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Télécharger Le Numéro 48 Au Format CHRONIQUE DES ARTS PLASTIQUES DE LA COMMUNAUTÉ FRANÇAISE DE BELGIQUE 3e TRIMESTRE 2010 M 48 / 1 48 MINISTÈRE DE LA COMMUNAUTÉ FRANÇAISE Direction générale de la Culture Service général du Patrimoine culturel et des Arts plastiques 44, Boulevard Léopold II B-1080 Bruxelles T +32 (0)2 413 26 81/85 F +32 (0)2 413 20 07 www.cfwb.be/lartmeme EDITO “La parole se dresse en ce moment contre la barbarie méca- niste, marchande, abêtissante, publicitaire. La poésie, c’est exactement le contraire. Elle lève le verbe, elle s’allie à sa sœur musique ou bien elle fait musique seule. La parole poétique, ça se dit droit. Ça se dit les yeux dans les yeux avec le corps entier qui la porte”. Tel annonçait Claude Guerre le Festival de Poésie sonore #1 à La Maison de la Poésie de Paris en mai dernier. La résonance politique, sensible chez nombre de poètes qualifi és de “sonores”, des futuristes et dadaïstes aux nouvelles généra- tions qui continuent d’en élargir le champ d’expression, en pas- sant par ses illustres représentants, Bernard Heidsieck, Henri Chopin et autre John Giorno de la Beat Generation, n’est pas la moindre des qualités d’un art polysémique qui fut d’emblée l’un des pôles majeurs des avant-gardes historiques. A l’occasion de l’exposition Sonopoetics (de la parole à l’image, de la poésie au son) qui se tient en ce mois de septembre à l’ISELP (Bruxelles) dans le cadre de la manifestation générique Diagonales1, l’art même se penche sur la poésie sonore, envi- sagée dans un rapport actualisé et renouvelé à ses conditions d’émergence et de pratique. Performatives, expérimentales, visuelles, numériques, polymorphes, ces formes actuelles de poésie sonore perpétuent un espace de résistance salutaire aux convenances et formatages langagiers, portées par une La Communauté française / indéniable vitalité que cette incursion historique et prospective Direction générale de la Culture, a pour vocation tend à rendre quelque peu perceptible. de soutenir la littérature, Christine Jamart la musique, le théâtre, ONT COLLABORÉ Rédactrice en chef le cinéma, le patrimoine Victor Brunfaut ÉDITRICE RESPONSABLE culturel et les arts Sandra Caltagirone Christine Guillaume 1 Diagonales : son, vibration et musique dans la collection du Centre national des arts plastiques est plastiques, la danse, Alexandre Castant Directrice générale un parcours d’expositions (France, Belgique et Luxembourg, février 2010/janvier 2011) traitant de l’éducation permanente de la Culture la place du son et de la musique dans la création au travers diverses questions telles la fréquence des jeunes et des adultes. Anne-Laure Chamboissier et la variation, le silence et le langage, le son et la vibration, les musiques électroniques, la création Elle favorise toutes formes Laurent Courtens Ministère de la Communauté radiophonique, les pièces d’art sonores, l’apport de la culture pop/rock dans le champ des arts Emmanuel d’Autreppe française, plastiques et la poésie sonore. d’activités de création, d’expression et de diffusion Damien Delille 44 Boulevard Léopold II, de la culture à Bruxelles Florent Delval 1080 Bruxelles Christine De Naeyer et en Wallonie. La Communauté française Pierre-Yves Desaive RÉDACTRICE EN CHEF est le premier partenaire Jacques Donguy Christine Jamart Benoît Dusart de tous les artistes Philippe Franck et de tous les publics. SECRÉTAIRE DE RÉDACTION Elle affi rme l’identité culturelle Denis Laurent Pascale Viscardy 48 des belges francophones. Danielle Leenaerts Toma Muteba Luntumbue M GRAPHISME 48 / Cédric Schönwald Aldo Guillaume Turin Pam&Jenny 2 Carmelo Virone (Nathalie Pollet) Tristan Trémeau Pour nous informer de vos activités, CONSEIL DE RÉDACTION de vos changements d’adresse et de votre souhait de recevoir Marcel Berlanger un exemplaire : Laurent Busine [email protected] Chantal Dassonville [email protected] Pierre-Jean Foulon Max Godefroid > l’art même n’est pas Christine Guillaume responsable des manuscrits Nicole Schets et documents non sollicités. Daniel Vander Gucht Les textes publiés Fabienne Verstraeten n’engagent que leur auteur. POÉSIES SON- ORES Henri Chopin A.E.I.O.U (empire austro-hongrois), 1987 œuvre du Centre national des arts plastiques– Ministère de la Culture et de la Communication, Paris © D.R/CNAP/photo: Y.Chenot, Paris M 47 / 3 À bien des égards, les avant-gardes représen- tent une entreprise concertée de sabotage et de destruction du langage commun. Si l’on ajoute que depuis le symbolisme, des recherches de correspondances entre poé- sie, peinture et musique n’ont cessé, il n’est pas étonnant qu’advint la poésie sonore et que celle-ci, produite par des peintres et des poètes, devint un des pôles majeurs des créa- tions avant-gardistes. Giacomo Balla, Francesco Cangiullo, Palpavoce, 1914. Coll. A. Calmarini, Milan. Image extraite du catalogue Poésure et Peintrie, Musées de Marseille- Réunion des Musées Nationaux, 1998 LES Alexeï Kroutchonykh, Vlédimir