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Fred Forest : Catalogue Raisonné (1963-2008)

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Fred Forest : Catalogue Raisonné (1963-2008) UNIVERSITÉ DE PICARDIE/AMIENS – JULES VERNE ÉCOLE DOCTORALE EN SCIENCES HUMAINES ET SOCIALES THÈSE DE DOCTORAT D’HISTOIRE DE L’ART ISABELLE LASSIGNARDIE FRED FOREST : CATALOGUE RAISONNÉ (1963-2008) COMMENTAIRE SOUS LA DIRECTION DE LAURENCE BERTRAND DORLÉAC SOUTENANCE : 26 MARS 2010 FACULTE DES ARTS, UPJV, AMIENS MEMBRES DU JURY: LAURENCE BERTRAND DORLÉAC LESZEK BROGOWSKI FRANCOISE COBLENCE ÉVELYNE TOUSSAINT 1 ISABELLE LASSIGNARDIE FRED FOREST : CATALOGUE RAISONNÉ (1963-2008) COMMENTAIRE 2 Résumé Cette thèse est une étude de l’œuvre de l’artiste Fred Forest à travers le catalogue raisonné de ses travaux réalisés entre 1963 à 2008. Il s’agit de saisir les divers aspects pratiques et théoriques déployés par l’artiste : dans le cadre d’un art dit sociologique prenant le quotidien et l’ordinaire comme matériau d’observation, terrains d’action et d’animation ; par la formulation d’une esthétique de la communication dont l’objectif est la mise en évidence des médiums et technologies employées ; dans l’usage des médias de masse et des moyens de communication et de diffusion de l’information comme supports des œuvres ; de l’événement et de la communication comme parties intégrantes de la démarche artistique ; à travers les notions de participation et d’implication des récepteurs dans les dispositifs des œuvres. Mots clés : Fred Forest ; art contemporain ; art sociologique (mouvement) ; esthétique de la communication ; communication ; médias de masse ; internet ; télématique ; télécommunications ; presse ; art participatif ; participation ; esthétique relationnelle. Thesis abstract This thesis is a study of the artistic productions of Fred Forest through the comprehensive catalogue of his work from 1963 to 2008. Seizing the various practical and theoretical aspects labored by the artist : in the context of an art said as sociological, taking the quotidian and the ordinary as observation material, area of action and animation ; by the formulation of an aesthetics of communication which goals are the exhibition of the technologies and mediums employed ; in the use of mass media and means of communication and information diffusion as artistic medium ; with events and communication being an integral part of the artistic process ; through the notions of participation and involvement of receptors in the art-works devices. Keywords : Fred Forest ; contemporary art ; sociological art (movement) ; aesthetic of communication ; communication ; mass media ; internet ; telematics ; telecommunications ; press ; participatory art, participation ; relational aesthetics. 3 Avertissement Cette thèse est le catalogue raisonné de l’œuvre de Fred Forest de 1963 à 2008. Elle se constitue de ce présent volume consacré au commentaire critique, de trois tomes dédiés aux œuvres, d’un quatrième aux annexes. La pagination de ce tome dédié à l’analyse de l’œuvre (et imprimé uniquement en recto pour un confort de lecture), est indépendante de la pagination des quatre tomes (« Œuvres » et « Annexes ») : la quantité des documents reproduits dans le catalogue étant particulièrement importante, nous avons choisi un mode d’impression recto/verso pour des raisons pratiques. 4 Remerciements Je tiens tout d’abord à remercier Fred Forest et Gilbert Dutertre, directeur du Fonds de création audiovisuelle contemporaine de l’INA, pour leur disponibilité et leur soutien, me facilitant l’accès aux différents fonds d’archives. Je remercie vivement Laurence Bertrand Dorléac pour son accompagnement et l’intérêt qu’elle a porté à mes travaux ; la Fondation de France et le Centre d’Histoire de Sciences Po/Paris pour la bourse de recherche qu’ils m’ont attribuée en 2007 ; Leszek Brogowski, Françoise Coblence et Evelyne Toussaint qui ont aimablement accepté d’être membres du jury de la soutenance de cette thèse. Un grand merci à mes proches, collègues et amis, et tout particulièrement à Aymeric Hazaray pour ses relectures et sa patience ; Isabelle Haumont ; Gérard, Mireille et Aude Lassignardie ; toutes les filles de la rue Cail ; Alice Videau et Matthew Tyas. 5 Table des matières Résumé ....................................................................................................................................................... 3 Thesis abstract ............................................................................................................................................ 3 Avertissement ............................................................................................................................................ 4 Remerciements ........................................................................................................................................... 5 Table des matières ...................................................................................................................................... 6 Introduction .............................................................................................................................................. 11 PREMIÈRE PARTIE FRED FOREST : AGIR DANS L’ACTUEL, L’IMMÉDIAT ET L’ORDINAIRE. ............................................................................................................................. 22 1.1 Comment et pourquoi Fred Forest en est-il venu aux médias et aux nouvelles technologies ? ... 23 1.1.1 Fred Forest, peintre et dessinateur de presse. ............................................................................ 23 Une première phase ou l’art comme représentation esthétique du monde. ....................................... 24 Fred Forest, dessinateur de presse ou l’interprétation des faits et des informations médiatiques. ..... 26 Une première conscience des rapports complexes entre sciences, technologies et sociétés : l’exemple des Globulos. ......................................................................................................................................... 27 1.1.2 La question du médium. Les nouvelles technologies dans l’art, un gage pour être actuel ? ....... 28 Fred Forest, déjà interface. Une approche intuitive. ............................................................................. 28 La rupture picturale : quand la surface s’éclate et s’ouvre. Le « tableau-écran », déclencheur de nouvelles perspectives. .......................................................................................................................... 30 Être pionnier, ou pas ? ........................................................................................................................... 32 Médium, message : la rencontre avec Marshall Mac Luhan. ................................................................ 35 1.2 Fred Forest, celui qui démontre. De l’esthétique et des techniques : communication, connexions, réseaux, flux. ............................................................................................................................................ 37 1.2.1 Expérimenter les espaces de l’information. ................................................................................. 38 Expérimenter les contenants médiatiques pour en révéler les caractères et les potentiels. ................ 38 Un art des réseaux de communication. ................................................................................................. 40 Les moyens de communication pour une sortie de soi. ........................................................................ 43 Une esthétique des flux. ........................................................................................................................ 44 L’action à distance au cœur des œuvres................................................................................................ 45 Amplifier à outrance : la magie de la communication. .......................................................................... 46 Espace mondialisé des réseaux. ............................................................................................................. 46 6 Un pied posé dans le cyber espace. ....................................................................................................... 48 En quête d’un centre imaginaire du réseau. .......................................................................................... 48 Révéler la croisée des réalités physiques et virtuelles. .......................................................................... 49 1.2.3 Les jeux du temps. De la simultanéité et de l’immédiateté. ........................................................ 51 Jouer avec le différé et le direct : le passé et le présent dans un même temps. ................................... 51 Les multiplicités temporelles concentrées dans l’instant présent. ........................................................ 52 Des mises en scène du temps et de l’espace aux vertus démonstratives. ............................................ 53 1.3 La convocation du réel. Agir dans le milieu et l’ordinaire. ................................................................ 55 1.3.1 Fred Forest, artiste épistémologue .............................................................................................. 56 Fred Forest, collecteur de portraits de familles. .................................................................................... 56 Observer et filmer l’ordinaire. ............................................................................................................... 57 Capturer les gestes de la vie sociale. ....................................................................................................
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