No. 109, October 2017

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No. 109, October 2017 Newspaper Jan Mot Afgiftekantoor 1000 Brussel 1 Verschijnt vijfmaal per jaar in V. U . Jan Mot januari – maart – mei – Kleine Zavel 10 augustus – oktober 1000 Brussel No. 109, oktober 2017 Erkenningsnummer P309573 200 –201 Jaargang 21 No. 109 is in this spirit that we hope what we called “a debate hope that A situation in that A situation in which an. interval between academis in which an. Hugo Hopping, Hugo Hopping, this spirit that we what we called “a d (advertisement) Les trois arbres d’Hudimesnil 200 Par quelques semaines à écrire un texte à la Exhibition Jean-Philippe Toussaint mémoire de Jean-Luc Vilmouth qui venait 09/11 – 02/12 de mourir à Taïwan, je renonçai aux pre- Opening BRUXELLES, MAI 2016 - Je relisais À mières tentatives que j’avais esquissées et 08/11, 6 – 8 pm la recherche du temps perdu à Ostende je décidai de relier ces trois arbres à Jean- en février 2016 quand, un soir, avant de Luc, comme si, complétant moi-même le me coucher, je repensais aux dernières texte de Proust, j’inventais une destination JEAN-LUC pages que je venais de lire en me bros- ou une attache singulière à ces arbres, qui sant les dents, intrigué par un passage qui étaient restés opaques pour le narrateur. VILMOUTH: m’avait frappé de façon subliminale mais C’était comme si je venais de com- qui demeurait à la surface de mon esprit, prendre, d’édicter ou de décréter, qu’il y DRAWINGS AND comme s’il ne parvenait pas à s’inscrire avait un lien invisible entre Jean-Luc et les en profondeur dans ma conscience. Ce qui trois arbres d’Hudimesnil. C’était comme PLANTS était troublant, c’est que la sensation d’in- si Jean-Luc avait toujours été présent dans complétude que je gardais de la lecture le texte de Proust, qu’il s’y était trouvé en An exhibition proposed by de ce passage n’était pas sans rappeler la creux, enfoui et invisible, en puissance, et Dominique Gonzalez-Foerster façon dont le narrateur lui-même décrit que, à l’occasion de sa mort, je pourrais l’impression que lui a laissée la vue des essayer de le faire émerger de ces pages. trois arbres d’Hudimesnil. Un soir qu’il Je compris, en somme, que, par l’évoca- Jan Mot se trouve dans une calèche dans les en- tion, il me serait possible d’activer le sou- Petit Sablon / Kleine Zavel 10 virons de Balbec, le narrateur aperçoit venir de Jean-Luc Vilmouth à travers les 1000 Brussels, Belgium par la fenêtre trois arbres sur le bord de trois arbres d’Hudimesnil. la route, qui, sur le moment, lui apportent une bouffée de bonheur, mais un bonheur Il me restait maintenant à inventer ce lien, deleine plongeait pour pêcher quelques incomplet, car il ne parvient pas à se sou- à le nourrir, à le faire vivre. La dernière oursins, qui seraient notre entrée pour le venir où et quand il a déjà aperçu de tels fois que j’ai vu Jean-Luc Vilmouth, c’était repas du soir auquel nous avions convié arbres dans le passé. Contrairement à la à Barcaggio dans les premiers jours de Jean-Luc. Nous avons dîné dans la pé- madeleine, qui permet au narrateur de septembre 2015, au soir d’une journée nombre du petit jardin derrière la mai- retrouver, intacte, l’essence du passé dès particulièrement belle de la fin de l’été. son, oursins, poisson grillé, vin blanc. qu’il reconnaît son goût mêlé à l’infusion Nous nous dirigions, Madeleine et moi, Puis, après avoir débarrassé la table à la de tilleul, les trois arbres d’Hudimesnil, vers les rochers, quand nous avons croisé lueur du réverbère de la ruelle, nous nous malgré ses efforts pour retrouver leur la longue silhouette de Jean-Luc dans le sommes installés sur la terrasse devant la trace dans sa mémoire, demeurent pour sentier qui surplombe la mer, vêtu d’une maison, le village plein de douceur, une lui inféconds, leur vue fugitive ne parve- chemisette en lin clair et du petit chapeau verveine du jardin dans des bols japonais, nant pas à réactiver chez lui d’épisode du gris stylé qu’il portait les derniers temps. la soirée qui s’étire. Vers onze heures, passé. Une serviette de bain sur l’épaule, il re- Jean-Luc a pris congé de nous, la bise gagnait sa voiture pour rentrer à Giovan- à Madeleine, un dernier signe que je lui Je relus la scène le lendemain, je la relus nacce et nous l’avons convaincu de faire adresse, je ne sais plus exactement com- encore à Bruxelles dans les semaines sui- demi-tour avec nous pour retourner aux ment les choses se sont passées, les détails vantes, mais je ne savais que faire de ces