Khlebnikov, Elena Gouro et Kasimir Malévitch, Couverture de Troé (“Les trois”), 1913. SONS Lithographie de K. Malévitch (à la mémoire d’Elena Gouro). Image extraite du catalogue Poésure et Peintrie, Musées de Marseille- Réunion des Musées DE Nationaux, 1998 L´ É M A N C I - PATION Poésies sonores Dossier M 48 / 4 “Oullê Ellé Lêl Li Unié Kon Si Ane Onone Kori Ri Koasambi Moiéna Lièj Ce qui unit toutes ces pratiques du XXème siècle, qu’elles Sabno Oratr Toulloj Koalibi Blestoriè aient été en lien ou non avec des appareils d’enregistrement, Tivo Orièniè Alij” d’amplifi cation, de distorsion ou de montage sonores, est une Kazimir Malévitch, poésie zaoum exaltation du son, de ses résonances et de ses intensités. Un in “Sur la poésie”, 1919, trad. fr. dans Le miroir suprématiste, son pris d’abord en soi et pour soi, relativement autonome - un T.2. des Ecrits de Malévitch, Lausanne, L’Age d’Homme, 1977 phonème, disait le linguiste Roman Jakobson, proche dans sa jeunesse du poète russe Khlebnikov et traducteur, pour ses La notion de poésie sonore a, semble-t-il, été proposée pour amis avant-gardistes, de Mallarmé et de Marinetti -, un matériau la première fois en 1958, dans un texte coécrit par deux ar- brut sorti de la chaîne des signifi cations du mot qu’il compose tistes affi chistes et futurs signataires du manifeste du Nouveau (un suffi xe par exemple). D’autres chaînes se mettent alors en Réalisme, François Dufrêne et Jacques Villeglé. Ce texte avait place, porteuses d’une quête d’expressivité maximale, se tra- pour objet la pratique poétique d’Henri Chopin, lequel s’inspirait, duisant notamment par la décomposition et la recomposition dans un contexte de redécouverte et de relance des avant- des vocables, le jeu sur les suffi xes récurrents, sur les principes “Je voulais un langage gardes historiques, des processus de prolifération de mots, de d’analogie et de création de néologismes redondants, le tout sortant de la seule sons et de la voix, depuis les mots en liberté futuristes (Marinetti) composant une syntaxe psalmodique : “Et le printannoyan kry- écriture. jusqu’aux performances et compositions dadaïstes (Hugo Ball, mov et les rêvoirs des rêvoreuses et la rêvure rêvaillante dans les C’était un besoin Schwitters) en passant par l’alogisme zaoum des cubo-futuristes rêveries et le rêvard rêve rêvairement et s’incline à la rêvaison et physique.” russes (Khlebnikov, Kroutchonykh, Malévitch). Ces processus souffre en rêvades” (Khlebnikov). Ce qui prime est la recherche avaient provoqué des bouleversements considérables de la du “Verbe en tant que tel”, pour reprendre le titre du manifeste de Raoul Hausmann Entretien avec Henri Chopin de Jacques Donguy, syntaxe, du phrasé et de l’intention poétiques, dépassant même Khlebnikov et Kroutchonykh (1913), c’est-à-dire d’une poésie qui catalogue Poésure et Peintrie, Musées de Marseille- la pratique du vers libre, désormais “farci comme un saucisson” jouit de ses propres sons, comme si elle découvrait sa langue, Réunion des Musées Nationaux, 1998 de matériaux lexicographiques et phonétiques hétérogènes au-delà ou en-deça des processus de réifi cation institutionnelle, et sans rapports sensés 1, eux-mêmes objets de découpes esthétique et marchande de la langue. Ceci conduisit à créer internes et de réductions à de purs matériaux sonores. Parmi des fi ctions étymologiques si on les considère sous l’aspect d’autres exemples (Zang Toumb Toumb de Marinetti, Karawan strict de la linguistique : ainsi de Malévitch qui met en rapport d’Hugo Ball...), on peut lire et écouter résonner en soi cet extrait raison et lavabo parce que les deux mots, en russe, intègrent le de Pommade de Kroutchonykh (1913) :“Ta sa maé / kha ra baou phonème oum (le même phonème participe de la constitution / saem siiou goub / radoub mola / all”. Immanquablement, on du zaoum, concept clef de la poésie alogique ou trans-mentale songe aux “intermèdes” vocaux, accompagnés de percussions de Khlebnikov). Cette mise en rapport arbitraire ressortit de sommaires, d’Antonin Artaud dans Pour en fi nir avec le juge- dimensions associatives et mnémoniques déjà travaillées par les ment de dieu (1948), pièce qui fut d’une grande infl uence sur symbolistes, mais elles prennent une tournure résolument abs- les néo-avant-gardes françaises d’après-guerre, en raison de traite fondée sur un désir d’un “au-delà de la raison” justifi é par l’intensité expressive du texte et de la performance verbale du la libération du verbe en tant que tel. Une libération et une chaîne poète, et de l’altérité absolue qui s’en dégageait. de relations de signes relativement autonomes que Malévitch Au premier rang de ces néo-avant-gardes, l’Internationale interpréta comme une leçon essentielle des collages cubistes de Lettriste d’Isidore Isou compta Henri Chopin, François Dufrêne, Braque et Picasso, lesquels isolèrent des signes, retirés de leurs Gil J Wolman ou encore Guy Debord parmi ses adeptes.
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