{"id":473,"date":"2023-09-21T21:40:00","date_gmt":"2023-09-21T20:40:00","guid":{"rendered":"https:\/\/www.vincentdulom.com\/editorial\/?p=473"},"modified":"2026-07-16T22:13:02","modified_gmt":"2026-07-16T21:13:02","slug":"sans-titre","status":"publish","type":"post","link":"https:\/\/www.vincentdulom.com\/editorial\/textes\/473","title":{"rendered":"[sans titre] catalogue \u00ab\u00a0du temps \u00e0 l\u2019autre\u00a0\u00bb (FR – EN)"},"content":{"rendered":"\n

Par Elora Weill-Engerer<\/em><\/p>\n\n\n\n

Un nystagmus est un mouvement involontaire et saccad\u00e9 des yeux. Il se produit par exemple lorsqu\u2019on voit le paysage d\u00e9filer sur l\u2019autoroute. Quand Vincent Dulom parle de son travail, on peut remarquer que son regard se tourne vers le haut et que ses yeux suivent ce rapide mouvement d\u2019oscillation propre au nystagmus, balayant l\u2019espace d\u2019un c\u00f4t\u00e9 \u00e0 l\u2019autre. Ces yeux erratiques sont dans la recherche dynamique\u2009: ils fouillent le ciel ou quelque chose \u00e0 l\u2019int\u00e9rieur de soi, en qu\u00eate du mot juste. Pour bien voir, selon Roland Barthes, \u00ab\u2009il vaut mieux lever la t\u00eate ou fermer les yeux\u2009\u00bb\u20091<\/sup> . La raison \u00e0 donner \u00e0 cela est peut-\u00eatre que, pour reprendre Denis Diderot, le mot court toujours apr\u00e8s la pens\u00e9e. La parole joue \u00e0 chat avec la peinture car la lin\u00e9arit\u00e9 de la premi\u00e8re \u00e9chappe au trouble de la seconde. Cette diff\u00e9rence de nature profonde m\u2019engage \u00e0 parler du travail de Vincent Dulom par le truchement d\u2019un troisi\u00e8me intercesseur\u2009: le corps. <\/p>\n\n\n\n

Conjuguer la chair et la technicit\u00e9, placer l\u2019oeuvre tr\u00e8s exactement \u00ab\u2009entre la toise du savant et le vertige du fou\u2009\u00bb\u20092<\/sup>\u2009: malgr\u00e9 une immobilit\u00e9 physique apparente, les sens sont convoqu\u00e9s. Cette beaut\u00e9 \u00ab\u2009explosante\u2011fixe\u2009\u00bb\u20093<\/sup> est en constante et silencieuse mutation\u2009: il en va d\u2019une \u00e9nergie de la dilatation, de l\u2019oscillation, de la contraction, du r\u00e9tr\u00e9cissement, de l\u2019absorption qui part ou converge vers un foyer diffus\u200a; ce sont, pr\u00e9cis\u00e9ment, autant de phases en rapport avec les dynamiques internes du corps du regardeur. Celles des poumons, du c\u0153ur ou de la pupille qui op\u00e8rent sans bruit. La peinture se d\u00e9-peint \u2014 comme une \u00e9criture qui se d\u00e9s-\u00e9crit \u2014 et se regorge du regard de l\u2019autre\u2009: l\u2019\u0153il aussi boit et se laisse boire. L\u2019ensemble de ces affinit\u00e9s que Vincent Dulom entretient avec la peinture se traduit par ce que l\u2019on pourrait appeler la \u00ab\u2009th\u00e9orie du buvard\u2009\u00bb. Emprunt\u00e9e \u00e0 l\u2019\u00e9criture sartrienne, cette m\u00e9taphore \u00e9bauche une ph\u00e9nom\u00e9nologie de l\u2019absorption et de la cl\u00f4ture dans le processus artistique\u20094<\/sup>. Le buvard qui boit l\u2019encre limite le d\u00e9bordement, tache ou bavure. Dans le m\u00eame temps, il permet un d\u00e9ploiement par capillarit\u00e9. Le buvard concentre et vaporise \u00e0 la fois.<\/p>\n\n\n\n

