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Jardins De Mots Imaginaire Et Langage Partie III Jardins de Mots Imaginaire et Langage KENSINGTON HOME Plants studied since 1984 Acacia galpii Mimosacae, Monkey thorn, South Africa. Acabtis mollis, Beer’s Breeches, Acantaceae South-West Europe. Acer palmatum, Japanese Maple, Acantaceae Japan. Agapanthus Africana, Love Flower, Amarillidaceae South Africa Agave Americana, Century Plant, Agavacae Mexico. …. Boshoff enménage à la King Edward Street, Kensington en 19841. Il commence à se familiariser avec les individus de la population “botanique” de son terrain en apprenant leur nom (phylum, genre et espèce) en Latin, leur nom commun en anglais, et en mémorisant leur pays d’origine. La liste des 376 noms des plantes du jardin de Kensington est une de Jardin de Boshoff à Kensington, Johannesburg, 2004 la trentaine de listes, pour la plupart beaucoup plus longues, que Boshoff a établies dans de nombreux jardins du monde entier. 1 Ce déménagement a lieu en décembre 1984, juste après la première exposition du 370 DAY PROJECT. 541 Introduction: GARDENS OF WORDS, quelque part entre action et alchimie GARDENS OF WORDS a pris forme graduellement. Boshoff date l’éveil de son intérêt botanique dans les années 602. Au fil des années, il a établi une procédure qu’il suit à chaque rencontre avec un nouveau spécimen du règne végétal. Dès qu’une possibilité se présente, il passe du temps dans un jardin, de préférence un jardin botanique organisé de façon scientifique, et passe les plantes à la loupe. Il lui arrive également de s’arrêter devant l’étalage d’un fleuriste de rue pour scruter les étiquettes des plantes exotiques ou décoratives. Selon les circonstances, il peut être amené à travailler pendant plusieurs jours dans un seul jardin, passant d’une plante à la suivante, pour l’examiner et copier l’étiquette qui l’accompagne. Une fois revenu dans l’atelier, Boshoff saisit la liste manuscrite par ordinateur, classe les noms dans l’ordre alphabétique et les étudie, en comparant le nom aux index botaniques. Boshoff est très exigeant sur sur les données accumulées qui doivent être correctes : Willem Boshoff, Berlin, octobre 2010 le cartel installé par le personnel du jardin botanique ou par le vendeur n’est pas toujours mis à jour selon les plus récentes données scientifiques3 ; aussi, il est possible que tel spécimen se soit trouvé à un emplacement inhabituel. Alors Boshoff cherche le lieu d’origine de l’espèce concernée, et s’assure, si 2 Dans ses cahiers de brouillon (“scrapbook”) où il réunit ses textes et images de GARDENS OF WORDS Boshoff fait mention de la collection de succulents de son enfance. 3 Le nom du premier scientifique qui a étudié la plante en question lui a donné son nom latin. Lors de la vérification des listes officielles, il s’avère fréquemment qu’une plante a été étudiée et nommée deux fois. Dans ce cas, le premier des deux noms est retenu. Ces changements de noms ne sont pas uniquement des pédantesques mises à jour, ils reflètent également les changements sociologiques qui soutiennent la vie scientifique. Un cas très intéressant est étudié par Marion Arnold dans la polémique autour de la nomenclature pour Aloe bainesi ou Aloe barberaei. Arnold réussit à juxtaposer une attitude scientifique “Linnéenne” avec une fièvre d’explorateur et de colonisateur Victorien ainsi qu’avec l’identité de l’artiste ayant découvert la plante, une artiste-exploratrice très exceptionnelle pour son temps. Boshoff aime raconter l’histoire de l’attribution du nom de la mauvaise herbe Sigesbeckia. Il s’agit d’une histoire de rivalité entre grands scientifiques. Boshoff avait entendu cette histoire racontée par le concierge du Jardin Botanique Universitaire d’Uppsala. Le grand Linnaeus, qui avait été professeur à cette université depuis 1741, avait établi ce jardin. Boshoff accompagne fréquemment ses publications sur les Jardins de mots du plan du jardin original à Uppsala. Il a établi la liste complète des plantes de ce jardin en octobre 1998. 542 tout le reste est correct, que le pays d’origine n’a pas changé de nom ou que les désignations de ses régions politiques et géographiques n’ont pas été modifiées4. Boshoff retravaille continuellement les listes de toutes les espèces de plantes rencontrées. En septembre 2004, il en compte près de 16 000. En septembre 2011, ce nombre est relévé à 20 0005. Au fur et à mesure de son travail, la liste s’agrandit de plus en plus lentement, car il devient de plus en plus difficile de trouver une plante qu’il n’ait jamais encore vue. Quelque part dans ce lent processus d’accumulation et de recherche, les noms des plantes ont commencé à faire partie du vocabulaire quotidien de Boshoff, comme si ces noms faisaient désormais partie de lui. Depuis 2004, Boshoff a commencé à prendre