{"id":424,"date":"2013-08-01T15:39:00","date_gmt":"2013-08-01T14:39:00","guid":{"rendered":"https:\/\/www.vincentdulom.com\/editorial\/?p=424"},"modified":"2026-07-15T00:48:39","modified_gmt":"2026-07-14T23:48:39","slug":"vertus-de-la-penurie","status":"publish","type":"post","link":"https:\/\/www.vincentdulom.com\/editorial\/textes\/424","title":{"rendered":"Vertus de la p\u00e9nurie (FR-EN)"},"content":{"rendered":"\n

Par Muriel Leray<\/em> <\/p>\n\n\n\n

Le travail de Vincent Dulom est sans sc\u00e9nario.<\/p>\n\n\n\n

On nomme processus le mouvement, la trajectoire entre un point A et un point B. Pour obtenir ce processus, des sc\u00e9narios sont appliqu\u00e9s au traitement des images, des objets, du son, etc. C\u2019est du moins un mode de fonctionnement majeur des productions du champ de l\u2019art contemporain.<\/p>\n\n\n\n

Ici, pas de point A, pas de point B, seulement une origine.<\/p>\n\n\n\n

Et, une origine qui n\u2019est pas une id\u00e9e. Encore une distinction. Nous avons donc, \u00e0 profusion : des processus sc\u00e9naris\u00e9s, motiv\u00e9s par une id\u00e9e, diffus\u00e9s sur de tr\u00e8s beaux objets, tr\u00e8s vari\u00e9s (puisqu\u2019en tant qu\u2019objets au-service-de, ils ne sont plus soumis qu\u2019\u00e0 une seule contrainte : \u00eatre un transmetteur, passif, une repr\u00e9sentation), de la m\u00eame fa\u00e7on que des programmes sont diffus\u00e9s sur de rutilants \u00e9crans plasma (aux attributs techniques d\u00e9finis selon les fluctuations des besoins du march\u00e9, des modes, des orientations des fabricants, etc.). Mais pas ici. La peinture de Vincent Dulom est \u00e9trang\u00e8re aux \u00e9crans plasma.<\/p>\n\n\n\n

D\u00e9finitivement un contreprocessus : presque un exil.<\/p>\n\n\n\n

Cela veut dire : mises en \u00e9chec des strat\u00e9gies d\u2019abondance. Pas de recours \u00e0 l\u2019imagination, c\u2019est\u00e0dire la formation d\u2019une image dans l\u2019espace mental ; \u00e0 la place ses oeuvres proposent une rencontre, une mise en rapport beaucoup moins commune. On pourrait dire : une exp\u00e9rience forte de fusion. Le temps est au dessus.<\/p>\n\n\n\n

Ou simplement : le plus court chemin entre l\u2019homme et la peinture.<\/p>\n\n\n\n

C\u2019est en passant un tour de force, si l\u2019on remarque qu\u2019une sp\u00e9cificit\u00e9 formelle des oeuvres de Vincent Dulom est d\u2019\u00eatre des peintures qui flottent, hors de port\u00e9e. Il y a une fracture entre la peinture et son support, mais ce n\u2019est pas un obstacle entre l\u2019usager de l\u2019oeuvre et le travail. Au contraire, ces fractures-l\u00e0 sont peut-\u00eatre ce qui rend possible de court-circuiter les repr\u00e9sentations, les associations d\u2019id\u00e9es, etc., c\u2019est-\u00e0-dire \u00e9galement d\u2019aller au-del\u00e0, ou \u00e0 c\u00f4t\u00e9, de ce qui nous est connu. Chercher la faille, ce qui se d\u00e9robe, donne un espace en dehors du bruit. Les peintures de Vincent Dulom sont en suspens, et nous offrent la possibilit\u00e9 de l\u2019\u00eatre aussi.<\/p>\n\n\n\n

Amusonsnous \u00e0 dire : sans l\u2019ombre d\u2019un doute.<\/p>\n\n\n\n

Mais rappelons : ni lui ni son travail ne se situent dans la cat\u00e9gorie des beaux parleurs. On peut \u00e9voquer longuement la subtilit\u00e9 de sa peinture ; on peut aussi aller y chercher ce qui est solide, r\u00e9sistant, dur, s\u00fbr (vrai ?). Vincent Dulom poursuit, continue, maintient. Il nous est permis \u00e0 tous d\u2019errer, sauf peut-\u00eatre pour ce qui compte. Faire avancer la pens\u00e9e, compte. Le travail fait sens, et le peintre sait ce qu\u2019il fait (ou du moins, s\u2019inqui\u00e8te de savoir ce qu\u2019il fait : ce qui est encore mieux). Ensemble, ils donnent une force.<\/p>\n\n\n\n

On y croit comme on croit \u00e0 l\u2019existence d\u2019une pierre.<\/p>\n\n\n\n

Paris, ao\u00fbt 2013
Notice de l\u2019exposition D\u00e9dale<\/em>. Lyon, 2013<\/p>\n\n\n\n

\u2014<\/p>\n\n\n\n

Muriel Leray est artiste. Dipl\u00f4m\u00e9e de l\u2019\u00c9cole Nationale Sup\u00e9rieure des Beaux-Arts de Paris, elle a d\u00e9j\u00e0 pr\u00e9sent\u00e9 son travail dans de nombreuses expositions en France et \u00e0 l\u2019\u00e9tranger.

