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Ce Que La Polémique Fait Aux Œuvres. Une Étude En Trois Temps De Controverses Dans L'art Contemporain

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Ce Que La Polémique Fait Aux Œuvres. Une Étude En Trois Temps De Controverses Dans L'art Contemporain Université de Montréal Ce que la polémique fait aux œuvres. Une étude en trois temps de controverses dans l’art contemporain par Julia Roberge Van Der Donckt Département d’histoire de l’art et d’études cinématographiques, Faculté des arts et des sciences Thèse présentée à la faculté des études supérieures en vue de l’obtention du grade de Ph. D. en histoire de l’art août 2017 © Julia Roberge Van Der Donckt, 2017 RÉSUMÉ Souvent reléguées aux marges de l’histoire de l’art, les controverses n’en ont pas moins un effet éminemment transformateur : elles font quelque chose aux œuvres. Consacrée à l’étude de polémiques récentes touchant des œuvres d’art contemporain, cette thèse met en lumière ce qui naît de ces conflits, à savoir de nouveaux objets, de nouveaux acteurs et de nouveaux modes opératoires. L’analyse s’articule autour de trois cas : la censure du film A Fire in My Belly (1986- 1987) de David Wojnarowicz à la National Portrait Gallery de Washington, D.C. en 2010, le blanchiment d’une murale du street artist Blu réalisée au Museum of Contemporary Art de Los Angeles la même année et, enfin, la destruction de Dialogue avec l’histoire (1987) en 2015, œuvre d’art public conçue par Jean Pierre Raynaud pour la Place de Paris à Québec. Ces controverses signalent la mise en place d’une dynamique inédite quant au rôle exercé par la circulation d’images dans le développement des polémiques : ces reproductions, disséminées de manière soutenue dans le web, et plus généralement à travers différentes déclinaisons de l’espace public, infléchissent les trajectoires des œuvres. Ceci leur procure non seulement une visibilité accrue, mais leurs modes d’existence s’en trouvent par conséquent modifiés, les œuvres vivant pour ainsi dire par l’entremise d’images fixes ou animées qui prolifèrent en ligne. Prenant appui sur la conception pragmatiste des publics (Dewey), de même que sur la sociologie de l’acteur-réseau et les théories de la médiation, nous étudions par ailleurs la formation de collectifs nés conjointement à cette dissémination d’images « virales ». Des acteurs impliqués dans les controverses, qu’il s’agisse d’artistes ou d’activistes, entreprennent notamment de faire réapparaître les œuvres censurées ou disparues sous diverses formes, incluant des répliques, des œuvres dérivées ou encore des mèmes Internet. Nous démontrons que ce phénomène de réappropriation, inexistant lors de polémiques artistiques antérieures aux années 2010, est lié aux dynamiques de partage apparues avec le « web 2.0 ». Mots clés : culture visuelle; controverses artistiques; médiations; trajectoires d’œuvres; publics; visibilité; viralité ii ABSTRACT While they are often relegated to the margins of art history, controversies nevertheless have an eminently transformative effect : they do something to artworks. Devoted to the study of recent debates surrounding contemporary works, this thesis brings into light what arises from these conflicts, namely new objects, new actors, and new modi operandi. The analysis is structured around three case studies: the censorship of the film A Fire in My Belly (1986-1987) by David Wojnarowicz at the National Portrait Gallery in Washington, D.C. in 2010, the whitewash of a mural by street artist Blu at the Museum of Contemporary Art, Los Angeles that took place the same year, and the destruction of Dialogue avec l’histoire (1987) in 2015, a work of public art created by Jean Pierre Raynaud for the Place de Paris in Québec City. These controversies reveal that there is a new dynamic taking place regarding the role of circulating images in the unfolding of such debates: these reproductions, extensively disseminated in the web, and more generally in public spaces and the public sphere, shape the artworks’ trajectories. Not only does this confers them a higher visibility, but their very modes of existence are modified in this process, works get to live, in a manner of speaking, through fixed or animated images that proliferate online. Drawing upon a pragmatist approach to publics (Dewey), actor-network theory, and sociology of mediation, we also study the forming of collectives born jointly with this dissemination of “viral” images. Actors involved in the controversies, either artists or activists, seek to make the censored or destroyed works reappear in various forms, including replicas, derivative works or even Internet memes. We demonstrate that this phenomenon of appropriation, inexistent during controversies prior to the 2010s, is linked to sharing dynamics that appeared with the « web 2.0 ». Keywords : visual culture; art controversies; mediations; artworks’ trajectories; publics; visibility, virality iii Table des matières Liste13T des figures 13T vi Liste13T des sigles et des acronymes 13T xviii Remerciements13T 13T xx 0.13T