[et_pb_section bb_built=\u00a0\u00bb1″ next_background_color=\u00a0\u00bb#000000″ inner_width=\u00a0\u00bbauto\u00a0\u00bb inner_max_width=\u00a0\u00bbnone\u00a0\u00bb][et_pb_row][et_pb_column type=\u00a0\u00bb4_4″][et_pb_text admin_label=\u00a0\u00bbintro\u00a0\u00bb _builder_version=\u00a0\u00bb3.22.1″ module_id=\u00a0\u00bbintro\u00a0\u00bb text_text_shadow_horizontal_length=\u00a0\u00bbtext_text_shadow_style,%91object Object%93″ text_text_shadow_vertical_length=\u00a0\u00bbtext_text_shadow_style,%91object Object%93″ text_text_shadow_blur_strength=\u00a0\u00bbtext_text_shadow_style,%91object Object%93″ link_text_shadow_horizontal_length=\u00a0\u00bblink_text_shadow_style,%91object Object%93″ link_text_shadow_vertical_length=\u00a0\u00bblink_text_shadow_style,%91object Object%93″ link_text_shadow_blur_strength=\u00a0\u00bblink_text_shadow_style,%91object Object%93″ ul_text_shadow_horizontal_length=\u00a0\u00bbul_text_shadow_style,%91object Object%93″ ul_text_shadow_vertical_length=\u00a0\u00bbul_text_shadow_style,%91object Object%93″ ul_text_shadow_blur_strength=\u00a0\u00bbul_text_shadow_style,%91object Object%93″ ol_text_shadow_horizontal_length=\u00a0\u00bbol_text_shadow_style,%91object Object%93″ ol_text_shadow_vertical_length=\u00a0\u00bbol_text_shadow_style,%91object Object%93″ ol_text_shadow_blur_strength=\u00a0\u00bbol_text_shadow_style,%91object Object%93″ quote_text_shadow_horizontal_length=\u00a0\u00bbquote_text_shadow_style,%91object Object%93″ quote_text_shadow_vertical_length=\u00a0\u00bbquote_text_shadow_style,%91object Object%93″ quote_text_shadow_blur_strength=\u00a0\u00bbquote_text_shadow_style,%91object Object%93″ header_text_shadow_horizontal_length=\u00a0\u00bbheader_text_shadow_style,%91object Object%93″ header_text_shadow_vertical_length=\u00a0\u00bbheader_text_shadow_style,%91object Object%93″ header_text_shadow_blur_strength=\u00a0\u00bbheader_text_shadow_style,%91object Object%93″ header_2_text_shadow_horizontal_length=\u00a0\u00bbheader_2_text_shadow_style,%91object Object%93″ header_2_text_shadow_vertical_length=\u00a0\u00bbheader_2_text_shadow_style,%91object Object%93″ header_2_text_shadow_blur_strength=\u00a0\u00bbheader_2_text_shadow_style,%91object Object%93″ header_3_text_shadow_horizontal_length=\u00a0\u00bbheader_3_text_shadow_style,%91object Object%93″ header_3_text_shadow_vertical_length=\u00a0\u00bbheader_3_text_shadow_style,%91object Object%93″ header_3_text_shadow_blur_strength=\u00a0\u00bbheader_3_text_shadow_style,%91object Object%93″ header_4_text_shadow_horizontal_length=\u00a0\u00bbheader_4_text_shadow_style,%91object Object%93″ header_4_text_shadow_vertical_length=\u00a0\u00bbheader_4_text_shadow_style,%91object Object%93″ header_4_text_shadow_blur_strength=\u00a0\u00bbheader_4_text_shadow_style,%91object Object%93″ header_5_text_shadow_horizontal_length=\u00a0\u00bbheader_5_text_shadow_style,%91object Object%93″ header_5_text_shadow_vertical_length=\u00a0\u00bbheader_5_text_shadow_style,%91object Object%93″ header_5_text_shadow_blur_strength=\u00a0\u00bbheader_5_text_shadow_style,%91object Object%93″ header_6_text_shadow_horizontal_length=\u00a0\u00bbheader_6_text_shadow_style,%91object Object%93″ header_6_text_shadow_vertical_length=\u00a0\u00bbheader_6_text_shadow_style,%91object Object%93″ header_6_text_shadow_blur_strength=\u00a0\u00bbheader_6_text_shadow_style,%91object Object%93″ z_index_tablet=\u00a0\u00bb500″]<\/p>\n