Pour faire tenir une feuille en \u00e9quilibre, Vincent Dulom courbe l\u00e9g\u00e8rement ses bords et la balance doucement, comme un labyrinthe dont on incline la surface pour guider une bille\u20095<\/sup>. En observant ce balancement, je m\u2019attends \u00e0 ce que la peinture se transforme ou que la bille sorte du labyrinthe. En r\u00e9alit\u00e9, c\u2019est notre \u0153il qui se d\u00e9place. Dans son ouvrage majeur, Voir le voir, John Berger a explor\u00e9 brillamment la mani\u00e8re dont nous interagissons avec le monde qui nous entoure \u00e0 travers notre regard. Berger a soulign\u00e9 que notre vision est bien plus qu\u2019un simple ph\u00e9nom\u00e8ne passif de r\u00e9ception d\u2019images. Au contraire, il en va d\u2019un processus actif de cr\u00e9ation \u00e0 partir des stimuli visuels que nous percevons\u2009: les muscles de l\u2019iris contr\u00f4lent la taille de la pupille. Dans l\u2019histoire de la vision, l\u2019extramissionnisme, largement d\u00e9pass\u00e9 par la science moderne, est une th\u00e9orie d\u00e9fendue par certains philosophes et savants de l\u2019Antiquit\u00e9. Ces derniers sugg\u00e8rent que les yeux \u00e9mettent des rayons visuels se propageant jusqu\u2019\u00e0 un objet pour en permettre la vision. La vue, selon cette id\u00e9e, proc\u00e8de directement du toucher, \u00e0 la mani\u00e8re d\u2019un Saint Thomas incr\u00e9dule devant la plaie du Christ qui doit toucher pour croire ce qu\u2019il voit. Cette sensibilit\u00e9 esth\u00e9tique appuy\u00e9e sur la combinaison de la vue et du toucher se range sous ce que Gilles Deleuze nomme l\u2019haptique (Francis Bacon. Logique de la sensation). Du grec apto, \u00ab toucher\u2009\u00bb, l\u2019haptique est la d\u00e9couverte par la vue d\u2019une fonction du toucher qui lui est propre. La th\u00e9orie de l\u2019extramissionnisme rappelle la complexit\u00e9 de toute interaction sensorielle. Surtout, \u00e0 l\u2019oppos\u00e9 d\u2019un esth\u00e9tisme dominant dans l\u2019histoire de l\u2019art, h\u00e9ritier des principes kantiens de l\u2019\u0153uvre d\u2019art comme un plaisir pur et d\u00e9sint\u00e9ress\u00e9, il s\u2019agit peut-\u00eatre, \u00e0 partir de cette pens\u00e9e, de consid\u00e9rer le pragmatisme de la peinture de Vincent Dulom, c\u2019est-\u00e0-dire sa fonction d\u2019action plut\u00f4t que de repr\u00e9sentation. Dans une sc\u00e8ne prototypique de la rencontre en litt\u00e9rature, Flaubert \u00e9crit\u2009: \u00ab Ce fut comme une apparition\u2009: […] il ne distingua personne, dans l\u2019\u00e9blouissement que lui envoy\u00e8rent ses yeux. En m\u00eame temps qu\u2019il passait, elle leva la t\u00eate […] et, quand il se fut mis plus loin, du m\u00eame c\u00f4t\u00e9, il la regarda. […] Leurs yeux se rencontr\u00e8rent\u2009\u00bb (L\u2019\u00c9ducation sentimentale, 1891). L\u2019\u00e9v\u00e8nement de la rencontre amoureuse, contenu dans l\u2019\u00e9change de regards, ne repose sur aucune \u00e9vidence visible. Autrement dit\u2009: la rencontre ne \u00ab saute pas aux yeux\u2009\u00bb. Au contraire, voir proc\u00e8de d\u2019un effort physique, d\u2019un mouvement d\u2019avanc\u00e9e et de recul, d\u2019aveuglement et d\u2019apparition. Les yeux cherchent et ne se rencontrent qu\u2019un instant. Tout le reste est flottement ou vacillation. Et ce sont pr\u00e9cis\u00e9ment ces moments que la peinture de Vincent Dulom invite \u00e0 investir\u2009: au point, l\u2019artiste pr\u00e9f\u00e8re l\u2019oblique et la p\u00e9riph\u00e9rie. Ils permettent une latence, c\u2019est-\u00e0-dire un d\u00e9lai n\u00e9cessaire pour que ce qui n\u2019est pas visible puisse le devenir \u00e0 tout moment. Lors de notre derni\u00e8re discussion, Vincent Dulom a eu pr\u00e9cis\u00e9ment cette tr\u00e8s belle phrase que je lui rends\u2009: \u00ab\u2009On ne voit jamais ce qui arrive pour la premi\u00e8re fois\u2009\u00bb.<\/p>\n\n\n\n

