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La Métaphysique Dans La Sculpture De Jean Tinguely : Mécanique, Contradiction Et Métamorphose Comme Principes Générateurs Anaïs Rolez

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La Métaphysique Dans La Sculpture De Jean Tinguely : Mécanique, Contradiction Et Métamorphose Comme Principes Générateurs Anaïs Rolez La métaphysique dans la sculpture de Jean Tinguely : mécanique, contradiction et métamorphose comme principes générateurs Anaïs Rolez To cite this version: Anaïs Rolez. La métaphysique dans la sculpture de Jean Tinguely : mécanique, contradiction et métamorphose comme principes générateurs. Art et histoire de l’art. Université Rennes 2, 2015. Français. NNT : 2015REN20010. tel-01130172 HAL Id: tel-01130172 https://tel.archives-ouvertes.fr/tel-01130172 Submitted on 11 Mar 2015 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. THESE / Histoire de l'art présentée par sous le sceau de l'Université européenne de Bretagne Anaïs Rolez pour obtenir le titre de : DOCTEUR Préparée dans le département Histoire et Mention : Histoire de l'art critique des arts (EA 1279) Ecole doctorale Arts, Lettres, Langues La métaphysique Thèse soutenue le 23 janvier 2015 devant le jury composé de dans la sculpture de Pierre-Henry FRANGNE Jean Tinguely : Professeur, université européenne de Bretagne Rennes 2 Directeur de thèse mécanique, Jean-Marc POINSOT Professeur, université européenne de Bretagne Rennes 2 contradiction et Richard LEEMAN Professeur, université de Bordeaux Montaigne métamorphose Bertrand ROUGE comme principes Professeur, université de Pau et des Pays de L'adour générateurs La métaphysique dans la sculpture de Rolez, Anaïs. Jean Tinguely : mécanique, contradiction et métamorphose comme principes générateurs - 2015 La métaphysique dans la sculpture de Jean Tinguely : mécanique, contradiction et métamorphose comme principes générateurs Thèse de doctorat d'histoire de l'art contemporain soutenue publiquement par Anaïs Rolez à l'Université Européenne de Bretagne, Rennes 2. Sous la direction de Pierre-Henry Frangne, Professeur d'université. La métaphysique dans la sculpture de Rolez, Anaïs. Jean Tinguely : mécanique, contradiction et métamorphose comme principes générateurs - 2015 Remerciements Je remercie vivement mon directeur de thèse, Pierre-Henry Frangne, pour ses relectures méticuleuses, ses conseils avisés et son soutien. Merci également aux membres du jury : Jean- Marc Poinsot, Richard Leeman et Bertrand Rougé, pour leur lecture, leurs remarques constructives et leur présence lors de la soutenance de ma thèse. Ma reconnaissance va également aux personnels des Archives de la critique d'art et de la bibliothèque Kandinsky, pour leur accueil et leur disponibilité. Je remercie également mon père, pour ce qu'il me transmet, son esprit libre et ingénieux, son sens du partage. Je remercie ma sœur Jeanne pour son aide, sa sensibilité et sa bienveillance ; mon frère Armand, pour son humour et son décalage ; mes enfants, Noah et Raphaël pour leur patience ; mes amis : Alexandre Le Callonec, Laurence Mercier, Pierre-Guillaume Clos, Anne-Laure Chirol et Sabine Vermillard, pour leur affection et le soutien qu'ils m'ont apporté. Merci à mon compagnon, Patrick Gyger pour ses conseils et ses encouragements. Merci à Jacqueline Le Callonec pour sa lecture, ses conseils et ses corrections. Merci à Sophie Deschamps, ma tante, de m'avoir dit qu'elle était fière de moi, et que ma mère l'aurait été aussi. Merci à tous ceux qui m'ont fait confiance, qui m'ont soutenue et encouragée. 2/437 La métaphysique dans la sculpture de Rolez, Anaïs. Jean Tinguely : mécanique, contradiction et métamorphose comme principes générateurs - 2015 À ma mère (06 décembre 1964- 14 juillet 2013) 3/437 La métaphysique dans la sculpture de Rolez, Anaïs. Jean Tinguely : mécanique, contradiction et métamorphose comme principes générateurs - 2015 Introduction Jean Tinguely (Fribourg, 1925 – Berne, 1991) artiste Suisse, figure majeure de l’art du XXe siècle, était un sculpteur qui utilisait des matériaux de récupération auxquels il redonnait vie, en utilisant des moteurs pour les animer. Imprégné des œuvres de Marcel Duchamp et de l’utilisation d’objets usuels ironiquement promus œuvres d’art, il s’inscrit dans l’esprit dadaïste qui se manifeste par la provocation et la dérision, souvent au cours de manifestations publiques. Bien que l’œuvre tinguelienne ait fait l'objet de travaux de recherche universitaire, de nouvelles sources permettent aujourd'hui d'actualiser les connaissances à son propos. C'est le cas par exemple du fonds Pierre Restany, conservé aux Archives de la Critique d'art, des enregistrements sonores conservés à la bibliothèque Kandinsky, des émissions