{"id":161,"date":"2020-08-29T01:37:19","date_gmt":"2020-08-29T01:37:19","guid":{"rendered":"https:\/\/hotnewsinworld.com\/fr\/lunivers-inquietant-de-bilal-en-resonance\/"},"modified":"2020-08-29T01:37:22","modified_gmt":"2020-08-29T01:37:22","slug":"lunivers-inquietant-de-bilal-en-resonance","status":"publish","type":"post","link":"https:\/\/hotnewsinworld.com\/fr\/lunivers-inquietant-de-bilal-en-resonance\/","title":{"rendered":"L\u2019univers inqui\u00e9tant de Bilal en r\u00e9sonance"},"content":{"rendered":"<p>[ad_1]<br \/>\n <\/p>\n<div>\n<p>C\u00f4te \u00e0 c\u00f4te, <em>Le Sommeil du monstre<\/em>, \u0153uvre \u00e0 l\u2019acrylique, au pastel gras, au crayon et \u00e0 l\u2019encre de Chine, et <em>Le Chevalier, la Mort et le Diable<\/em>, la c\u00e9l\u00e8bre gravure d\u2019Albrecht D\u00fcrer. Deux visions du monde angoissantes, graves et philosophiques qui entrent en r\u00e9sonance. D\u00e8s les premiers pas dans l\u2019exposition Enki Bilal, l\u2019influence des grands ma\u00eetres sur le dessinateur de bande dessin\u00e9e de 68 ans pr\u00e9domine : des \u0153uvres originales de Goya, de Bourdelle ou du photographe am\u00e9ricain Joel Peter Witkin alternent avec des cases de l\u2019auteur de <em>Partie de chasse <\/em>(1983)<em>.<\/em><\/p>\n<p><em>\u00ab J\u2019ai voulu mettre son \u0153uvre en rapport avec l\u2019histoire de l\u2019humanit\u00e9 \u00bb<\/em>, explique Serge Lemoine, commissaire de l\u2019exposition, qui avait d\u00e9j\u00e0 cor\u00e9alis\u00e9 l\u2019exposition \u00ab Enki Bilal. Animal\u2019z \u00bb, en 2009, \u00e0 la maison de vente Artcurial, \u00e0 Paris. Cette fois, c\u2019est tout l\u2019univers sombre de Bilal, dessins, peintures et films, qui se d\u00e9couvre. <em>\u00ab<\/em><em>Je ne voulais pas que ce soit une r\u00e9trospective<\/em>, avertit l\u2019artiste<em>. L\u2019exposition montre les th\u00e8mes de mon travail, \u00e0 travers la vari\u00e9t\u00e9 des techniques que j\u2019ai utilis\u00e9es. J\u2019ai failli arr\u00eater la bande dessin\u00e9e \u00e0 la fin de <\/em>Froid \u00c9quateur<em> (1992), \u00e9puis\u00e9 par la r\u00e9p\u00e9tition des gestes.<\/em><em>Quand j\u2019ai trouv\u00e9 la technique du \u201ccase par case\u201d, qui collait parfaitement \u00e0 l\u2019urgence de mon album <\/em>Le Sommeil du monstre<em> (1998), sur l\u2019\u00e9clatement de mon pays d\u2019origine, la Yougoslavie, j\u2019ai repris go\u00fbt \u00e0 l\u2019\u00e9criture. \u00bb<\/em><\/p>\n<p>Ce proc\u00e9d\u00e9, consistant \u00e0 peindre les cases une \u00e0 une, sans encrage et sans texte, puis \u00e0 les monter comme un film gr\u00e2ce \u00e0 l\u2019ordinateur, a \u00e9loign\u00e9 Enki Bilal du travail par planche, qu\u2019il jugeait <em>\u00ab stakhanoviste \u00bb<\/em>.