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La Collaboration Artistique Atypique Entre Niki De Saint Phalle Et Jean Tinguely: Monumentalité, Mise En Scène Et Revendication Féministe

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La Collaboration Artistique Atypique Entre Niki De Saint Phalle Et Jean Tinguely: Monumentalité, Mise En Scène Et Revendication Féministe UNIVERSITÉ DU QUÉBEC À MONTRÉAL LA COLLABORATION ARTISTIQUE ATYPIQUE ENTRE NIKI DE SAINT PHALLE ET JEAN TINGUELY: MONUMENTALITÉ, MISE EN SCÈNE ET REVENDICATION FÉMINISTE MÉMOIRE PRÉSENTÉ COMME EXIGENCE PARTIELLE DE LA MAÎTRISE EN HISTOIRE DE L'ART PAR CARLYNE SPAHR JANVIER 2017 UNIVERSITÉ DU QUÉBEC À MONTRÉAL Service des bibliothèques Avertissement La diffusion de ce mémoire se fait dans le respect des droits de son auteur, qui a signé le formulaire Autorisation de reproduire et de diffuser un travail de recherche de cycles supérieurs (SDU-522 - Rév.10 -2015). Cette autorisation stipule que «conformément à l'article 11 du Règlement no 8 des études de cycles supérieurs, [l 'auteur] concède à l'Université du Québec à Montréal une licence non exclusive d'utilisation et de publication de la totalité ou d'une partie importante de [son] travail de recherche pour des fins pédagogiques et non commerciales. Plus précisément, [l 'auteur] autorise l'Université du Québec à Montréal à reproduire , diffuser, prêter, distribuer ou vendre des copies de [son] travail de recherche à des fins non commerciales sur quelque support que ce soit, y compris l'Internet. Cette licence et cette autorisation n'entraînent pas une renonciation de [la] part [de l'auteur] à [ses] droits moraux ni à [ses] droits de propriété intellectuelle. Sauf entente contraire, [l'auteur] conserve la liberté de diffuser et de commercialiser ou non ce travail dont [il] possède un exemplaire .» REMERCIEMENTS Ce mémoire est le résultat de plus de deux années de travail durant lesquelles ma passion pour l'histoire de l'art et ma fascination pour les deux artistes que sont Niki de Saint Phalle et Jean Tinguely se sont entremêlées. Il est également le reflet de nombreux questionnements, de doutes et de remises en cause. Son aboutissement a été possible grâce à l'aide, au soutien et aux conseils de nombreuses personnes. Je tiens, tout d'abord, à remercier ma directrice d'études, Madame Annie Gérin, qui a su me guider par ses conseils avisés, ses suggestions pertinentes et ses retours rapides. Sa présence et ses précieux encouragements ont été grandement appréciés. Aussi, je la remercie sincèrement d'avoir contribué financièrement à la réalisation de mes séjours de recherche à Fribourg, à Bâle, à Paris et à Santee. Il se doit d'être précisé, par ailleurs, que cette recherche a été financée par le Conseil de recherches en sciences humaines du Canada ainsi que par le Fonds de recherche du Québec - Société et culture, organismes envers lesquels je suis très reconnaissante. À cet effet, je souhaite également remercier les enseignants qui ont soutenu ma candidature auprès de ces deux instances ; en particulier Marianne Cloutier pour sa générosité. J'adresse aussi mes remerciements à Jana Schenefield, archiviste à la Niki Charitable Art Foundation, Claire Beltz -Wüest, archiviste et bibliothécaire au Musée Tinguely à Bâle, et Caroline Schuster Cordonne, co-directrice du Musée d'Art et d'Histoire de Fribourg, pour leur contribution à la réalisation de ce mémoire. De plus, je remercie cordialement mon cousin Patrick Dupasquier pour sa relecture attentive. Finalement, il me tient à cœur de remercier chaleureusement ma famille, mes amis et mes collègues pour leur intérêt et leurs encouragements. Maman, tout iii spécialement, Papa, Marc-Antoine, Ophélie, Méline et Jacob : votre soutien et votre compréhension ont compté plus que vous ne pouvez l'imaginer. TABLE DES MATIÈRES LISTE DES FIGURES ..... .. ............ .... ............... .... .. .......... ................ ....................... vii RÉSUMÉ xiii INTRODUCTION 1 CHAPITRE I LA COLLABORATION ARTISTIQUE ENTRE ARTISTES DE SEXE OPPOSÉ ...... 12 1. Le mythe de l'individualité de l'artiste au sein des mondes de l'art ......... 15 2. Définitions .. .......... ... ............ ...... .. .. .. ...... ...... ... ... ... ... .. .. .... .. ............ ......... ... ... 17 2.1. Différenciation entre les termes « collaboration », « coopération », « collectif » et « participation » .... .. .... .. ...... ...... .. .. .. .... .. ...... ...... .... .. ......... 17 2.2. La collaboration artistique : définitions multiples ...... .. .... .. .. ........ .. ..... 19 3. Types de collaboration en art 22 3.1. Caractéristiques générales de la collaboration artistique ................... 22 3.2. Modes et catégories de collaboration artistique .......... .... .... .. .. .. ...... ..... 23 4. La collaboration au sein des couples d'artistes 26 4.1. Les rôles joués par la femme dans un couple d'artistes ............ ........... 30 4.1.1. La femme en tant que théoricienne/commissaire .. .. ................. 