{"id":5403,"date":"2017-04-03T17:32:45","date_gmt":"2017-04-03T15:32:45","guid":{"rendered":"https:\/\/2022.devartistics.com\/artzine\/calligraphie-et-art-contemporain-hachiro-kanno-13\/"},"modified":"2023-07-19T15:36:19","modified_gmt":"2023-07-19T13:36:19","slug":"calligraphie-et-art-contemporain-hachiro-kanno-13","status":"publish","type":"post","link":"https:\/\/artistics.com\/fr\/artzine\/calligraphie-et-art-contemporain-hachiro-kanno-13\/","title":{"rendered":"Calligraphie et art contemporain : Hachiro Kanno (1\/3)"},"content":{"rendered":"

Trois artistes de la galerie ont choisi d\u2019aller chercher dans la calligraphie, art majeur de l\u2019Extr\u00eame-Orient et source de toutes les autres formes d\u2019expression, les ressources picturales et\/ou philosophiques qui alimentent aujourd\u2019hui leur pratique artistique. Nous avons d\u00e9cid\u00e9, \u00e0 travers une s\u00e9rie de trois articles, d\u2019interroger chacun d\u2019eux sur l\u2019origine et la nature de cette influence. Aujourd\u2019hui : Hachiro Kanno<\/a><\/p>

\"\"
TN 680 D (2015), Hachiro Kanno. Encre de chine et acrylique sur toile, 200 x 200 cm.<\/figcaption><\/figure>

<\/p>

N\u00e9 en 1944 dans la pr\u00e9fecture de Tochigi au Japon, Hachiro Kanno<\/a> est le huiti\u00e8me et dernier enfant d\u2019un pr\u00eatre shinto\u00efste et ma\u00eetre calligraphe r\u00e9put\u00e9. N\u00e9 \u00ab\u00a0avec un pinceau dans les mains\u00a0\u00bb, il choisit de s\u2019orienter vers la peinture et entre \u00e0 l\u2019Ecole des Beaux Arts de Tokyo. Attir\u00e9 par la culture occidentale, il profite d\u2019une bourse pour poursuivre ses \u00e9tudes aux Beaux Arts de Paris. Il est alors \u00e2g\u00e9 de 24 ans. Dix ans plus tard, en 1978, il est contact\u00e9 par la chor\u00e9graphe am\u00e9ricaine Carolyn Carlson pour r\u00e9aliser les d\u00e9cors et les costumes de L\u2019Ann\u00e9e du cheval, \u00e0 l\u2019Op\u00e9ra de Paris. L\u2019ann\u00e9e suivante, il s\u2019installe au Bateau-Lavoir, \u00e0 Montmartre, dans l\u2019atelier qu\u2019occupa Picasso de 1904 \u00e0 1909. C\u2019est l\u00e0 que depuis pr\u00e8s de 40 ans, il d\u00e9veloppe avec constance une \u0153uvre qui r\u00e9alise la synth\u00e8se entre ces diff\u00e9rentes influences : \u00ab\u00a0dans l\u2019union de ces deux cultures, l\u2019\u00e9criture s\u2019est convertie en peinture\u00a0\u00bb dit-il.<\/p>

L\u2019influence de la calligraphie japonaise est tr\u00e8s visible dans votre travail. Qu\u2019est-ce qui vous int\u00e9resse dans les ressources expressives ou picturales de la calligraphie ?<\/strong><\/p>

Pour commencer, il faut dire que j\u2019ai appris \u00e0 \u00e9crire en regardant mon P\u00e8re, pr\u00eatre shinto\u00efste et calligraphe reconnu qui exer\u00e7a son magist\u00e8re  et son talent jusqu\u2019\u00e0 l\u2019\u00e2ge de 105 ans. Gr\u00e2ce \u00e0 lui, j\u2019ai d\u2019abord d\u00e9couvert, en ouvrant les yeux, l\u2019usage des pinceaux, qui sert d\u2019abord \u00e0 \u00e9crire puis, plus tard, pour moi, \u00e0 dessiner sous les formes du \u00ab\u00a0Sumi\u00e9\u00a0\u00bb (peinture japonaise \u00e0 l\u2019encre noire).
Le pinceau a donc toujours \u00e9t\u00e9 pour moi un outil d\u2019expression graphique qui m\u2019a servi \u00e0 tenter sinon de faire honneur \u00e0 mon P\u00e8re, du moins \u00e0 ne pas lui faire honte\u2026
Par la force des choses, comme je viens de l\u2019expliquer, l\u2019envie m\u2019est venu de d\u00e9velopper mes connaissances des particularit\u00e9s du pinceau, de toutes tailles et qualit\u00e9s.
M\u00eame le calame, qui fait des merveilles en calligraphie, ne peut rivaliser avec cet \u00ab\u00a0outil\u00a0\u00bb dans l\u2019art du dessin. Au japon, cet art consiste pour l’essentiel dans la fulgurance du trait, qui est d\u2019abord pens\u00e9, puis r\u00e9alis\u00e9 sans la moindre possibilit\u00e9 de retouche. C\u2019est d\u2019ailleurs le long exercice de la calligraphie qui peut permettre cette s\u00fbret\u00e9.<\/p>

\"\"\/
TN 569, Hachiro Kanno. Encre et acrylique sur toile, 100 x 65 cm.<\/figcaption><\/figure>
\"\"\/
TN 570, Hachiro Kanno. Encre et acrylique sur toile, 100 x 65 cm.<\/figcaption><\/figure>

