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Le Multiple D'artiste. Une Contribution Au Débat

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Le Multiple D'artiste. Une Contribution Au Débat ars 2008 Ročník / Volume 41 Číslo / Number 2 Obsah / Contents ŠTÚDIE / ARTICLES I. Jean-Marc POINSOT Dialogues critiques (155) Kritické dialógy II. Gheorghe VIDA Hans Mattis Teutsch et les métamorphoses de l’avant-garde roumaine (166) Hans Mattis Teutsch a metamorfózy rumunskej avantgardy Pavel ŠTĚPÁNEK Oscar Domínguez na Slovensku (188) Oscar Domínguez en Eslovaquia III. Zuzana BARTOŠOVÁ From the Scene to the Clandestine. International Activities of Artists on the Unofficial Slovak Art Scene 1973 – 1976 (from the 2nd Slovak Visual Artists’ Union Congress, 2. 11. 1972 to Charter ‘77, 1. 1. 1977) (209) Zo scény do utajenia. Zahraničné aktivity umelcov neoficiálnej slovenskej výtvarnej scény v rokoch 1973 – 1977 (medzi II. zjazdom Zväzu slovenských výtvarných umelcov, 2. 11. 1972 a Chartou ‘77, 1. 1. 1977) Océane DELLEAUX Le multiple d’artiste. Une contribution au débat sur la démocratisation de l’art (228) Multiple originálu. Príspevok k diskusii o demokratizácii umenia Cécile CAMART L’aveu de la fiction: une stratégie contemporaine. Les paratextes de Sophie Calle (240) Doznanie fikcie: súčasná stratégia. Paratexty Sophie Calle Olivier VARGIN Regards sur l’Art de «l’Autre» Europe. L’art contemporain est-européen après 1989 (256) Pohľady na umenie „inej“ Európy. Súčasné východoeurópske umenie po roku 1989 Nada BEROŠ Balkan Bacteria (270) Balkánske baktérie Katarína RUSNÁKOVÁ Politika tela v súčasnom videoumení na Slovensku (290) Policy of a Body in Contemporary Video Art in Slovakia Michael RATTRAY Conversations. The Sharjah Biennale and International Art Relations in the United Arab Emirates (307) Rozhovory. Bienále Šarjah a medzinárodné umelecké vzťahy v Spojených arabských emirátoch Prípravu čísla podporila Nadácia súčasného slovenského výtvarného umenia. Publication of the issue was supported by the Foundation for Contemporary Slovak Art. ŠTÚDIE / ARTICLES I. ARS 41, 2008, 2 Dialogues critiques Jean-Marc POINSOT pour la première fois dans des circonstances qui lui Des critiques indépendants permirent d’engager un vrai dialogue à l’occasion du jury du prix Torcuato di Tella fin septembre 1964 à «…dans les pays où à une forte tradition de centralisation Buenos Aires.2 culturelle s’ajoute l’existence d’une métropole-marché, il existe Cette rencontre que Romero Brest, directeur de une dernière catégorie, le critique indépendant, vivant exclu- la fondation Torcuato di Tella et Jan van der Marck, sivement de ses activités critiques (journalisme, éditions d’art, qui préparait alors une exposition d’art argentin pour conférences, films, radio, télévision). Curieuse catégorie sans le Walker Art Center, avaient fomenté en espérant doute que cette critique libre, la plus menacée dans sa liberté, un affrontement de titans3 devait ouvrir plus d’une la plus sensible aux impératifs économiques du marché, mais décennie d’échanges entre deux critiques de généra- aussi la plus attentive, la plus ouverte aux réactions du milieu tion différente, mais également considérés comme artistique et de l’opinion publique, la plus directement engagée, des champions de leur cause. en fin de compte, dans la vie quotidienne de l’art.»1 L’aîné était devenu une autorité incontournable Dans son impressionnante synthèse de la critique d’une modernité dont il avait forgé peu à peu une d’art dans le monde publiée en 1963, Pierre Restany version qui se voulait exclusive et irréversible quitte à dresse un portrait type d’une catégorie bien particu- remettre à leur place ceux qui en doutaient, et à corri- lière de critique qui semble être une espèce endogène ger les œuvres qui s’en écartaient.4 Reconnu comme aux grandes capitales artistiques comme Paris et New le défenseur de Jackson Pollock, il avait tenté en ce York. Ce plaidoyer pro domo permet de comprendre début d’année 1964 de faire la synthèse entre ses con- combien la rencontre Pierre Restany (1930 – 2003) victions théoriques profondes et l’émergence d’une Clement Greenberg (1909 – 1994) a pu sembler iné- nouvelle génération de peintres dont il avait suivi vitable à certains à tel point qu’ils la provoquèrent. l’évolution dans une exposition ouverte le 23 avril au En effet, Pierre Restany devait rencontrer Greenberg Los Angeles County Museum of Art. Elle incluait 31 1 RESTANY, P.: Panorama international de la critique d’art discuté du prochain Premio di Tella, des artistes à inviter et des jurés contemporaine. In: Domus, avril 1963, no. 401, p. 28. qui y pourraient mettre un peu de jazz et de controverse. Maintenant nous sommes bien assis et nous observons comment le nouveau réalisme 2 Pierre Restany devait rendre compte de sa visite en Argentine et l’abstraction post-picturale vont croiser le fer en terrain neutre sur dans «Buenos Ayres et le nouvel humanisme» in Domus, avril le champ de bataille argentin.» – Lettre de Jan van der Marck à 1965. A l’exception d’une correspondance à Pierre Restany il n’y Pierre Restany du 20 août 1964. Archives de la critique d’art, a pas de trace de réaction de Greenberg à son déplacement qui fut Châteaugiron, Fonds Pierre Restany. suivi d’un long périple dans plusieurs pays d’Amérique du Sud. 4 Sur Clement Greenberg voir JONES, C. A.: Eyesight Alone. 