{"id":4,"date":"2012-03-02T20:40:14","date_gmt":"2012-03-02T19:40:14","guid":{"rendered":"http:\/\/hugoarcier.com\/test\/?p=4"},"modified":"2018-10-09T14:21:26","modified_gmt":"2018-10-09T13:21:26","slug":"fiction-1","status":"publish","type":"post","link":"https:\/\/hugoarcier.com\/fr\/fiction-1\/","title":{"rendered":"FICTION 1"},"content":{"rendered":"<p><iframe loading=\"lazy\" src=\"\/\/player.vimeo.com\/video\/36852912?byline=0&amp;portrait=0&amp;color=ffffff\" width=\"1024\" height=\"576\" frameborder=\"0\" webkitallowfullscreen mozallowfullscreen allowfullscreen><\/iframe><br \/>\n<strong>Fiction 1<\/strong>.\u00a0<em>Un film de Hugo Arcier<\/em>. 2011.<br \/>\n<em>Musique originale de Jean-Christophe Feldhandler. Ing\u00e9nieur du son : Francois Vatin.<\/em><\/p>\n<p>&nbsp;<\/p>\n<p><strong>Ce film de synth\u00e8se a pour point de d\u00e9part les \u00e9v\u00e9nements qui ont frapp\u00e9 le Japon en mars 2011, et plus exactement la fa\u00e7on dont ils ont \u00e9t\u00e9 trait\u00e9s par les m\u00e9dias.<\/strong><\/p>\n<p>Les images de synth\u00e8se ne sont pas une simple captation du r\u00e9el, mais des images calcul\u00e9es, simul\u00e9es par des ordinateurs. Elles permettent, par un troublant effet de miroir, de rendre compte de la \u00ab non-r\u00e9alit\u00e9 \u00bb des images r\u00e9manentes de certains \u00e9v\u00e9nements catastrophes. Finalement, pour le spectateur \u00e9tranger au tsunami de mars 2011 ne restent vraiment des images de reportages que les sc\u00e8nes d&rsquo;\u00ab&nbsp;action \u00bb et de d\u00e9solation\u2026 la vague qui s&rsquo;abat et les ravages qu&rsquo;elle a provoqu\u00e9s.<\/p>\n<p>La dynamique analytique sur laquelle repose la construction des images de synth\u00e8se, la n\u00e9cessit\u00e9 pour le cr\u00e9ateur de sortir de l&rsquo;imm\u00e9diatet\u00e9 et de prendre du recul, permettent de proposer au spectateur un rendu synth\u00e9tique o\u00f9 l&rsquo;\u00e9motion primitive ne sid\u00e8re plus la pens\u00e9e face \u00e0 la catastrophe.<\/p>\n<p>Le spectateur s&rsquo;extrait alors du flux incessant \u2013 m\u00e9diatique mais aussi litt\u00e9ral dans le film \u2013 qui l&#8217;emporte, retrouvant ainsi un espace de r\u00e9flexion privil\u00e9gi\u00e9 qui nourrit son humanit\u00e9 et sa raison.<\/p>\n<p><strong>Les images de synth\u00e8se d\u00e9cortiquent le r\u00e9el, comme pourrait le faire le scalpel d&rsquo;un anatomiste, d\u00e9couvrant la face cach\u00e9e du corps. Elles d\u00e9barrassent l&rsquo;\u00e9v\u00e9nement-catastrophe des strates en surench\u00e8re des images et commentaires m\u00e9diatiques.<\/strong><\/p>\n<p>Cette vid\u00e9o reconstruit une image du tsunami pour rendre \u00e0 cet \u00e9v\u00e9nement, face \u00e0 la profusion d&rsquo;images extraites du r\u00e9el, toute sa v\u00e9rit\u00e9.<\/p>\n<p><strong>Une image \u00e9pur\u00e9e, sans paroles, sans mots, une \u00e9vocation m\u00e9ditative du tsunami : une quintessence du r\u00e9el.<\/strong><\/p>\n<p>Les images de synth\u00e8se, malgr\u00e9 leur caract\u00e8re fictif, ne sont-elles pas une issue pour r\u00e9activer une pens\u00e9e anesth\u00e9si\u00e9e, redonner du sens et, par leur pouvoir d&rsquo;abstraction, rendre visible l&rsquo;invisible ?