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L'œuvre Studio Venezia De Xavier Veilhan : Un Espace Collaboratif, Plastique Et Musical

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L'œuvre Studio Venezia De Xavier Veilhan : Un Espace Collaboratif, Plastique Et Musical https://lib.uliege.be https://matheo.uliege.be þÿL'Suvre Studio Venezia de Xavier Veilhan : un espace collaboratif, plastique et musical Auteur : Hejdrowski, Stefan Promoteur(s) : Bawin, Julie Faculté : Faculté de Philosophie et Lettres Diplôme : Master en histoire de l'art et archéologie, orientation générale Année académique : 2019-2020 URI/URL : http://hdl.handle.net/2268.2/9389 Avertissement à l'attention des usagers : Tous les documents placés en accès ouvert sur le site le site MatheO sont protégés par le droit d'auteur. 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Toute utilisation non explicitement autorisée ci-avant (telle que par exemple, la modification du document ou son résumé) nécessite l'autorisation préalable et expresse des auteurs ou de leurs ayants droit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ensemble du travail de Xavier Veilhan évolue depuis toujours dans un champ d'action élargi. Loin des distinctions traditionnelles entre les différentes disciplines, ses œuvres embrassent des pratiques variées comme la sculpture, la peinture, la vidéo, la photographie et la performance. L'agencement de celles-ci adopte la forme de série que l'artiste mène en parallèle. Le langage visuel auquel on reconnaît Xavier Veilhan est celui de la recherche de formes génériques aux contours géométriques précis et travaillés à l'aide de hautes technologies. Xavier Veilhan voue une admiration pour les grandes figures de l'histoire de l'art. Le vocabulaire de l'artiste semble hériter entièrement du champ de l'art visuel. Pourtant, ses projets les plus récents entretiennent des relations toujours plus fréquentes et étroites avec la musique, formulant de nouveaux modes d'expression en lien avec le domaine du spectacle vivant. A la fois studio d'enregistrement et espace d'exposition, Studio Venezia, présenté par Xavier Veilhan au sein du Pavillon français de la 57e Biennale d'art contemporain de Venise, est un espace collaboratif à mi-chemin entre l'art plastique et la musique : « J’imagine un environnement total : une installation immersive renvoyant à l’univers du studio d’enregistrement et inspirée par l’œuvre pionnière de Kurt Schwitters, le Merzbau (1923-1937). Des musiciens de tous horizons sont conviés à activer cette sculpture-studio d’enregistrement qui devient alors le support de leurs créations pendant les sept mois de la Biennale. Le pavillon opère une fusion entre arts visuels et musique, ravivant des références allant du Bauhaus aux expériences du Black Mountain College en passant par Station to Station de Doug Aitken. »1 L'installation Studio Venezia de Xavier Veilhan s'inscrit pleinement dans une pensée où l'usage de différentes disciplines est inhérent au processus de création. Les expertises permettant d'actionner ce dispositif pendant les 173 jours de la 1 Xavier Veilhan. Studio Venezia, n°1, Venise, Pavillon français, 2017, p. 13. 3 Biennale de Venise sont aussi diverses que l'architecture, la sculpture, l'acoustique, les techniques d'enregistrement, la production musicale, l'éclairage, etc. Le choix des deux commissaires Christian Marclay et Lionel Bovier atteste de la dimension collaborative et éclectique de l'installation. Un choix tout à fait pertinent au vu du travail de Christian Marclay qui explore les liens entre le visuel et le sonore à travers des médiums comme la vidéo, la musique, le collage, la photographie et la performance. Présent sur la scène musicale en tant que pionnier du DJ et compositeur ayant enregistré et collaboré avec une multitude de musiciens, Christian Marclay trouve naturellement sa place dans un projet tel que Studio Venezia. La réputation de Lionel Bovier dans le monde de l'art contemporain n'est