{"id":1272,"date":"2014-04-07T15:41:29","date_gmt":"2014-04-07T14:41:29","guid":{"rendered":"http:\/\/www.forde.ch\/?page_id=1272"},"modified":"2014-04-07T15:41:29","modified_gmt":"2014-04-07T14:41:29","slug":"mathieu-mercier","status":"publish","type":"page","link":"https:\/\/themontesinosfoundation.org\/forde\/archives-2\/2004-2006\/mathieu-mercier\/","title":{"rendered":"Mathieu Mercier"},"content":{"rendered":"<h2>A.N.X.<\/h2>\n<p>Exposition du mercredi 7 d\u00e9cembre 2005 au samedi 11 f\u00e9vrier 2006.<\/p>\n<p>Julien Fronsacq r\u00e9alise le compte-rendu de la premi\u00e8re exposition personnelle de Mathieu Mercier en Suisse.<\/p>\n<p>\u00ab Depuis Louis-Philippe on rencontre dans le bourgeois cette tendance \u00e0 se d\u00e9dommager pour l\u2019absence de trace de la vie priv\u00e9e dans la ville. Cette compensation il tente de la trouver entre les quatre murs de son appartement. Tout se passe comme s\u2019il avait mis un point d\u2019honneur \u00e0 ne pas laisser se perdre les traces de ses objets d\u2019usage et de ses accessoires. (\u2026) Il a une pr\u00e9f\u00e9rence marqu\u00e9e pour le velours et la peluche qui conservent l\u2019empreinte de tout contact. (\u2026) De l\u00e0 na\u00eet le roman policier qui s\u2019enquiert de ces vestiges et suit ces pistes. \u00bb\u00a0<\/p>\n<p>La derni\u00e8re exposition de Mathieu Mercier se pr\u00e9sente \u00e9galement comme un int\u00e9rieur d\u2019appartement susceptible d\u2019\u00eatre le lieu d\u2019une enqu\u00eate. Dispers\u00e9s, les objets &#8211; une chaise, une t\u00e9l\u00e9vision, un rideau, une lampe &#8211; conf\u00e8rent \u00e0 l\u2019espace une dimension th\u00e9\u00e2trale. Au fond, un lourd rideau de velours obstrue l\u2019espace alors que seules les \u0153uvres produisent la lumi\u00e8re n\u00e9cessaire \u00e0 l\u2019exposition. Un \u00e9cran plat, une vitrine et une lampe &#8211; plafonnier produisent de conserve une lumi\u00e8re blanche et froide \u00e0 la fa\u00e7on d\u2019une cuisine ou d\u2019un laboratoire. A l\u2019image de ce halo, les objets ont une identit\u00e9 oscillante et s\u2019av\u00e8rent autant familiers que doucement \u00e9tranges. La t\u00e9l\u00e9vision pr\u00e9sente une t\u00e2che ind\u00e9finissable. Au centre, un volume balance doucement entre la vitrine, la chemin\u00e9e et le monument. Proche de la chaise de jardin, un fauteuil s\u2019en distingue pourtant par ses ouvertures particuli\u00e8res dans le dossier et les accoudoirs. Mais \u00e0 ce r\u00e9gime de la familiarit\u00e9 \u00e9trange se substitue rapidement un r\u00e9gime de repr\u00e9sentation tout \u00e0 fait diff\u00e9rent. Un rideau au motif de grillage, un tube fluo standard augment\u00e9 d\u2019un n\u00e9on spiral\u00e9 proc\u00e8dent quant \u00e0 eux d\u2019une juxtaposition \u00e9vidente. Se trouvent alors dos-\u00e0-dos l\u2019ornement et le fonctionnel, le standard et le particulier. Ces objets produisent avec efficacit\u00e9 des juxtapositions comme autant d\u2019oppositions id\u00e9ologiques identifi\u00e9es : le monde bourgeois et la protection urbaine, l\u2019industrie et l\u2019artisanat\u2026 Ces \u0153uvres ont alors l\u2019imm\u00e9diatet\u00e9 et la