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La rue comme palette. Une Pietà sud-africaine, Soweto/Warwick, mai 2002, Ernest Pignon-Ernest

Abstract : In May 2002, French artist Ernest Pignon-Ernest glued on the walls of Warwick (Durban) and Kliptown (Soweto) a serie of life-sized serigraphies representing an African Pietà carrying the body of a male, African, AIDS sufferer. In so doing, Pignon-Ernest made a move out of his usual, Mediterranean, context of intervention. This geographical displacement showcases the relationship that contemporary, outdoors and in-situ art entertains with the notion of place, and offers geographers a unique opportunity to both analyze and theorize the spatial dimension of artistic practices. By scrutinizing the spatialities of this specific work of art, we assess the various concepts elaborated by aesthetics, art history and critique. We also promote a relational conception of place and the objects within-a conception we call, following A. Berque, chôreic-over a more positional conception, traditionally centred on the work of art. This relational conception owes to several geographical concepts and highlights the fact that art and geography do share a lot-a finding of heuristic value. As fieldworking and drawing construct the Pietà, they simultaneously show the way towards a new geographical approach of contemporary art and the political significance of an artwork that draws on the model of land claiming.
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Submitted on : Wednesday, September 9, 2020 - 2:49:24 PM
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Anne Volvey, Myriam Houssay-Holzschuch. La rue comme palette. Une Pietà sud-africaine, Soweto/Warwick, mai 2002, Ernest Pignon-Ernest. Travaux de l’Institut de Géographie de Reims. Spatialités de l’art , 2009. ⟨hal-02934595⟩



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