{"id":169857,"date":"2014-01-14T18:25:00","date_gmt":"2014-01-14T23:25:00","guid":{"rendered":"https:\/\/esse.ca\/compte-rendu\/jean-francois-lauda\/"},"modified":"2023-05-04T10:12:22","modified_gmt":"2023-05-04T15:12:22","slug":"jean-francois-lauda","status":"publish","type":"compte-rendu","link":"https:\/\/esse.ca\/en\/reviews\/jean-francois-lauda\/","title":{"rendered":"Jean-Fran\u00e7ois Lauda"},"content":{"rendered":"\n
[In French]<\/pre>\n\n\n\n
L\u2019exposition de Jean-Fran\u00e7ois Lauda tenue \u00e0 l\u2019automne 2013 chez Battat Contemporary regroupait trois grands tableaux et dix-neuf petits. Ces derniers se pr\u00e9sentaient en une suite, \u00e0 l\u2019horizontale, comme les pages d\u2019un livre qui raconterait une mani\u00e8re de faire de la peinture aujourd\u2019hui. Les grands tableaux, eux, pouvaient \u00eatre vus comme des agrandissements ou comme des propositions n\u00e9cessitant un plus grand terrain.<\/pre>\n\n\n\n
L\u2019\u0153uvre de Lauda puise \u00e0 plusieurs sources li\u00e9es \u00e0 l\u2019histoire de la peinture et de la peinture abstraite en particulier. Chez Lauda, le tableau est un laboratoire, un lieu pour peindre, une surface sur laquelle se d\u00e9ploie un champ d\u2019exp\u00e9rimentation. Chacun des tableaux offre au regard une infinit\u00e9 de surfaces superpos\u00e9es o\u00f9 les formes se c\u00f4toient dans une sorte de danse intuitive. Les formes apparaissent, entraper\u00e7ues en arri\u00e8re-plan, ou au contraire s\u2019imposent, distinctes, au premier plan, insistant ainsi sur les liens qu\u2019elles entretiennent. Entre superposition et juxtaposition, ce qui est montr\u00e9 fluctue et s\u2019imprime en une image flottante, instable pour le regardeur.<\/p>\n\n\n\n
\"\"
Jean-Fran\u00e7ois Lauda, b.10<\/em>, 2013.
Photo : Eliane Excoffier, permission de Battat Contemporary, Montr\u00e9al
<\/figcaption><\/figure>\n\n\n\n
On ne peut commenter cette \u0153uvre sans en souligner la dimension temporelle. Chez Lauda, tant la mani\u00e8re que le r\u00e9sultat posent la question de la dur\u00e9e. Tout ici pointe vers la volont\u00e9, consciente ou non, de nommer le processus, de r\u00e9v\u00e9ler la gen\u00e8se du tableau, de glorifier les traces comme \u00e9l\u00e9ments d\u2019un temps r\u00e9volu. Ces surfaces font s\u2019enchev\u00eatrer des formes g\u00e9om\u00e9triques improbables et complexes (on ne voudrait pas devoir en calculer l\u2019aire\u2009!), offrant au regard une m\u00e9lancolie certaine. L\u2019organisation al\u00e9atoire et la libert\u00e9 d\u00e9ploy\u00e9e sont ici des marqueurs importants de l\u2019\u0153uvre. Cette libert\u00e9 s\u2019affirme aussi par la multiplication des couches de couleur, des renvois et des taches de doigts bien pr\u00e9sentes sur les bords du tableau.<\/p>\n\n\n\n
Chez Lauda, la forme et le fond se confondent fr\u00e9quemment. Ils se disputent l\u2019espace en un long duel. Dans le tableau b.3<\/em>, par exemple, l\u2019apparition au premier plan d\u2019une forme jaune, rectangulaire et verticale, confirme, au prix d\u2019une longue bataille, la primaut\u00e9 de la forme sur le fond.<\/p>\n\n\n\n
On peut aussi appr\u00e9cier l\u2019aspect anecdotique de cette \u0153uvre. Ici des taches impertinentes, l\u00e0 des formes \u00e0 g\u00e9om\u00e9trie variable viennent contredire le plan g\u00e9n\u00e9ral.<\/p>\n\n\n\n
Souvent, Lauda souligne le contour de son tableau par un trait ou par des marques qui agissent comme des rep\u00e8res formels, d\u00e9limitant ainsi le territoire o\u00f9 se r\u00e9alise l\u2019exp\u00e9rience. Les bords salis du cadre gardent aussi en m\u00e9moire les couleurs qui ont disparu sous la couche finale, l\u2019artiste r\u00e9v\u00e9lant sa mani\u00e8re pour mieux nous faire participer \u00e0 son laboratoire. Pour le peintre comme pour le regardeur, le caract\u00e8re \u00e9minemment exp\u00e9rimental de l\u2019\u0153uvre est central. Entre marquages et effacements, apparitions et disparitions, formes solides et diffuses, Lauda nous invite \u00e0 l\u2019accompagner dans un temps devenu image.<\/p>\n
Jean-Fran\u00e7ois Lauda, Serge Murphy<\/div>","protected":false},"excerpt":{"rendered":"Battat Contemporary<\/strong>, Montr\u00e9al, 
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