{"id":10293,"date":"2022-01-14T16:39:16","date_gmt":"2022-01-14T15:39:16","guid":{"rendered":"https:\/\/telemme.mmsh.fr\/?p=10293"},"modified":"2022-01-17T10:19:03","modified_gmt":"2022-01-17T09:19:03","slug":"creations-et-circulations-artistiques-entre-lalgerie-et-la-france-1930-a-1964-entre-enjeux-politiques-et-esthetiques","status":"publish","type":"post","link":"https:\/\/telemme.mmsh.fr\/?p=10293","title":{"rendered":"Cr\u00e9ations et circulations artistiques entre l\u2019Alg\u00e9rie et la France (1930 \u00e0 1964) ; entre enjeux politiques et esth\u00e9tiques"},"content":{"rendered":"\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<ul class=\"wp-block-list\"><li>Aix-Marseille Universit\u00e9\/ TELEMMe\/ D\u00e9partement d\u2019histoire de l\u2019art et d\u2019arch\u00e9ologie<\/li><\/ul>\n\n\n\n<ul class=\"wp-block-list\"><li>La journ\u00e9e d&rsquo;\u00e9tudes se tiendra le 6 avril 2022 \u00e0 la MMSH (Aix-en-Provence)<\/li><\/ul>\n\n\n\n<ul class=\"wp-block-list\"><li><strong>Date limite des propositions&nbsp;: 18 f\u00e9vrier 2022<\/strong><\/li><\/ul>\n\n\n\n<ul class=\"wp-block-list\"><li>Sous la direction scientifique de Gwenn Riou et Fadila Yahou<\/li><\/ul>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n<p>Cette journ\u00e9e d\u2019\u00e9tude a pour objectif d\u2019interroger les enjeux esth\u00e9tiques et politiques qui se manifestent dans le contexte de la colonisation et de la guerre d\u2019ind\u00e9pendance alg\u00e9rienne.<\/p>\n<p>Dans un premier temps, il est question de faire un \u00e9tat des lieux de la recherche afin de retracer au mieux cette p\u00e9riode d\u00e9terminante pour les arts en France et en Alg\u00e9rie.<\/p>\n<p>Durant les ann\u00e9es 1930, en Alg\u00e9rie, des intellectuels et artistes \u00ab&nbsp;lib\u00e9raux&nbsp;\u00bb \u00e9tablissent des lieux culturels en dehors de la sph\u00e8re \u00e9tatique. Toute une vie culturelle s\u2019organise autour d\u2019eux et la g\u00e9n\u00e9ration de l\u2019ind\u00e9pendance s\u2019y forme. L\u2019histoire et le r\u00f4le de ces relais artistiques dans la formation des jeunes artistes alg\u00e9riens restent \u00e0 \u00e9crire.<\/p>\n<p>De nombreux artistes alg\u00e9riens arrivent \u00e0 Paris apr\u00e8s la Seconde Guerre mondiale. Comment vivent-ils cet \u00e9loignement ? Quel impact a-t-il sur leurs cr\u00e9ations artistiques&nbsp;?<\/p>\n<p>Nous savons qu\u2019ils adoptent \u2013 dans leur grande majorit\u00e9 \u2013 un vocabulaire abstrait. Est-ce un moyen pour eux de se d\u00e9faire de l\u2019h\u00e9ritage figuratif de l\u2019orientalisme&nbsp;? En France, d\u00e8s le milieu des ann\u00e9es 1950, l\u2019abstraction est remise en question. Elle est accus\u00e9e d\u2019\u00eatre un nouvel acad\u00e9misme mais aussi un art du \u00ab&nbsp;non-dire<a href=\"#_edn1\" name=\"_ednref1\">[i]<\/a>&nbsp;\u00bb. Les artistes qui l\u2019adoptent \u00e9liminent-ils pour autant toute politisation ?<\/p>\n<p>Dans un second temps, il s\u2019agira de soulever des probl\u00e9matiques centrales : dans quelle mesure la (d\u00e9)colonisation a-t-elle influenc\u00e9 les arts contemporains ? Quels sont pour nous, historien\u00b7es de l\u2019art, les outils pour \u00e9tudier des pratiques artistiques sous domination ? Dans quelle mesure les arts \u00ab&nbsp;extra-occidentaux&nbsp;\u00bb sont-ils exclus du concept de \u00ab&nbsp;modernit\u00e9&nbsp;\u00bb&nbsp;? Quels sont les \u00e9changes par-del\u00e0 les rives m\u00e9diterran\u00e9ennes&nbsp;? Et quelles influences ont-ils eu sur l\u2019Histoire de l\u2019art&nbsp;?<\/p>\n<p>Les propositions de communications peuvent s\u2019inscrire dans <strong>un ou plusieurs des axes<\/strong> de r\u00e9flexion suivants :<\/p>\n<ul>\n<li><strong>L\u2019enseignement artistique en Alg\u00e9rie<\/strong><\/li>\n<\/ul>\n<p>Les formations au sein des \u00e9coles des Beaux-Arts d\u2019Oran, d\u2019Alger et de Constantine peuvent faire l\u2019objet d\u2019interventions.<\/p>\n<p>Nous pourrions aussi interroger l\u2019existence d\u2019ateliers et d\u2019acad\u00e9mies priv\u00e9s en Alg\u00e9rie. Qui les fondent&nbsp;? Pour quel(s) public(s)&nbsp;? Quel(s) enseignement(s) y sont dispens\u00e9s, etc.&nbsp;?<\/p>\n<ul>\n<li><strong>Lieux, personnalit\u00e9s, r\u00e9seaux&nbsp;; la circulation artistique par-del\u00e0 la M\u00e9diterran\u00e9e<\/strong><\/li>\n<\/ul>\n<p>Des communications se concentrant sur la presse, les artistes, critiques, galeristes, et collectionneurs qui \u0153uvrent \u00e0 la circulation artistique par-del\u00e0 les rives m\u00e9diterran\u00e9ennes sont les bienvenues.