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Le Dessin De Presse Dans Tous Ses États

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Le Dessin De Presse Dans Tous Ses États J.A. 1002 Lausanne / www.letemps.ch IMPRESSUM Editeur/Rédaction Le Temps SA Pont Bessières 3 Case postale 6714 CH – 1002 Lausanne Tél + 41 58 269 29 00 Fax + 41 58 269 28 01 Ne peut être vendu séparément MERCREDI 28 OCTOBRE 2020 / N° 6853 Censure Plumes croisées Témoignages AVEC LE SOUTIEN DE A la rencontre des dessinateurs Comment la Confédération a fait Et vous, que vous inspirent les dessins de presse chinois, surveillés par appel à Patrick Chappatte sur les de Chappatte? Six personnalités le régime omnipotent ●●● PAGE 2 points chauds du globe ●●● PAGE 3 s’expriment ●●● PAGES 2-3 Le dessin de presse dans tous ses états TRAJECTOIRE Des conférences aux reportages en bande dessinée, Patrick Chappatte n’a cessé de faire sortir le dessin de presse du cadre dans lequel il est né. Portrait du 27e lauréat du Prix de la Fondation pour Genève, remis le 28 octobre LÉO TICHELLI croquer la Grande Pomme pour les t @TichelliL pages de son plus célèbre quotidien, le New York Times. Avant cela, le Tous les enfants dessinent. Pour couple sillonne pendant quatre la plupart, cete activité s’arrête à mois l’Amérique du Sud, voyage quelques croquis dans la marge dont il tire un carnet de route au d’un cahier d’école. Pour d’autres, style novateur. Ce sont les prémices le dessin s’empare d’eux, viscérale- du reportage bande dessinée, un ment. Patrick Chappate fait partie genre que va tout particulièrement de cete seconde catégorie, lui qui affectionner Patrick Chappatte: a su faire de sa passion son métier. «C’est hyper efficace comme mode Avant de peindre le monde pour la narratif pour le reportage. Cela presse internationale, il a com- permet au lecteur d’entrer dans la mencé à inventer le sien – le Pudi- peau du reporter, et de vivre ce qu’il PROFIL monde peuplé par des personnages vit. Cete approche permet l’empa- à gros nez appelés les Pudiks –, une thie. Le trait est si simple, il débar- 1967 Naissance façon de reconstituer idéalement rasse la photo et la vidéo de toutes à Karachi. ce qui se trouvait au-delà de ses leurs scories, tout en apportant un cahiers de dessin: «C’était une autre langage que celui proposé par 1973 Arrivée façon de prendre la réalité et de la ces deux médiums.» à Genève. faire rentrer dans mon monde. A 8 Il a l’occasion de développer le ou 9 ans, je suis allé jusqu’à redes- reportage bande dessinée avec le 1986 Engagé siner tout le système des transports soutien du Temps et de son rédac- comme journaliste de Genève. Osons dire que j’ai teur en chef de l’époque, Eric stagiaire à même inventé l’écran tactile avant Hoesli, qui croit à la pertinence «La Suisse». En l’heure dans une de mes bandes de cete nouvelle forme de jour- devient dessinateur dessinées!…» nalisme. Loin de rester en retrait deux ans plus tard. du monde qu’il caricature ou des- Une retraite sine, Patrick Chappate se rend 1995 Part à Pendant que ses camarades sur le terrain. Gaza, Sud-Liban, New York pour un partent en colonie de vacances, Guatemala, Côte d’Ivoire, il par- séjour de trois ans. lui s’enferme et dessine. L’ouver- court le monde en proposant des ture au monde se fait au gré des récits allant au-delà du simple 1998 Lancement traits de ses stylos. Etait-il un dessin de presse croqué en réac- du «Temps», enfant reclus, coupé de la réalité? tion à une actualité. A tel point dont il est le Pas vraiment. Patrick Chappate que cela étonne: «Il a fallu impo- dessinateur attitré. considère plutôt ces longues ser ce genre narratif et légitimer séances en seul à seul