Journ\u00e9es d\u2019\u00e9tudes organis\u00e9es par Patricia Luce Limido (Universit\u00e9 Paris Cit\u00e9, Cerilac) et Quentin Gailhac (Universit\u00e9 Paris Cit\u00e9, Cerilac) \u00e0 l\u2019Universit\u00e9 Paris Cit\u00e9 les 12 et 13 mai 2025<\/p>\n<\/div>\n<\/div>\n<\/div>\n
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\u00c0 la question\u00a0\u00ab\u00a0Qu\u2019est-ce qu\u2019une \u0153uvre d\u2019art\u00a0?\u00a0\u00bb, l\u2019\u00e9clatement des pratiques et des mani\u00e8res de faire de l\u2019art semble aujourd\u2019hui nous priver d\u2019une r\u00e9ponse univoque.<\/p>\n
D\u2019un c\u00f4t\u00e9, la diversification progressive des crit\u00e8res normatifs permettant de reconna\u00eetre \u00e0 un objet ou \u00e0 une production le statut d\u2019\u0153uvre d\u2019art a sensiblement contribu\u00e9 \u00e0 relativiser la distinction, jadis op\u00e9ratoire, entre les objets<\/em>, qu\u2019ils soient le r\u00e9sultat d\u2019un travail artisanal ou d\u2019une production industrielle, non destin\u00e9s en eux-m\u00eames \u00e0 l\u2019appr\u00e9ciation esth\u00e9tique, et les \u0153uvres<\/em>, fruits d\u2019une cr\u00e9ation que d\u00e9termine un contenu esth\u00e9tique propre.<\/p>\n D\u2019un autre c\u00f4t\u00e9, cette \u00e9volution du sens et du statut de l\u2019\u0153uvre d\u2019art a eu pour effet d\u2019int\u00e9grer au domaine artistique des productions qui ne revendiquaient plus n\u00e9cessairement le statut d\u2019\u0153uvre, ou dont la forme sp\u00e9cifique rendait aussit\u00f4t maladroit l\u2019usage de ce concept, comme si l\u2019art pouvait exister ind\u00e9pendamment des \u0153uvres qui, autrefois, permettaient de peupler et de circonscrire tout \u00e0 la fois un domaine autonome et s\u00e9par\u00e9 des autres domaines de la r\u00e9alit\u00e9.<\/p>\n Cette situation artistique autant que th\u00e9orique pr\u00e9cise ainsi la question initiale en red\u00e9finissant apparemment la t\u00e2che de l\u2019esth\u00e9tique comme de la philosophie de l\u2019art, qui n\u2019est plus tant de formuler normativement des crit\u00e8res susceptibles de distinguer par des caract\u00e8res d\u2019essence les \u0153uvres des autres objets du monde, que de s\u2019associer \u00e0 une multiplicit\u00e9 artistique d\u00e9sormais irr\u00e9ductible pour d\u00e9finir des modes d\u2019existence et des formes de r\u00e9alit\u00e9. La question \u00ab\u00a0Qu\u2019est-ce qu\u2019une \u0153uvre d\u2019art\u00a0? \u00bb devient ainsi : \u00ab\u00a0Comment les \u0153uvres d\u2019art, et plus g\u00e9n\u00e9ralement les productions artistiques, existent-elles ?\u00a0\u00bb.<\/p>\n Loin de r\u00e9soudre ou m\u00eame d\u2019annuler le probl\u00e8me de la distinction entre \u0153uvres et objets, un tel programme th\u00e9orique en r\u00e9active au contraire les difficult\u00e9s, en interrogeant \u00e0 nouveaux frais la double dimension de r\u00e9alit\u00e9 et d\u2019id\u00e9alit\u00e9 propre \u00e0 l\u2019\u0153uvre d\u2019art. Si l\u2019on affirme g\u00e9n\u00e9ralement que la r\u00e9alit\u00e9 et l\u2019id\u00e9alit\u00e9 de l\u2019\u0153uvre s\u2019opposent comme sa mat\u00e9rialit\u00e9 physique s\u2019oppose \u00e0 son sens, aux valeurs et aux repr\u00e9sentations qui l\u2019investissent, on peut l\u00e9gitimement s\u2019interroger sur la validit\u00e9 de cette opposition dans le contexte d\u2019une red\u00e9finition constante des pratiques artistiques et de l\u2019extension, \u00e0 des degr\u00e9s quelquefois