{"id":195,"date":"2014-07-18T22:00:00","date_gmt":"2014-07-18T22:00:00","guid":{"rendered":"http:\/\/williamchevillon.fr\/index.php\/2014\/07\/18\/destruction-dune-oeuvre-de-carlos-cruz-diez\/"},"modified":"2023-03-12T15:25:13","modified_gmt":"2023-03-12T14:25:13","slug":"destruction-dune-oeuvre-de-carlos-cruz-diez","status":"publish","type":"post","link":"https:\/\/williamchevillon.fr\/index.php\/2014\/07\/18\/destruction-dune-oeuvre-de-carlos-cruz-diez\/","title":{"rendered":"Destruction d\u2019une \u0153uvre de Carlos Cruz-Diez, retour sur buzz"},"content":{"rendered":"
<\/figure>\n

En juin dernier, j\u2019ai tenu \u00e0 alerter le public, l\u2019artiste, les collectivit\u00e9s<\/a>\u2026 au sujet de la destruction de la Colonne chromointerf\u00e9rente de Carlos Cruz-Diez qui tr\u00f4nait depuis 1972 \u00e0 La Roche-sur-Yon. Depuis, le billet d\u2019humeur a fait son chemin et c\u2019est un article de Ouest-France sur le sujet qui a fini par r\u00e9veiller l\u2019opinion en cette fin de semaine.<\/p>\n

Quand j\u2019ai lanc\u00e9 l\u2019alerte, il y a tout de suite eu des r\u00e9actions dans le domaine culturel et artistique et assez rapidement la Fondation Cruz-Diez a \u00e9t\u00e9 pr\u00e9venue. Il a pourtant fallu attendre que la valeur de la sculpture d\u00e9truite soit r\u00e9v\u00e9l\u00e9e pour que naisse soudainement une prise de conscience plus large. Quiconque conna\u00eet un peu Carlos Cruz-Diez sait que ses structures sculpturales se chiffrent facilement en centaines de milliers d\u2019euros. N\u00e9anmoins, je n\u2019ai pas voulu appuyer sur ce point sachant que la valeur artistique est plus int\u00e9ressante. Je suis heureux que le sujet puisse d\u00e9passer les fronti\u00e8res locales et susciter un \u00e9moi assez large, mais je trouve dommage que l\u2019on retienne principalement le chiffre de 200 000 euros. Je n\u2019ai jamais \u00e9t\u00e9 attach\u00e9 \u00e0 la valeur financi\u00e8re de l\u2019objet artistique, mais comme souvent c\u2019est ce point qui fait na\u00eetre l\u2019int\u00e9r\u00eat. Avec l\u2019argument financier, tout de suite il y a eu un changement de position du Conseil G\u00e9n\u00e9ral. On est pass\u00e9 du m\u00e9pris, du refus de comprendre \u00a0\u2013 un responsable m\u2019a dit texto que la Colonne de Cruz-Diez n\u2019\u00e9tait pas une \u0153uvre d\u2019art \u2013 et de l\u2019indiff\u00e9rence \u00e0 une position inattendue consistant \u00e0 s\u2019excuser et \u00e0 promettre r\u00e9paration. Trois ans apr\u00e8s avoir lanc\u00e9 les premi\u00e8res alertes et avoir contact\u00e9 les collectivit\u00e9s concern\u00e9es, il faut en arriver \u00e0 parler d\u2019argent pour interpeller. H\u00e9las, c\u2019est le cas pour nombre de d\u00e9partements, r\u00e9gions, villes\u2026 en ce qui concerne l\u2019art dans l\u2019espace public\u2026<\/p>\n

Finalement, tr\u00e8s peu de retours presse font \u00e9tat de l\u2019importance artistique de Carlos Cruz-Diez dans l\u2019art contemporain mondial. Carlos fait partie de cette g\u00e9n\u00e9ration d\u2019artistes \u00e9trangers qui sont arriv\u00e9s en France apr\u00e8s 1945 et ont donn\u00e9 un coup de fouet \u00e0 une production artistique rarement audacieuse. Spontan\u00e9ment, je pense aux \u00e9crits de Catherine Millet qui traitent le sujet et qui m\u00e9ritent d\u2019\u00eatre consid\u00e9r\u00e9s sur ce point notamment.<\/p>\n

