{"id":529,"date":"2014-10-14T12:55:00","date_gmt":"2014-10-14T12:55:00","guid":{"rendered":"https:\/\/williamchevillon.fr\/index.php\/2014\/10\/14\/le-motif-de-lenfermement-chez-jacqueline-salmon\/"},"modified":"2023-03-12T19:07:44","modified_gmt":"2023-03-12T18:07:44","slug":"le-motif-de-lenfermement-chez-jacqueline-salmon","status":"publish","type":"post","link":"https:\/\/williamchevillon.fr\/index.php\/2014\/10\/14\/le-motif-de-lenfermement-chez-jacqueline-salmon\/","title":{"rendered":"Le motif de l\u2019enfermement chez Jacqueline Salmon"},"content":{"rendered":"

Jacqueline Salmon est n\u00e9e \u00e0 Lyon en 1943, elle vit d\u00e9sormais \u00e0 Paris. Son \u0153uvre photographique est marqu\u00e9e par sa ville d\u2019origine mais rapidement elle travaillera sur l\u2019ensemble du territoire national voire au-del\u00e0 (en \u00c9gypte par exemple). Le lien entre photographie, architecture et philosophie est pr\u00e9sent comme fil conducteur du fait de la formation de l\u2019artiste. Chez Jacqueline Salmon, j\u2019appr\u00e9cie beaucoup la s\u00e9rie Rimbaud parti<\/em> (2004) qui consiste en un travail autour de la ferme familiale de Roche (Ardennes) qui a eu un r\u00f4le cons\u00e9quent dans la production du po\u00e8te, lequel s\u2019y est isol\u00e9 pour \u00e9crire Une saison en enfer<\/em> par exemple. Avec Jean-Christophe Bailly en 2006, le regard de la photographe va \u00eatre compl\u00e9t\u00e9 par celui de l\u2019\u00e9crivain dans l\u2019ouvrage portant le m\u00eame nom que la s\u00e9rie d\u2019images. Ce travail est int\u00e9ressant en ceci qu\u2019il ne cherche pas \u00e0 faire revivre Arthur Rimbaud, il va plut\u00f4t questionner les notions de silence ou de retrait dans une forme d\u2019impr\u00e9gnation suggestive et douce.<\/p>\n

\"image\"<\/figure>\n

Jacqueline Salmon, Rimbaud parti (10), 2004<\/em><\/p>\n

Si les questions de carc\u00e9ralit\u00e9, d\u2019isolement\u2026 font des apparitions r\u00e9guli\u00e8res dans les diff\u00e9rentes formes d\u2019expressions artistiques, c\u2019est beaucoup par les retours de personnes ayant v\u00e9cu ces situations, des notes, des dessins griffonn\u00e9s sur un carnet\u2026 Bien souvent, la photographie passe apr\u00e8s, faisant un \u00e9tat des lieux post-abandon.<\/p>\n

Chez Jacqueline Salmon j\u2019ai envie de retenir deux s\u00e9ries qui traitent des sujets diff\u00e9rents mais communs finalement sur le plan humain. Il s\u2019agit de Clairvaux, punir, surveiller, pardonner et vivre<\/em> (1993 – 1996) et Le hangar<\/em> (2002).<\/p>\n

Pour la premi\u00e8re s\u00e9rie, il convient de citer directement l\u2019artiste\u00a0: \u00ab Les photographies r\u00e9alis\u00e9es \u00e0 Clairvaux, sont la figuration du destin des hommes qui y ont toujours \u00e9t\u00e9 install\u00e9s dans la r\u00e9clusion. Qu\u2019en est-il aujourd\u2019hui du projet de r\u00e9demption des \u00e2mes, conduit par Saint-Bernard puis par des th\u00e9oriciens de la prison tel Abel Blouet ?\u00a0\u00bb. La r\u00e9f\u00e9rence \u00e0 Bernard de Clairvaux n\u2019est en aucun cas un hasard puisque la Maison centrale d\u2019incarc\u00e9ration a \u00e9t\u00e9 fond\u00e9e l\u00e0 o\u00f9 le saint a cr\u00e9\u00e9 au XIIe si\u00e8cle celle qui deviendra la plus importante des abbayes cisterciennes. La prison de Clairvaux \u00e9tant un lieu principalement consacr\u00e9 aux longues peines et \u00e0 la perp\u00e9tuit\u00e9, la mise en rapport avec saint Bernard et le travail photographique est une production qui s\u2019av\u00e8re \u00e9quilibr\u00e9e sur les plans esth\u00e9tiques et philosophiques qui se compl\u00e8tent et sont indissociables. La photographie justement va tendre \u00e0 accentuer des d\u00e9tails du quotidien carc\u00e9ral sans qu\u2019une ligne d\u2019horizon ne figure sans qu\u2019une lumi\u00e8re directe soit trop pr\u00e9sente. Les titres des photographies m\u2019interrogent\u00a0; il y a Pardonner<\/em>, Vivre<\/em>, Surveiller<\/em>\u2026 Pardonner sans pr\u00e9sence dans l\u2019image, vivre dans la promiscuit\u00e9 et l\u2019insalubrit\u00e9, surveiller mais sans vouloir se montrer malgr\u00e9 la faible distance. Ces titres nous laissent sugg\u00e9rer l\u2019activit\u00e9 humaine dans le lieu, mais peut-on r\u00e9ellement parler de vie\u00a0?<\/p>\n

