La mere, le colossal, le saint. La passion d'alberto giacometti
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Abstract EN:
This work is part of the intention to present a general re-examination of the work of giacometti researching the indication of the existence of philosophical margins on which it seems to face itself. We wanted to do this by specifying a life-death knot, dominated by the figure of his mother, which conditions the artists difficulties in front of the visible; a visible which is defined, after the second half of the thirties, as being marvellous, colossal (this is not the gigantic of the "too much existence" of sartre). Towards 1934 he returns to the visible, as if the fullness of being, the mistery of which is contained in the figure of his mother, was discovered in the "banality" of a head. To tackle what he sees, giacometti works in the interior of a sacral dimension. The figure has to touch death (bound by measure) to face unmeasurable life. The sacrifice must permit the rebirth of the figure where giacometti would like to be reborn, sacrificing himself day after day. This could induce to think that for giacometti the world is sacred. But this is not so. Whatever exists has to do with something that transcends, with a life which to him seems to pass beyond death (it is therefore never a question of an absolute being).
Abstract FR:
Ce travail est parti de l'intention de presenter un reexamen general de l'oeuvre de giacometti, en recherchant les indices de l'existence de marges philosophiques sur lesquelles elle semble se presenter. Nous avons voulu le faire en precisant un noeud vie-mort, domine par la figure de la mere, qui conditionne les difficultes de l'artiste face au visible; un visible qui se definira, a partir de la seconde moitie des annees trente (apres la phase surrealiste), comme etant merveilleux, colossal (ce n'est pas le gigantesque du "trop d'existence" de sartre). Vers 1934 il y revient comme si la plenitude d'etre, dont le mystere est depose dans la figure de la mere, etait decouverte dans la "banalite" d'une tete. Pour affronter ce qu'il voit, giacometti travaille a l'interieur d'une dimension sacrale. Il faut faire toucher la mort (liee a la mesure) a la figure pour faire face a la demesure de la vie. Le sacrifice doit permettre la renaissance de la figure ou giacometti voudrait renaitre en se sacrifiant jour apres jour. Tout cela pourrait faire penser que pour giacometti le monde est sacre. Mais il n'en est pas ainsi, bien que l'existant ait affaire avec quelque chose qui le transcende, avec une vie qui lui semble deborder la mort (il n'est cependant jamais question d'un etre absolu).