Laëtitia BISCHOFF is a doctoral student in art sciences at the University of Aix-Marseille under the supervision of Marie Renoue. She is also a poet and art critic. She is interested in possible contemporary artistic forms in a cultural field that is no longer specifically human. Thus his doctoral project is entitled « Inter-species: on the brink of advances in current anthropology, thinking about artistic creation beyond the human being. » « Living for a decade in a very remote rural environment, it is about thinking of art as close as possible to a daily life shared with the non-human. She has decided to deal in this issue of Plastir with one of Ingold’s approaches to questioning art through the works of artist Clara Morgan, and summarizes her approach as follows: If anthropology has been repositioning itself concerning the place it grants the non-human as a subject of study and has requestioned its own methodologies, what can be said of art on this matter? We propose to examine in this text, through Walking with Dragons, what Ingold calls “inhabiting the world”. We will bring together different characteristics of his approach under the name “residential perspective”. Thus, engaged in an uninterrupted flow of relations as Ingold conceives it, we will question the means of approach of an artwork in this context. Two installations by Claire Morgan dating from 2011and made of a taxidermized animal and suspended grain areas, Gone to Seed et Here is the End of All Things will be described and viewed through the residential perspective spectrum. In effect, Claire Morgan’s work has caught our attention as part of an enactment and an opening for art as a place for a new bounding with the non-human. We hope, through this presentation, to enliven a sympoiesis, that is to say a way of making with the non-human, but also a way of making with multiple disciplines.
Sylvie POUTEAU is a research fellow at the Institut national de recherche pour l’agriculture, l’alimentation et l’environnement (INRAE), doing research in plant biology and plant ethics. For fifteen years, she directed research on plant plasticity in response to environmental changes governed by circadian and seasonal rhythms. Since 2009, her work focuses on the originality of plant life as a working force of nature. She has a long experience in transdisciplinary practices and the coordination of participatory actions on the living, ranging from the organization of ethics research schools and conferences-multidisciplinary debates on complexity in biology to various modalities of action research, including approaches using ecological art. She was president of the Université du Vivant project, co-founded with agro-ecological organizations (2009–2013) and curated public events – an environmental art exhibition and laboratory “Le vivant et son énergie” (year Le Nôtre, Versailles, 2013); an ecological art event with British artists Ackroyd & Harvey “Beuys’ acorns: trees on tour – Versailles” (ArtCop21 festival, Versailles, 2015). Currently, her research activity aims to integrate the notion of plant agentivity in the definition of food sustainability. Her paper particularly appeals to us because it concerns both the plasticity of living things and the sensory world through the plant prism, but also art-science relationships, two of the major concerns of PSA researchers. Sylvie Pouteau sums up her point eloquently: “The notion of plasticity applies largely to entities of a heterogeneous nature. The argument developed is that plants are both the most emblematic category, the most ostensibly exposed to our gaze, and the most problematic. This is because they are unconventional entities whose characteristic is to be proliferous. They are “open beings” that do not meet the definition of a topos by an immediate stationary limit. The plants in continuous development have neither inside nor outside and are thus “attached” to the space in which they are built, materializing little by little. The very status of the ordinary space, the lived space, thus needs to be rethought since it appears to be co-gestative, and not a simple container distinct from its content. The plasticity of plants cannot be kept separate from the topological properties and plastician activities of space, itself participating in the proliferous gesture. The local kinetic displacement of conventional entities with an immobile topological limit is mirrored by the morphic motion of plants whose limit constantly moves with, and not in, the plastic space. This reflection aims to account for the aesthetic experience to which the ontological openness of plants confronts us in an obvious way, and yet unthinkable because it escapes our conceptual categories shaped by topological standards. Through art, possible directions are proposed to simultaneously capture the plant and space as a perceptive and paradigmatic horizon, especially in the work of the painter Alexandre Hollan”.
Cécile VOISSET is a freelance translator, independent researcher and associate member of the LIS (Lettres, Idées, Savoirs) at the University of Paris XII, member of the ATLF (Association des Traducteurs Littéraires de France). She has notably published : » Hobbes philosophe redoutable? Des Amazones et des hommes ou le contrat selon Hobbes « L’Harmattan, Paris, Coll. Ouverture philosophique, 2008; « Guy Hocquenghem. La révolte (1946-1988)« , Preface by R. Scherer, Paris: Ed. du sextant, 2015; « Identitary Order« , Lambert Academic Publishing, 2017, Trad. de D. Fusaro, « Marx idéaliste. Essais hérétiques sur son matérialisme« , Milan, Ed. Mimesis, coll. Philosophie, 2019. The essay she presents here follows her first publication Vicken Parsons: “Breath” in Plastir 59, 12/2020 which immersed us in a series of works by Vicken Parson that are untitled and sporting different tones and colors. In this article, blue is resolutely put forward. Cécile Voisset describes it to us in these poetic terms that make our mouths water! « Focus on the blue, a womanized colour in regard of an old fashion we’ve been taught as an assignation: Vicken Parsons’Blue is a remedy to any lockdown, indeed a radiant sweet and calming one as the life-colour as well as “breath” (a title of her previous exhibition). This paper analyzes the British painter purpose with help of a Deleuzian view and by a comparison with Mark Rothko’s artwork. It ends with a short adding which reminds us a famous poem of Baudelaire; for colouring is also synonymous with tuning.” An active link on the pdf gives readers direct access to the showroom of the Cristea Roberts gallery in London, which exhibited the artist’s paintings and for whom we thank.
Ly Lan MAGNIAUX singer and composer, member of SACEM has collaborated with RADIO France. Doctor from the SORBONNE University in Musicology, graduate of the National Superior Conservatory of Paris and from the Conservatory Shining Regional Conservatory from Boulogne-Billancourt, she had given Concerts Paris in a diversified style like Film Musics (varieties, jazz and classic) in the light of her mixed origins and her enthousiasm in the exploration of a rich multi-cultural diversity of the world. She has published with SM, Zurfluh, PUPSorbonne and Artois, Mardaga, MAM (Museum Gadagne of Puppets in Lyon), La Société Paul Claudel, Plastir. In this issue, Ly Lan Magniaux invites us to discover the artistic writing relation between Darius Milhaud for Paul Claudel in the joke form for actors and puppets L’Ours et la Lune (The Bear and the Moon) which is present in her Thesis conducted by Pr. Michèle Barbe : The writing and playing Music of 7 Composers for Puppets in Paris (1886-1948) She has also collaborated at France Culture about the subject of her DEA conducted by Pr. Pierre Guillot : The place of The Cymbalum in an european written Music between 1886 and 1928. This paper on musical plasticity is the second the author has published in Plastir, the first having as subject the creative and recreational elements of Hellé and Debussy’s toy box in Plastir 52, 12/2018. In this issue, the author invite us to more precisely observe Milhardian musical elements (rythmic and expressive) combined with the Claudelian poetic elements (linguistic, symbolic, mystical, humorous) characteristic of the collaborative farce L’Ours et la Lune by the two artists.