/index.php\/wp-json\/wp\/v2\/pages\/920\/revisions"}],"predecessor-version":[{"id":934,"href":"https:\/\/danaepanchaud.net\/index.php\/wp-json\/wp\/v2\/pages\/920\/revisions\/934"}],"up":[{"embeddable":true,"href":"https:\/\/danaepanchaud.net\/index.php\/wp-json\/wp\/v2\/pages\/182"}],"wp:attachment":[{"href":"https:\/\/danaepanchaud.net\/index.php\/wp-json\/wp\/v2\/media?parent=920"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}