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JE Björk À Evry "Wanderlust" : l’art total de Björk JOURNÉE D'ÉTUDES : COMMUNICATIONS ET PRESTATIONS MUSICALES MARDI 11 FÉVRIER 2020 9H30-18H00 Université d'Evry-Val-d'Essonne, amphi audio Contact : Grégoire Tosser, [email protected], 01 69 47 74 44 « Wanderlust » : l’art total de Björk Journée d’études Université d’Évry Paris-Saclay, amphi audio Mardi 11 février 2020 Appel à communication Alors que Björk continue de briser les frontières formelles du concert pop avec sa dernière création Cornucopia, l’analyse de son œuvre s’impose dans le cadre du cycle des journées d’études sur les musiques populaires à l’Université d’Évry. Conçu comme un spectacle en résidence au centre culturel new-yorkais The Shed en mai 2019, Cornucopia s’inscrit dans la continuité d’Utopia, le dixième album studio publié par Björk en 2017 et marqué par une collaboration avec la productrice et musicienne électronique vénézuélienne Arca. En associant musique acoustique, images virtuelles, vidéos, décors, costumes et chorégraphies dans le cadre d’un concert pop, Björk prouve une nouvelle fois ses ambitions artistiques et pluridisciplinaires déjà entrevues depuis son premier album solo, Debut en 1993. À l’image des carrières d’artistes majeurs de la fin du XXe siècle comme David Bowie, Kate Bush ou Prince, le parcours de Björk se distingue par un renouvellement constant et un naturel expérimental toujours inscrit dans un format de chanson aux émotions directes. Née en 1965 à Reykjavik en Islande, Björk grandit au sein d’une communauté hippie. Pour apprendre le piano et la flûte – un instrument pour lequel elle arrangera des partitions orchestrales sur Utopia –, sa mère l’inscrit en école de musique où elle découvre en parallèle de sa passion pour la pop des Beatles ou de Chaka Khan, la musique de Karlheinz Stockhausen ou Claude Debussy. Cet héritage entre cultures savante et populaire se cristallise en 1997 sur son album Homogenic, salué par la critique et le public comme l’une de ses plus grandes réussites. Son corpus d’albums ne saurait pour autant être résumé à la période des années 1990, la plus célébrée commercialement, puisque son évolution au XXIe siècle témoigne d’une vision esthétique en perpétuelle mutation et toujours inclassable. En effet, après des débuts en groupe punk et new wave durant les années 1980 avec, notamment, Kukl et The Sugarcubes, et une parenthèse jazz sur l’album de reprises Gling-Gló, Björk s’installe à Londres pour assimiler l’influence du trip hop émergent de Massive Attack ou Portishead. L’influence de la musique électronique continue d’irriguer son travail studio avec des sonorités techno sur Post et Homogenic, qui dévoilent également une sensibilité orchestrale où des ensembles à cordes forment le contrepoint acoustique aux programmations électroniques. Björk navigue ainsi entre deux mondes : celui de la musique savante à laquelle elle emprunte certaines sonorités (harpe et clavicorde sur Vespertine, ensemble à vent sur Volta, orchestre à cordes sur Vulnicura, chorale sur la majorité des albums, etc.) et celui de la musique électronique avec un goût pour les nouvelles technologies (arrangements a cappella transformés sur ordinateur pour Medúlla, programmations électroniques détachées de la mesure binaire à quatre temps sur Vulnicura, collaborateurs comme Matmos, Leila Arab, Mark Bell, Timbaland, Arca, etc.). Chanteuse d’exception, capable des chuchotements les plus intimes, d'envolées lyriques ou d'effets vocaux (respiration rythmique, grognement, articulation enfantine...), Björk cumule les rôles d’autrice, compositrice, instrumentiste, beatmaker, arrangeuse et mêle les outils du passé et du présent en écrivant sur partition tout en expérimentant les dernières applications musicales sur ordinateur et tablette. Cet attachement à notre époque accompagne un discours engagé pour la paix, le féminisme et l’écologie, trois thèmes qui nourrissent les paroles et les images présentées par les chansons phares de l’artiste durant ces quinze dernières années. Investie dans la création de ses costumes, de ses photographies, de ses clips et de sa promotion, Björk jouit aujourd’hui d’un statut d’artiste totale respectée pour son œuvre passée et fascinante pour ses créations présentes. Cette richesse disciplinaire s’illustre dans la musique en studio avec dix albums studio, la musique en live avec de nombreux concerts filmés et sortis en DVD/Blu-Ray, les vidéoclips en collaboration avec Michel Gondry, Spike Jonze ou Michel Ocelot, la conception d’instruments et d’applications informatiques pour Biophilia, la participation aux films Drawing Restraint 9 de Matthew Barney et Dancer in the Dark de Lars Von Trier, la chorégraphie de la tournée Utopia avec Margrét Bjarnadóttir, la conception d’artwork avec les Parisiens de M/M, etc. Ces différentes pistes permettront aux intervenants de proposer une analyse critique de l’ensemble de l’œuvre de Björk à travers les axes suivants (liste non exhaustive) : - L’instrument vocal - Pluridisciplinarité artistique et dialogue entre les arts - Les influences musicales, le croisement d’influences savantes et populaires - Les collaborations musicales - Les collaborations visuelles (cinéma, vidéoclip, photographie, artwork...) - La performance live, le rapport musique et scène - La technologie, l’innovation technique dans la composition - L’engagement social et politique - L’Islande, la culture islandaise Les propositions de communication (indiquant un titre et un résumé de 300 mots maximum, accompagnés d'une courte notice biographique) doivent être envoyées conjointement à Grégoire Tosser ([email protected]), Matthieu Thibault ([email protected]) et Mathieu Guillien ([email protected]), avant le 31 octobre 2019. Une réponse sera apportée début novembre 2019. Comité scientifique Martin Guerpin (UEVE) ; Mathieu Guillien (UEVE) ; Emmanuel Parent (Rennes 2) ; Inès Taillandier- Guittard (UEVE) ; Matthieu Thibault (UEVE) ; Grégoire Tosser (UEVE) ; Nathalie Vincent-Arnaud (Toulouse Jean-Jaurès) Bibliographie indicative Martin Aston, Bjorkgraphy, Simon & Schuster, 1996 Klaus Biesenbach (dir.), Björk: Archives, Thames and Hudson, 2015 Ian Gittins, Human Behaviour: The Stories Behind Every Song, Carlton Books, 2002 Emily Mackay, Björk’s Homogenic, 33 1/3, Bloomsbury Academic, 2017 M/M, Björk as a Book, Le Seuil, 2001 Mark Pytlik, Björk: Wow and Flutter, ECW Press, 2003 Sjón, Post Book, Bloomsbury, 1995 .
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