INTRODUCTION 13T 1 0.113T De la controverse artistique comme objet d’étude13T 3 0.213T Les culture wars, croisades contre l’art contemporain aux conséquences durables 13T 5 0.313T Vers une nouvelle géographie des controverses13T 12 CHAPITRE13T 1. DE LA CITÉ À LA VIRALITÉ : L’ESPACE PUBLIC DANS TOUS SES ÉTATS13T 21 1.113T L’espace public : définitions et enjeux13T 23 1.213T Pragmatisme et (contre)publics13T 26 1.313T Cyberespace et extension de l’espace public : une démocratie à géométrie variable 13T 42 1.413T La visibilité et la viralité : nouveaux impératifs des publics en réseaux13T 57 CHAPITRE13T 2. LA CHUTE D’UNE INCOMPRISE. VIE, MORT ET RÉAPPARITIONS DE DIALOGUE AVEC L’HISTOIRE 13T 68 2.113T Dialogue avec l’art public13T 70 2.213T Chronique d’une mise à mort médiatisée13T 83 2.313T Entre destruction et création 13T 91 CHAPITRE13T 3. STUPEUR ET BLANCHIMENT. LA CENSURE DE BLU AU MOCA 13T 122 3.113T Le street art et ses paradoxes13T 123 3.213T Art in the Streets : de la rue au musée13T 133 3.313T Le milieu du street art réplique13T 159 3.413T Effets collatéraux de la controverse13T 175 iv CHAPITRE13T 4. DES FOURMIS ET DES HOMMES : LES TRAJECTOIRES DE A FIRE IN MY BELLY13T 182 4.113T L’œuvre de Wojnarowicz : entre art et activisme13T 184 4.213T A Fire in My Belly avant la polémique13T 198 4.2.113T Silence = Death13T 206 4.2.213T Hide/Seek : Difference and Desire in American Portraiture13T 212 4.313T La controverse : récit d’une contagion13T 217 4.413T Réactivation, reconstitution et autres (ré)apparitions13T 242 4.513T L’effet Hide/Seek13T 248 5.13T CONCLUSION : LES CONTROVERSES À L’ÈRE DE L’« APPROPRIABILITÉ NUMÉRIQUE DES ŒUVRES » 13T 254 5.113T Que reste-t-il des culture wars ?13T 256 5.213T Les lieux de la polémique : de nouveaux terrains pour les publics en réseau13T 258 Bibliographie13T 13T 261 ANNEXE13T 1 : Communiqué de presse de la Ville de Québec annonçant le démantèlement de Dialogue avec l’histoire, 15 juin 2015 13T 308 ANNEXE13T 2 : Évaluation préliminaire de restauration de Dialogue avec l’histoire, Centre de conservation du Québec, novembre 2014 13T 309 ANNEXE13T 3 : Script de travail pour A Fire in My Belly typographié par Wojnarowicz avec inscriptions à la main, 1986-1987, Source : Wojnarowicz Papers, Fales Library & Special Collections, série 3, boîte 4, dossier 24 13T 314 ANNEXE13T 4 : Feuillet remis aux visiteurs de l’exposition Hide/Seek par Michael Blasenstein 13T 316 ANNEXE13T 5 : Faux communiqué de presse transmis aux médias par Benjamin er Thomas Sisto le 1P P janvier 201113T 318 ANNEXE13T 6 : Liste d’informations sur A Fire in My Belly compilée par les archivistes de la Fales Library & Special Collections en janvier 201113T 319 ANNEXE13T 7 : Cartel de A Fire in My Belly (Film in Progress) dans l’exposition Hide/Seek, Brooklyn Museum, 2011-2012 13T 321 ANNEXE13T 8 : Texte mural au sujet de A Fire in My Belly dans l’exposition Hide/Seek, Tacoma Art Museum, 201213T 322 v Liste des figures Figure 0.1 - Le Museum of Censored Art, Washington, D.C., janvier 2011. Photographie : Ben Droz. Figure 0.2 - Andres Serrano, Piss Christ, 1987. Édition de 10, Cibachrome, 101.6 x 76 cm. Source : Time, [En ligne] http://100photos.time.com/phot13TU os/andres-serrano-piss-christ.U13T Consulté le 16 août 2017. Figure 0.3 - Robert Mapplethorpe, Self-Portrait, N.Y.C. (X Portfolio), 1978, Gélatine argentique, 19.5 x 19.5 cm. Source : The J. Paul Getty Museum, [En ligne] http://www.getty.edu/ar13TU t/collection/objects/254562/robert-mapplethorpe-self-portrait-nyc- american-1978/.U13T Consulté le 16 août 2017. Figure 0.4 - Robert Mapplethorpe, Helmut, N.Y.C. (X Portfolio), 1978, Gélatine argentique, 19.5 x 19.5 cm. Source : The J. Paul Getty Museum, [En ligne] http://www.getty.edu/13TU art/collection/objects/254557/robert-mapplethorpe-helmut-nyc- american-1978/.U13T Consulté le 16 août 2017. Figure 0.5 - Robert Mapplethorpe, Self Portrait, 1980, Gélatine argentique, 34.9 x 35 cm. Source : Tate [En ligne] 13TUhttp://www.tate.org.uk/art/artworks/mapplethorpe-self-portrait- ar00225U13T. Consulté le 16 août 2017. Figure 0.6 - Projection de Self Portrait (1980) de Robert Mapplethorpe sur la façade de la Corcoran Gallery of Art, Washington, D.C., 30 juin 1989. Photographie : Frank Herrera. Figure 1.1 - Diagrammes utilisés par Paul Baran pour illustrer les types de réseaux dans « On Distributed Communication Networks ». Source : BARAN, Paul (1964). « On Distributed o Communications Networks », IEEE Transactions on Communications Systems, vol. 12, nP 1,P p. 1. Figure 1.2 - Elías García Martínez, Ecce Homo, vers 1930 (photographie datée de 2010), église Santuario de Misericordia, Borja, Espagne. Source : Wikimedia Commons, [En ligne] https://en.wikipedia.org/wi13TU ki/Ecce_Homo_(Mart%C3%ADnez_and_Gim%C3%A9nez,_Borja) #/media/File:Elias_Garcia_Martinez_-_Ecce_Homo.jpg.U13T Consulté le 16 août 2017. Figure 1.3 - Restauration de l’œuvre effectuée par Cecilia Giménez en 2012. Source : Wikimedia Commons, [En ligne] https://en.wikipedia.org/13TU wiki/File:Attempted_restoration_of_Ecce_Homo.jpgU13T.
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