de télévisions ainsi que des entretiens menés par Jean-Pierre Keller, peu avant la mort de l'artiste. Ces sources permettent de comprendre notamment quelles ont été les influences philosophiques et politiques de Jean Tinguely, quelles lectures, quelles rencontres l'ont marqué et se sont répercutées dans sa production. L'artiste étant resté très discret à propos de ces dernières pendant la majeure partie de sa vie, ces sources apparaissent comme un nouvel éclairage sur sa pensée, ses intentions et son œuvre. L'objet de cette thèse est l'étude de l’œuvre tinguelienne sous l'éclairage de ces documents. Ceux-ci viendront répondre à une hypothèse, celle qui comprend la contradiction comme l'un des moteurs principaux de l'art de Jean Tinguely. Cette contradiction pourrait revêtir plusieurs formes, que nous relèverons, afin de comprendre si l’œuvre tinguelienne peut-être comprise comme une œuvre générative, et, si oui, comment. Il semblerait que la contradiction, la mécanique et la métamorphose soient des principes dont use l'artiste pour leur pouvoir générateur. L'étude du contradictoire dans l’œuvre de Jean Tinguely tentera de mettre en évidence le fait que, dans son œuvre, il n'y a pas d'unité du symbole, d'une part, mais, d’autre part, que l'artiste semble faire de la contradiction, sous toutes ses formes, une valeur et une exigence. Nous interrogerons les modalités d'apparition de la contradiction dans son travail, afin de savoir si son œuvre apparaît uniquement comme une mise en espace de la contradiction ou, également, ainsi que nous le supposons, comme une tentative de synthétisation, usant des moyens de la caricature, de la parodie ou du raccourci. Nous montrerons que l’œuvre tinguelienne semble être basée sur un principe 4/437 La métaphysique dans la sculpture de Rolez, Anaïs. Jean Tinguely : mécanique, contradiction et métamorphose comme principes générateurs - 2015 dynamique du contradictoire. Il s'agira de dégager la manière dont ce principe dynamique du contradictoire peut empêcher toute univocité interprétative et comment il semble permettre une expérience poétique et créatrice à la fois heureuse et malheureuse. Problématique La problématique majeure de cette thèse est de savoir si l'art de Jean Tinguely se place dans cette tradition spéculative de l'art. Pouvons-nous dégager que l’art, pour Tinguely, est un savoir extatique, c’est-à-dire qu’il révèle des vérités transcendantes, inaccessibles aux activités cognitives profanes ? Une contradiction majeure semble apparaître ici, dans le fait que cette conception implique une sacralisation de l'art qui, de ce fait, se trouve opposé aux autres activités humaines, considérées comme intrinsèquement aliénées, alors que Tinguely, et c'est ce que nous voudrions démontrer, semble vouloir désacraliser l'art en inscrivant ses œuvres dans le quotidien, le banal, l'utilisation de rebuts, que cela soit par les techniques, les matériaux, les thèmes, les titres, ou l'utilisation de machines, mais surtout en voulant rapprocher l'art de la vie et du spectateur. La thèse centrale de cette recherche est celle selon laquelle, il y aurait, dans le travail de Jean Tinguely, une contradiction des contradictions, une contradiction qui organise toutes les autres. En effet, cette théorie dite spéculative, parce qu'elle est déduite d’une métaphysique générale (qu’elle soit systématique, généalogique ou existentielle) apparaît comme irréconciliable avec la position théorique critique d'un artiste qui révoque en doute toutes les croyances sur lesquelles repose la conception spéculative de l'art : Dieu, une réalité supérieure, un fondement ontologique et substantiel des choses, une transcendance. L’œuvre Tinguelienne apparaîtra donc sous des aspects contradictoires (à la fois vitaliste et mécaniste, attachée à la fois à une tradition philosophique de l'art et détachée de toute illusion, qu'elle souhaite abolir), et nous tenterons de défendre la thèse selon laquelle, c'est la contradiction qui est le principe de la sculpture de Jean Tinguely, justement, parce que ces positions théoriques sont irréconciliables. La théorie spéculative de l'art présuppose une théorie de l’être : si l’art est un savoir extatique, c’est qu’il existe deux sortes de réalité, celle, apparente, à laquelle l’homme a accès à l’aide de ses sens et de son intellect raisonneur, et celle, cachée, qui ne s’ouvre qu’à l’art (et 5/437 La métaphysique dans la sculpture de Rolez, Anaïs. Jean Tinguely : mécanique, contradiction et métamorphose comme principes générateurs - 2015 éventuellement, à la philosophie)1. À la fin de sa vie, Jean Tinguely a réalisé plusieurs retables et autels, ce qui semble apparaître comme une rupture vis-à-vis
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