<\/p>

Comment vous \u00eates-vous appropri\u00e9 ces techniques ?<\/strong><\/p>

En v\u00e9rit\u00e9, ce n\u2019est qu\u2019une fois arriv\u00e9 \u00e0 l\u2019Ecole des Beaux Arts de Paris, gr\u00e2ce \u00e0 une bourse du Gouvernement Fran\u00e7ais, que j\u2019ai commenc\u00e9 \u00e0 voir plus clair. C\u2019est mon Professeur qui m\u2019a dit un jour : \u00ab\u00a0Que viens-tu faire ici ? Tu sais d\u00e9j\u00e0 tout \u00e7a. Reviens \u00e0 ta propre culture. C\u2019est en elle que tu trouveras ta Voie !\u00a0\u00bb Ce n\u2019\u00e9tait pas tout \u00e0 fait ce \u00e0 quoi je m\u2019attendais\u2026 Il faut reconna\u00eetre qu\u2019aux Beaux Arts de Tokyo, je m\u2019\u00e9tais totalement plong\u00e9 dans la recherche des \u00ab\u00a0pourquoi\u00a0\u00bb et \u00ab\u00a0comment\u00a0\u00bb de l\u2019excellence de l\u2019expression artistique occidentale : figuratif, impressionnisme, etc. Tout alors me semblait avoir \u00e9t\u00e9 dit ! O\u00f9 allais-je me situer ? Ce conseil d\u2019un \u00ab\u00a0retour aux sources\u00a0\u00bb, qui m\u2019avait fait un peu l\u2019effet d\u2019une \u00ab\u00a0marche arri\u00e8re\u00a0\u00bb, prit soudain tout son sens.
Bien s\u00fbr, le trait peut \u00eatre, comment dire\u2026 \u00ab\u00a0tarabiscot\u00e9\u00a0\u00bb ou aller directement \u00e0 l\u2019Essentiel. L\u00e0 intervient la force d\u2019une longue (et parfois fastidieuse) pratique de la calligraphie. Comment alors passer \u00e0 une  expression picturale, et entamer ce besoin de tout dire en un minimum de traits ? Et comment exprimer ce que j\u2019entendais par \u00ab\u00a0tout\u00a0\u00bb !?
J\u2019ai toujours dit que je souhaitais que mon travail soit le reflet de la Voie que je m\u2019\u00e9tais choisie. Si on le comprenait, ou que l\u2019on sentait qu\u2019il y avait \u00ab\u00a0quelque chose\u00a0\u00bb derri\u00e8re ou au-del\u00e0, cela voulait dire que j\u2019avais r\u00e9ussi. Sinon, c\u2019\u00e9tait \u00e0 moi de \u00ab\u00a0revoir ma copie\u00a0\u00bb. Socrate (r\u00e9f\u00e9rence sans la moindre id\u00e9e de comparaison !) avait raison de ne jamais donner lui-m\u00eame de r\u00e9ponses \u00e0 ses questions. Les r\u00e9ponses \u00e9taient dans les questions ! A chacun de les trouver. Shiki soku zei ku\u2026 Ku soku zei shiki : Plein est vide\u2026 Vide est plein. Il faut bien lire \u00ab\u00a0EST\u00a0\u00bb, et non \u00ab\u00a0ET\u00a0\u00bb !<\/p>

Est-il n\u00e9cessaire d\u2019\u00eatre familier avec la calligraphie japonaise pour appr\u00e9hender votre travail ?<\/strong><\/p>

Absolument pas ! Mes \u0153uvres picturales sont la r\u00e9plique de mes autres travaux : installations, performances, conf\u00e9rences, d\u00e9cors et mises en sc\u00e8ne d\u2019op\u00e9ras, r\u00e9alisations d\u2019espaces Zen\u2026 Tout est comme le h\u00e9ron blanc qui se cache dans la neige\u2026 A chacun de le trouver !<\/p>

Saint Exup\u00e9ry a \u00e9crit : \u00ab\u00a0L\u2019essentiel est invisible par les yeux \u2013 On ne voit bien qu\u2019avec le c\u0153ur\u00a0\u00bb. Un Ma\u00eetre !<\/p>

\"\"\/<\/figure>

En savoir plus sur Hachiro Kanno :<\/strong><\/p>

> Consultez notre entretien-vid\u00e9o dans son atelier parisien<\/a>
> Consultez l\u2019ensemble de ses \u0153uvres en vente sur Artistics<\/a>
> Lire le texte \u00e9crit par Elisabeth Heil<\/a> (directrice artistique de la Kunststation Kleinsassen, en Allemagne) sur son oeuvre, \u00e0 l\u2019occasion de l\u2019exposition de Hachiro Kanno \u00e0 la Kunststation, en 2015.
> Lire une autre interview de Hachiro Kanno<\/a>, en lien avec sa sculpture install\u00e9e durant l\u2019\u00e9t\u00e9 2014 au temple zen DA\u00cf \u00d4 JI, au Japon.<\/p>

Dans la m\u00eame s\u00e9rie :<\/strong>
> Calligraphie et art contemporain : 3 questions \u00e0 Lumi Mizutani<\/a>
> Calligraphie et art contemporain : 3 questions \u00e0 Hongyu Zhang<\/a><\/p>

\"\"\/<\/figure>","protected":false},"excerpt":{"rendered":"

Trois artistes de la galerie ont choisi de puiser dans la calligraphie les ressources qui nourrissent leur pratique artistique. A travers cette s\u00e9rie de trois articles, nous avons interrog\u00e9 chacun d\u2019eux sur l\u2019origine et la nature de cette influence. 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