{"id":15111,"date":"2023-09-16T17:31:41","date_gmt":"2023-09-16T15:31:41","guid":{"rendered":"https:\/\/ceei.hypotheses.org\/?p=15111"},"modified":"2023-10-13T14:11:32","modified_gmt":"2023-10-13T12:11:32","slug":"appel-a-communications-pour-le-congres-du-ciha-juin-2024-ecriture-et-image-labilite-et-resistance-de-la-matiere","status":"publish","type":"post","link":"https:\/\/ceei.hypotheses.org\/15111","title":{"rendered":"[Appel \u00e0 communications] Congr\u00e8s du CIHA juin 2024 \/ Ecriture et image : labilit\u00e9 et r\u00e9sistance de la mati\u00e8re"},"content":{"rendered":"\n

Voici un panel propos\u00e9 au nom du CEEI pour le 36e Congr\u00e8s du Comit\u00e9 International d’Histoire de l’Art – CIHA – 2024. Consacr\u00e9 au th\u00e8me mati\u00e8re & mat\u00e9rialit\u00e9<\/strong>, ce congr\u00e8s se d\u00e9roulera l’ann\u00e9e prochaine du dimanche 23 juin au vendredi 28 juin 2024 au Centre de Congr\u00e8s de Lyon<\/strong>.\u00a0<\/p>\n

N’h\u00e9sitez pas \u00e0 d\u00e9poser une proposition de communication sur le site du CIHA\u00a0 jusqu’au 1er octobre 2023 et\/ou \u00e0 nous contacter \u00e0 ce sujet : marie.laureillard@univ-lyon2.fr<\/a> et laurence.danguy@gmail.com<\/a><\/p>\n

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https:\/\/www.cihalyon2024.fr\/fr\/appel-a-communications<\/p>\n

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\u00c9criture et image. Labilit\u00e9 et r\u00e9sistance de la mati\u00e8re<\/strong><\/p>\n

Laurence Danguy (Universit\u00e9 de Lausanne)<\/p>\n

& Marie Laureillard (Universit\u00e9 Lumi\u00e8re Lyon 2)<\/p>\n

\u00ab\u00a0Artisan d\u2019abord. D\u00e8s que l\u2019inflexible ordre mat\u00e9riel nous donne appui, alors la libert\u00e9 se montre\u00a0\u00bb rappelait Alain dans son Syst\u00e8me des beaux-arts<\/em> (1920). Le cr\u00e9ateur engage toujours une lutte avec la mati\u00e8re, quelle qu\u2019elle soit, car celle-ci poss\u00e8de certaines propri\u00e9t\u00e9s physiques, vit de sa vie propre et n\u2019est en aucun cas inerte. Les passages les plus saisissants du Journal<\/em> d\u2019Eug\u00e8ne Delacroix sont peut-\u00eatre ceux o\u00f9 l\u2019artiste t\u00e9moigne de sa lutte avec la mati\u00e8re lors de l\u2019ex\u00e9cution de la fresque de La lutte de Jacob avec l\u2019ange<\/em> de l\u2019\u00c9glise Saint-Sulpice \u00e0 Paris. Artiste, th\u00e9oricien, critique ou simple spectateur, nul ne peut ignorer tout \u00e0 fait la dimension physique de l\u2019image. Anne-Marie Christin n\u2019a eu, elle aussi, de cesse de rappeler l\u2019importance du support de l\u2019\u00e9criture et de l\u2019image, mani\u00e8re de souligner le r\u00f4le essentiel de la mat\u00e9rialit\u00e9. Tout comme le terme \u00ab\u00a0support\u00a0\u00bb, celui de \u00ab\u00a0mati\u00e8re\u00a0\u00bb est un leitmotiv de son appareil th\u00e9orique, o\u00f9 elle emploie plus chichement celui de \u00ab\u00a0medium\u00a0\u00bb, qui s\u2019est pourtant impos\u00e9 \u00e0 la suite de l\u2019iconic turn <\/em>des ann\u00e9es 1990. Dans la partie introductive de L\u2019invention de la figure<\/em>, Anne-Marie Christin condense ainsi sa r\u00e9flexion\u00a0: \u00ab\u00a0L\u2019espace iconique est avant tout un lieu de parcours al\u00e9atoires et multipolaires, d\u00e9termin\u00e9s autant par la mati\u00e8re \u2013 pierre, papier, \u00e9cran…\u2013 de son support que par les besoins d\u2019expression propres \u00e0 la pens\u00e9e visuelle.\u00a0\u00bb (L\u2019invention de la figure<\/em>, p. 13)<\/p>\n

