Iris 40 (2020)

Abstract
Il s’agira d’aborder dans cette contribution l’œuvre de Carl Andre en tant qu’arrangement de pièces combinatoires, selon des ensembles minimaux qui se parcourent, dont l’expérience et littéralement la compréhension ne peuvent se faire qu’à partir du déplacement physique du visiteur. Un déplacement qui prend son impulsion à partir du sol, départ de la sculpture mais aussi plan selon lequel la plus existentielle des dimensions se donne, condition fondatrice de l’habiter humain. Si l’installation a souvent été considérée comme une extension des pratiques de l’assemblage et du collage, c’est-à-dire en fonctionnant selon des principes d’association, de contamination et de télescopage, le travail de Carl Andre pose de manière très radicale et rigoureuse les conditions mêmes qui rendent possible toute installation : la mise en tension sans cesse renouvelée d’une proximité et d’un lointain qui fonde l’horizon d’un spectateur toujours dessaisi de ce qui ad-vient, l’avènement de la corporéité en tant que mouvement, des prises sensori-motrices sans cesse reconduites et indexées sur la perception des objets qui occupent l’espace et le redistribuent, enfin la nature éminemment trajective de cette catégorie d’œuvre que l’on tente de définir par le terme d’installation. Les environnements sculpturaux proposés par l’artiste américain donnent lieu, ils instituent l’espace et l’ouvrent, ils sont autant de places à investir. In this contribution, we will deal with the works by Carl Andre as an arrangement of combinatory parts, according to minimal sets you can go by whose experience and literally the understanding can only be made from the visitor’s physical moves. A movement that origins from the ground, the start of the sculpture but also a map according to which the most existential of dimensions emerges, the founding condition of human beings. If the installation has often been considered an extension of assembly and collage habits, that is to say functioning according to association, contamination and going back and forth principles, the works by Carl Andre set the very conditions which make any kind of installation possible in an extremely radical and strict way: the forever renewed focus of a proximity and a distance which founds the horizon for a spectator who keeps being deprived of what will come, the surge of corporeality as a movement, of forever renewed sensorimotor grips indexed to the perception of objects which fill space and redistribute it, and at last the trajective nature of this kind of works one tends to define by the word of installation. The sculptural environment offered by the American artist gives place, they institute space and widen it, they are as many places to invest.
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DOI 10.35562/iris.1213
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