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L'univers Sonore D'andy Warhol Document généré le 26 sept. 2021 21:50 Vie des arts L’univers sonore d’Andy Warhol Marie Claude Mirandette Volume 52, numéro 212, automne 2008 URI : https://id.erudit.org/iderudit/52421ac Aller au sommaire du numéro Éditeur(s) La Société La Vie des Arts ISSN 0042-5435 (imprimé) 1923-3183 (numérique) Découvrir la revue Citer cet article Mirandette, M. C. (2008). L’univers sonore d’Andy Warhol. Vie des arts, 52(212), 36–39. Tous droits réservés © La Société La Vie des Arts, 2008 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ y* L'UNIVERS SONORE D'ANOY WARHOL Marie Claude Mirandette 36 VIE DES ARTS N°212 ART ACTUALITÉ reproductible. C'est ce que l'exposition entend démontrer via 640 artefacts: documents d'archives, mais aussi sérigraphies, instal­ L'EXPOSITION QU'ORGANISE LE MUSÉE DES BEAUX-ARTS DE MONTRÉAL (MBAM) lations, films, pochettes de disques, « Screen EST CONSACRÉE À L'OMNIPRÉSENCE DE LA MUSIQUE ET DE LA DANSE DANS L'ŒUVRE Tests», etc. Au final, on sera convié à une incursion au cœur de l'univers warholien DU CHANTRE DU POP ART, ANDY WARHOL. DE MANIÈRE CHRONOLOGIQUE ET THÉMATIQUE, témoignant de la capacité de l'artiste à concilier les sources et les influences, de LE PRINCIPE DE LA PRÉSENTATION CONSISTE À PLACER LES ŒUVRES DÉSORMAIS TYPIQUES DE L'ARTISTE Fluxus à la nouvelle musique, en passant par la performance et l'art conceptuel. En bref, (ELVIS PRESLEY, MARILYN MONROE, LIZ TAYLOR, GRACE JONES, MICK JAGGER, LES AUTOPORTRAITS, tout ce qui a fait de lui la figure centrale de l'art américain des années I960 à 1980, et LES CAMPBELL'S SOUP CANS, ETC.), AINSI QUE D'AUTRES RÉALISATIONS MOINS CÉLÈBRES (POCHETTES une mégastar de l'histoire de l'art. Warhol avait, en effet, cette propension à absorber, DE DISQUES, ILLUSTRATIONS, POLAROIDS, ETC.) EN CORRESPONDANCE AVEC LA MUSIQUE ET LA DANSE, telle une éponge, ce qui se faisait de plus avant-gardiste pour en décanter des idées LA RECONSTITUTION MÊME SYMBOLIQUE DE LA SLLVER FACTORY (1964-1968) AINSI QUE D1EXPLODING relevant à la fois de l'art et de la consom­ PLASTIC INEVITABLE, VÉRITABLE GESAMTWERK WAGNÉRIENNE SE DÉTACHENT COMME LES DEUX PÔLES mation la plus tape-à-1'œil, ce qui a fait de lui un pilleur éhonté doublé d'un créateur D'ATTRACTION DE LA PRÉSENTATION. prolifique. De très nombreuses œuvres de l'exposition Warhol Live ont été vues jusqu'à plus soif et Warhol est en quelque sorte l'incarnation leur présentation sous un angle peu fréquenté ultime de l'éclectisme hyperbolique « proto- relève du défi. C'est pourquoi on a privilégié postmoderne », lequel relève, comme le quatre axes thématiques: Tuning In, où l'on souligne Stéphane Aquin, le conservateur de explore les fondements musicaux de l'œuvre l'exposition, d'«une culture musicale qui de Warhol; Sound & Vision, où l'on met embrasse aussi bien l'art lyrique wagnérien, en lumière sa fascination pour la musique la comédie musicale hollywoodienne, les et la danse ; Producer, qui éclaire son rôle tubes de groupes populaires, que la musique de «grand maître de la Factory», et plus d'avant-garde' ». De Mick Jagger à La Callas particulièrement de producteur des Velvet en passant par The Velvet Underground, Underground, et finalement Fame, qui Aretha Franklin et les Boston Pops, le spectre exemplifie sa fascination obsessionnelle pour musical de l'artiste est large et touche à peu la célébrité. près tout ce qui a été frappé en son temps de Le catalogue et l'exposition revisiteront l'aura de « Fame ». On conviendrait volontiers diverses hypothèses abordées dans le cadre qu'il a été annonciateur de la convergence de récentes publications et présentations. médiatique ! À tout le moins, Warhol semble Mentionnons, entre autres, celles de la avoir su, mieux que quiconque, capter Fondation Warhol à Pittsburg (expos sur les l'air de son temps, le Zeitgeist de la société relations de Warhol avec les Velvet Under­ consumériste américaine, et qu'il se profile ground et les Rolling Stones), de l'Albertina comme la dernière figure du capitalisme de Vienne (expo sur Warhol et les stars de la intégriste. pop intitulée Pop Stars: Zeichnungen uiid La thèse de l'exposition pourrait se Collagen, 2006) et la très intéressante étude résumer ainsi: la musique et, dans une de Thomas Crow consacrée aux rapports moindre mesure, la danse seraient les prin­ entre Warhol et Bob Dylan (« Lives of Allegory Autoportrait, 1986 in the Pop 1960s: Andy Warhol and Bob Acrylique et encre à sérigraphie sur toile de lin cipaux fondements esthétiques de l'œuvre de 274,3 x 274,8 cm Warhol. Principal substrat émotif, la