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Expression De Soi Et Subjectivité Bouddhiste Chez Des Artistes En Arts Visuels Contemporains De Battambang Au Cambodge

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Expression De Soi Et Subjectivité Bouddhiste Chez Des Artistes En Arts Visuels Contemporains De Battambang Au Cambodge Expression de soi et subjectivité bouddhiste chez des artistes en arts visuels contemporains de Battambang au Cambodge Mémoire Marie-Ève Samson Maîtrise en anthropologie Maître ès arts (M.A.) Québec, Canada © Marie-Ève Samson, 2014 Résumé Ce mémoire vise à mieux comprendre comment des artistes du Cambodge, basés dans la ville de Battambang, font sens de leur subjectivité à travers leur démarche en arts visuels contemporains. Dans un contexte où les arts traditionnels au Cambodge étaient autrefois consacrés à une vocation religieuse ou utilitaire, il est pertinent de s’attarder aux changements qui ont permis à ce que « l’expression de soi » devienne une préoccupation fondamentale pour les artistes contemporains au Cambodge. En 2012, j’ai mené un terrain ethnographique auprès d’artistes visuels contemporains nés et vivants à Battambang. Mes résultats montrent que la subjectivité de l’artiste est signifiée à travers des rôles et des valeurs (humilité, équanimité, compassion, discernement) teintés par le bouddhisme, et plus particulièrement le bouddhisme moderniste cambodgien; ce qui entraîne parfois pour les personnes rencontrées une hésitation ou un refus de s’identifier comme selpakor (artiste). De plus, mes résultats soulignent que ces arts contemporains ne se posent pas en rupture complète avec l’héritage artistique cambodgien. Plus généralement, ma recherche développe divers enjeux concernant l’inscription des arts visuels contemporains de Battambang à la scène artistique globale. iii Abstract The aim of this thesis is to better understand how contemporary visual artists, based in Battambang, Cambodia, express their subjectivity through their artistic process. In a context where traditional arts have been dedicated to religious and utilitarian purposes, it is relevant to reflect on the changes that have allowed “self-expression” to become a central concern for contemporary artists in present day Cambodia. In 2012, I conducted an ethnographic field study with contemporary visual artists who were born and still live in Battambang. My results show that the artist’s subjectivity is signified through roles and values (humility, equanimity, compassion, discernment) marked by Buddhism, especially Cambodian modernist Buddhism; which consequently leads some of them to reconsider, or even turn down, the selpakor (artist) designation. Moreover, my results underline the fact that these contemporary art forms do not completely break with Cambodian artistic heritage. More generally, my research tackles various issues regarding the integration of Battambang’s contemporary visual arts to the global art world. v េសចក្តីសេង្ខប និេក្ខបបទេនះ មានេគាលបំណង ចង់ឲយយល់ចបោស់ អំពីអារម្មណ៏ របស់សិលបករ កម្ពុជា តាមរ យះសិលបះសម័យ ែដលមានមូលដាន េនៅទី្រកុងបាត់ដំបង ។ ជំនាន់មុន សិលបះបូរាណែខ្មរ មានការរចនា ភាប់នឹងលកណះ្ខ របស់សាសនា នឹងសកម្មភាព ៃន ការ រស់េនៅរាល់ៃថ្ង ។ សំខាន់េយើង្រតូវគិត ពីការផាស់ប្តូរ ែដលនាំឲយសិលបករ បងាញជាចមបង នូវអារម្មណ៏របសខ់ ្លួនផា ល់ េនៅក្នុងសិលបះសម័យ។ កាលពីឆាំ២០១២ ខ្ញុំបានេធ្វើការ្រសាវ្រជាវ ជាមួយសិលបករ ែដលមានកំេណើតនឹងរស់េនៅ ក្នុងេខត្ត បាត់ដំបង ។ លទ្ធផល ៃនការ្រសាវ្រជាវ បានបងាញឲយដឹងថា អារម្មណ៏ៃនការៃឆ្ន្របឌិត របស់សិ លបករ គឺែផ្អកេនៅេលើសិលធម ៍ ៃន្រពះពុទ្ធសាសនា។ េលើសពីេនះេទៅេទៀត លទ្ធផលបានបងាញ ថា សិលបះសហសម័យទាំងេនះ មានការបន្ត ជាេពញ េលញ ជាមួយនឹងេបតិកភណស ិលបះ ៃន ្របេទសកម្ពុជា ។ ជាទូេទៅ ការ្រសាវ្រជាវរបស់េយើង អធបបោយិ នូវបនានា ទាក់ទង នឹងការបញ្ចូលសិលបះសហ សម័យ ែដលេមើលេឃើញ េនៅទី្រកុងបាត់ដំបង េទៅេលើឆាកសិលបះអន្តរជាតិ ។ vii Table des matières Résumé ................................................................................................................................................ iii Abstract ................................................................................................................................................ v េសចក្តីសេង្ខប ...................................................................................................................................... vii Table des matières .............................................................................................................................. ix Liste des tableaux ................................................................................................................................ xi Liste des figures ................................................................................................................................. xiii Liste des planches .............................................................................................................................. xv Remerciements ................................................................................................................................. xix Introduction ........................................................................................................................................ 