faiblesse des syst\u00e8mes binaires. On peut convoquer la s\u00e9rie magnifique des portraits de L\u00e9nine dans le style de Pollock r\u00e9alis\u00e9e par Art and Language entre 1979 et 1980. Ils se sont tr\u00e8s clairement expliqu\u00e9s sur le principe binaire de cette s\u00e9rie. \u00ab Dans les Portraits de V.I. Lenin in the style of Jackson Pollock, les conditions qui ont produit l\u2019orthodoxie du r\u00e9alisme socialiste et l\u2019orthodoxie du modernisme am\u00e9ricain sont conjoncturellement signifiantes. \u00bb\u00a0 L\u2019opposition vise \u00e0 identifier les forces dominantes qui caract\u00e9risent un moment, la Guerre Froide. Se trouvent index\u00e9s les syst\u00e8mes de valeurs qui r\u00e9gissent l\u2019esprit d\u2019une \u00e9poque et ses id\u00e9ologies.<br \/>\u00ab Comme les all\u00e9gories du baroque, la production culturelle du xx\u00e8me si\u00e8cle a pour cadre une p\u00e9riode de d\u00e9clin, de d\u00e9cadence et de d\u00e9figuration. L\u2019un des principes esth\u00e9tiques chez Benjamin (Brecht ?) consiste \u00e0 recueillir et reproduire \u00ab les contradictions du pr\u00e9sent \u00bb, sans les r\u00e9soudre. \u00bb . Benjamin \u00e9voque comment le b\u00e9ton arm\u00e9 est paradoxalement d\u00e9velopp\u00e9e pour l\u2019ornement des architectures Modern Style (Henri van de Velde). Ou encore, comme on l\u2019a vu au d\u00e9but de ce texte, le bourgeois compense son absence de la ville par le velours d\u2019appartement. Et \u00e0 l\u2019auteur de prolonger son \u00e9tude historique en en faisant un contexte favorable \u00e0 l\u2019\u00e9mergence de la litt\u00e9rature polici\u00e8re. On pourrait boucler la boucle et la r\u00e9sumer en consid\u00e9rant que le thriller parano\u00efaque est le prolongement naturel de l\u2019abandon bourgeois de l\u2019espace publique. Art and Language doutent en effet de l\u2019infaillible dialectique \u00ab benjaminienne \u00bb. Toute juxtaposition de termes r\u00e9v\u00e9leraient une contradiction qui \u00e0 son tour offriraient un \u00e9clairage pertinent sur l\u2019\u00e9poque. Le groupe d\u2019artiste lui emprunte donc simplement l\u2019op\u00e9ration de juxtaposition sans en reproduire le proc\u00e9d\u00e9 dialectique.<br \/>A c\u00f4t\u00e9 de ces syst\u00e8mes d\u2019opposition, pour d\u2019autres \u0153uvres c\u2019est la s\u00e9paration qui semble d\u00e9terminante. A l\u2019\u00e9cran, un fondu encha\u00een\u00e9 des planches du test de Rorschach comme autant de formes sym\u00e9triques. Hypnotique, ce film se r\u00e9g\u00e9n\u00e8re de t\u00e2ches en t\u00e2ches par son centre.\u00a0 Dans un espace adjacent, la seule \u0153uvre qui en a l\u2019air est un tas de terre p\u00e9tri dont la coupe centrale est prolong\u00e9e par deux socles distincts. Enfin, dans un coin, deux formes \u00e9l\u00e9mentaires associ\u00e9es dont la soudure en font un f\u00e9mur en m\u00e9tal lourd. Or, les \u00e9l\u00e9ments sont bien familiers : une boule de p\u00e9tanque et une barre de fer, deux instruments bien distincts qui associ\u00e9s pourraient augmenter leur force de frappe de mani\u00e8re consid\u00e9rable. Dans l\u2019union de ces cultures oppos\u00e9es il y a le temps historique entre l\u2019os-arme de poing et la fusion du m\u00e9tal appliqu\u00e9e \u00e0 l\u2019industrie militaire.