avec ses le dessin comme mode journalis- 2001 Dessine feuilles et ses stylos comme une tique. Au début, les gens n’ont pas pour le «Herald sorte de retraite: «Dessiner, c’est pris cela au sérieux. Pendant des Tribune» puis pour un exercice très zen et thérapeu- années, on m’a demandé si j’étais le «New York tique. Cela me procure comme un vraiment allé sur place. Je publie Times». effet cathartique. J’éprouve le donc toujours un polaroïd de mes même bonheur et les mêmes sen- intervenants dans mes reportages 2014 Séjour sations que quand j’étais gosse. De pour prouver qu’ils existent et que familial d’un an ce point de vue là, je n’ai pas vrai- je les ai bel et bien rencontrés», à Los Angeles. ment grandi, et c’est tant mieux.» confie-t-il. Le dessin politique est venu plus 2020 Sortie tard. Lecteur assidu de feu La En mouvement et en musique de la BD «Au cœur Suisse, Chappatte père a eu la En reportage ou dans les pages des de la vague». fierté de retrouver un dessin de plus grands quotidiens, Patrick son fils alors qu’il n’est à l’époque Chappatte va porter le dessin de qu’en troisième année du collège: presse sur d’autres supports. S’il a «Je savais que mon père lisait fré- fait ses preuves derrière ses quemment ce journal, se remé- planches à dessin, c’est sur celles more Patrick Chappate. J’avais de la scène qu’il va monter. Invité envie de l’impressionner et j’ai dès 2001 au World Economic Forum envoyé quelques dessins à la de Davos, il y apprend le jeu avec le rédaction. Je me souviens encore public et développe la conférence quand le samedi matin mon père dessinée, un autre genre auquel il a crié en ouvrant le journal: «C’est prend goût. L’aventure scénique ne mon fils!» Premier bonheur de s’arrête pas là: il présente ses voir une de ses œuvres publiées esquisses lors de deux conférences et première collaboration avec TED, en 2010 et 2019, ainsi qu’aux une rédaction: «Comme Obélix Forums des 100, pour ne citer dans sa marmite, je suis tombé qu’eux. Alors, Patrick Chappate, Planche extraite de la BD «Au cœur de la vague», qui paraît cette semaine aux Editions Les Arènes, à Paris. (CHAPPATTE) dans le dessin de presse très stand-upper, humoriste ou confé- jeune.» Clin d’œil à un géant de la rencier? «Le dessin reste toujours bande dessinée, Patrick Chap- au cœur du projet. Ce qui est Patrick Chappatte a encore qui parle, simplement portée par musicien Polar et du dramaturge une ambiance particulière. Je me pate va, lui aussi, intégrer cete flagrant, c’est l’impact qu’il peut d’autres idées pour rendre le des- le trait noir. J’aurais voulu déve- et directeur d’Am Stram Gram, réjouis d’explorer le reportage forme de narration à son travail. avoir grâce au jeu qu’on amène avec sin de presse toujours plus vivant. lopper davantage l’animation, Fabrice Melquiot, lors de la Confé- dessiné sous cette forme, celle Inspiré par Jean Teulé et son les mots. Sur scène, je décline mes Le Liban, pays d’origine de sa mais pour cela il me faudrait trois rence internationale de la Croix- d’un spectacle complet.» œuvre Gens de France et d’ailleurs, dessins en plusieurs étapes, réser- mère, dont les terres sont grêlées vies», sourit-il. Grâce à ce nouveau Rouge et du Croissant-Rouge fin Quand on lui demande ce qui l’a il va tracer les premières esquisses vant la chute pour la fin. C’est une de bombes à sous-munitions, lui langage, il ose donner une autre 2019: «La musique apporte une poussé à faire sortir cet art du d’un genre nouveau dans les manière vivante de procurer le inspire La mort est dans le champ, profondeur à ses dessins mou- couche narrative supplémentaire. cadre de la presse papier, la années 1990: le BD reportage. même effet que