Cycle\u00a0Artwork, life and ways of being \u2022 first encounter: “In the name of …” the conceptions of an ideal<\/em> On the occasion of the last meeting of his conference cycle, Gilles Collard<\/strong> will receive the writer Philippe-Alain Michaud<\/strong> around his latest book \u00c2mes primitives, Figures de film, de peluche et de papier<\/em>, published on June 7 at Macula.<\/p>\n \u00c2mes primitives. Figures de film, de peluche et de papier<\/em> (2019, \u00e9ditions Macula, 208 pages) Un livre d\u2019histoire de l\u2019art alors, ou d\u2019anthropologie, ou de philosophie ? Et pourquoi \u00c2mes primitives<\/em> ? Philosopher and art historian Philippe-Alain Michaud<\/strong> is particularly interested in the relationship between film and art history. He is curator in charge of the film department of the Georges Pompidou Center. His publications include:\u00a0Aby Warburg et l’Image en mouvement (Paris, Macula, 1998); Filme: Por Uma Teoria Expandida do Cinema (Rio, Contraponto, 2014); Sur le film (Paris, Macula, 2016).<\/em><\/p>\n Gilles Collard\u00a0<\/strong>founded the journal Pyl\u00f4ne in 2003. Since 2016, he has been professor of philosophy at the Ecole Nationale Sup\u00e9rieure des Arts Visuels, La Cambre, where he is also the pedagogical director of the Atelier des \u00e9critures contemporaines. He is currently preparing a book on the life and work of Klaus Mann for Grasset Publishing.<\/em><\/p>\n Language: french<\/strong><\/em><\/p>\n This conversation will be followed by a book signing.<\/p>","protected":false},"excerpt":{"rendered":" Cycle\u00a0Artwork, life and ways of being A reading of the twentieth century and its heritage from art and commitment. \u2022 first encounter: “In the name of …” the conceptions of an ideal \u2022 second encounter: Different forms of time reading \u2022 third encounter: The aims of Art \u2022 fourth encounter: the biographical commitment \u2022 fifth […]<\/p>\n","protected":false},"author":2,"featured_media":6585,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":[],"categories":[226,113],"tags":[202],"acf":[],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/archive.fondationthalie.org\/en\/wp-json\/wp\/v2\/posts\/6108"}],"collection":[{"href":"https:\/\/archive.fondationthalie.org\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/archive.fondationthalie.org\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/archive.fondationthalie.org\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/archive.fondationthalie.org\/en\/wp-json\/wp\/v2\/comments?post=6108"}],"version-history":[{"count":32,"href":"https:\/\/archive.fondationthalie.org\/en\/wp-json\/wp\/v2\/posts\/6108\/revisions"}],"predecessor-version":[{"id":14190,"href":"https:\/\/archive.fondationthalie.org\/en\/wp-json\/wp\/v2\/posts\/6108\/revisions\/14190"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/archive.fondationthalie.org\/en\/wp-json\/wp\/v2\/media\/6585"}],"wp:attachment":[{"href":"https:\/\/archive.fondationthalie.org\/en\/wp-json\/wp\/v2\/media?parent=6108"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/archive.fondationthalie.org\/en\/wp-json\/wp\/v2\/categories?post=6108"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/archive.fondationthalie.org\/en\/wp-json\/wp\/v2\/tags?post=6108"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\nA reading of the twentieth century and its heritage from art and commitment.<\/strong><\/p>\n
\n\u2022 second encounter: Different forms of time reading<\/em>
\n\u2022 third encounter: The aims of Art<\/em>
\n\u2022 fourth encounter: the biographical commitment<\/em>
\n\u2022 fifth encounter: Styles of Existence<\/em><\/strong><\/p>\n
\n<\/strong>C\u2019est donc un livre de cin\u00e9ma ?
\nPas exactement, ou pas seulement, m\u00eame s\u2019il s\u2019agit beaucoup d\u2019images anim\u00e9es ou d\u2019animation. Il y est aussi question de dessin et de jouets, de transe, de r\u00eave, de spectres, d\u2019union et de d\u00e9sunion de l\u2019\u00e2me et du corps\u2026<\/em><\/p>\n
\nPas plus, m\u00eame si j\u2019emprunte \u00e0 tous ces discours pour raconter une histoire, qui est au fond l\u2019histoire de toutes les histoires : celle de la transformation du corps en figure et de son entr\u00e9e dans la repr\u00e9sentation dont j\u2019essaie de retrouver les traces disparates dans l\u2019univers de Krazy Kat ou de Little Nemo, dans le cin\u00e9ma burlesque ou scientifique, dans les danses de possession en Italie du sud ou dans les mythologies indiennes…<\/em><\/p>\n
\nLes \u00e2mes primitives, ce sont les \u00e2mes s\u00e9par\u00e9es, comme le sont les figures. Car pour qu\u2019une figure apparaisse, il faut qu\u2019un corps disparaisse et la figurabilit\u00e9 en tant que telle est un r\u00e9cit de s\u00e9paration. C\u2019est pour cela que la question de la repr\u00e9sentation a partie li\u00e9e au deuil et que le deuil, \u00e0 l\u2019inverse, nous renvoie toujours \u00e0 l\u2019\u00e9nigme de la repr\u00e9sentation.<\/em><\/p>\n