insensibles, des fronti\u00e8res de l\u2019art. D\u2019une part, et du point de vue de la diversit\u00e9 des types d\u2019\u0153uvres d\u2019art (certaines ne poss\u00e9dant pas de support physique ou de substrat mat\u00e9riel), il est clair qu\u2019une telle distinction risque de manquer pr\u00e9cis\u00e9ment la r\u00e9alit\u00e9 <\/em>de chaque \u0153uvre au profit d\u2019une opposition g\u00e9n\u00e9rale et finalement abstraite. D\u2019autre part, il s\u2019agirait d\u2019interroger le sens m\u00eame de cette opposition afin de penser la mani\u00e8re dont l\u2019\u0153uvre d\u2019art, au lieu d\u2019exister entre<\/em> deux dimensions<\/em> (mat\u00e9rielle et spirituelle, r\u00e9elle et id\u00e9elle), cr\u00e9e toujours son mode d\u2019existence sp\u00e9cifique, qui appelle une requalification de ces dimensions elles-m\u00eames.<\/p>\n Les Journ\u00e9es d\u2019\u00e9tudes \u00ab\u00a0R\u00e9alit\u00e9 et id\u00e9alit\u00e9 de l\u2019\u0153uvre d\u2019art\u00a0\u00bb seront ainsi l\u2019occasion d\u2019examiner cette question sous plusieurs aspects. On s\u2019attachera aussi bien \u00e0 l\u2019analyse d\u2019\u0153uvres d\u2019art anciennes et \u00e0 leur forme d\u2019existence dans le contexte de leur r\u00e9ception, de leur interpr\u00e9tation et de leur restauration quand cela s\u2019y pr\u00eate, qu\u2019\u00e0 des \u0153uvres ou \u00e0 des productions artistiques plus contemporaines qui, soit, \u00e9chappent au paradigme de l\u2019\u0153uvre d\u2019art en red\u00e9finissant ainsi le statut de la dualit\u00e9 conceptuelle r\u00e9alit\u00e9\/id\u00e9alit\u00e9, soit, qui s\u2019y inscrivent toujours pleinement \u00e0 des conditions que l\u2019on d\u00e9gagera sous cet horizon.<\/p>\n Axes possibles des interventions\u00a0(liste non-exhaustive)<\/strong><\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Nous invitons toutes les personnes int\u00e9ress\u00e9es, et tout particuli\u00e8rement les jeunes chercheur.e.s en doctorat et en post-doctorat, \u00e0 nous soumettre un r\u00e9sum\u00e9 de communication d\u2019une longueur de 800 mots accompagn\u00e9 du titre de leur intervention et d\u2019une br\u00e8ve notice bio-bibliographique avant le 20 d\u00e9cembre 2024 aux deux adresses suivantes\u00a0: patricia.limido@orange.fr<\/a> et gailhacquentin@gmail.com<\/a><\/p>\n Les communications ne d\u00e9passeront pas 30 minutes et seront suivies d\u2019une discussion de 15 minutes.<\/p>\n Les frais de d\u00e9placement et d\u2019h\u00e9bergement ne pourront peut-\u00eatre pas \u00eatre pris en charge.<\/p>\n BAILLY, Jean-Christophe, Sur la forme<\/em>, Paris, Manuella Editions, 2013.<\/p>\n BELTING, Hans, Image et culte. Une histoire de l\u2019image avant l\u2019\u00e9poque de l\u2019art<\/em>, trad. fr. Franck Muller, Paris, Cerf, 1998.<\/p>\n BENJAMIN, Walter, L\u2019\u0153uvre d\u2019art \u00e0 l\u2019\u00e9poque de sa reproductibilit\u00e9 technique<\/em>, dans \u0152uvres III<\/em>, Paris, Gallimard, \u00ab\u00a0Folio\/Essais\u00a0\u00bb, 2000.<\/p>\n B\u00d6HME, Gernot, Aisth\u00e9tique. Pour une esth\u00e9tique de l\u2019exp\u00e9rience sensible<\/em>, trad. fr. Martin Kaltenecker, Franck Lemonde, Dijon, Les Presses du r\u00e9el, 2020.<\/p>\n CAILLET, Aline, POUILLAUDE, Fr\u00e9d\u00e9ric (dir.), Un art documentaire. Enjeux esth\u00e9tiques, politiques et \u00e9thiques<\/em>, Rennes, Presses universitaires de Rennes, \u00ab\u00a0\u00c6sthetica\u00a0\u00bb, 2017.