3 «J’ai été enchanté de la nouvelle de ton invitation à Buenos Aires. Clement Greenberg’s Modernism and the Bureaucratization of the Ce n’était pas tout à fait une surprise cependant. J’étais là-bas en senses. Chicago 2005 et KLEEBLATT, N. L. (éd.): Action/ décembre dernier pour sélectionner une exposition d’art argentin pour Abstraction Pollock, De Kooning and American Art, 1940 – 1976. le Walker et un circuit aux Etats-Unis. Inévitablement nous avons New York – New Haven 2008. 155 peintres parmi lesquels Morris Louis, Kenneth No- Cette revue créée par l’association pour la liberté land et Franck Stella qui devaient être aussi présents de la culture en 1951, c’est-à-dire en pleine guerre parmi d’autres dans la représentation américaine à la froide, était un terrain privilégié pour ces joutes Biennale de Venise. Même si Noland devait l’emporter transatlantiques entre alliés. Elle était alors la revue à Buenos Aires, l’exposition eut un mauvais accueil française des intellectuels de droite et bénéficiait de à Los Angeles et comme l’on sait Louis, Noland et subsides en provenance des Etats-Unis. Stella furent alors éclipsés à Venise par l’attribution Que se passe-t-il alors dans ces situations de du grand prix de la Biennale à Rauschenberg. confrontations successives que sont au cours de Face à lui, Pierre Restany,5 né 21 ans plus tard, la même année le dossier de Preuves, la Biennale de après un premier intérêt pour l’abstraction lyrique Venise, le jury de Buenos Aires? Il semble que, dans d’après-guerre il s’était fait l’inventeur d’Yves Klein une situation générale en cours de bouleversement, et du Nouveau Réalisme. Il avait su trouver très ra- les circonstances et la complicité d’un observateur pidement une audience internationale même si ses aussi perspicace que Jan van der Marck, qui à un an espoirs américains avaient été partiellement déçus de distance a accueilli Pierre Restany pour un cycle par la façon dont Sidney Janis avait noyé les artistes de conférences et inscrit le Walker Art Center dans européens défendus par le critique français parmi les le circuit de l’exposition Post-Painterly Abstraction, aient nouveaux artistes du Pop Art dans l’exposition des placé entre les mains de deux individus la responsa- «New Realists» (31 octobre – 1er décembre 1962). bilité de débattre de plusieurs des questions les plus Janis avait aussi rogné la préface de Restany pour urgentes de l’art contemporain sur le fond d’une lui substituer un texte de John Ashbery.6 Il venait géographie artistique en mutation. toutefois de se féliciter sans réserve de l’attribution S’il semblait à Jan van der Marck que le face à face du grand prix à Rauschenberg dans divers articles, de deux critiques de deux générations différentes (21 mais aussi dans une lettre à Jan van der Marck, ami ans les séparent), mais aussi de tradition culturelle fidèle qui lui reconnaissait ce très rare mérite parmi distincte (le plus âgé revendique le double héritage les critiques français.7 germanique et anglo-saxon quand le second est pro- Bien que Greenberg se soit fait la conviction lar- fondément inscrit dans le monde latin) était justifié, gement exprimée dans ses articles de la prééminence cela tient tout d’abord au fait qu’ils sont des acteurs des artistes américains sur les artistes européens et mondiaux qui inscrivent et diffusent leur pensée criti- plus précisément parisiens depuis la fin des années que dans un espace beaucoup moins cloisonné que la 1940,8 il gardait un œil sur ce qui se passait en France, plupart de leurs contemporains. Cela tient aussi au fait tout comme Pierre Restany surveillait attentivement qu’ils représentent les principales forces en présence et objectivement la scène américaine dans l’espoir sans ignorer celles qu’ils leur sont antagonistes. d’en voir pâlir l’étoile au profit des artistes européens La rencontre a eu lieu à Buenos Aires et la dis- qu’il défendait âprement.9 D’ailleurs les deux héros cussion s’est engagée sur place et par la suite dans venaient de participer au début de l’année au «dossier un ensemble d’échanges dont il reste quelques traces sur l’art informel» réuni par la revue Preuves à partir épistolaires jusqu’à un autre rendez-vous en 1974 de février 1964. manqué celui-là. Greenberg, invité avec quelques 5 Sur Restany voir PERIER, H.: Pierre Restany. L’alchimiste de 8 Voir GREENBERG, C.: Review of the Exhibition Painting l’art. Paris 1998, principalement basé sur des témoignages in France 1939 – 1946.
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