32 4.1.1.1. Cossje van Bruggen et Claes Oldenburg .................. ........ 33 4.1.2. La femme comme moitié d'une entité artistique bicéphale ..... 36 4.1.2.1. Marina Abramovic et Ulay .......... .. .......... .. .. .... .. .. .............. 36 4.1.3. La femme comme marchandejgaleriste .................. ...... .. .. .. .. ..... 40 4.1.3.1. Jeanne-Claude et Christo ............. .. .................. .. .. ............. 41 CHAPITRE II LA COLLABORATION ARTISTIQUE ENTRE NIKI DE SAINT PHALLE ET JEAN TINGUELY: LES ŒUVRES ..................................................................................... 47 1. Niki de Saint Phalle et Jean Tinguely : une vie et une pratique artistique à la fois communes et respectives .... .. .. .... ...... .. .... .... .. ...... ...... ...... .. .... ...... .... .. 48 1.1. Biographie abrégée de Niki de Saint Phalle .. ..................................... ..... 48 1.2. Biographie abrégée de Jean Tinguely ............ .. .... .. .. .. .... ...... .. .. .. .. ...... ... .. 55 v 1.3. La collaboration de Niki de Saint Phalle et Jean Tinguely au fil des années ... ... ... ... ... .. .. .. ... .. ... .. ... ... ... ... .. .. ... .. .. .. .. .. .. .. ... ... ... ... ... .. .. 60 2. Analyse des œuvres monumentales collaboratives de Niki de Saint Phalle et Jean Tinguely .. ....... ... ... ...... ...... ... ... ... ... ...... ...... ... ... ... ... ... ...... ... ...... .. .... ...... .... 66 2.1. Les œuvres dites de collaboration. Les cas du Paradis fantastique, de la Fontaine Stravinsky et de la Fontaine de Château-Chinon. 68 2.2. Les œuvres créées collaborativement mais attribuées à tort à Niki de Saint Phalle ou Jean Tinguely. Les cas de Hon et du Cyclop. 73 2.3. Niki de Saint Phalle en tant qu'architecte et Jean Tinguely en tant qu'assistant. Les cas du Golem et du jardin des Tarots. .. .... .. .... .............. 79 3. Une collaboration artistique à l'encontre des tendances 85 CHAPITRE III NIKI DE SAINT PHALLE ET JEAN TINGUELY EN REPRÉSENTATION DANS LES MÉDIAS ......... ...... .. .... ...... ... ... ......... ...... .. ... ... ... ... ... ... ... ...... .. ....... ... ... ... ...... ... ... 91 1. La performance de l'identité et du genre dans les études féministes et queer 92 2. Les médias au service de la construction de l'identité de l'artiste 94 3. Survol historique : la représentation de l'artiste dans les médias 95 3.1. Le star system et « the artist-as-celebrity » 99 4. Création et mise en scène du personnage de Niki de Saint Phalle 101 4.1. Complexité et contradiction de la figure artistique de Niki de Saint Phalle .. ............ ...... .. .. ......... .. .......... .. ... ................ ... ...... .. ... ........... 102 4.2. Lorsque la féminité devient une stratégie féministe: le cas des Tirs ... 105 S. La collaboration comme moyen de revendication féministe .. .......... ........... 109 5.1. « Niki et Jean »: un couple mythique .. .. .................................................. 111 5.2. Rôles inversés: images d'une collaboration atypique .. ...... .. .. .. ............ 116 5.3. Mise en scène intentionnelle : quand collaboration rime avec provocation .. .......... .. ... .......... ........... .............................. ... ... ................... ... 120 CONCLUSION 128 ANNEXE A FIGURES .. ................ .. ............... ....... .. ... .. .. .. .......... .......................................... ... ....... 136 vi BIBLIOGRAPHIE ... ... ... ... ... ... ............ ...... ... ... .. ....... ... .. .... ...... ...... .. .. ..... ......... ... ......... 177 LISTE DES FIGURES Figure Page 1. Cossje van Bruggen et Claes Oldenburg avec French Homs, 33 Unwound and Entwined en 2005. 2. Claes Ol denburg et Coosje van Bruggen 34 Flash light 1981 Acier peint avec émail de polyuréthane 11,73 m. de hauteur X 3,2 m. de diamètre University of Nevada, Las Vegas 3. Abramovicj Ulay 38 Breathing in/ Breathing out 1977 Performance 19 minutes Student Cultural Center, Belgrade 4. AbramovicjUlay 39 The Great Wa ll Wa lk 1988 Performance 90 jours Grande Muraille de Chine s. Christo et Jeanne-Claude à New York en 1962. 41 6. Christo et Jeanne-Claude 44 Surrounded Islands 1980-1983 Biscayne Bay, Greater Miami 7. Niki de Saint Phalle en couverture de Life Magazine, 26 septembre 1949. 50 viii 8. Niki de Saint Phalle 51 Grand tir- Séance à la galerie j 30 juin- 12 juillet 1961 Plâtre, peinture, grillage, ficelle, plastique sur panneau aggloméré 143 x 77 x 7 cm Collection privée 9. Niki de Saint Phalle tirant lors d'une scène du film Daddy (1972). 51 Photographie en noir et blanc rehaussée de couleur extraite du film. 10. Niki de Saint Phalle 53 Les Trois Grâces (vue de l'exposition Niki de Saint Phalle au Grand Palais à Paris, du 17 septembre 2014 au 2 février 2015. En arrière-plan :les Nanas-ballons) 1995-2003 Polyester, mosaïque de miroirs Niki Charitable Art Foundation, San tee, Californie 11. Jean Tinguely 58 Fasnachtsbrunnen
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