<\/p>\n COLLINGWOOD, Robin G., The Principles of Art<\/em>, Oxford, Clarendon Press, 1938.<\/p>\n CONRAD-MARTIUS, Hedwig, \u00ab\u00a0Die Irrealit\u00e4t des Kunstwerks\u00a0\u00bb, dans Schriften zur Philosophie<\/em>, t. 3, Munich, K\u00f6sel, 1965.<\/p>\n DANTO, Arthur, La transfiguration du banal. Une philosophie de l\u2019art<\/em>, trad. fr.\u00a0 Paris, Seuil, \u00ab\u00a0Po\u00e9tique\u00a0\u00bb, 1989.<\/p>\n DANTO, Arthur, La Madone du futur<\/em>, trad. fr. Claude-Harry Schaeffer, Paris, Seuil, \u00ab\u00a0Po\u00e9tique\u00a0\u00bb, 2003.<\/p>\n DUFRENNE, Mikel, Ph\u00e9nom\u00e9nologie de l\u2019exp\u00e9rience esth\u00e9tique<\/em>, Paris, Presses universitaires de France, coll. \u00ab\u00a0\u00c9pim\u00e9th\u00e9e\u00a0\u00bb, 1953.<\/p>\n GENETTE, G\u00e9rard, L\u2019\u0153uvre de l\u2019art. <\/em>t.1, Immanence et transcendance<\/em>, Paris, Seuil, \u00ab\u00a0Po\u00e9tique\u00a0\u00bb, 1994.<\/p>\n GOEHR, Lydia, Le mus\u00e9e imaginaire des \u0153uvres d\u2019art musicales<\/em>, trad. fr. Christophe Jaquet, Paris, \u00c9ditions de la Philharmonie, \u00ab\u00a0Rue musicale\u00a0\u00bb, 2018.<\/p>\n GOODMAN, Nelson, Mani\u00e8res de faire des mondes<\/em>, Paris, Gallimard, \u00ab\u00a0Folio\/Essais\u00a0\u00bb, 2006.<\/p>\n GOODMAN, Nelson, Langages de l\u2019art<\/em>, Paris, Fayard, \u00ab\u00a0Pluriel\u00a0\u00bb, 2011.<\/p>\n HEGEL, G.W.F, Cours d\u2019esth\u00e9tique<\/em>, 3 t. Paris, Aubier, trad. fr. Jean-Pierre Lefebvre, \u00ab\u00a0Biblioth\u00e8que philosophique\u00a0\u00bb, 1995-1998.<\/p>\n INGARDEN, Roman, Qu\u2019est-ce qu\u2019une \u0153uvre musicale ?<\/em>, trad. fr. Dujka Smoje, Paris, Bourgois, 1989.<\/p>\n INGARDEN, Roman, Esth\u00e9tique et ontologie de l\u2019oeuvre d\u2019art. Choix de textes 1937-1969<\/em>, trad. fr. Patricia Luce Limido, Paris, Vrin, \u00ab\u00a0Essais d\u2019art et de philosophie\u00a0\u00bb, 2011.<\/p>\n INGARDEN, Roman, Sur la peinture abstraite<\/em>, trad. fr. Marc de Launay, Paris, Hermann, \u00ab\u00a0Le Bel Aujourd\u2019hui\u00a0\u00bb, 2013.<\/p>\n INGARDEN, Roman, Conna\u00eetre une \u0153uvre d\u2019art litt\u00e9raire<\/em>, trad. fr. Patricia Luce Limido avec la coll. d\u2019Olivier Malherbe et Circ\u00e9 Furtw\u00e4ngler, Rennes, Presses universitaires de Rennes, \u00ab\u00a0\u00c6sthetica\u00a0\u00bb, 2024.<\/p>\n JANSSENS, Ann Veronica, Serendipity<\/em>, Bruxelles, Wiels, 2012.<\/p>\n LEVINSON, Jerrold, Essais de philosophie de la musique<\/em>. D\u00e9finition, ontologie, interpr\u00e9tation<\/em>, trad. fr. Cl\u00e9ment Canonne et Pierre Saint-Germier, Paris, Vrin, \u00ab\u00a0MusicologieS\u00a0\u00bb, 2015.<\/p>\n MALDINEY, Henri, Ouvrir le rien. L\u2019art nu<\/em>, Encre Marine, 2010. \u00a0<\/p>\n MICHAUD, Yves, \u00ab\u00a0L\u2019art c\u2019est bien fini\u00a0\u00bb, Essai sur l\u2019hyper-esth\u00e9tique des atmosph\u00e8res<\/em>, Paris, Gallimard, \u00ab\u00a0NRF essais\u00a0\u00bb, Gallimard, 2021.<\/p>\n POUILLAUDE, Fr\u00e9d\u00e9ric, Le D\u00e9s\u0153uvrement chor\u00e9graphique. \u00c9tude sur la notion d\u2019\u0153uvre en danse<\/em>, Paris, Vrin, \u00ab\u00a0Essais d\u2019art et de philosophie\u00a0\u00bb, 2009.<\/p>\n RANCI\u00c8RE, Jacques, Le destin des images<\/em>, Paris, La fabrique \u00e9ditions, 2003.<\/p>\n S\u00c8VE, Bernard, Les mat\u00e9riaux de l\u2019art<\/em>, Paris, Seuil, \u00ab Les livres du nouveau monde\u00a0\u00bb,\u00a02023.