{"id":5677,"date":"2019-04-02T13:11:43","date_gmt":"2019-04-02T11:11:43","guid":{"rendered":"https:\/\/2022.devartistics.com\/artzine\/art-contemporain-et-danse-3-questions-a-cecile-raynal\/"},"modified":"2023-07-10T10:46:35","modified_gmt":"2023-07-10T08:46:35","slug":"art-contemporain-et-danse-3-questions-a-cecile-raynal","status":"publish","type":"post","link":"https:\/\/artistics.com\/fr\/artzine\/art-contemporain-et-danse-3-questions-a-cecile-raynal\/","title":{"rendered":"Art contemporain et danse : 3 questions \u00e0 C\u00e9cile Raynal"},"content":{"rendered":"

Si le lien entre les arts n\u2019est plus \u00e0 prouver, les diverses productions de nos artistes nous laissent penser que l\u2019art contemporain vibre particuli\u00e8rement au rythme de la danse. Dans cette s\u00e9rie d\u2019articles \u00ab\u00a0L\u2019art contemporain et la danse\u00a0\u00bb, nous avons demand\u00e9 \u00e0 nos artistes de nous \u00e9clairer sur les raisons de ces connivences. \u00a0<\/strong><\/p>\n

La sculpteure fran\u00e7aise C\u00e9cile Raynal, ancienne danseuse, est la premi\u00e8re \u00e0 se pr\u00eater \u00e0 l\u2019exercice. Voici ses r\u00e9ponses \u00e0 nos questions.\u00a0<\/strong><\/p>\n

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Belle au bois\u2026 Aurore, C\u00e9cile Raynal (2017-2018)<\/figcaption><\/figure>\n

\n

\n

La sculpture de C\u00e9cile Raynal<\/a> est intimiste, intime. Elle est spectaculaire en vertu de l\u2019intensit\u00e9 qui s\u2019en d\u00e9gage. Ces pi\u00e8ces sont pleines d\u2019\u00e9nergie, elles ont une histoire, et tr\u00e8s souvent un regard captivant qui pr\u00e9suppose presque une volont\u00e9 d\u2019interaction.<\/p>\n

La danse est mouvement, r\u00e9gulier, anticip\u00e9, spontan\u00e9, organis\u00e9, volatile. La danse est captivante, elle \u00e9tonne sans cesse par ce qu\u2019elle a d\u2019impr\u00e9visible.<\/p>\n

La sculpture de C\u00e9cile Raynal est immobile, immuable, permanente. Elle manifeste la spontan\u00e9it\u00e9 d\u2019un visage sur lequel la v\u00e9rit\u00e9 passe, toujours vraie, car toujours humaine. Les sculptures ont une aura qui vous captive avec la promesse d\u2019une v\u00e9rit\u00e9 d\u00e9voil\u00e9e.<\/p>\n

\u00ab\u00a0Il y a une neutralit\u00e9 dans la danse. Moins le danseur exprime, plus son mouvement et son \u00e9nergie vont irradier\u00a0\u00bb d\u00e9clare l\u2019artiste, expliquant en partie l\u2019immobilit\u00e9 captivante de ses pi\u00e8ces.<\/p>\n

C\u00e9cile Raynal\u00a0: Le chemin vers la danse \u00a0<\/strong><\/p>\n

\u00ab Je suis gymnaste depuis mon plus jeune \u00e2ge, donc je dispose d\u2019une certaine condition physique.\u00a0\u00bb d\u00e9clare C\u00e9cile. Ainsi, sans se r\u00e9server \u00e0 une pratique unique, elle a toujours mobilis\u00e9 son corps comme moyen d\u2019expression, \u00e0 travers la danse notamment, mais pas seulement. \u00ab\u00a0Quand je suis rentr\u00e9e aux Beaux-arts dans les ann\u00e9es 90, on \u00e9tait en pleine p\u00e9riode d\u2019art conceptuel. Donc j\u2019ai fait beaucoup de performances, de happenings, d\u2019installations.\u00a0\u00bb. \u00ab\u00a0Je poussais mon corps \u00e0 bout, dans tous les sens du terme.\u00a0\u00bb confie l\u2019artiste, se constituant comme derni\u00e8re pi\u00e8ce de ses installations, pour lesquelles elle se rasait la t\u00eate, ou se roulait dans la boue.<\/p>\n

\u00ab\u00a0En \u00e9cole d\u2019art, la sculpture \u00e9tait assez confidentielle, elle ne correspondait pas \u00e0 l\u2019acad\u00e9misme de l\u2019\u00e9poque. La peinture et la sculpture n\u2019avaient pas bonne presse, et la figuration encore moins. Il n\u2019y avait plus de cours techniques, l\u2019approche th\u00e9orique \u00e9tait d\u2019avantage enseign\u00e9e.\u00a0\u00bb<\/p>\n

