L’œuvre processus. Pratiques dialogiques entre biologique et technique, vers une écologie de l’œuvre

Abstract : How does the implementation of biological and technical processes, dialoguing in the context of an art 'dispositif', contribute in practice to the elaboration of an 'associated milieu' necessary to our current technoscientific context? Our identity, defined by both a biological and a cultural experience of the world (E. Morin) is today called into question with the existence of a 'dissociated milieu' (B. Stiegler) disrupting the individual and the collective construct. In it’s approach to the living and technology, the current technoscientific context favours a feeling of discontinuity. Despite a growing physical proximity, the process that brings together these two entities appears to be masking the sense and significant experiences they also provoke. Grounded within my artistic practice and put into the perspective of the state of the Arts, this artist doctoral thesis has as goal to heal this relationship, putting it “at work” at the heart of the artistic context: the artistic 'medium' will therefore be considered as an 'associated milieu' (G. Simondon) able to connect shape and form, natural and technical elements, mental and physical experiences.Thanks to its capacity to draw action, materiality, perceptibility and signification together, the artistic approach of the 'processus' is a research hypothesis of choice: the 'œuvres-processus' establish an operative and meaningful dialogue between life and technical processes, thus composing a corpus of interdisciplinary projects and works, in which scientists, engineers and artists collaborate. Among them, a learning experience based on epigenetics called 'Teaching Dance to 8 Telegraph Plants'; a research on the topic of stromatolites that explores the mythological aspect of biomineralization and the aesthetics of the technical gesture; or furthermore the 'Temporium', a sculpture-laboratory which creates living images and also brings together several aspects of this research: the transition from the research to the artwork, the constraints of a living material, the technical and aesthetic challenges of the project, and the autonomy of the exhibited work. The description and analysis of this practice-based research will serve as groundwork to tackle the issue raised here —in a more theoretical manner— meanwhile equally addressing the aesthetic stakes of the 'process-work' and the potentials of the research context in art that comes with its creation.Through its aesthetic of the becoming, its quality as a physical and symbolical medium, the 'process-work' unfolds a relational activity that contributes not only to an associating aesthetic experience, but also opens the exhibition space to a new societal role. Initially appearing as a constraint, the technicality of the work-process may become a source of individuation for its practitioner. This instrumental aspect opens additionally onto new opportunities outside the artistic field, eased by the interdisciplinary nature of the projects. On a more intangible level, this pluralistic research ecosystem also contributes to the expression of a 'collective singularity' and to the elaboration of a 'fabric of the common'. Nevertheless punctuated by unavoidable failures, this research uncovers as well its own weaknesses, by revealing certain limits the artist-researcher has when faced with the constraints the current artistic context presents.This analysis reveals the necessity to take into account the 'ecological’ aspect of this project, the 'process-work' appearing as a support of choice for the creation of a system, aiming to work together the mental, environmental and social dimensions that characterize the human experience.
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Lia Giraud. L’œuvre processus. Pratiques dialogiques entre biologique et technique, vers une écologie de l’œuvre. Art et histoire de l'art. PSL Research University, 2017. Français. ⟨NNT : 2017PSLET037⟩. ⟨tel-02268844⟩

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