Dans ce panel propos\u00e9 par le Centre d\u2019\u00c9tude de l\u2019\u00c9criture et de l\u2019image, on s\u2019attachera tout particuli\u00e8rement au processus de cr\u00e9ation de l\u2019image dans la relation \u00e0 la mat\u00e9rialit\u00e9, en prenant appui sur l\u2019\u00e9crit, que celui-ci soit incorpor\u00e9 dans l\u2019\u0153uvre, ou extrins\u00e8que en prenant la forme d\u2019\u00e9crits de th\u00e9oriciens ou d\u2019artistes montrant comment la mati\u00e8re peut appara\u00eetre labile ou leur r\u00e9sister. Le graveur sur bois face \u00e0 un support qui n\u2019est aucunement passif, le fresquiste qui livre une bataille contre un mur, le graveur, voire l\u2019imprimeur des p\u00e9riodiques et des affiches, les estampes Harimaze-e au Japon o\u00f9 diff\u00e9rents motifs imprim\u00e9s viennent colmater une d\u00e9chirure, les combinaisons de plusieurs techniques d\u2019estampe mettant en valeur les diff\u00e9rences de mat\u00e9riau, etc.\u00a0: des \u00e9tudes de cas illustreront de mani\u00e8re critique la notion de labilit\u00e9 et de r\u00e9sistance de la mati\u00e8re. Dans une perspective globale, elles seront issues d\u2019aires culturelles diff\u00e9rentes.<\/p>\n

Alain, Syst\u00e8me des beaux-arts<\/em>, Paris, NRF, 1920.<\/p>\n

Belting Hans, Bild-Anthropologie. Entw\u00fcrfe f\u00fcr eine Bildwissenschaft<\/em>, Munich, Fink, 2001.<\/p>\n

Boehm Gottfried, Was ist ein Bild?<\/em>, Munich, Fink, 1994.<\/p>\n

Bredekamp Horst, Bilder bewegen. Von der Kunstkammer zum Endspiel<\/em>, Berlin, Klaus Wagenbach, 2007.<\/p>\n

Christin Anne-Marie, L\u2019image \u00e9crite ou la d\u00e9raison graphique<\/em>, Paris, Flammarion, 1995.<\/p>\n

Christin Anne-Marie, L\u2019invention de la figure, <\/em>Paris, Flammarion, 2011.<\/p>\n

Craig Edward Gordon, Woodcuts and Some Words, <\/em>London, J. M. Dent & Sons, 1924.<\/p>\n

Freedberg David, Le Pouvoir des images<\/em>, Paris, G\u00e9rard Monfort, 1998.<\/p>\n

Greenberg Clement, Art culture. Essais critiques, <\/em>Paris, Macula, 1988.<\/p>\n

Mitchell W. J. T., What Do Pictures Want? The Lives and Loves of Images<\/em>, Chicago, The University of Chicago Press, 2014.<\/p>\n

\u00a0<\/p>\n

Le panel se composera de 5 ou 6 communications de 30 minutes. Une activit\u00e9 en lien avec notre panel est pr\u00e9vue au mus\u00e9e de l\u2019Imprimerie de Lyon, probablement une d\u00e9monstration\/atelier de gravure lapidaire (<\/strong>Rodolphe Giuglardo).<\/strong><\/p>\n<\/div>\n

\u00a0<\/div>\n
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\"\"<\/a><\/div>\n
(Gravure lapidaire de Rodolphe Giuglardo)<\/em><\/span><\/div>\n
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xxxxxxxxxxxxxxxxxxxxx<\/span><\/p>\n

\"\"<\/a>\u00a0\u00a0\u00a0<\/strong><\/p>\n

(Performance de Wang Dongling) \u00a0\u00a0\u00a0\u00a0\u00a0<\/em> <\/span><\/p>\n