1 Chapitre 1 | Cadre théorique ............................................................................................................ 11 1.1. La conception moderne occidentale du soi et de la subjectivité à travers l’artiste ..... 11 1.2. Les contributions de l’anthropologie à l’étude du soi et de la subjectivité ................. 14 1.3. Bouddhisme theravāda au Cambodge et en Asie du Sud-Est ...................................... 22 Chapitre 2 | Cadre contextuel........................................................................................................... 43 2.1. Perspectives asiatiques des arts modernes et contemporains ...................................... 43 2.2. Historique de la situation des arts visuels et de la figure de l’artiste au Cambodge .. 50 2.3. L’émergence des arts contemporains au tournant des années 2000 ............................ 72 2.4. Battambang, la nouvelle capitale artistique du pays? ................................................... 75 Chapitre 3 | Cadre méthodologique ................................................................................................. 79 3.1. Problématisation : question et objectifs de recherche .................................................. 79 3.2. Description des données recueillies, des méthodes de collectes et d’analyse ............ 81 Chapitre 4 | Résultats de la recherche ........................................................................................... 113 4.1. Être artiste à Battambang : perspectives sur la subjectivité de l’artiste .................... 113 4.2. Être artiste à Battambang : l’expression d’un soi bouddhiste .................................... 115 4.3. Être artiste à Battambang : expression d’un soi expérientiel ..................................... 133 4.4. Être artiste à Battambang : expression d’un soi relationnel ....................................... 145 4.5. Intersubjectivité et relationnalité : la communauté artistique à Battambang ........... 162 Conclusion ....................................................................................................................................... 179 Bibliographie ................................................................................................................................... 185 Annexes ........................................................................................................................................... 203 ix Liste des tableaux Tableau 1 Les 8 étapes du Noble Chemin Octuple Tableau 2 Résumé des données sociodémographiques des interlocuteurs (2012-2013) Tableau 3 Résumé des valeurs et des rôles attribués à la subjectivité des artistes comparé aux valeurs et rôles relevés dans des écrits bouddhistes xi Liste des figures Figure 1 Affiche du colloque Cambodge d’hier à aujourd’hui. ............................................................................. 2 Figure 2 Vann Nath en train de peindre Deux Lotus ........................................................................................... 4 Figure 3 Preah bot en cours de réalisation, Battambang. ................................................................................. 50 Figure 4 Le visage particulièrement atypique de l'apsara ................................................................................. 52 Figure 5 Peinture de Nhek Dim, 1974, A village in Kompong Cham. ................................................................ 57 Figure 6 "Record cover of Sinn Sisamouth's hit Violetta". ................................................................................. 61 Figure 7 Tang Veuth est le concepteur du Wat Slaket (Battambang) ............................................................... 62 Figure 8 Le magasin Dararath Music de Moeun Chhay situé dans l'ancien local du Sék Meas ....................... 63 Figure 9 Le cinéma Sangker sur la rue 1. ......................................................................................................... 63 Figure 10 Le département des arts visuels et l'école de cirque de PPS ........................................................... 71 Figure 11 La famille de mon amie Phalla et moi à Koh Pich. ............................................................................ 74 Figure 12 Le centre commercial BTB Mall à Battambang. ................................................................................ 75 Figure 13 Sammaki. .......................................................................................................................................... 77 Figure 14 Make Maek........................................................................................................................................ 77 Figure 15 Svay Sareth 2012,
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