Carlos Cruz-Diez c\u2019est la couleur et la couleur est fondatrice de l\u2019Histoire de l\u2019art. Je pense de prime abord \u00e0 la polychromie m\u00e9di\u00e9vale o\u00f9 l\u2019action de peindre consistait \u00e0 donner signifiance spirituelle. D\u2019apr\u00e8s les \u00e9tudes r\u00e9centes sur le sujet, la couleur \u00e9tait alors parfois consid\u00e9r\u00e9e comme un filtre entre deux univers, quelque chose pas totalement mat\u00e9riel qui place les esprits humains en lien avec ce qui est extraterrestre. Chez Carlos Cruz-Diez, la couleur n\u2019a pas \u00e9videmment le m\u00eame sens mais elle est aussi l\u00e0 pour donner signifiance \u00e0 un espace et c\u2019est le fait de se baser sur la couleur, rien que la couleur, qui est formidable avec \u00a0le maestro franco-v\u00e9n\u00e9zu\u00e9lien !<\/p>\n

Dans un coll\u00e8ge comme celui des Gondoliers \u00e0 La Roche-sur-Yon, le 1% artistique (oui, il faut bien pr\u00e9ciser que l\u2019\u0153uvre n\u2019a pas \u00e9t\u00e9 pay\u00e9e 200 000 euros \u00e0 l\u2019origine) est l\u00e0 pour casser cette aseptisation de l\u2019espace public conditionn\u00e9 par un b\u00e2timent fait de modules pr\u00e9fabriqu\u00e9s et int\u00e9gr\u00e9 dans un quartier r\u00e9sidentiel parfaitement banal. L\u2019\u0153uvre est l\u00e0 pour interroger, il ne s\u2019agit pas d\u2019aimer (il n\u2019y a pas de consensus en art) mais au moins d\u2019avoir un rep\u00e8re qui fait l\u2019unicit\u00e9 du lieu. C\u2019est con \u00e0 dire mais il est fondateur pour l\u2019Homme d\u2019\u00eatre entra\u00een\u00e9 hors du joug repr\u00e9sent\u00e9 par l\u2019uniformit\u00e9. Je peux citer les urbanistes et architectes Pierre Patte, Paul Chemetov et Roland Castro, ou les photographes Andr\u00e9 M\u00e9rian et St\u00e9phane Couturier ; nombreux sont ceux qui assument une lutte contre la standardisation qui supprime tous les rep\u00e8res. En ceci, l\u2019\u0153uvre publique doit avoir un r\u00f4le fondateur et doit \u00eatre honor\u00e9e et en ceci la perte de la Colonne chromointerf\u00e9rente est un probl\u00e8me majeur accentu\u00e9 par la puissance artistique de Carlos Cruz-Diez. Certaines \u0153uvres sont con\u00e7ues pour \u00eatre \u00e9ph\u00e9m\u00e8res mais dans le cas pr\u00e9sent non. Consulter l\u2019artiste est la premi\u00e8re chose \u00e0 faire, la plus simple et probablement la plus respectueuse du public comme du cr\u00e9ateur.<\/p>\n

J\u2019attends d\u00e9sormais de voir la concr\u00e9tisation de ce qui est annonc\u00e9, et souhaitons que l\u2019\u00e9v\u00e9nement puisse servir de le\u00e7on pour tous. Il y aura, c\u2019est certain, un avant et un apr\u00e8s. Aussi, je suis fier d\u2019avoir pu contribuer \u00e0 mon niveau \u00e0 lancer n \u00e9moi qu\u2019il faut maintenant transcender. L\u2019\u0153uvre n\u2019est signifiante que si on la soigne et si on lui donne son r\u00f4le social par la m\u00e9diation notamment. Il y a fort \u00e0 faire dans le domaine et trois ans apr\u00e8s l\u2019anniversaire du 1% artistique cela est criant.<\/p>\n

William Chevillon, le 19 juillet 2014.<\/p>\n

NB : j\u2019en profite pour embrasser Carlos Cruz-Diez ainsi que \u00c9l\u00e9onore Sch\u00f6ffer<\/p>\n","protected":false},"excerpt":{"rendered":"

En juin dernier, j\u2019ai tenu \u00e0 alerter le public, l\u2019artiste, les collectivit\u00e9s\u2026 au sujet de la destruction de la Colonne chromointerf\u00e9rente de Carlos Cruz-Diez qui tr\u00f4nait depuis 1972 \u00e0 La Roche-sur-Yon. Depuis, le billet d\u2019humeur a fait son chemin et c\u2019est un article de Ouest-France sur le sujet qui a fini par r\u00e9veiller l\u2019opinion en […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[40],"class_list":["post-195","post","type-post","status-publish","format-standard","hentry","category-non-classe","tag-carlos-cruz-diez"],"yoast_head":"\nDestruction d\u2019une \u0153uvre de Carlos Cruz-Diez, retour sur buzz - William Chevillon<\/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:\/\/williamchevillon.fr\/index.php\/2014\/07\/18\/destruction-dune-oeuvre-de-carlos-cruz-diez\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Destruction d\u2019une \u0153uvre de Carlos Cruz-Diez, retour sur buzz - 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