plus à faire. Il a été directeur du Musée d'art moderne et contemporain de Genève (MAMCO) depuis 2016, critique d'art, fondateur de la maison d'édition JRP Ringier en 2004, organisateur de nombreuses expositions comme indépendant ou en tant que commissaire associé au Centre national d'art contemporain (Le Magasin) à Grenoble en 1999 et au Musée cantonal des Beaux-Arts en 2002. Ayant collaboré à plusieurs reprises avec Xavier Veilhan, sa présence en tant que commissaire d'exposition au Pavillon français n'a rien d’étonnant. Une œuvre comme Studio Venezia soulève de nombreuses interrogations. Elle illustre la difficulté de notre époque à catégoriser les œuvres selon des pratiques singulières et clairement identifiables. Dans la création actuelle, les différentes disciplines artistiques s'interpénètrent, interagissent, créant sans cesse de nouvelles formes artistiques. Un constat qu'affirme l'historien Paul Ardenne : « Définir ce que sont ces types nouveaux de pratiques équivaut à rendre compte d'une combinatoire, de connexions dont la complexité tend parfois au ''brouillage'', à la confusion des genres et des buts. Nombre de pratiques artistiques, en fait, survivent aujourd'hui de se mélanger avec d'autres, se fortifient d'exploiter la crise du médium à l'origine de leur implosion, une crise dont le signe le plus éclatant est tôt ou tard proliférant, la contamination avec d'autres pratiques souffrant de maux identiques. »2 2 Cité dans HUDON, Véronique, L'installation : une expérience limite du théâtre ? Le cas de Personnes de Christian Boltanski, mémoire de master en théâtre, Université du Québec à Montréal, 2013, p. 13. 4 A la connaissance des nombreux articles, catalogues d'exposition, entretiens avec l'artiste et films documentaires traitant de l’œuvre de Xavier Veilhan, il apparaît qu'une multitude de propos pertinents sont évoqués à maintes reprises sur Studio Venezia. Cependant, ces discours, riches de sens, sont dispersés au gré de lectures abondantes. Une des dimensions qu'a prise cette recherche est celle de réunir en un seul et même objet la diversité des témoignages, palliant aux désireux d'approfondir le sujet, le temps que nous avons mis a constituer ce corpus. Rendre compte en quelques mots de la complexité d'une œuvre comme Studio Venezia relève, sans nul doute, de l'impossible. Cette « combinatoire de connexions »3 est ici analysée à la lumière des productions de l'artiste, que nous convoquons tout au long du présent travail. L'unité qui traverse la pensée et l’œuvre de Xavier Veilhan permet d'expliciter avec plus de finesse les spécificités de Studio Venezia. La démarche menée dans ce mémoire est également d'analyser l'ensemble des paramètres qui font la singularité de l’œuvre et qui l'inscrivent dans la continuité des bouleversements esthétiques du XXe siècle. Il s'agit d’historiser l'installation du Pavillon français et de la replacer sur une ligne du temps allant des avant-gardes modernes à aujourd'hui. Les amateurs de l’œuvre de Xavier Veilhan savent que les références aux courants artistiques de la modernité évoquées par l'artiste sont plus que de simples anecdotes. Elles sont de véritables filiations avec les artistes du passé, organisées en un réseau de références qu'il est nécessaire d'éclaircir. Cette pensée associative, propre à l'artiste, prend tout son sens dans un travail qui cherche à dévoiler l'histoire derrière les préoccupations des artistes du présent. C'est dans cette perspective que nous entreprenons l'analyse de Studio Venezia. Le premier chapitre s'ouvre sur une série de réflexions qui transparaissent en filigrane tout au long de l'analyse, notamment sur les définitions des termes d'installation et d'interdisciplinarité. La dimension in situ de l’œuvre nous permet d'aborder le contexte de création de Studio Venezia et son rapport avec le Pavillon français. L'élaboration d'un espace nous semble être un des enjeux majeurs au sein de l'installation.
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