{"id":156217,"date":"2018-01-15T18:00:00","date_gmt":"2018-01-15T23:00:00","guid":{"rendered":"https:\/\/esse.ca\/?post_type=compte-rendu&p=156217"},"modified":"2023-06-15T13:44:04","modified_gmt":"2023-06-15T18:44:04","slug":"philippe-hamelincarnations","status":"publish","type":"compte-rendu","link":"https:\/\/esse.ca\/compte-rendu\/philippe-hamelincarnations\/","title":{"rendered":"Philippe Hamelin
Carnations<\/em><\/strong>"},"content":{"rendered":"\n
Carnations<\/em> de l\u2019artiste Philippe Hamelin r\u00e9unit au total huit \u0153uvres produites entre 2012 et 2017. S\u2019il est \u00e9vident que leur d\u00e9nominateur commun est un travail d\u2019image de synth\u00e8se et d\u2019animation, ce qui caract\u00e9rise aussi ces \u0153uvres \u2013 d\u2019un angle ontologique \u2013 est leur \u00ab substance\u2009\u00bb num\u00e9rique, constitu\u00e9e de 0 et de I. Car si l\u2019image de synth\u00e8se nous est visible, c\u2019est parce qu\u2019une machine en a calcul\u00e9 l\u2019\u00e9quation r\u00e9v\u00e9lant volumes et textures. Et cette image n\u2019est jamais qu\u2019une surface, une peau derri\u00e8re laquelle s\u2019agencent des nombres.<\/pre>\n\n\n\n
Aucunement d\u00e9sincarn\u00e9, le mot carnation se r\u00e9f\u00e8re \u00e0 la fois \u00e0 la couleur de la peau et \u00e0 la mat\u00e9rialit\u00e9 de la chair. \u00c9galement ancr\u00e9 dans la tradition picturale, le terme \u00e9tait utilis\u00e9 en peinture au 16e<\/sup> si\u00e8cle pour parler de la \u00ab\u2009repr\u00e9sentation de la chair de l\u2019homme par le coloris1<\/sup><\/a> 1 <\/a> - Dictionnaire de l\u2019Acad\u00e9mie Fran\u00e7aise 1798 <bit.ly\/2A4zegE>.<\/span> \u00bb. Dans les deux acceptions, il y a l\u2019id\u00e9e d\u2019une mat\u00e9rialit\u00e9 teint\u00e9e appartenant \u00e0 un corps \u2013 id\u00e9e qui accompagne, \u00e0 diff\u00e9rents degr\u00e9s, chacune des \u0153uvres de l\u2019exposition.<\/p>\n\n\n\n
D\u00e8s l\u2019entr\u00e9e, l\u2019animation Les amis (\u00e0 l\u2019infini)<\/em> nous accueille avec une danse festive et d\u00e9sarticul\u00e9e. Les chairs des corps en mouvement se meuvent en dehors de toute logique. C\u2019est la r\u00e8gle de l\u2019algorithme d\u00e9terministe qui pr\u00e9vaut : ce qui anime la surface se soustrait aux lois naturelles.<\/p>\n\n\n\n
De danse \u00e0 po\u00e9sie : le triptyque d\u2019animations intitul\u00e9 Sci Fi Ha\u00efkus \u00ab\u2009Point de fuite\u2009\u00bb, \u00ab\u2009Expiration\u2009\u00bb <\/em>et \u00ab\u2009Translation<\/em>\u2009\u00bb propose trois rencontres entre l\u2019univers r\u00e9el et celui, artificiel, de l\u2019image de synth\u00e8se. \u00c9l\u00e9ments formels et issus de la r\u00e9alit\u00e9 \u2013 respectivement, un train, un corps, des oiseaux \u2013 se rencontrent en une ad\u00e9quation de mondes s\u2019informant l\u2019un l\u2019autre.<\/p>\n\n\n\n
\n
\n
\"Hamelin_Jungle\"
Philippe Hamelin<\/strong> 
Jungle<\/em>, 2013, version 3D, 2017.
Photo : Paul Litherland, Studio Lux, \u00a9 Leonard & Bina Ellen Art Gallery, Universit\u00e9 Concordia
<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n
La s\u00e9rie Vivariums<\/em> est form\u00e9e de quatre animations, dont deux statiques. Quasi chrysalides, les corps, dans des \u00e9crans encastr\u00e9s, demeurent ind\u00e9termin\u00e9s. L\u2019une des animations pr\u00e9sente un lent processus d\u2019expulsion \u2013 pr\u00e8s d\u2019une heure \u2013 d\u2019un corps miroir, dans lequel se refl\u00e8te un \u00e9tonnant hors-champ : l\u2019atelier de l\u2019artiste. L\u2019autre montre un corps en mue duquel \u00e9mane une carnation luminescente, aux teintes ondoyantes. Mimant une forme d\u2019appartenance au vivant, ces organismes ne trompent cependant pas sur leur provenance num\u00e9rique.<\/p>\n\n\n\n
Puis une forme d\u2019antichambre : Camouflage bureaucratique (pr\u00e9dateur)<\/em>, une animation, et Jungle<\/em>, un imprim\u00e9 recouvrant trois murs, composent ensemble un environnement mixte. La carnation ici est celle d\u2019une doublure d\u2019enveloppe de bureau, soulignant la capacit\u00e9 de cache d\u2019une surface.<\/p>\n\n\n\n
Si l\u2019id\u00e9e de carnation \u00e9mane de l\u2019ensemble des \u0153uvres, l\u2019animation Sc\u00e8ne 2 (d\u00e9coupage) <\/em>l\u2019\u00e9voque doublement. Citation de la sc\u00e8ne d\u2019ouverture du film Le M\u00e9pris <\/em>de Godard \u2013 avec Bardot nue dans les bras de Piccoli \u2013 l\u2019\u0153uvre nous parle d\u2019un corps qui est avant tout une chair. Alors que dans le film, Bardot questionne son amant \u00e0 savoir s\u2019il aime chacune des parties de son corps, l\u2019\u0153uvre, reprenant entre autres le th\u00e8me musical de Camille par Delerue, montre une image de synth\u00e8se \u00e9quivoque, \u00e0 la fois viande et texture num\u00e9rique.<\/p>\n\n\n\n
Une surface est une peau qui est une chair qui est une carnation. Et les corps sont parfois insaisissables.<\/p>\n
Nathalie Bachand, Philippe Hamelin<\/div>","protected":false},"excerpt":{"rendered":"Commissaire\u00a0: Mich\u00e8le Th\u00e9riault<\/br>Galerie Leonard & Bina Ellen<\/strong>, <\/br>Montr\u00e9al,
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