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Le Vivant Dans L'art

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Le Vivant Dans L'art Le vivant dans l’art : un questionnement renouvelé par l’essor des nouvelles technologies. Camille Prunet To cite this version: Camille Prunet. Le vivant dans l’art : un questionnement renouvelé par l’essor des nouvelles technolo- gies.. Art et histoire de l’art. Université de la Sorbonne nouvelle - Paris III, 2014. Français. NNT : 2014PA030035. tel-01175893 HAL Id: tel-01175893 https://tel.archives-ouvertes.fr/tel-01175893 Submitted on 13 Jul 2015 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. 2 L’intérêt des artistes pour les biotechnologies remonte aux années 1990. De nombreux travaux universitaires se sont penchés depuis sur ces interactions entre art et biotechnologie. En regardant de plus près les œuvres conçues à l’aide des biotechnologies, on s’aperçoit de leur importance dans l’œuvre. Comment l’utilisation des nouvelles technologies révèle-t-elle une évolution de l'appréhension artistique du vivant ? Ouvrir la réflexion au vivant, c’est-à-dire êtres humains, animaux et végétaux, permet de rendre compte d’une tentative de dépasser l’anthropocentrisme, tout en soulignant la dépendance des autres vivants envers l’espèce humaine. Les œuvres sont autant de scénarios qui, s’ils ne sont pas nécessairement pertinents sur le plan scientifique, permettent d’évoquer les enjeux des avancées technologiques. L’envie de dépasser les limites humaines, les rêves d’hybridation entre humain et machine, et le refus de la mort viennent alimenter l’imaginaire artistique. A travers une sélection d'œuvres d'Art Orienté objet, de Wim Delvoye, d’Eduardo Kac, d’ORLAN, et de Stelarc, trois grandes thématiques structurent cette réflexion : la mort (et la vie), le sexe et l'hybridation. Les œuvres y sont analysées sur le plan formel, matériel, et conceptuel. Les éléments d’analyse soulignent l'importance des notions de flux, de médium, et de reproduction dans l'interaction entre art et biotechnologie. L’hybridation des connaissances, des matériaux, des pratiques, des formes, visible dans les œuvres, participe-t-elle à une nouvelle vision de l’être vivant ? art contemporain ; art et sciences ; vivant ; biotechnologies ; hybridation 3 Artists's interests in biotechnologies date back from the 90's. Since then, numerous academic works focused on these interactions between art and biotechnology. By taking a closer look on works of arts conceived through the use of biotechnologies, we realize their impact in the work. How the use of new technologies demonstrates an evolution of the artistic perception of the living ? Opening the reflection on the living, understood as human beings, animals and plants, allows to take notice of an attempt to go beyond anthropomorphism while emphasizing the connection/dependency between the other living beings and the human specie. The works of art are as many scenarios which, if not necessary relevant on a scientific level, allow to think about the issues raised by technologic developments. The wish to go beyond human limits, dreams of hybridization between human and machine, and the refusal of death feed the artistic imaginary. Through as selection of works from Art Orienté objet, Wim Delvoye, Eduardo Kac, ORLAN and Stelarc, three big themes will be at the core of this reflection: death (and life), sex, and hybridization. The works will be analyzed through a formal, material and conceptual perspective. These elements alllow us to emphasize the notion of flow in the interaction between art and biotechnology. Is the hybridization of knowledge, material, practices, shapes, which is visible in the aforementioned works, part of the new vision of the living being? contemporary art ; art and sciences ; living ; biotechnologies ; hybridization 4 Je voudrais vivement remercier Bruno Nassim Aboudrar, pour son soutien, son écoute, ses relectures attentives, sa disponibilité, et ses critiques et conseils avisés. Je voudrais ensuite remercier les artistes Marion Laval-Jeantet, ORLAN, et Jun Takita pour avoir pris le temps de répondre à mes questions, et pour le temps passé. Mes remerciements vont également à tous mes collègues du Fonds régional d’art contemporain Basse-Normandie, puis de l’école supérieure d’arts & médias de Caen/Cherbourg qui m’ont toujours encouragé et soutenu dans cette thèse. Je remercie particulièrement Eric Lengereau, directeur de l’esam Caen/Cherbourg, pour le temps et les moyens qu’il m’a accordé afin de pouvoir terminer cette thèse. Enfin, dans le désordre, remerciements à tous ceux qui m’ont accordé du temps, de l’aide, à ceux avec qui j’ai partagé des discussions stimulantes, qui m’ont fourni des références et qui m’ont prodigué une aide logistique et technique : Hélène Frazik, Hélène Joyeux, Audrey Illouz, Michèle Martel, Laurent Buffet, France Jacquel-Blanc, Barbara Le Maître, Sylvie Allouche, Eric Paquotte, Thierry Topic, Chantal Marie, Pierre Aubert, Catherine Blanchemain, Janick Le Mazier. Un grand merci à ma famille, pour tout. 5 ................................................................................................................................................................ 8 .................................. 26 .................................... 27 ...................................................................................................................................... 29 ....................................................................... 29 ...................................................... 46 ......................................................................................................... 61 ......................................................................................................................................... 62 ............................................................................................................... 62 ................................................................................................ 73 ........................................................................................................................ 86 ........................................................................................................................................... 87 ............................................................................................................................ 87 .................................................................................................................................. 100 ..................................................................................... 116 .................................................................. 117 ...................................................................................................................................................... 120 ................................................................................................................... 120 ............................................................................................................................. 133 ..................................................................................................... 144 ................................................................................................................... 145 ............................................................................................... 145 ........................................................................................................ 158 ............................................................................................................ 173 ................................................................................................................................................ 175 ................................................................................. 175 ........................................................................................................... 191 ...................................................................................... 204 .................................................................................. 205 ................................................................................................................................... 207 .......................................... 207 ..................................................................... 220 6 ................................................................................................................................ 233 ................................................................................................. 234 ......................................................................................................... 234 ................................................................................. 249 ............................................................................................................................................ 265 .................................................................................................................................................. 266 ............................................................................................................
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