musique Dylan » paru en 2007 dans Charles G. Salas, The Andy Warhol Museum, Pittsburgh, Founding Collection Contribution The Andy Warhol Foundation lui aurait inspiré sa philosophie et dicté The Live and the Work : Art and Biography, for the Visual Arts, Inc. O Andy Warhol Foundation for Visual Arts/SOORAC (2008) sa forme idéale, celle de la sérialité Los Angeles, Getty Research Institute). La VIE DES ARTS N°212 37 ART ACTUALITÉ 1 Debbie Hairy, 1980 2 Graces Jones, 1986 3 Liza Minnelli, 1979 4 Aretha Franklin, 1986 Acrylique et encre à sérigraphie Acrylique et encre à sérigraphie Acrylique et encre à sérigraphie Acrylique et encre à sérigraphie sur toile sur toile de lin sur toile de lin sur toile de lin 101,6 x 101,6 cm 106,7 x 106,7 cm 101,6 x 101,6 cm 101,6 x 101,6 cm The Andy Warhol Museum, Pittsburgh, The Andy Warhol Museum, Pittsburgh, The Andy Warhol Museum, Pittsburgh, The Andy Warhol Museum, Pittsburgh, Founding Collection Founding Collection Founding Collection Founding Collection Contribution The Andy Warhol Foundation Contribution The Andy Warhol Foundation Contribution The Andy Warhol Foundation Contribution The Andy Warhol Foundation for the Visual Arts, Inc. for the Visual Arts, Inc. for the Visual Arts, Inc. for the Visual Arts, Inc. © Andy Warhol Foundation for © Andy Warhol Foundation for © Andy Warhol Foundation for © Andy Warhol Foundation for Visual Arts/SODRAC (2008) Visual Arts/SODRAC (2008) Visual Arts/SODRAC (2008) Visual Arts/SODRAC (2008) 38 VIE DES ARTS N°212 ART ACTUALITÉ présentation montréalaise propose une Nonobstant les redites agaçantes, le catalogue synthèse de ces recherches, tout en cherchant est écrit dans une langue claire et accessible à les ouvrir sur de nouvelles avenues. qui devrait satisfaire le connaisseur autant Si plusieurs des pistes proposées s'avèrent que le public élargi. fascinantes, d'autres sont moins achevées. Pour compléter cette incursion dans Dans un des essais du catalogue intitulé l'univers warholien, un catalogue raisonné «No More Apologies: Pop Art et musique de la cinquantaine de pochettes de disques pop, autour de 1963», Branden W. Joseph réalisées par le pape du pop paraît simul­ aborde Warhol musicien et sa présence au tanément. Écrit par Paul Maréchal, collec­ sein du groupe The Druds. Outre Warhol, ce tionneur et historien de l'art, cet ouvrage est tout premier «art band», comme le désigne plus qu'un simple catalogue raisonné tradi­ Joseph, était composé de Claes et Patty tionnel ; c'est un véritable essai, d'un Oldenburgh, Walter de Maria, Luca Samaras, indéniable intérêt, sur l'incursion de Warhol Larry Poons, Jasper Johns et La Monte Young. dans le domaine du packaging, n Avec des titres comme The Coca-Cola Song, Movie Stars et Hollywood, autant de théma­ ' Catalogue Warhol Live, sous la direction de Stéphane tiques éminemment warholiennes, le mince Aquin, Introduction au catalogue, p. 18. corpus de ce groupe est passé au crible. Selon ' Catalogue, idem, p. 20. ' Catalogue, idem, p. 122. Joseph, les Druds rendraient manifeste, 1 « à travers la musique le projet de Warhol Catalogue, idem, p. 123. de croiser, dans une attitude ostensiblement autoréflexive, les mondes jusque-là étrangers des beaux-arts et de la culture populaire 2 ». Suffit de penser à Dada, à Kurt Schwitters, aux néo- PUBLICATIONS dadaistes et aux premiers Deux publications abordent l'influence de la musique dans artistes du pop art britan­ WARHOL LIVE l'œuvre de Warhol. Le catalogue de l'exposition Warhol Live, nique (années 1955-1960) sous la direction de Stéphane Aquin, comprend 288 pages Musée des beaux-arts de Montréal 1380, rue Sherbrooke Ouest pour questionner cette affir­ et 450 illustrations. On y trouve des essais de nombreux Montréal mation. Il en va de même spécialistes de l'artiste, des témoignages (dont celui de Glenn pour l'importance accordée Tél.: 514 285-2000 O'Brien, directeur d'Interview) et des documents inédits. Le www.mbam.qc.ca par l'auteur à ce « band de 2" ouvrage, le catalogue raisonné Andy Warhol Les pochettes garage » qui ne répéta de disques 1949-1987 présente les pochettes de disques Du 28 septembre 2008 qu'entre deux et dix fois - réalisées par Andy Warhol. Il est rédigé par le collectionneur au 18 janvier 2009 selon les sources -, ne fit de ce corpus, Paul Maréchal et comprend 240 pages et environ 250 illustrations. Ces ouvrages, publiés en français et en que de rarissimes enregis- Exposition organisée en partenariat avec tremenLs de leurs « jam ses­ anglais, sont en vente à la Boutique-librairie du Musée au coût le Andy Warhol Museum de Pittsburgh.
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