La danse, loin d\u2019\u00eatre un \u00ab\u00a0second choix\u00a0\u00bb dans la vie de l\u2019artiste, \u00e9tait tout de m\u00eame une mani\u00e8re de correspondre \u00e0 ces codes et de s\u2019inscrire dans le mouvement de l\u2019institution. Cependant, elle demeurait tr\u00e8s habit\u00e9e par ce besoin de faire des portraits, elle raconte\u00a0: \u00ab\u00a0Je me cachais le dimanche \u00e0 l\u2019\u00e9cole pour faire des portraits, mais je n\u2019avais pas l\u2019impression d\u2019avoir la technique n\u00e9cessaire.\u00a0\u00bb<\/p>\n

Apr\u00e8s ses \u00e9tudes, C\u00e9cile part en Angleterre o\u00f9 elle travaille et prend des cours de trap\u00e8ze et de cordes, ressentant la n\u00e9cessit\u00e9 de \u00ab\u00a0se servir de son corps dans tous les milieux, \u00e0 l\u2019\u00e9tranger\u2026\u00a0\u00bb. C\u2019est ensuite en Afrique qu\u2019elle s\u2019est install\u00e9e, \u00ab\u00a0Je dansais tous les jours, car j\u2019\u00e9tais entour\u00e9e de musiciens.\u00a0\u00bb. Elle y a notamment appris \u00ab\u00a0le sentiment de la danse\u00a0\u00bb\u00a0: \u00ab\u00a0La danse m\u2019attire car c\u2019est une force presque subversive.\u00a0\u00bb. C\u2019est dans ces conditions que l\u2019artiste a acquis une connaissance, un certain niveau et beaucoup d\u2019exp\u00e9rience des danses et des rythmes, qu\u2019elle a pu mettre \u00e0 profit lors de son retour en Europe, revenant toutefois \u00e0 la sculpture et \u00e0 son obsession pour le portrait.<\/p>\n

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\u00a0OFW\u2019s\/Hom\u2019s,\u00a0C\u00e9cile Raynal (2012-2013)<\/figcaption><\/figure>\n

Une pratique de la sculpture nourrie par celle de la danse\u00a0?\u00a0<\/strong><\/p>\n

\u00ab Je tirais des passerelles entre diff\u00e9rentes formes de danse et la sculpture de portraits.\u00a0\u00bb Pour C\u00e9cile, il y a l\u2019id\u00e9e que le modelage de portraits est \u00e0 la sculpture ce que la chor\u00e9graphie, et la production de spectacles sont \u00e0 la danse.\u00a0\u00a0Plus particuli\u00e8rement \u00ab\u00a0la connaissance de la danse africaine, dans tout ce qu\u2019elle peut comporter de rituelle a inspir\u00e9 ma sculpture. Cette danse est parfois presque chamanique.\u00a0\u00bb<\/p>\n

Tout comme quand elle danse, C\u00e9cile est emport\u00e9e quand elle sculpte, les sens se substituent \u00e0 la pens\u00e9e afin de donner lieu \u00e0 une sculpture tr\u00e8s intuitive, sensorielle et existentielle. L\u2019artiste insiste\u00a0: cet \u00e9tat de conscience modifi\u00e9e, de lib\u00e9ration de l\u2019inconscient, dans une certaine mesure, n\u2019est cependant pas comparable \u00e0 un \u00e9tat de transe. \u00ab\u00a0C\u2019est un \u00e9tat de pure pr\u00e9sence au corps, c\u2019est le corps qui prend le dessus sur l\u2019esprit finalement.\u00a0\u00bb Lors de ce processus cr\u00e9atif, C\u00e9cile Raynal<\/a> entre donc en communication directe avec son corps et, tout comme quand elle danse, l\u2019action de sculpter la canalise. \u00ab\u00a0C\u2019est une force structurante.\u00a0\u00bb dit-elle.<\/p>\n

La musique est \u00e9galement un d\u00e9nominateur commun des deux m\u00e9diums d\u2019expression. Tout comme elle peut \u00eatre n\u00e9cessaire \u00e0 la danse, \u00ab\u00a0elle est un mode d\u2019invocation du silence et de la concentration.\u00a0\u00bb<\/p>\n

Si C\u00e9cile confie appliquer \u00e0 sa sculpture des \u00e9motions propres \u00e0 la danse, cette pratique l\u2019a \u00e9galement conditionn\u00e9 \u00e0 une appr\u00e9hension particuli\u00e8re de la sculpture qui tend \u00e0 d\u00e9finir son art. \u00ab\u00a0Les pi\u00e8ces sont construites autour de vides, que j\u2019utilise comme un squelette. Mais ce vide ne demande qu\u2019\u00e0 \u00eatre rempli, de la m\u00eame mani\u00e8re que le danseur se remplit de l\u2019\u00e9nergie des spectateurs. De m\u00eame \u00e9galement que le spectateur est \u00e9mu physiquement \u00e0 l\u2019endroit o\u00f9 la danse est venue remplir son int\u00e9riorit\u00e9.\u00a0\u00bb<\/p>\n