rochers. Cela faisait un an que nous ne m’échappent, mais c’est à ce moment-là deux pages de Proust un peu bâtardes et nous étions pas vus, et nous bavardions que j’ai vu Jean-Luc pour la dernière fascinantes, qui ne mettaient en lumière torse nu au bord du rivage, mer d’huile, fois : Jean-Luc qui se lève et regagne sa qu’une occasion manquée, un échec ou soleil encore chaud très bas dans le ciel. voiture sur la place du village. Je suis un inachèvement. Je ne savais qu’en faire Nous regardions l’eau clapoter imper- assis sur la terrasse, et je vois la voiture jusqu’au jour où, réfléchissant depuis ceptiblement au loin, à l’endroit où Ma- démarrer et passer devant moi, qui prend 2 Newspaper Jan Mot Vilmouth 200 –201 à l’allée de palmiers de la route de l’aéro- port de Bastia : « Je venais d’apercevoir, en retrait de la route en dos d’âne que nous suivions, trois arbres qui devaient servir d’entrée à une allée couverte et for- maient un dessin que je ne voyais pas pour la première fois, je ne pouvais arriver à reconnaître le lieu dont ils étaient comme détachés mais je sentais qu’il m’avait été familier autrefois. » A mesure que je relis le texte de Proust, je perçois qu’au delà de l’invitation qu’il contient d’évoquer la figure de Jean-Luc Vilmouth — son oeuvre, sa présence, notre amitié, les dernières heures que nous avons passées ensemble —, le pas- sage des arbres d’Hudimesnil contient, en puissance, si ce n’est un hommage réel de Proust à Jean-Luc Vilmouth (ne rêvons pas), la possibilité virtuelle d’un tel hommage, qu’à l’intérieur même du texte de Proust a été ménagé un espace, un vide, un creux, une cavité ouverte — ce lien absent que le narrateur n’ar- rive pas à combler —, où Jean-Luc a sa place. Rien a priori n’aurait dû relier les trois arbres d’Hudimesnil à Jean-Luc Vil- mouth, si ce n’est qu’on peut comprendre qu’on veuille associer un arbre au souve- nir d’une personne disparue (alors, trois arbres, vous pensez). L’arbre présente un caractère de paix et de sérénité, il dégage une image de force et de robustesse qui traverse le temps. Jean-Luc, lui-même, d’ailleurs, a travaillé sur les arbres, il a fait construire un escalier en colimaçon au- tour du tronc d’un palmier dans une de ses oeuvres les plus poétiques (Autour d’un palmier, présenté à Nice à la Villa Arson). Ce qui, au départ, n’avait été pour moi qu’un prétexte pour évoquer la figure de Jean-Luc Vilmouth recelait en réalité une JEAN-LUC VILMOUTH, Sans titre [As I Think…], 2013, Collection: the estate of the artist. image plus tranchée, une métaphore plus affirmée. Il m’apparut alors que, non seu- le virage à l’angle du platane et disparaît il dut le faire lui-même pour rejoindre lement les arbres en général — les trois à jamais. l’aéroport, et je traverserais les routes du arbres d’Hudimesnil, le platane du virage Cap Corse. Après Bastia, passé l’ancienne de Barcaggio, les palmiers de la route de Je pourrais aller encore plus loin dans usine Mattei, j’apercevrais alors sur ma l’aéroport —, ont une portée symbolique l’évocation de Jean-Luc. Je pourrais me droite une allée de palmiers abandonnée. qui les dispose à l’hommage, mais que mettre à sa place, je pourrais emprunter À chaque fois qu’on prend la route de ces arbres en particulier, les trois arbres ses habits, comme il le fit lui-même dans Poretta, le regard se pose nécessairement d’Hudimesnil, pouvaient devenir littéra- une de ses oeuvres (My dream Houses, où, sur cette allée de palmiers qui monte vers lement une image de Jean-Luc lui-même, au gré de ses voyages, il posait devant dif- une maison invisible qui semble sortir des une image allégorique, et émouvante, de férentes maisons en prenant les attitudes brumes imaginaires du domaine de Don- l’ami mort : « Comme des ombres, écrit des propriétaires dont il avait emprunté nafugata dans le Guépard. Ce n’est pas la Proust, ils semblaient me demander de les les vêtements). Je pourrais jouer son rôle, première fois que je remarque la présence emmener avec moi, de les rendre à la vie. coiffé de son petit chapeau gris stylé. Un de cette allée de palmiers abandonnée [...] Et quand la voiture ayant bifurqué, je matin de septembre 2015, je fermerais sa sur le bord de la route, et je suis sûr que leur tournai le dos et cessai de les voir, maison de Giovannacce pour l’hiver (je Jean-Luc aussi la remarque à chacun de j’étais triste comme si je venais de perdre connais les lieux, j’ai passé un mois dans ses passages, car nos regards se superpo- un ami.
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