des photographies des plantes qu’il étudie. Il se donne le défi de représenter de façon scientifique non seulement les feuilles, tiges et fleurs des plantes, mais veut également montrer ses fruits et son écorce, qui permettent de se décider, en cas de difficultés, sur le classement d’un plant. En plus de cette approche botanique, Boshoff a l’ambition de ne pas s’arrêter à une prise de vue facile et simplement descriptive, pour obtenir “la plus belle image” de la plante en question. Il doit y avoir “quelque chose de plus” dans cette photographie. Boshoff crée une banque de données d’images numériques en retravaillant et en reclassant les images pendant des heures6, et révise inlassablement les noms et caractéristiques des plantes. Mais la réponse à la question “Quand?” - “when 4 Boshoff a retravaillé toutes ses listes selon l’index des plantes d’Afrique du Sud mis à jour après 1994, pour indiquer la provenance des plantes en respectant la nouvelle répartition des provinces (Index of South African plants, Gemmershuizen and Meyer: 2003) 5 Voir communication électronique du 17-5-2011: “The Garden of Words IV installation is at an early stage of development and I hope to get it ready for the United Nations Framework Convention For Climate Change (UNFCCC) to be held in Durban in November/December this year. Heinrich Böll Stiftung, Southern Africa has offered production costs up to a point. Garden of Words III with the little white handkerchiefs in red flower-cups on grey flower stalks commemorated the extinction of 15,000 flowers. There are now more than 30,000 flowers on the Red Data List. The flowers on my list are of course ones that I had encountered first-hand and not merely ones I had copied aimlessly from lists and I hope to commemorate 20,000 plants with Garden of Words IV.” 6 Lors de sa présence dans le “cubicle” lors de la foire de Bâle, l’activité de trier ses photographies était l’une des plus fréquentes. Un moniteur était prévu pour la diffusion sous forme de diaporama de photographies de détails de plantes. Voir communication électronique du 17-5-2011: “The taking of images and the compilation of a visual data base of plants has helped tremendously in my memorising of names. I have now taken close to a hundred thousand images of plants of which I believe somewhere between thirteen and fifteen are publishable. These images help my memory work better, but my work is essentially conceptual and I am not yet thinking of using images as artwork in the Garden of Words project. I have to go down to Durban soon to check out possible exhibition sites” 543 is remembering?” – “quel est le moment où j’aurais pu dire qu’‘apprendre’ vient d’avoir eu lieu ?”, lui échappe toujours. Périodiquement, Boshoff ressent le besoin de donner corps à ses plantes. Il entreprend alors d’exposer ses jardins mentaux. Les résultats de ces expérimentations sont connus sous les titres GARDENS OF WORDS I, II, III, et IV. Le premier “jardin de mots” composé de 3600 noms, gagne le prestigieux prix “Vita Art Now” en 19967, Okwui Enwezor et Kendell Geers faisant parti du jury de cette année. L’installation est ensuite exposée à Madrid, au Museo Nacional Centro de Arte Reina Sophia, où la section de GARDENS OF WORDS I (1982-1997) l’exposition à laquelle le travail de Boshoff est intégrée est établie par Gerardo Mosquera8. Cette première version était conçue comme un jardin de commémoration. Les noms de plantes étaient imprimés sur des cartons blancs et montés un par un sur des morceaux de tasseau que Boshoff avait disposé au sol en lignes régulières, comme sur le plan d’un cimetière. Six groupes de six cents noms étaient disposés en parterre, chacun d’entre eux étant couvert par une vitre carrée censée représenter une serre. Des “clipboard” étaient mis à la disposition du spectateur, qu’il pouvait consulter s’il le souhaitait, pour retrouver l’emplacement exact d’une plante dans ce jardin-cimetière- dictionnaire. Cette organisation était inspirée par la forme du Projet de 370 jours. 7 Exposition: FNB Vita Award for Art à la Sandton Municipal Gallery. 8 Gerardo Mosquera 2000. Catalogue : Visiones Del Sur: No Es Sólo Lo Que Ves: Pervirtiendo Minimalismo. Museo Nacional, Centro de Arte, Reina Sofia, Madrid, pp. 36-41. (Le titre peut être traduit ainsi: Ce n’est pas ce que vous voyez: Pervertir le Minimalisme - It is not what you see, Perverting Minimalism) Boshoff se réfère à cette exposition dans une lettre à Huet, l’éditeur de la revue de littérature expérimentale, Gagarin: “One section of my word-gardens is actually on show at the Reina Sofia in Madrid. I met Wim Delvoye there in December 2000 when we were putting up our work. We were part of Gerardo Mosquera’s show No es sólo lo que ves: pervirtiendo el minimalismo”.
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