<\/p>\n SARTRE, Jean-Paul, L\u2019imaginaire. Psychologie ph\u00e9nom\u00e9nologique de l\u2019imagination<\/em>, Paris, Gallimard, \u00ab\u00a0Folio essais\u00a0\u00bb, 2005.<\/p>\n WOLLHEIM, Richard, L\u2019art et ses objets<\/em>, trad. fr. Richard Crevier, Aubier, \u00ab\u00a0Philosophie\u00a0\u00bb, 1994.<\/p>\n [\/et_pb_text][\/et_pb_column][et_pb_column type=\u00a0\u00bb1_4″][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section bb_built=\u00a0\u00bb1″ specialty=\u00a0\u00bboff\u00a0\u00bb prev_background_color=\u00a0\u00bb#000000″ _builder_version=\u00a0\u00bb3.19.11″ custom_padding=\u00a0\u00bb0px||0px|\u00a0\u00bb inner_width=\u00a0\u00bbauto\u00a0\u00bb inner_max_width=\u00a0\u00bbnone\u00a0\u00bb][et_pb_row _builder_version=\u00a0\u00bb3.19.11″ width=\u00a0\u00bb80%\u00a0\u00bb max_width=\u00a0\u00bb1080px\u00a0\u00bb][et_pb_column type=\u00a0\u00bb4_4″][et_pb_text admin_label=\u00a0\u00bbArticles similaires\u00a0\u00bb _builder_version=\u00a0\u00bb3.16.1″]<\/p>\n [\/et_pb_text][et_pb_blog _builder_version=\u00a0\u00bb3.21″ posts_number=\u00a0\u00bb4″ include_categories=\u00a0\u00bb38,45,14,12,11,15,1,13″ show_author=\u00a0\u00bboff\u00a0\u00bb show_date=\u00a0\u00bboff\u00a0\u00bb show_pagination=\u00a0\u00bboff\u00a0\u00bb border_width_bottom_fullwidth=\u00a0\u00bb1px\u00a0\u00bb border_color_bottom_fullwidth=\u00a0\u00bbrgba(51,51,51,0.18)\u00a0\u00bb custom_padding=\u00a0\u00bb||50px|\u00a0\u00bb module_id=\u00a0\u00bbpage_type_blog\u00a0\u00bb header_level=\u00a0\u00bbh4″ \/][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":" Journ\u00e9es d\u2019\u00e9tudes organis\u00e9es par Patricia Luce Limido (Universit\u00e9 Paris Cit\u00e9, Cerilac) et Quentin Gailhac (Universit\u00e9 Paris Cit\u00e9, Cerilac) \u00e0 l\u2019Universit\u00e9 Paris Cit\u00e9 les 12 et 13 mai 2025 Les sables, Lucien Clergue <\/p>\n Argumentaire\u00c0 la question\u00a0\u00ab\u00a0Qu\u2019est-ce qu\u2019une \u0153uvre d\u2019art\u00a0?\u00a0\u00bb, l\u2019\u00e9clatement des pratiques et des mani\u00e8res de faire de l\u2019art semble aujourd\u2019hui nous priver d\u2019une… Lire la suite AAC JE \u00ab\u00a0R\u00e9alit\u00e9 et id\u00e9alit\u00e9 de l\u2019\u0153uvre d\u2019art\u00a0\u00bb<\/span><\/a><\/p>\n","protected":false},"author":73,"featured_media":5300,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"categories":[1],"tags":[28],"class_list":["post-5299","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-cerilac","tag-actualites-daccueil"],"_links":{"self":[{"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/posts\/5299","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/users\/73"}],"replies":[{"embeddable":true,"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/comments?post=5299"}],"version-history":[{"count":3,"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/posts\/5299\/revisions"}],"predecessor-version":[{"id":5303,"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/posts\/5299\/revisions\/5303"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/media\/5300"}],"wp:attachment":[{"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/media?parent=5299"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/categories?post=5299"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/tags?post=5299"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}\n
Modalit\u00e9s de soumission des propositions\u00a0<\/h3>\n
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Bibliographie indicative<\/h3>\n
\u00c0<\/span> lire aussi<\/h2>\n