<\/p>\n<p><div id=\"metaslider-id-1544\" style=\"max-width: 1024px;\" class=\"ml-slider-3-107-0 metaslider metaslider-flex metaslider-1544 ml-slider has-dots-nav ms-theme-cubic\" role=\"region\" aria-label=\"fiction1\" data-height=\"576\" data-width=\"1024\">\n    <div id=\"metaslider_container_1544\">\n        <div id=\"metaslider_1544\">\n            <ul class='slides'>\n                <li style=\"display: block; width: 100%;\" class=\"slide-1554 ms-image \" aria-roledescription=\"slide\" data-date=\"2014-07-17 10:44:28\" data-filename=\"fiction1_5-1024x576.jpg\" data-slide-type=\"image\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/hugoarcier.com\/test\/wp-content\/uploads\/2014\/07\/fiction1_5-1024x576.jpg\" height=\"576\" width=\"1024\" alt=\"\" class=\"slider-1544 slide-1554 msDefaultImage\" \/><\/li>\n                <li style=\"display: none; width: 100%;\" class=\"slide-1555 ms-image \" aria-roledescription=\"slide\" data-date=\"2014-07-17 10:44:28\" data-filename=\"fiction1_6-1024x576.jpg\" data-slide-type=\"image\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/hugoarcier.com\/test\/wp-content\/uploads\/2014\/07\/fiction1_6-1024x576.jpg\" height=\"576\" width=\"1024\" alt=\"\" class=\"slider-1544 slide-1555 msDefaultImage\" \/><\/li>\n                <li style=\"display: none; width: 100%;\" class=\"slide-1553 ms-image \" aria-roledescription=\"slide\" data-date=\"2014-07-17 10:44:27\" data-filename=\"fiction1_4-1024x576.jpg\" data-slide-type=\"image\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/hugoarcier.com\/test\/wp-content\/uploads\/2014\/07\/fiction1_4-1024x576.jpg\" height=\"576\" width=\"1024\" alt=\"\" class=\"slider-1544 slide-1553 msDefaultImage\" \/><\/li>\n                <li style=\"display: none; width: 100%;\" class=\"slide-1552 ms-image \" aria-roledescription=\"slide\" data-date=\"2014-07-17 10:44:27\" data-filename=\"fiction1_3-1024x576.jpg\" data-slide-type=\"image\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/hugoarcier.com\/test\/wp-content\/uploads\/2014\/07\/fiction1_3-1024x576.jpg\" height=\"576\" width=\"1024\" alt=\"\" class=\"slider-1544 slide-1552 msDefaultImage\" \/><\/li>\n                <li style=\"display: none; width: 100%;\" class=\"slide-1550 ms-image \" aria-roledescription=\"slide\" data-date=\"2014-07-17 10:44:26\" data-filename=\"fiction1_1-1024x576.jpg\" data-slide-type=\"image\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/hugoarcier.com\/test\/wp-content\/uploads\/2014\/07\/fiction1_1-1024x576.jpg\" height=\"576\" width=\"1024\" alt=\"\" class=\"slider-1544 slide-1550 msDefaultImage\" \/><\/li>\n                <li style=\"display: none; width: 100%;\" class=\"slide-1551 ms-image \" aria-roledescription=\"slide\" data-date=\"2014-07-17 10:44:26\" data-filename=\"fiction1_2-1024x576.jpg\" data-slide-type=\"image\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/hugoarcier.com\/test\/wp-content\/uploads\/2014\/07\/fiction1_2-1024x576.jpg\" height=\"576\" width=\"1024\" alt=\"\" class=\"slider-1544 slide-1551 msDefaultImage\" \/><\/li>\n            <\/ul>\n        <\/div>\n        \n    <\/div>\n<\/div><strong>Fiction 1<\/strong>. 2012. <em>Sculpture. Polyamide, peint au spray noir.<\/em><\/p>\n<p><strong>Sur l&rsquo;irr\u00e9alit\u00e9 de certains \u00e9v\u00e9nements.<\/strong><br \/>\nJournal t\u00e9l\u00e9vis\u00e9 du 12 mars 2011. Des anonymes sont interrog\u00e9s pour raconter ce qu&rsquo;ils ont vu de la catastrophe survenue au Japon. Plut\u00f4t que la description factuelle de ce que ces gens ont v\u00e9cu, les mots qui reviennent sont : \u00ab C&rsquo;\u00e9tait comme dans un film \u00bb. Comme si la seule fa\u00e7on d&rsquo;\u00e9noncer correctement ce qu&rsquo;ils ont vu, la seule fa\u00e7on d&rsquo;en exprimer l&rsquo;ampleur, devait passer par la fiction. Dans la bouche des journalistes, on retrouve aussi des allusions \u00e0 la fiction. L&rsquo;expression de \u00ab sc\u00e9nario catastrophe \u00bb est r\u00e9currente et sugg\u00e8re que tout est d\u00e9j\u00e0 \u00e9crit comme au cin\u00e9ma, que la suite des \u00e9v\u00e9nements est d\u00e9tenue dans un script.