1. Roland Barthes, La Chambre claire, Gallimard, 1980, p.88<\/p>\n\n\n\n

2. Honor\u00e9 de Balzac, Th\u00e9orie de la d\u00e9marche, 1833. <\/p>\n\n\n\n

3. \u00ab\u2009La beaut\u00e9 convulsive sera \u00e9rotique-voil\u00e9e, explosante-fixe, magique-circonstancielle ou ne sera pas\u2009\u00bb, Andr\u00e9 Breton, L\u2019Amour fou, Gallimard, 1976, p. 26.<\/p>\n\n\n\n

4. \u00ab\u2009Un corps est une forme close, il absorbe l\u2019univers comme un buvard absorbe l\u2019encre.\u2009\u00bb, \u00ab\u2009Visages\u2009\u00bb, Michel Cont\u00e2t et Michel Rybalka, Les \u00e9crits de Sartre, Gallimard, 1970, p. 562.<\/p>\n\n\n\n

5. Ce mouvement qui cintre la feuille permet \u00e0 Vincent Dulom de construire une r\u00e9sistance du papier pour le placer sur son support en acier.<\/p>\n\n\n\n

Texte extrait du catalogue \u00e9dit\u00e9 par la galerie ETC, \u00e0 l\u2019occasion de l\u2019exposition du temps \u00e0 l\u2019autre <\/em>(30 novembre 2023 – 3 f\u00e9vrier 2024), Vincent Dulom – Du temps \u00e0 l\u2019autre<\/em>, Catalogue, 66 pages, Edition ETC, 2023, p.p. 7-9.<\/p>\n\n\n\n

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

Laur\u00e9ate du prix de la critique d\u2019art 2023 (AICA France). <\/em><\/strong>Elora Weill-Engerer est critique, commissaire et historienne de l\u2019art. Elle contribue \u00e0 plusieurs journaux et revues artistiques. Elle pr\u00e9pare actuellement une th\u00e8se de doctorat en histoire, sous la direction de Pierre Wat. 
<\/p>\n\n\n\n

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[untitled]
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By Elora Weill-Engerer<\/p>\n\n\n\n

Nystagmus is an involuntary, flicking movement of the eyes. It often occurs when watching landscapes passing-by from a car on the highway. When talking about his work, one notices Vincent Dulom\u2019s gaze turn upwards and begin to wonder about the room in a rapid oscillating movement, specific to nystagmus. His erratic gaze seems engaged in a dynamic search\u2009: sweeping the sky or perhaps looking deep inside himself to seek out just the right word. According to Roland Barthes, in order to see clearly \u201cit is best to raise the head or close the eyes\u201d\u20091<\/sup>. The reason being is perhaps what Denis Diderot says, that words are always in pursuit of thoughts. Prose plays hide and seek with painting, the linear nature of the written word naturally flees the nebulousness of visual representation. This profound contrast in nature compels me to speak about the work of Vincent Dulom through a third intercessor\u2009: the body. <\/p>\n\n\n\n