\"image\"<\/figure>\n

Jacqueline Salmon, Vivre, 1993-1996 (photographie avec autorisation de l’administration p\u00e9nitentiaire)<\/em><\/p>\n

\"image\"<\/figure>\n

Jacqueline Salmon, Surveiller 2, 1993-1996 (photographie avec autorisation de l’administration p\u00e9nitentiaire)<\/em><\/p>\n

La seconde s\u00e9rie dont j\u2019ai envie de parler poss\u00e8de de nombreuses similitudes donc je n\u2019irai pas dans la longueur. Le sujet est simplement le camp de r\u00e9fugi\u00e9s de Sangatte, lieu de d\u00e9chirements, d\u2019incertitudes et d\u2019\u00e9ph\u00e9m\u00e9rit\u00e9s. L\u00e0 aussi le titre surprend mais il nous ram\u00e8ne \u00e0 cette r\u00e9alit\u00e9 du hangar comme lieu de vie contraire \u00e0 sa vocation industrielle initiale. Mais parce que les vies ne font que passer et dispara\u00eetre, Jacqueline Salmon photographie le lieu sans la pr\u00e9sence des Hommes, comme si finalement ce hangar \u00e9tait un endroit trop port\u00e9 sur la mat\u00e9rialit\u00e9, les chiffres, la saturation\u2026 pour que les gens qui l\u2019occupent soient vraiment humains.<\/p>\n

\"image\"<\/figure>\n

Jacqueline Salmon, Le hangar, 2001
\n<\/em><\/p>\n

Il y a cette notion de privation de libert\u00e9 et sa traduction sous la forme d\u2019une suppression du caract\u00e8re affectif ou pensant des personnes. La solitude de Rimbaud \u00e0 Roche est diff\u00e9rente, elle ouvre le regard sur quelque chose, elle transcende la pens\u00e9e. Mais il y a un point de convergence dans ces s\u00e9ries, c\u2019est peut-\u00eatre le c\u00f4t\u00e9 esth\u00e9tique. J\u2019ai envie de penser \u00e0 Angela Grauerholz qui va jouer avec le cibachrome en saturant les ombres, floutant les contours, patinant l\u2019image\u2026 La photographe allemande que je viens de nommer, cr\u00e9e un clich\u00e9 \u00e9quilibr\u00e9 par ces petits aspects et pousse ainsi l\u2019esprit \u00e0 se concentrer sur l\u2019essentiel. M\u00eame si chez Jacqueline Salmon l\u2019image est plus fluide, la fin reste semblable puisque nous observons une forme de d\u00e9pouillement dans les motifs, les couleurs\u2026 Parfois, Jacqueline Salmon va jouer sur le brouillard, d\u2019autres fois sur l\u2019obscurit\u00e9 ou encore l\u2019exc\u00e8s de lumi\u00e8re. Qu\u2019importe, tant que l\u2019\u00e9quilibre soit atteint pour capter l\u2019attention et amener simplement et facilement le spectateur \u00e0 se poser des questions.<\/p>\n","protected":false},"excerpt":{"rendered":"

Jacqueline Salmon est n\u00e9e \u00e0 Lyon en 1943, elle vit d\u00e9sormais \u00e0 Paris. Son \u0153uvre photographique est marqu\u00e9e par sa ville d\u2019origine mais rapidement elle travaillera sur l\u2019ensemble du territoire national voire au-del\u00e0 (en \u00c9gypte par exemple). Le lien entre photographie, architecture et philosophie est pr\u00e9sent comme fil conducteur du fait de la formation de […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[7],"tags":[58,38,60,62,53,57,56,63,59,52,61],"class_list":["post-529","post","type-post","status-publish","format-standard","hentry","category-propos-culturels","tag-ardennes","tag-art","tag-arthur-rimbaud","tag-clairvaux","tag-contemporaine","tag-contemporary-photography","tag-jacqueline-salmon","tag-jean-christophe-bailly","tag-lyon","tag-photographie","tag-sangatte"],"yoast_head":"\nLe motif de l\u2019enfermement chez Jacqueline Salmon - William Chevillon<\/title>\n<meta name=\"description\" content=\"Propos culturels\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" 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