<br \/>\nQuelle est donc cette \u00e9trange collusion qui existe entre r\u00e9alit\u00e9 et fiction ?<\/p>\n<p>Quelques mois avant le cataclysme, le film de Clint Eastwood Au-del\u00e0 mettait en sc\u00e8ne un raz-de-mar\u00e9e. Il a d\u00fb \u00eatre retir\u00e9 des salles japonaises.<br \/>\nLes Nippons sont les premiers \u00e0 utiliser les catastrophes dans leurs fictions. C&rsquo;est l&rsquo;effet cathartique de la simulation qui est recherch\u00e9, le plaisir d&rsquo;avoir peur et de survivre au bouleversement (fictionnel). Une fa\u00e7on de s&rsquo;entra\u00eener \u00e0 surmonter sa terreur.<br \/>\nChaque nouvelle fiction, dans une logique vaccinale d&rsquo;accoutumance (mithridatisation), est une sorte de piq\u00fbre de rappel qui diminue l&rsquo;impact de l&rsquo;\u00e9v\u00e9nement lorsqu&rsquo;il survient. Cela ne supprime bien s\u00fbr pas totalement l&rsquo;\u00e9motion que l&rsquo;on ressent devant ces images, le m\u00e9lange de peur et d&rsquo;effroi, mais cela cr\u00e9e une translation dans la nature de ces \u00e9mois. Au lieu d&rsquo;\u00eatre troubl\u00e9 par les cons\u00e9quences induites par ces images \u2014 et la logique voudrait que ce soit cela \u2014, on est plut\u00f4t envahi par une \u00e9motion li\u00e9e au d\u00e9cha\u00eenement des forces naturelles, au caract\u00e8re spectaculaire des images. Les fictions, les films catastrophes, les jeux vid\u00e9o, usent de personnages vecteurs d&#8217;empathie, et c&rsquo;est le fait de les conna\u00eetre qui cr\u00e9era, par un ph\u00e9nom\u00e8ne d&rsquo;identification, l&rsquo;\u00e9motion quand la catastrophe arrivera. Les images de journal t\u00e9l\u00e9vis\u00e9 cr\u00e9ent elles aussi des personnages en se focalisant sur des t\u00e9moins et des rescap\u00e9s de la sc\u00e8ne, mais auxquels il manque un contexte (l&rsquo;avant catastrophe) pour que l&rsquo;identification fonctionne parfaitement. Finalement, pour le spectateur \u00e9tranger \u00e0 l&rsquo;\u00e9v\u00e9nement ne restent vraiment des images de reportage que les sc\u00e8nes d&rsquo;\u00ab action \u00bb et de d\u00e9solation\u2026 la vague qui s&rsquo;abat et les ravages qu&rsquo;elle provoque.<br \/>\nSombre ironie, la veille de la catastrophe devait sortir sur Playstation 3 Disaster Report 4, un jeu qui se d\u00e9roule dans un Japon d\u00e9vast\u00e9 par un s\u00e9isme.<br \/>\nEn 2009, l&rsquo;\u00ab anime \u00bb Tokyo magnetude 8 d\u00e9crit l&rsquo;histoire de deux enfants dans une ville d\u00e9truite par un tremblement de terre. Parmi les autres jeux dont la date de sortie au Japon a \u00e9t\u00e9 retard\u00e9e, on peut citer Yakuza: Of the End et Motorstorm: Apocalypse, tous les deux se d\u00e9roulant dans un monde postapocalyptique.<\/p>\n<p>Fiction et r\u00e9alit\u00e9 se m\u00ealent dans un grand tourbillon (Twister).<br \/>\nFiction. R\u00e9alit\u00e9. Fiction. R\u00e9alit\u00e9. Fiction. R\u00e9alit\u00e9. Fiction. R\u00e9alit\u00e9. Fiction. R\u00e9alit\u00e9. Fiction. R\u00e9alit\u00e9.<br \/>\nCe n&rsquo;est plus la fiction qui s&rsquo;inspire de la r\u00e9alit\u00e9, mais la r\u00e9alit\u00e9 qui semble imiter la fiction.