\u00a0 La confrontation n\u2019a ici plus rien \u00e0 voir avec celle de Benjamin ou d\u2019Art and Language. L\u2019op\u00e9ration de Mathieu Mercier n\u2019est pas une analyse de l\u2019\u00e9poque et encore moins une d\u00e9construction des discours dominants. Ainsi le \u00ab f\u00e9mur \u2013 barre de fer \u00bb est surtout le pr\u00e9l\u00e8vement singulier dans l\u2019op\u00e9ration de mutation d\u2019un objet identifi\u00e9 en un autre. Il est autant une soudure de deux objets qu\u2019une ellipse cin\u00e9matographique. Par le raccourci dans les \u00e9v\u00e9nements, l\u2019ellipse permet au film r\u00e9aliste de se soustraire au temps r\u00e9el. Elle serait donc ici un os jet\u00e9 dans l\u2019espace par un primate devenant ainsi un objet technologique. Sonnant tel un brevet d\u2019une polys\u00e9mie, le titre de l\u2019exposition, A.N.X. serait la contraction universelle valable pour diverses langues : anxiety, Angst\u2026 L\u2019exposition se pr\u00e9sente bien sous le sceau de la polys\u00e9mie et de la parano\u00efa. Elle articulerait donc le soup\u00e7on d\u2019une signification dissimul\u00e9e, d\u2019un regard projectif, d\u2019une\u00a0 d\u00e9monstration&#8230; Elle se concentrerait dans les s\u00e9diments de la soudure, ces moments habituellement dissimul\u00e9s dans l\u2019ellipse.<\/p>\n<p>Julien Fronsacq<\/p>\n<p>1 Walter Benjamin, Paris, capitale du XIX\u00e8me si\u00e8cle \u2013 Expos\u00e9 in \u00ab Ecrits fran\u00e7ais \u00bb, Folio essais Gallimard, Paris, 1991, pp. 386 \u2013 387. 2 Art &amp; Language. Lettre \u00e0 un conservateur de mus\u00e9e canadien, 1982 in \u00ab Art &amp; Th\u00e9orie \u2013 1900 \u2013 1990 \u00bb, Hazan, Paris, 19 92, p.1160.<\/p>\n<p>&nbsp;<\/p>\n<p><a href=\"https:\/\/themontesinosfoundation.org\/forde\/wp-content\/uploads\/2014\/04\/mercier01web.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-1285\" alt=\"mercier01web\" src=\"https:\/\/themontesinosfoundation.org\/forde\/wp-content\/uploads\/2014\/04\/mercier01web.jpg\" width=\"380\" height=\"470\" srcset=\"https:\/\/themontesinosfoundation.org\/forde\/wp-content\/uploads\/2014\/04\/mercier01web.jpg 380w, https:\/\/themontesinosfoundation.org\/forde\/wp-content\/uploads\/2014\/04\/mercier01web-243x300.jpg 243w\" sizes=\"auto, (max-width: 380px) 100vw, 380px\" \/><\/a> <a href=\"https:\/\/themontesinosfoundation.org\/forde\/wp-content\/uploads\/2014\/04\/mercier-04web.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-1284\" alt=\"mercier-04web\" src=\"https:\/\/themontesinosfoundation.org\/forde\/wp-content\/uploads\/2014\/04\/mercier-04web.jpg\" width=\"470\" height=\"380\" srcset=\"https:\/\/themontesinosfoundation.org\/forde\/wp-content\/uploads\/2014\/04\/mercier-04web.jpg 470w, https:\/\/themontesinosfoundation.org\/forde\/wp-content\/uploads\/2014\/04\/mercier-04web-371x300.jpg 371w, https:\/\/themontesinosfoundation.org\/forde\/wp-content\/uploads\/2014\/04\/mercier-04web-450x364.jpg 450w, https:\/\/themontesinosfoundation.org\/forde\/wp-content\/uploads\/2014\/04\/mercier-04web-300x242.jpg 300w\" sizes=\"auto, (max-width: 470px) 100vw, 470px\" \/><\/a> <a href=\"https:\/\/themontesinosfoundation.org\/forde\/wp-content\/uploads\/2014\/04\/002-mercier.