<\/p>\n<ul>\n<li><strong>Le lien entre le monde de l\u2019art et les organisations politiques<\/strong><\/li>\n<\/ul>\n<p>La question des artistes, galeristes, \u00e9diteurs et \u00e9ditrices, critiques, etc. et leur(s) lien(s) avec le PCA, le PCF, le FLN etc. peut faire l\u2019objet d\u2019une \u00e9tude.<\/p>\n<ul>\n<li><strong>Quel art pour d\u00e9noncer la colonisation&nbsp;?<\/strong><\/li>\n<\/ul>\n<p>Le lien entre la facture de l\u2019\u0153uvre et sa dimension politique est un sujet qui m\u00e9rite d\u2019\u00eatre approfondi. Au moment o\u00f9 le r\u00e9alisme socialiste est remis en question par le PCF et alors que l\u2019abstraction fait l\u2019objet d\u2019interrogations, une question se pose&nbsp;: quelle forme d\u2019art est la plus \u00e0 m\u00eame de d\u00e9noncer la colonisation et la guerre&nbsp;?<\/p>\n<ul>\n<li><strong>Les actrices du monde de l\u2019art<\/strong><\/li>\n<\/ul>\n<p>Il serait \u00e9galement pertinent de retracer la pr\u00e9sence et l\u2019activit\u00e9 de femmes artistes, galeristes et critiques dans le contexte de la colonisation et de la guerre d\u2019ind\u00e9pendance&nbsp;et sur les modalit\u00e9s de leurs contributions au champ artistique.<\/p>\n<p>Les intervenant\u00b7es seront s\u00e9lectionn\u00e9\u00b7es sur la base d\u2019un projet de communication. Les communications seront limit\u00e9es \u00e0 <strong>20\/25 minutes<\/strong>. Les propositions (<strong>3000 signes<\/strong>, espaces compris, bibliographie non comprise), accompagn\u00e9es d\u2019un <strong>bref curriculum vitae<\/strong> (une \u00e0 deux pages) sont \u00e0 envoyer avant le 18 f\u00e9vrier \u00e0 l\u2019adresse suivante&nbsp;: <a href=\"mailto:art.algerie.france@gmail.com\">art.algerie.france@gmail.com<\/a><\/p>\n<p><a href=\"#_ednref1\" name=\"_edn1\">[i]<\/a> Louis Aragon, \u00ab&nbsp;Le destin de l\u2019art&nbsp;\u00bb, <em>l\u2019Humanit\u00e9<\/em>, 27 septembre 1947, p.&nbsp;4.<\/p>","protected":false},"excerpt":{"rendered":"<p>Cette journ\u00e9e d\u2019\u00e9tude a pour objectif d\u2019interroger les enjeux esth\u00e9tiques et politiques qui se manifestent dans le contexte de la colonisation et de la guerre d\u2019ind\u00e9pendance alg\u00e9rienne.<\/p>\n<p>Dans un premier temps, il est question de faire un \u00e9tat des lieux de la recherche afin de retracer au mieux cette p\u00e9riode d\u00e9terminante pour les arts en France et en Alg\u00e9rie. (&#8230;)<\/p>\n","protected":false},"author":6,"featured_media":10408,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"neve_meta_sidebar":"","neve_meta_container":"","neve_meta_enable_content_width":"off","neve_meta_content_width":70,"neve_meta_title_alignment":"","neve_meta_author_avatar":"","neve_post_elements_order":"","neve_meta_disable_header":"","neve_meta_disable_footer":"","neve_meta_disable_title":"","_tribe_events_control_status":"","_tribe_events_control_status_canceled_reason":"","_tribe_events_control_status_postponed_reason":"","_tribe_events_control_online":"","_tribe_events_control_online_url":"","footnotes":""},"categories":[2026],"tags":[2010,2358,2359],"class_list":["post-10293","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-appels-a-candidature","tag-algerie","tag-circulations-artistiques","tag-france"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Cr\u00e9ations et circulations artistiques entre l\u2019Alg\u00e9rie et la France (1930 \u00e0 1964) ; entre enjeux politiques et esth\u00e9tiques - TELEMMe - Temps, espaces, langages, Europe m\u00e9ridionale, M\u00e9diterran\u00e9e<\/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:\/\/telemme.mmsh.fr\/?p=10293\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Cr\u00e9ations et circulations artistiques entre l\u2019Alg\u00e9rie et la France (1930 \u00e0 1964) ; entre enjeux politiques et esth\u00e9tiques - TELEMMe - Temps, espaces, langages, Europe m\u00e9ridionale, M\u00e9diterran\u00e9e\" \/>\n<meta property=\"og:description\" content=\"Cette journ\u00e9e d\u2019\u00e9tude a pour objectif d\u2019interroger les enjeux esth\u00e9tiques et politiques qui se manifestent dans le contexte de la colonisation et de la guerre d\u2019ind\u00e9pendance alg\u00e9rienne. Dans un premier temps, il est question de faire un \u00e9tat des lieux de la recherche afin de retracer au mieux cette p\u00e9riode d\u00e9terminante pour les arts en France et en Alg\u00e9rie. 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