Is destruction a corollary for art? Is it not supposed to be the opposite of creation? Since the dawn of time, humanity has made and unmade. But when artists destroy what they have produced, the stakes are not the same. For better or worse.
Tout l’inventaire des destructions, éditions Incertain Sens, 2018.
Revue Critique, numéro de janvier-février 2019.
ARTS & Sociétés / Lettre du Séminaire N°110, « Objets, déchets », Isabelle Bellin et Christian Duquennoi, mise en ligne sur le site de Sciences-Po en avril 2019.
Alain Coulombel, De nouveaux défis pour l’écologie politique, Les Éditions Utopia, Paris, 2019.
Article de M.H. Miller paru dans le New York Times en mars 2019, « From Claude Monet to Banksy, Why Do Artists Destroy Their Own Work? ». Le passage traduit par nos soins est le suivant : « What is clear is that we’ve now reached a point in which destroying a work can at the very least dredge up decent publicity on behalf of the destroyer, and maybe even produce a desirable object to own. »
Since 2000, French artist Éric Watier has been crafting an inventory of destruction, collecting art works generally destroyed at the hands of their authors. The book, Tout l’inventaire des destructions (An entire inventory of destruction), was published in 20181. The book compiles 200 cases, such as: In 1861, Paul Cézanne writes to Émile Zola: “I…