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-1283\" alt=\"002-mercier\" src=\"https:\/\/themontesinosfoundation.org\/forde\/wp-content\/uploads\/2014\/04\/002-mercier.jpg\" width=\"470\" height=\"356\" srcset=\"https:\/\/themontesinosfoundation.org\/forde\/wp-content\/uploads\/2014\/04\/002-mercier.jpg 470w, https:\/\/themontesinosfoundation.org\/forde\/wp-content\/uploads\/2014\/04\/002-mercier-396x300.jpg 396w, https:\/\/themontesinosfoundation.org\/forde\/wp-content\/uploads\/2014\/04\/002-mercier-450x341.jpg 450w, https:\/\/themontesinosfoundation.org\/forde\/wp-content\/uploads\/2014\/04\/002-mercier-300x227.jpg 300w\" sizes=\"auto, (max-width: 470px) 100vw, 470px\" \/><\/a> <a href=\"https:\/\/themontesinosfoundation.org\/forde\/wp-content\/uploads\/2014\/04\/001-mercier.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-1282\" alt=\"001-mercier\" src=\"https:\/\/themontesinosfoundation.org\/forde\/wp-content\/uploads\/2014\/04\/001-mercier.jpg\" width=\"470\" height=\"348\" srcset=\"https:\/\/themontesinosfoundation.org\/forde\/wp-content\/uploads\/2014\/04\/001-mercier.jpg 470w, https:\/\/themontesinosfoundation.org\/forde\/wp-content\/uploads\/2014\/04\/001-mercier-405x300.jpg 405w, https:\/\/themontesinosfoundation.org\/forde\/wp-content\/uploads\/2014\/04\/001-mercier-450x333.jpg 450w, https:\/\/themontesinosfoundation.org\/forde\/wp-content\/uploads\/2014\/04\/001-mercier-300x222.jpg 300w\" sizes=\"auto, (max-width: 470px) 100vw, 470px\" \/><\/a><\/p>\n<div>\u00a0<\/div>\n","protected":false},"excerpt":{"rendered":"<p>A.N.X. Exposition du mercredi 7 d\u00e9cembre 2005 au samedi 11 f\u00e9vrier 2006. Julien Fronsacq r\u00e9alise le compte-rendu de la premi\u00e8re exposition personnelle de Mathieu Mercier en Suisse. \u00ab Depuis Louis-Philippe on rencontre dans le bourgeois cette tendance \u00e0 se d\u00e9dommager pour l\u2019absence de trace de la vie priv\u00e9e dans la ville. Cette compensation il tente [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"parent":805,"menu_order":0,"comment_status":"closed","ping_status":"open","template":"","meta":{"footnotes":""},"class_list":["post-1272","page","type-page","status-publish","hentry"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.5 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Mathieu Mercier - FORDE<\/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:\/\/themontesinosfoundation.org\/forde\/archives-2\/2004-2006\/mathieu-mercier\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Mathieu Mercier - FORDE\" \/>\n<meta property=\"og:description\" content=\"A.N.X. Exposition du mercredi 7 d\u00e9cembre 2005 au samedi 11 f\u00e9vrier 2006. Julien Fronsacq r\u00e9alise le compte-rendu de la premi\u00e8re exposition personnelle de Mathieu Mercier en Suisse. \u00ab Depuis Louis-Philippe on rencontre dans le bourgeois cette tendance \u00e0 se d\u00e9dommager pour l\u2019absence de trace de la vie priv\u00e9e dans la ville. 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