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L'aquarium: Vision Et Représentation Des Mondes Subaquatiques

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L'aquarium: Vision Et Représentation Des Mondes Subaquatiques L’Aquarium : vision et représentation des mondes subaquatiques : un dispositif d’exposition au croisement de l’art et de la science Quentin Montagne To cite this version: Quentin Montagne. L’Aquarium : vision et représentation des mondes subaquatiques : un dispositif d’exposition au croisement de l’art et de la science. Art et histoire de l’art. Université Rennes 2, 2019. Français. NNT : 2019REN20010. tel-02410780v2 HAL Id: tel-02410780 https://tel.archives-ouvertes.fr/tel-02410780v2 Submitted on 28 Feb 2020 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. Thèse soutenue le 07 janvier 2019, devant le jury composé de: L'.Aquarium: Éric Baratay vision et représentation Professeur des universités, Université Jean Moulin Lyon 3 (rapporteur) des mondes subaquatiques Sandrine Ferret Professeure des universités, Université Rennes 2 Un dispositif d'exposition Nicolas Roc'h au croisement de l'art et de la science artiste plasticien Corine Pencenat Maître de conférences HDR, Université de Strasbourg Olivier Schefer Professeur des universités. Université Paris 1 Panthéon-Sorbonne (rapporteur) UNIVERSITE Christophe Viart j:f;jil+iCHII Professeur des unrversités. Université Paris 1 Panthéon-Sorbonne Montagne,l!IJl;J=i Quentin. L’Aquarium : vision et représentation des mondes subaquatiques. Un dispositif d’exposition au croisement de l’art et de la science - 2019 Pour des raisons de législation, plusieurs images de ce mémoire ont dû être efacées. Leurs légendes et références ont néanmoins été préservées. Montagne, Quentin. L’Aquarium : vision et représentation des mondes subaquatiques. Un dispositif d’exposition au croisement de l’art et de la science - 2019 Sous le sceau de l’Université Européenne de Bretagne UNIVERSITÉ RENNES 2 École Doctorale - Arts, Lettres, Langues Laboratoire : EA 7472 Pratiques et Téories de l’Art Contemporain L’Aquarium : vision et représentation des mondes subaquatiques Un dispositif d’exposition au croisement de l’art et de la science thèse de Doctorat Discipline : Arts plastiques Quentin MONTAGNE Directeur de thèse : Christophe VIART janvier 2019 Jury : Éric Baratay, Professeur des universités, Université Jean Moulin Lyon 3 (rapporteur) Sandrine Ferret, Professeure des universités, Université Rennes 2 Nicolas Floc’h, artiste plasticien Corine Pencenat, Maître de conférences HDR, Université de Strasbourg Olivier Schefer, Professeur des universités, Université Paris 1 Panthéon-Sorbonne (rapporteur) Christophe Viart , Professeur des universités, Université Paris 1 Panthéon-Sorbonne (Directeur de thèse) 3 Montagne, Quentin. L’Aquarium : vision et représentation des mondes subaquatiques. Un dispositif d’exposition au croisement de l’art et de la science - 2019 4 Montagne, Quentin. L’Aquarium : vision et représentation des mondes subaquatiques. Un dispositif d’exposition au croisement de l’art et de la science - 2019 Remerciements Je tiens en premier lieu à saluer mon directeur de thèse, Christophe Viart, pour sa confance et ses conseils avisés, non seulement pendant mes cinq années de doctorat, mais depuis mon cursus à l’École des Beaux-Arts de Rennes. Sous sa direction, j’ai eu la chance de mener mes recherches et ma pratique artistique en toute liberté, bénéfciant de rencontres et de séminaires organisés à l’Université Rennes 2 puis à Paris 1 Panthéon-Sorbonne. Je n’aurais tout simplement jamais entrepris ni même envisagé un tel travail sans lui. Je remercie également ma compagne Rika pour sa compréhension et sa grande patience face aux aléas de la rédaction, ainsi que pour son aide dans l’étude des références japonaises et plus généralement asiatiques. Aucun mot ne saurait dire tout ce que je dois à mes parents, Ghislaine et Didier, et ma soeur Viviane pour leur soutien inconditionnel tout au long de mon doctorat. Je les remercie encore, ainsi que Guillaume Delcourt et Rémi Mort, pour leur lecture sérieuse et leur assistance dans les derniers instants de l’écriture. J’exprime toute ma reconnaissance à l’ensemble de mes collègues du Département Arts Plastiques et du jeune laboratoire Pratiques et Téories de l’Art Contemporain de l’Université Rennes 2. Je remercie notamment Sandrine Ferret, Pascale Borrel, Nicolas Tély, Ivan Toulouse, Laurence Corbel, Denis Orhant et Jacques Guillemer pour leurs encouragements et leur bienveillance continus. C’est à leurs côtés que j’ai découvert le monde de l’enseignement et de la recherche auquel j’étais loin de me destiner à ma sortie