{"id":4564,"date":"2025-06-03T15:38:24","date_gmt":"2025-06-03T13:38:24","guid":{"rendered":"https:\/\/editionsjou.net\/?p=4564"},"modified":"2025-06-03T15:38:24","modified_gmt":"2025-06-03T13:38:24","slug":"101-nous-appelons-travail-non-pas-lactivite-de-lartiste-mais-son-resultat-les-formes-produites-par-s-m","status":"publish","type":"post","link":"https:\/\/revuetina.editionsjou.net\/?p=4564","title":{"rendered":"#101\/ *Nous appelons TRAVAIL non pas l\u2019activit\u00e9 de l\u2019artiste mais son R\u00c9SULTAT\u00a0: les formes produites, par S. M."},"content":{"rendered":"\n


1<\/p>\n\n\n\n

Les \u0153uvres n\u2019ayant plus de particularit\u00e9 artistique, si ce n\u2019est leur environnement, leur condition d\u2019apparition, seuls les acc\u00e8s \u00e0 la visibilit\u00e9 \u2014 r\u00e9sultat heureux d\u2019une quantit\u00e9 d\u2019\u00e9nergie d\u00e9pens\u00e9e \u00e0 l\u2019actualisation de cet acc\u00e8s \u2014 font des choses montr\u00e9es les objets d\u2019une attention artistique et possiblement d\u2019une reconnaissance (imm\u00e9diate et\/ou durable). Chaque chose peut \u00eatre vue artistiquement et chaque engagement vers une visibilit\u00e9 peut contribuer \u00e0 la reconnaissance artistique.<\/p>\n\n\n\n

2<\/strong><\/p>\n\n\n\n

Le lieu de production est un premier geste qui d\u00e9termine la port\u00e9e de l\u2019\u0153uvre : o\u00f9 et dans\/\u00e0 quelles conditions sera-t-elle visible (\u00e0 partir des conditions qui l\u2019ont vue se r\u00e9aliser) ? Les conditions de production et leurs dynamiques impliquent les conditions de monstration comme effets des dynamiques \u2014 les dynamiques comme mouvement des conditions. Comment VOULOIR toucher le plus grand nombre possible \u2014 de publics diff\u00e9rents, de types d\u2019espaces et de m\u00e8tres carr\u00e9s \u2014 en se cantonnant au mode de production traditionnel de l\u2019artiste solitaire (ou entre coll\u00e8gues) dans son espace r\u00e9duit (car g\u00e9n\u00e9ralement co\u00fbteux) ?
\u00ab Entre-soi \/ entre-sol \u00bb est une curieuse strat\u00e9gie d\u2019ouverture au monde\u2026<\/p>\n\n\n\n

3<\/strong><\/p>\n\n\n\n

On peut imaginer qu\u2019une logique op\u00e9rante des contraires puisse assurer que le \u00ab plus petit seul \u00bb nous offre le \u00ab plus grand ensemble \u00bb mais \u00e0 recevoir les intentions g\u00e9n\u00e9ralement d\u00e9\u00e7ues des artistes en mati\u00e8re de \u00ab popularit\u00e9 \u00bb du travail montr\u00e9, il semblerait que \u00e7a ne fonctionne pas\u2026
\u00c0 l\u2019oppos\u00e9 on peut consid\u00e9rer certaines pratiques, plus reconnues et constater que g\u00e9n\u00e9ralement leur plus \u00ab grande distribution \u00bb n\u00e9cessite la mise en place d\u2019une logistique du nombre d\u00e8s la production : grands espaces et beaucoup d\u2019assistant\u00b7es. On comprendra que ce contre-exemple soutient l\u2019ironie d\u2019une \u00e9conomie plut\u00f4t \u00e9loign\u00e9e de celle des artistes qui regrettent de faire de l\u2019art pour artistes.<\/p>\n\n\n\n

4<\/strong><\/p>\n\n\n\n

Pourtant, sans que cela ne soit l\u2019objectif premier de ces \u00ab grandes machines \u00bb de l\u2019art, l\u2019investissement financier qu\u2019elles engagent implique une \u00e9quivalence au moins de la monstration et alors d\u2019une popularit\u00e9 grand large, r\u00e9sultat du renfort promotionnel \u00e0 la hauteur de l\u2019investissement. Plus une valeur est soutenue plus elle co\u00fbte plus elle doit rapporter et \u00eatre exploit\u00e9e en cons\u00e9quence et sera alors plus visible que d\u2019autres moins soutenues, ce qui viendra \u00e9tablir sa pertinence par contraste : la qualit\u00e9 ici se fait par le nombre (\u00e0 moins que cela ne soit un r\u00e9gime commun de ce qui est estim\u00e9 : ce sur quoi on peut \u00e9tablir une communaut\u00e9 du go\u00fbt \u2014 la quantit\u00e9).<\/p>\n\n\n\n

5<\/strong><\/p>\n\n\n\n

Cette quantit\u00e9\/surface de visibilit\u00e9 aura forc\u00e9ment pour effet une rencontre publique proportionnelle, simplement comme moyen d\u2019une conqu\u00eate des grandes machines et non comme fin : si les productions artistiques ambitieuses en termes de reconnaissance par les pouvoirs financiers (r\u00e9ciprocit\u00e9 du retour sur investissement plut\u00f4t rentable) pouvaient atteindre cet objectif sans le secours des foules, elles s\u2019en passeraient \u00e9videmment\u2026<\/p>\n\n\n\n

6<\/strong><\/p>\n\n\n\n

Quand l\u2019intention n\u2019est pas le nombre mais simplement la diff\u00e9rence de qualit\u00e9s de r\u00e9ception du travail, la strat\u00e9gie ne peut pas \u00eatre celle d\u2019un devenir propre aux \u00ab grandes machines \u00bb. La collectivit\u00e9 du lieu commun (non exclusivement artistique) qui n\u2019impliquerait aucun d\u00e9bordement financier (voire aucune \u00e9tude budg\u00e9taire) resterait la solution d\u2019une visibilit\u00e9 ouverte et surprenante \u2014 non d\u00e9termin\u00e9e \u2014 du travail*.<\/p>\n\n\n\n

7<\/strong><\/p>\n\n\n\n

Faire de l\u2019art en situation ouverte, ce qui ne veut pas forc\u00e9ment dire publique ni spectaculaire, selon les contextes ponctuellement choisis ou offerts et r\u00e9guli\u00e8rement ext\u00e9rieurs aux conditions de vie habituelles de l\u2019artiste : s\u2019exposer avant d\u2019exposer. Vivre les moments de production\/monstration artistique sur le mode de l\u2019aventure : \u00e9pisode de crise limit\u00e9 dans le temps sans forc\u00e9ment de rupture entre les deux moments de la pratique : le faire et le voir. La mani\u00e8re de faire impliquant le r\u00e9gime de monstration.
Le public pr\u00e9sent sera forc\u00e9ment le bon, car le seul ayant pu arriver l\u00e0\u2026

<\/p>\n\n\n\n

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Les \u0153uvres n\u2019ayant plus de particularit\u00e9 artistique, si ce n\u2019est leur environnement, leur condition…<\/p>\n","protected":false},"author":2,"featured_media":4568,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[8,4],"tags":[],"class_list":["post-4564","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-art","category-revue-tina"],"yoast_head":"\n#101\/ *Nous appelons TRAVAIL non pas l\u2019activit\u00e9 de l\u2019artiste mais son R\u00c9SULTAT\u00a0: les formes produites, par S. 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