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Eroticism and paranoia holding hands. Bodies and homes taken from us, repurposed, adapted. Skin, rubbing against itself - or was it pavement? I am not welcome, but that’s kinda sexy, I might masturbate to it.
En mai 2020, dans le nord-est de l’Italie, un jeune pakistanais est retrouvé sur le bord d’une route en rase campagne. Il est dans un sale état, couvert d’hématomes, les mains liées derrière le dos. L’homme déclare aux policiers qui l’ont secouru qu’il est employé – tout comme une trentaine de ses compatriotes – d’une coopérative de services, sous-traitante d’une imprimerie industrielle. Dans l’entreprise, il est soumis à des tours massacrants de douze heures, sept jours sur sept, sans avoir droit ni à des journées de repos ni à des congés payés. Le tout pour un salaire de cinq euros de l’heure. Ayant tenté de s’opposer à ces abus, le jeune homme a été séquestré par les nervis de son employeur, menacé, roué de coups et abandonné à des kilomètres de son domicile. Venus à connaissance de cet épisode, des syndicalistes s’emparent de l’affaire et mettent à nu un réseau de recrutement et d’exploitation illégaux de main-d’œuvre, qui profite de la connivence de ses respectables bénéficiaires finaux. Dans Ismaël et les autres, Paolo De Marchi et Giuseppe Zambon retracent le combat de ces travailleurs immigrés pour recouvrer leurs droits et leur dignité. Les deux auteurs dissèquent, en même temps, les mécanismes d’une forme d’esclavage moderne qui est désormais intégrée, dans tous les pays d’Europe, à des pans entiers de l’économie et dont les travailleurs migrants, légaux comme illégaux, sont les principales victimes.
Faites un effort d’imagination et glissez-vous vous dans la peau d’un quinquagénaire blanc et célibataire : Simon, ancien auteur de BD à succès, dorénavant prof aux Beaux-Arts, chauve, bedonnant et déprimé. Vous y êtes ? Alors, écoutez-moi. Vous avez l'angoisse chevillée au corps de celui qui ne comprend plus le monde dans lequel il vit. Vous êtes dépassé. Vos élèves – dont une écrasante majorité de filles – réalisent en cours des bandes dessinées féministes au dessin girly ou manga. Leur sujet de prédilection : les menstruations, la transidentité, les discriminations sexistes ou les violences sexuelles. Vous êtes las… Vos collègues, des artistes ratés, vous renvoient le reflet de votre propre médiocrité. Quant aux auteurs et autrices de la nouvelle génération, leur succès vous rappelle votre réussite passée. Vous n’attendez plus grand-chose de la vie. Mais voilà qu’un jour, vous trouvez une lettre dans votre casier. Et pas n’importe laquelle, une lettre d’amour… Florence Dupré Latour : "J'ai un rapport particulier avec l'amour puisque j'ai une sœur jumelle. Donc, à partir de là, tout est faussé, l'acmé de l'amour c'est ma sœur jumelle et ensuite, il y a le reste. Le sentiment amoureux pour moi, c'est une espèce de folie furieuse. Je ne peux pas vivre sans le sentiment amoureux, sa promesse de dinguerie."
Priscilla Layne, professeure d'allemand afro-américaine aux origines caribéennes, s'est longtemps vue considérée comme une « Oreo » : jugée trop proche des Blancs par ses camarades noires, elle était également rejetée par les Blancs qui ne la voyaient pas comme l'une des leurs. C'est son histoire qui nous est transmise, depuis sa petite enfance marquée par les discriminations sexuelles, raciales et sociales, son adolescence rebelle où elle décide de se faire skinhead, de gauche, pour devenir une rude girl, jusqu'à ses études à l'étranger et ses choix professionnels. Mais Birgit Weyhe s'étant vue accusée d'appropriation culturelle lors d'un colloque dans une université américaine, elle est prise de doutes lorsqu'elle décide de consacrer une bande dessinée à Priscilla Layne. Ainsi le récit de cette trajectoire hors du commun se double-t-il d'une véritable mise en abyme du travail de création, car l'artiste, interpelée par son personnage principal, est amenée à s'interroger sur le moindre de ses choix, narratif ou esthétique. En résulte un ouvrage unique, qui mêle questions de classe, de race et de genre, et offre une réflexion puissante sur la place et les devoirs de l'artiste lorsqu'il ou elle s'empare de la trajectoire de personnages réels.
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