Le corps est un m\u00e9dium passeur d\u2019\u00e9nergie, il en va de m\u00eame pour la sculpture de Raynal.<\/p>\n

\"\"
Homme perc\u00e9, C\u00e9cile Raynal, 2011\u00a0\u00a0<\/span><\/figcaption><\/figure>\n

Quand l\u2019int\u00e9riorit\u00e9 devient ext\u00e9riorit\u00e9\u00a0: un point commun entre danse et sculpture\u00a0?\u00a0<\/strong><\/p>\n

Pour C\u00e9cile, le moment de la r\u00e9alisation de la sculpture scelle la rencontre de toutes les ext\u00e9riorit\u00e9s, la sienne comme celle des mod\u00e8les\u00a0: \u00ab\u00a0Dans ma sculpture, ce mouvement int\u00e9rieur se situe dans le vide, il devient mati\u00e8re gr\u00e2ce \u00e0 la sculpture qui se propose de mat\u00e9rialiser les \u00e9motions, les m\u00eames \u00e9motions par ailleurs que celles qui sont en jeu lors d\u2019une repr\u00e9sentation de danse.\u00a0(\u2026)\u00a0Mon travail doit \u00eatre r\u00e9v\u00e9lateur de l\u2019impalpable pr\u00e9sent dans les gens. Cet impalpable se situe dans le vide. Il vient d\u00e9tacher chaque chose de l\u2019\u00e9vidence, il faut que ce soit un signe de la po\u00e9sie du monde\u00a0\u00bb, une partie du travail de C\u00e9cile cherche donc \u00e0 rompre avec son propre vouloir dire afin de que la magie op\u00e8re et que quelque chose se d\u00e9robe, s\u2019attelle \u00e0 son propre vide. Elle se fait productrice d\u2019objets, qui tels que dans la tradition animiste africaine, sont habit\u00e9s.<\/p>\n

Certes, les sculptures de C\u00e9cile sont inertes. Toutefois, l\u2019\u00e9nergie dont elles sont anim\u00e9es laisse penser qu\u2019elles sont mouvements suspendus. Tandis que la danse est mouvement, l\u2019\u0153uvre de C\u00e9cile Raynal<\/a> est \u00ab tremblement \u00bb, fragile et pleine d\u2019\u00e9motion. \u00ab La sculpture est maligne, car elle offre une multiplicit\u00e9 de points de fuite, comme lorsqu\u2019on est en face d\u2019un autre \u00eatre. \u00bb<\/p>\n

\"\"
Duo d\u2019Aude, C\u00e9cile Raynal, 2011<\/figcaption><\/figure>\n

\n

Le rapprochement entre la danse et l\u2019\u0153uvre de C\u00e9cile Raynal<\/a>, sans pour autant \u00eatre \u00e9vident, semble toutefois n\u00e9cessaire. \u00ab L\u2019immobilit\u00e9 est finalement d\u00e9j\u00e0 de la danse, comme le silence est d\u00e9j\u00e0 du son. Il s\u2019agit de dire que le vide n\u2019est pas le rien \u00bb.<\/p>\n

Sur le m\u00eame sujet\u00a0: \u00ab\u00a0Art contemporain et Danse\u00a0: 3 questions pos\u00e9es \u00e0 Klaus Kampert\u00a0\u00bb<\/a><\/p>\n

\u00a0<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

Si le lien entre les arts n\u2019est plus \u00e0 prouver, les diverses productions de nos artistes nous laissent penser que l\u2019art contemporain vibre particuli\u00e8rement au rythme de la danse. Dans cette s\u00e9rie d\u2019articles \u00ab\u00a0L\u2019art contemporain et la danse\u00a0\u00bb, nous avons demand\u00e9 \u00e0 nos artistes de nous \u00e9clairer sur les raisons de ces connivences. \u00a0 La […]<\/p>\n","protected":false},"author":1,"featured_media":4026,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_searchwp_excluded":"","inline_featured_image":false,"footnotes":""},"categories":[1183],"tags":[1290],"class_list":["post-5677","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-la-vie-de-la-galerie","tag-danse"],"acf":[],"yoast_head":"\nArt contemporain et danse : 3 questions \u00e0 C\u00e9cile Raynal<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/artistics.com\/fr\/artzine\/art-contemporain-et-danse-3-questions-a-cecile-raynal\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Art contemporain et danse : 3 questions \u00e0 C\u00e9cile Raynal\" \/>\n<meta property=\"og:description\" content=\"Si le lien entre les arts n\u2019est plus \u00e0 prouver, les diverses productions de nos artistes nous laissent penser que l\u2019art contemporain vibre particuli\u00e8rement au rythme de la danse. 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