<\/p>\n\n\n\n

\n\n\n\n

The Virtues of Scarcity
<\/h2>\n\n\n\n

By Muriel Leray<\/em>
<\/p>\n\n\n\n

Vincent Dulom\u2019s painting is not scripted.<\/p>\n\n\n\n

The process of movement is defined as a trajectory between position A and position B. To obtain this, storylines are applied to treat images, objects, sounds, etc. At least that is a major operating mode in the field of contemporary art, today.<\/p>\n\n\n\n

Here, no A point, no B point, just a beginning.<\/p>\n\n\n\n

An equally distinctive quality is that this beginning is not based on an idea. We have a profusion of habitual options: processes with synopses, justified by ideas, diffused on beautiful objects, in various shapes and forms (because they are servile objects, their only obligation is to be a passive transmitter: a representation); in the same way, programs are broadcast on vivid plasma screens (imbued with technical capacities, defined by the fluctuations of the market\u2019s needs, the latest tendencies, the manufacturers\u2019 orientations, etc.) Plasma screens are extraneous to Vincent Dulom\u2019s painting.<\/p>\n\n\n\n

Definitely a counter-procedure: almost an exile.<\/p>\n\n\n\n

That signified: here, the strategies of abundance fail. Using imagination is not an option either, no mental images are created here; instead, the work suggests an encounter, a much less common relationship in terms. One could say: a strong experience of fusion.Time is placed on hold.<\/p>\n\n\n\n

Put simply: the shortest distance between man and painting.<\/p>\n\n\n\n

It is an amazing feat, if you take into account one of the formal specificities of Vincent Dulom\u2019s work: that the paintings hover, out of reach. There is a fracture between the paint and its tangible medium, but it is not an obstacle between the user and the work. On the contrary, this kind of fracture is possibly what is necessary to short-circuit representational images, associations of ideas, etc., to go beyond, or sidestep, what we know and are familiar with. A breakthrough, what is giving way is creating a space outside noise, in silence. Vincent Dulom\u2019s paintings are suspended, and they offer us the possibility of being silently poised on the brink with them.<\/p>\n\n\n\n

It\u2019s amusing to say: without the shadow of a doubt.<\/p>\n\n\n\n

But remember, neither he, nor his work are smooth talkers. You can evoke, at length, the subtle refinement of his painting: you can also look for what is strong, tough, hard, sure (true?) in the work. Vincent Dulom pursues, continues, maintains. Everyone can drift around, except maybe when things that really matter are concerned. Helping ideas evolve matters. The work has meaning, and the painter knows what he\u2019s doing (or, at the least, he questions what he\u2019s doing and why, which is even better). Together, they are strengthened.<\/p>\n\n\n\n

You believe in this, like the belief in the existence of a rock.<\/p>\n\n\n\n

Paris, August 2013<\/p>\n\n\n\n

Presentation of the one man show Dedalus<\/em>, 
Head Office CIC Lyons Bank, 2013<\/p>\n\n\n\n

\u2014<\/p>\n\n\n\n

Muriel Leray is an artist. Graduate of the \u00c9cole Nationale Sup\u00e9rieure des Beaux Arts in Paris, she has already shown her work in numerous exhibitions in France and abroad<\/p>\n\n\n\n

\u2014<\/p>\n\n\n\n

English translation:  Linda Calderon<\/p>\n\n\n\n

\u2014<\/p>\n\n\n\n

Rereading : Muriel Leray<\/p>\n","protected":false},"excerpt":{"rendered":"

Par Muriel Leray  Le travail de Vincent Dulom est sans sc\u00e9nario. On nomme processus le mouvement, la trajectoire entre un point A et un point B. Pour obtenir ce processus, des sc\u00e9narios sont appliqu\u00e9s au traitement des images, des objets, du son, etc. C\u2019est du moins un mode de fonctionnement majeur des productions du champ […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[6],"tags":[],"class_list":["post-424","post","type-post","status-publish","format-standard","hentry","category-textes"],"_links":{"self":[{"href":"https:\/\/www.vincentdulom.com\/editorial\/wp-json\/wp\/v2\/posts\/424","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.vincentdulom.com\/editorial\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.vincentdulom.com\/editorial\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.vincentdulom.com\/editorial\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.vincentdulom.com\/editorial\/wp-json\/wp\/v2\/comments?post=424"}],"version-history":[{"count":3,"href":"https:\/\/www.vincentdulom.com\/editorial\/wp-json\/wp\/v2\/posts\/424\/revisions"}],"predecessor-version":[{"id":688,"href":"https:\/\/www.vincentdulom.com\/editorial\/wp-json\/wp\/v2\/posts\/424\/revisions\/688"}],"wp:attachment":[{"href":"https:\/\/www.vincentdulom.com\/editorial\/wp-json\/wp\/v2\/media?parent=424"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.vincentdulom.com\/editorial\/wp-json\/wp\/v2\/categories?post=424"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.vincentdulom.com\/editorial\/wp-json\/wp\/v2\/tags?post=424"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}