\u00a0<\/p>\n

Writing and images: The lability and the resistance of matter<\/strong><\/p>\n

Laurence Danguy (University of Lausanne)<\/p>\n

& Marie Laureillard (Lumi\u00e8re Lyon 2 University)<\/p>\n

\u00a0<\/p>\n

\u201cCraftsmanship first. Freedom appears as soon as the inflexible material order gives us support,\u201d Alain recalled in Syst\u00e8me des beaux-arts<\/em> (1920). The creator always engages in a struggle with matter, whatever its nature, because matter possesses certain physical properties and, far from being inert, it has a life of its own. Perhaps the most striking passages in Eug\u00e8ne Delacroix\u2019s diary are those in which the artist describes his struggle with matter as he was making the fresco Jacob\u2019s struggle with the angel<\/em> in the Church of Saint-Sulpice in Paris. Whether one is an artist, a theorist, a critic or a mere spectator, one cannot completely ignore the physical dimension of a picture. Anne-Marie Christin has also constantly reminded us of the importance of the medium of writing and images, as a way of emphasising the essential role of materiality. Like the French term \u201csupport<\/em>\u201d the term \u201cmaterial\u201d is a leitmotif in her theoretical work, whereas she more sparingly uses the term \u201cmedium\u201d, which has nevertheless imposed itself following the iconic turn of the 1990s. In the introductory section of L\u2019invention de la figure<\/em>, Anne-Marie Christin sums up her thinking as follows: \u201cIconic space is above all a site of random and multipolar paths, determined as much by the material \u2013 stone, paper, screen, etc. \u2013 of its medium as by the expressive needs specific to visual thought.\u201d (p. 13)<\/p>\n

In this panel proposed by the Centre d\u2019Etude de l\u2019Ecriture et de l\u2019Image, particular attention will be paid to the process of creating images in relation to materiality and to the written word, whether it is incorporated into the work, or extrinsic to it, in the form of artists\u2019 and theorists\u2019 writings showing how the material may exhibit forms of lability or resistance. We welcome case studies that will critically illustrate the notion of lability and resistance of the material: the wood engraver confronted with a medium that is by no means passive, the fresco artist battling with a wall, the engraver, or even the printer of periodicals and posters, the Harimaze-e prints in Japan where different printed motifs fill in a tear, the combinations of several printmaking techniques highlighting the differences in material, etc. From a global perspective, the papers may focus on case studies drawn from different cultural areas.<\/p>\n

\u00a0<\/strong><\/p>\n

We expect the session to consist of five or six 30-minute papers. We would like to propose an activity linked to our panel at the Mus\u00e9e de l\u2019Imprimerie in Lyon, if possible a demonstration\/workshop on lapidary engraving (Rodolphe Giuglardo).<\/strong><\/p>\n

\u00a0<\/strong><\/p>\n

xxxxxxxxxxxxxxxxxxxxxxx<\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Voici un panel propos\u00e9 au nom du CEEI pour le 36e Congr\u00e8s du Comit\u00e9 International d’Histoire de l’Art – CIHA – 2024. Consacr\u00e9 au th\u00e8me mati\u00e8re & mat\u00e9rialit\u00e9, ce congr\u00e8s se d\u00e9roulera l’ann\u00e9e prochaine...<\/p>\n","protected":false},"author":14724,"featured_media":15116,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_license":"","publish_to_discourse":"","publish_post_category":"","wpdc_auto_publish_overridden":"","wpdc_topic_tags":"","wpdc_pin_topic":"","wpdc_pin_until":"","discourse_post_id":"","discourse_permalink":"","wpdc_publishing_response":"","wpdc_publishing_error":"","footnotes":""},"categories":[5289],"tags":[],"ppma_author":[5423058],"class_list":["post-15111","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-appels-a-communication"],"authors":[{"term_id":5423058,"user_id":14724,"is_guest":0,"slug":"laureillard","display_name":"Marie Laureillard","avatar_url":"https:\/\/secure.gravatar.com\/avatar\/f0c55fc2b3fd9411ddf7c95d61d6992c8ec1970de9d78f40e0af05672015de3a?s=96&d=blank&r=g","1":"","2":"","3":"","4":"","5":"","6":"","7":"","8":""}],"_links":{"self":[{"href":"https:\/\/ceei.hypotheses.org\/wp-json\/wp\/v2\/posts\/15111","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/ceei.hypotheses.org\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/ceei.hypotheses.org\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/ceei.hypotheses.org\/wp-json\/wp\/v2\/users\/14724"}],"replies":[{"embeddable":true,"href":"https:\/\/ceei.hypotheses.org\/wp-json\/wp\/v2\/comments?post=15111"}],"version-history":[{"count":8,"href":"https:\/\/ceei.hypotheses.org\/wp-json\/wp\/v2\/posts\/15111\/revisions"}],"predecessor-version":[{"id":15884,"href":"https:\/\/ceei.hypotheses.org\/wp-json\/wp\/v2\/posts\/15111\/revisions\/15884"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/ceei.hypotheses.org\/wp-json\/wp\/v2\/media\/15116"}],"wp:attachment":[{"href":"https:\/\/ceei.hypotheses.org\/wp-json\/wp\/v2\/media?parent=15111"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/ceei.hypotheses.org\/wp-json\/wp\/v2\/categories?post=15111"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/ceei.hypotheses.org\/wp-json\/wp\/v2\/tags?post=15111"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/ceei.hypotheses.org\/wp-json\/wp\/v2\/ppma_author?post=15111"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}