celui ressenti en reportage d’un genre nouveau: «Je vants en les drapant également de Quand je raconte sur scène ces réponse semble limpide: «Le des- A 27 ans, il traverse l’Atlantique voyant un dessin imprimé. Mais le me suis essayé au reportage BD musique. Ce dialogue du dessin tranches d’humanité que j’ai pu sin m’a ouvert une multitude de accompagné de sa future femme, fait d’être projeté sur grand écran animé. C’est du dessin très avec la musique et les mots, il a observer à Gaza, au Guatemala ou portes, je les ai ensuite simple- la journaliste Anne-Frédérique lui confère d’autant plus de force et basique, mais quand on est pris tenté de le transformer également dans des bidonvilles au Kenya, être ment poussées pour voir ce qu’il Widmann, avec l’ambition d’aller de résonance», précise-t-il. dans une telle histoire, c’est elle en spectacle, à l’invitation du accompagné de musiciens ajoute y avait derrière.» ■ CHARTE ÉDITORIALE! Le contenu de cete page est réalisé indépendamment du partenaire. Pour plus d’informations": www.letemps.ch/partenariats C M Y K LE TEMPS MERCREDI 28 OCTOBRE 2020 22 Censure En Chine, caricatures interdites LIBERTÉ D’EXPRESSION L’espace laissé aux dessinateurs a fondu ces dix dernières années dans la presse chinoise. Les événements politiques font cependant ressurgir cet art impertinent. Rencontres avec des artistes courageux SIMON LEPLÂTRE, SHANGAI puissants. Il peut y avoir une situation au Tibet. Aujourd’hui, l’Université de Hongkong. Depuis, avec une audience énorme. En Unis. «En 2015, il a été remis à la t @SLeplatre enquête de deux pages, mais le un tel débat paraît inimaginable. on a vu des efforts continus pour 2012, Xi Jinping est arrivé au pou- police chinoise par la Thaïlande grand public va se souvenir du «Depuis 1989, la politique du restreindre le journalisme d’in- voir, déterminé à changer la situa- alors qu’il préparait son exil au Paru dans la nuit du 6 février dessin de presse qui va avec, décrit Parti communiste chinois vis-à- vestigation.
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    × × × negative × × × Knowing What Not to Know in Contemporary China × × × exposures × × × exposures Margaret Hillenbrand Negative Exposures × sinotheory A Series Edited by Carlos Rojas × and Eileen Cheng- yin Chow × Knowing What Not to Know in Con temporary China × × × Duke University Press Durham and London ​2020 × × × Negative × × × Knowing What Not to Know in Con temporary China × × × Exposures × × × Margaret Hillenbrand × × × © 2020 duke university press. All rights reserved Printed in the United States of Amer i ca on acid- free paper ∞ Designed by Courtney Leigh Baker Typeset in Warnock Pro by Westchester Publishing Services Library of Congress Cataloging-in-Publication Data Names: Hillenbrand, Margaret, [date] author. Title: Negative exposures : knowing what not to know in contemporary China / Margaret Hillenbrand. Other titles: Sinotheory. Description: Durham : Duke University Press, 2020. | Series: Sinotheory | Includes bibliographical references and index. Identifiers: lccn 2019047922 (print) lccn 2019047923 (ebook) isbn 9781478006190 (hardcover) isbn 9781478008002 (paperback) isbn 9781478009047 (ebook) Subjects: lcsh: Photography—Political aspects—China—History— 20th century. | Altered prints—Political aspects—China. | Photography, Handworked—Political aspects—China. | Official secrets—Social aspects—China. | Propaganda, Chinese. | Collective memory—Political aspects—China. | Nanking Massacre, Nanjing, Jiangsu Sheng, China, 1937. | China—History—Cultural Revolution, 1966–1976. | China— History—Tiananmen Square Incident, 1989.
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