de l’École des Beaux-Arts. Ces cinq dernières années avec eux furent formatrices à plus d’un titre. Leurs conseils me furent particulièrement précieux pour l’élaboration de mes cours, un travail pour lequel je n’avais pour ainsi dire aucune expérience à mon entrée à l’université. « La meilleure façon d’apprendre quelque chose est de l’enseigner » dit l’adage, et c’est au contact de mes étudiants et des autres professeurs, en discutant et réféchissant avec eux, que les liens entre pratique et recherche m’apparaissent dorénavant indissociables. J’adresse bien sûr tous mes remerciements aux artistes, chercheurs et aquariophiles rencontrés au gré de mes recherches, à commencer par Laurent Duthion, Apolline Grivelet, Dominique Barthélémy de l’Océanopolis de Brest ainsi que les membres du Club Rennais Aquariophile pour avoir bien voulu éclairer le profane que j’étais. Je remercie tout spécialement Michaël Harpin et Ekarat Tosomboon pour leur assistance répétée dans mon approche de l’aquariophilie. Je salue de même l’ensemble des collègues et professeurs croisés lors de colloques et journées d’études, en particulier Évelyne Toizet et Isabelle Roussel-Gillet de l’Université d’Artois, Sébastien Fevry et Sarah Sépulchre de l’Université catholique de Louvain, Chiara Mengozzi du CEFRES de Prague ainsi que les doctorants du laboratoire ALEF de Rennes 2. Leur confance et leur curiosité à l’égard de mon travail ont sans nul doute participé à la concrétisation de mes recherches. 5 Montagne, Quentin. L’Aquarium : vision et représentation des mondes subaquatiques. Un dispositif d’exposition au croisement de l’art et de la science - 2019 J’exprime toute ma gratitude à l’EESAB site de Rennes, en les personnes d’Odile Le Borgne, François Perrodin, Dominique Abensour, Nicolas Floc’h et Jodène Morand, pour leur suivi depuis mon diplôme en 2012. Nombre de mes projets n’auraient pu voir le jour sans leur concours indéfectible. Je remercie encore tout spécialement Pedro Pereira de la Direction de la Culture de la Ville de Rennes pour son amitié et l’enthousiasme qu’il manifeste depuis cinq ans pour mon travail. Je souhaite enfn remercier les diférents organismes, collectifs et institutions avec lesquels j’ai eu le plaisir de collaborer tout au long de ces années de recherche : le PHAKT Centre Culturel Colombier dont je salue l’ensemble de l’équipe pour sa gentillesse, Sophie Kaplan de la Criée centre d’art contemporain pour sa perspicacité et ses avis éclairés, Delphine Reine du Musée et jardin de sculptures Manoli, Christian Mahé et Christophe Desforges de l’Atelier Estienne - centre d’art contemporain de Pont-Scorf, le Collectif INIT, la Ruskin Gallery de Cambridge, l’association du Praticable, malheureusement aujourd’hui dissoute, ainsi que la Cohue - Musée des Beaux-Arts de Vannes. 6 Montagne, Quentin. L’Aquarium : vision et représentation des mondes subaquatiques. Un dispositif d’exposition au croisement de l’art et de la science - 2019 7 Montagne, Quentin. L’Aquarium : vision et représentation des mondes subaquatiques. Un dispositif d’exposition au croisement de l’art et de la science - 2019 8 Montagne, Quentin. L’Aquarium : vision et représentation des mondes subaquatiques. Un dispositif d’exposition au croisement de l’art et de la science - 2019 Sommaire Remerciements ........................................................................................5 Introduction .................................................................................13 I. Une fenêtre sur la nature ...........................................................29 I.1. L’invention moderne I.1.1. Une défnition difcile ...................................................34 I.1.2. Baptême tardif ...............................................................41 I.1.3. Le temps des pionniers ..................................................56 I.2. Mise en œuvre du dispositif I.2.1. Le modèle d’un monde ..................................................67 I.2.2. Les coulisses d’une machinerie ......................................77 I.2.3. Architecture et ingénierie ..............................................89 I.3. De l’écran à l’environnement I.3.1. Zoodram ......................................................................99 I.3.2. Tours et numéros ...........................................................108 I.3.3. L’immersion du spectateur ............................................117 II. Un schème de la nature ............................................................134 II.1. Du prospect au perspect II.1.1. Le problème du paysage subaquatique .........................139 II.1.2. Artialisations
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