<\/p>\n<p>Cette surabondance d&rsquo;\u0153uvres imaginaires tend \u00e0 d\u00e9r\u00e9aliser l&rsquo;\u00e9v\u00e9nement quand il survient. La position de spectateur, le fait de ne pas vivre les \u00e9preuves subjectivement, mais par le biais d&rsquo;un m\u00e9dium (celui-l\u00e0 m\u00eame qui sert aussi \u00e0 voir des fictions), un \u00e9cran, accentue encore la difficile diff\u00e9renciation de ces images. Le m\u00e9lange devient total lorsque, certains s&rsquo;en souviennent peut \u00eatre, un journal de la t\u00e9l\u00e9vision bolivienne a illustr\u00e9 par erreur (pensant d\u00e9tenir une exclusivit\u00e9) le crash du vol Rio-Paris par un extrait de la s\u00e9rie Lost. Cela marque sans aucun doute un point de non-retour, le moment o\u00f9 images fictionnelles et images r\u00e9elles peuvent \u00eatre utilis\u00e9es de fa\u00e7on indiff\u00e9renci\u00e9e et interchangeable.<\/p>\n<p>La sensation de non-r\u00e9alit\u00e9 des images film\u00e9es utilis\u00e9es pour les informations vient aussi de leur rapidit\u00e9 \u00e0 dispara\u00eetre, \u00e0 ne plus int\u00e9resser (c&rsquo;est ce que l&rsquo;on appelle en presse la loi de proximit\u00e9 temporelle). Les faits sont contraints et forc\u00e9s \u00e0 se plier aux lois du spectacle (la Soci\u00e9t\u00e9 du spectacle) et de l&rsquo;audience. Une nouvelle info chasse toujours la pr\u00e9c\u00e9dente, comme si cette derni\u00e8re n&rsquo;avait jamais exist\u00e9, comme s&rsquo;il s&rsquo;agissait d&rsquo;un mauvais r\u00eave, ou plut\u00f4t d&rsquo;un film termin\u00e9. Il n&rsquo;y a pas de suite, m\u00eame si l&rsquo;\u00e9v\u00e9nement continue \u00e0 se d\u00e9rouler. Coupez ! Tout le monde remballe ! Pot de fin de tournage \u00e0 21 heures. <strong>The end<\/strong>.<br \/>\n&nbsp;<br \/>\n&nbsp;<\/p>\n<p>Expositions \/ diffusions :<br \/>\nNuit Blanche 2018, La Folie Num\u00e9rique (Paris, France)<br \/>\nDu 29 septembre au 2 octobre 2016, \u00ab Arte es digital, digital is arte \u00bb, mus\u00e9e Vostell, C\u00e1ceres (Espagne)<br \/>\nPolytechnic Museum (Moscou) 2015<br \/>\nB.I.M. (Biennale de l&rsquo;Image en Mouvement) (Buenos Aires, Argentine) 2014<br \/>\n<a href=\"https:\/\/hugoarcier.com\/fr\/le-cube-nostalgie-du-reel\/\">\u00ab\u00a0Nostalgie du r\u00e9el\u00a0\u00bb<\/a>, Le Cube (Grand Paris, France) 2013<br \/>\n<a href=\"https:\/\/hugoarcier.com\/fr\/norevover\/\">\u00ab\u00a0Norevover\u00a0\u00bb<\/a>, Plateforme (Paris, France) 2012<br \/>\nNew Museum (New York, USA) 2012<br \/>\nVideoformes (Clermont-Ferrand, France) 2012<\/p>\n<p>Ils en parlent :<br \/>\n<a href=\"http:\/\/www.rslnmag.fr\/post\/2012\/08\/01\/le-design-numerique-en-dix-projets-innovants-et-surprenants.aspx\" target=\"_blank\">RSLN-Regards Sur Le Num\u00e9rique<\/a><br \/>\n<a href=\"http:\/\/minimalexposition.blogspot.fr\/2012\/03\/hugo-arcier-two-fictions-reactivated.html\" target=\"_blank\">Minimal Exposition<\/a><br \/>\n<a href=\"http:\/\/www.triangulationblog.com\/2012\/04\/fiction-1-by-hugo-arcier.html\" target=\"_blank\">Triangulation blog<\/a><br \/>\n<a href=\"http:\/\/thecreatorsproject.com\/blog\/a-sobering-perspective-on-the-japan-tsunami\" target=\"_blank\">The Creators Project<\/a><br \/>\n<a href=\"http:\/\/bloghistapercaso.blogspot.it\/2012\/03\/hugo-arcier-fiction-1.html\" target=\"_blank\">Histapercaso blog<\/a><\/p>","protected":false},"excerpt":{"rendered":"<p>Ce film de synth\u00e8se a pour point de d\u00e9part les \u00e9v\u00e9nements qui ont frapp\u00e9 le Japon en mars 2011, et plus exactement la fa\u00e7on dont ils ont \u00e9t\u00e9 trait\u00e9s par les m\u00e9dias.<\/p>\n","protected":false},"author":1,"featured_media":64,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[20,18,14],"tags":[139],"class_list":["post-4","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-art","category-sculpture","category-video","tag-highlight"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.3 - 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