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Warning: Cannot modify header information - headers already sent by (output started at /var/www/html/core/lib/class.plx.motor.php:349) in /var/www/html/core/lib/class.plx.feed.php on line 266 Atlante - Revue d'études romanes - Tag guerre
https://atlante.univ-lille.fr/tag/guerre
frFri, 01 Nov 2019 15:33:00 +0100PluXml10.Résister à l’Histoire : « contre espace » et fragment dans l’œuvre de Wols (1939-1945)
https://atlante.univ-lille.fr/10-resister-a-lhistoire-contre-espace-et-fragment-dans-loeuvre-de-wols-1939-1945.html
https://atlante.univ-lille.fr/10-resister-a-lhistoire-contre-espace-et-fragment-dans-loeuvre-de-wols-1939-1945.html<p>Delphine Bière<br />Université de Lille<br />IRHIS EA 8529<br />p.175-192.</p><p><strong>Delphine BIÈRE, Résister à l’Histoire : « contre espace » et fragment dans l’œuvre de Wols (1939-1945).</strong></p>
<p style="text-align: justify;"><strong>Résumé. </strong>Pour de nombreux artistes, l’exil et l’internement vont devenir un mode d’expression et de combat, et, afin de faire face aux événements, ils vont donner forme à l’Histoire et à leur histoire. Parmi ces artistes, Wols, enfermé en tant que citoyen allemand au camp des Milles, ancienne briqueterie près d’Aix-en-Provence (en 1940), développe une œuvre qui est une plongée dans la subjectivité totale et souligne la position de déterritorialisation de l’artiste. L’image ainsi créée devient une <em>question de connaissance</em> et non d’illusion avec quelques indices de son environnement. L’artiste démontre la nature complexe et dialectique de la création grâce à une gestualité réduite qui lui permet de saisir et de produire avec intensité la perception des choses. Ses aquarelles rendent visible ce qui échappe à la norme, par l’intermédiaire de formes imaginaires, indicielles mais aussi monstrueuses. Wols exprime son pouvoir de contester le réel sans s’y dérober, et met en crise les catégories avec lesquelles l’individu saisit ce qui l’entoure. Son œuvre présente l’imaginaire qui agit et une « langue » inventée qui exprime la perception de l’artiste. Ce « contre-espace » (Raoul Ubac), lieu mental, irréel, aiguisé par la vision directe ou sensitive rappelle la fiction, seule capable de résister, d’échapper aux diktats de l’Histoire. La perturbation du mode d’expression traduit et fait sentir ce qui est de l’ordre de l’impensable, de la mutilation ou de la perte dans ce non-lieu qu’est l’internement, où l’artiste ne se distingue plus de la réalité. L’œuvre ne peut alors qu’endosser sa propre perte, sa propre ruine et abandonner la forme comme totalité pour affirmer le fragmentaire et le discontinu.</p>
<p><strong>Mots clés.</strong> Wols, art, histoire, guerre</p>
<p><strong> </strong></p>
<p><strong>Delphine BIÈRE, Surviving History: ‘Counterspace’ and Fragment in Wols’ Work (1939-1945)</strong></p>
<p style="text-align: justify;"><strong>Abstract. </strong>To many artists, exile and internment imply fighting back and inventing new modes of expression. So as to face events, they resort to shaping their own story and reshaping history. Among them, Wols, jailed as a German citizen at the infamous Camp des Milles – a former brickyard off Aix-en-Provence (in 1940) – converted his works into a plunge into utter subjectivity and turned his own deterritorialization into an archetype of that of any artist. His images became issues of knowledge, instead of illusion, only holding a handful of clues as to their genesis. Wols demonstrated the complex dialectic nature of creation thanks to a reduced gestuality that enabled him to grasp and transcribe the whole intensity of his acute perception of things. Thanks to his vivid imagination, his watercolours have made the unphrasable fully visible, via tell-tale or monstrous forms. By so doing, he voiced his ability to confront reality and expose man’s resourcefulness and instinct when apprehending his surroundings. Wols’s work presents the imaginary in action and a new ‘language’ that did/does/will not betray his perceptions. This so-called ‘counterspace’/‘<em>contre-espace</em>’ (viz. Raoul Ubac’s concept) is both a mental and unreal space; sharpened as it is by the senses or direct vision it recalls pure fiction, that path of last and least resistance that enables one to escape history’s diktats. The very disturbance of Wols’s modes of expression portrays and emblematizes the unthinkable, <em>i.e.</em> the sense of mutilation and loss occurring in the non-place/no-man’s-land of internment, in which the artist cannot disconnect from reality. His work therefore embodies its own perdition and ruin, forsaking shape <em>per se</em> to assert the fragmentary and discontinuity.</p>
<p><strong>Keywords</strong>. Wols, art, history, war</p>
<p><strong> </strong></p>
<p><strong>Delphine BIÈRE, Resistere alla Storia: «controspazio» e frammento nell’opera di Wols (1939-1945)</strong> </p>
<p style="text-align: justify;"><strong>Riassunto. </strong>Per molti artisti, l’esilio e l’internamento divengono un mezzo di espressione e di lotta; così, per far fronte agli avvenimenti che sono costretti a vivere, danno forma alla Storia e alla loro storia. Tra di essi, Wols, rinchiuso in quanto cittadino tedesco nel campo di Milles, antica fabbrica di mattoni nei pressi di Aix-en-Provence (1940), dà vita a un’opera che rappresenta un’immersione nella soggettività totale e sottolinea la posizione di deterritorializzazione dell’artista. L’immagine diviene allora un luogo di conoscenza e non d’illusione, riflettendo qualche indizio dell’ambiente che lo circonda. L’artista dimostra la natura complessa e dialettica della creazione grazie a una gestualità ridotta che gli consente di catturare (e di produrre) con intensità la percezione delle cose. I suoi acquarelli rendono visibile ciò che sfugge alla norma attraverso forme immaginarie, indiziarie ma anche mostruose. Wols esprime il potere di contestare il reale senza « sottrarlo », mettendo in crisi le categorie con le quali l’individuo si appropria di ciò che lo circonda. La sua opera dà forma all’immaginario agente e nel contempo si nutre di un linguaggio inventato che esprime la percezione dell’artista. Il « controspazio » (Raoul Ubac), luogo mentale, irreale, acuito dalla visione diretta o sensibile, ricorda la finzione, la sola capace di resistere e di sfuggire ai <em>diktat</em> della Storia. Lo sconvolgimento del modo di espressione traduce e fa emergere ciò che è dell’ordine dell’impensabile, della mutilazione o della perdita in quel non-luogo (l’internamento), in cui l’artista non si distingue più dalla realtà. L’opera non può allora che incarnare la propria perdita, la propria rovina e abbandonare la forma come totalità per affermare il frammentario e il discontinuo.</p>
<p><strong>Parole chiave.</strong> Wols, arte, storia, guerra</p>
<p><a href="https://atlante.univ-lille.fr/data/images/atlante-10-2/175-192-d.-bie-re.pdf">Télécharger l'article complet (Pdf, 8 Mb)</a></p>
<p> </p>Fri, 01 Nov 2019 15:33:00 +0100marianne.bloch-robin