<\/p>\n<p>C\u2019est toute la palette d\u2019un cr\u00e9ateur touche-\u00e0-tout, r\u00e9alisateur de films, dessinateur de d\u00e9cors de cin\u00e9ma et d\u2019op\u00e9ra, que Serge Lemoine a voulu montrer, frustrant un peu les amateurs du 9<sup>e<\/sup> art qui n\u2019y trouveront gu\u00e8re de crayonn\u00e9s de planches en devenir. Reste que la mise en perspective entre certains extraits d\u2019\u0153uvres cin\u00e9matographiques et l\u2019imaginaire de l\u2019auteur de la<em> Trilogie Nikopol<\/em> (1980-1992) fonctionne particuli\u00e8rement bien : <em>Metropolis <\/em>de Fritz Lang, <em>Requiem pour un massacre <\/em>d\u2019Elem Klimov ou <em>Blade Runner <\/em>de Ridley Scott.<\/p>\n<p>Moins convaincante, une installation in\u00e9dite, dans une salle plong\u00e9e dans l\u2019obscurit\u00e9, rend hommage \u00e0 Picasso, avec une r\u00e9interpr\u00e9tation de certaines figures de <em>Guernica<\/em>. Si la guerre et la mort sont bien l\u00e0, l\u2019alchimie entre les deux styles, cubiste et figuratif, ne prend pas.<\/p>\n<p>La violence fait pourtant partie int\u00e9grante de l\u2019\u0153uvre pessimiste d\u2019Enki Bilal, persuad\u00e9 que <em>\u00ab l\u2019Occident court \u00e0 sa perte \u00bb<\/em>.<em> \u00ab Je suis tr\u00e8s pr\u00e9occup\u00e9 par la communautarisation, par l\u2019incapacit\u00e9 \u00e0 cr\u00e9er des espaces de r\u00e9flexion et de discussion \u00bb<\/em>, d\u00e9plore-t-il avant d\u2019appeler la jeune g\u00e9n\u00e9ration \u00e0 prendre son avenir en main.<\/p>\n<\/p><\/div>\n<p>[ad_2]<br \/>\n <br \/><a href=\"https:\/\/www.la-croix.com\/Lunivers-inquietant-Bilal-resonance-2020-08-29-1101111236\">\u0421\u0441\u044b\u043b\u043a\u0430 \u043d\u0430 \u0438\u0441\u0442\u043e\u0447\u043d\u0438\u043a <\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>[ad_1] C\u00f4te \u00e0 c\u00f4te, Le Sommeil du monstre, \u0153uvre \u00e0 l\u2019acrylique, au pastel gras, au crayon et \u00e0 l\u2019encre de Chine, et Le Chevalier, la Mort et le Diable, la c\u00e9l\u00e8bre gravure d\u2019Albrecht D\u00fcrer. Deux visions du monde angoissantes, graves et philosophiques qui entrent en r\u00e9sonance. D\u00e8s les premiers pas dans l\u2019exposition Enki Bilal, l\u2019influence [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":162,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-161","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-nouvelles"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>L\u2019univers inqui\u00e9tant de Bilal en r\u00e9sonance - Hot News in World<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/hotnewsinworld.com\/fr\/lunivers-inquietant-de-bilal-en-resonance\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"L\u2019univers inqui\u00e9tant de Bilal en r\u00e9sonance - Hot News in World\" \/>\n<meta property=\"og:description\" content=\"[ad_1] C\u00f4te \u00e0 c\u00f4te, Le Sommeil du monstre, \u0153uvre \u00e0 l\u2019acrylique, au pastel gras, au crayon et \u00e0 l\u2019encre de Chine, et Le Chevalier, la Mort et le Diable, la c\u00e9l\u00e8bre gravure d\u2019Albrecht D\u00fcrer. Deux visions du monde angoissantes, graves et philosophiques qui entrent en r\u00e9sonance. 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Deux visions du monde angoissantes, graves et philosophiques qui entrent en r\u00e9sonance. 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