To combine flesh and technology places these works precisely \u201cbetween the calculated measure of a scientist and the giddiness of a fool\u201d\u20092<\/sup>\u2009: regardless of apparent physical immobility, the senses are aroused. This stunning \u201cexplosive stillness\u201d 3<\/sup> is in a constant state of silent mutation\u2009: expanding, oscillating, contracting, shrinking, absorbing, it is either leading us away from, or guiding us directly towards a diffused focal point\u200a; these are, precisely, the phases that correspond to the internal corporal processes of the viewer. Those of the heart, the lungs, and the pupil, operating without a sound. Painting un-folds just as writing un-ravels \u2014 after to be abounded through the vision of the other\u2009: the eye consumes and is consumed. The ensemble of affinities that Vincent Dulom brings to his paintings translate into what we could call the \u201cblotter theory\u201d. Borrowed from Sartrean writing, this metaphor outlines a phenomenology of absorption and closure in the artistic process 4<\/sup>. A blotter absorbs ink to limit overflow, stains and smudging. At the same time, it allows for capillary action. The blotter at once concentrates and desiccates. <\/p>\n\n\n\n

To maintain a sheet of paper in equilibrium, Vincent Dulom delicately manipulates its edges and positions it painstakingly, as with one of those small toy labyrinths\u200a; one gingerly tilts a plane in order to guide a tiny metal ball through its maze\u20095<\/sup>. Observing this balancing act, we could expect the painting to magically transform or, at least, for a ball to come out of the maze. In truth, it is the eye of the beholder that does the navigation. In his most consequent work, Voir le voir, (see to see) John Berger brilliantly explored how we interact with our surroundings through our eyes. Berger highlights that the phenomenon of vision is much more than just a passive reception of images. Quite to the contrary, it is an active creative process that begins with the perception of visual stimuli\u2009: the muscles of the iris control the size of the pupil. In the history of vision, extramissionism, largely forgotten by modern medicine, is a theory defended by a number of philosophers and scholars of antiquity. It proposes that eyes would emit visual rays that propagate to an observed object and permit vision. Sight, when following this line of thought, approaches touch, the way that Saint Thomas incredulously reached out to palpate the wounds of Christ in order to believe his eyes. This aesthetic sensitivity based on the combination of sight and touch falls under what Gilles Deleuze calls the haptic (Francis Bacon. Logic of sensation). From the Greek word apto, or \u201ctouch\u201c, haptic is a discovery of the tactile qualities unique to vision. The theory of extramissionism brings to mind the complexity of any sensory interaction. Above all else, in opposition to what would be the dominant aesthetic in art history, heir to the Kantian principle that a work of art equates to pure and disinterested pleasure. One might consider Vincent Dulom\u2019s work in a more pragmatic light as an action more than as representation. In an iconic scene of a literary encounter, Flaubert writes\u2009: \u201cIt was as a vision\u2009: [\u2026] in his astonishment it was as if he had seen no one . As he passed, she raised her head [\u2026] and, when he had moved further away, he looked at her. [\u2026] Their eyes met\u201d (L\u2019\u00c9ducation sentimentale, 1891). The event of the romantic encounter, contained in an exchange of glances, is not grounded in any visible evidence. In other words\u2009: the meeting is not \u201cobvious\u201d. On the contrary, seeing comes from a physical effort, from advance and retreat, of blindness and apparition. Their eyes search and meet only for an instant. Everything else floats or vacillates. It is precisely these moments that Vincent Dulom\u2019s painting invites us to pursue\u2009: to the point, the artist prefers the oblique and the periphery. They allow latency, that is to say the delay necessary so that what is not visible can present itself at any time. During our last conversation, Vincent Dulom shared precisely this very beautiful sentence which I write in turn\u2009: \u201cThe first time, One never sees whats happening\u201d.<\/p>\n\n\n\n

1. Roland Barthes, La Chambre claire, Gallimard, 1980, p.88<\/p>\n\n\n\n

2. Honor\u00e9 de Balzac, Th\u00e9orie de la d\u00e9marche, 1833. <\/p>\n\n\n\n

3. \u201cConvulsive beauty would be veiled eroticism, a static-explosion, circumstantial magic, or nothing at all\u201c, Andr\u00e9 Breton, L\u2019Amour fou, Gallimard, 1976, p. 26.<\/p>\n\n\n\n

4. \u201cA body is a fully defined form, it absorbs the universe as a blotter absorbs ink.\u201c, \u00ab\u2009Visages\u2009\u00bb, <\/p>\n\n\n\n

Michel Cont\u00e2t et Michel Rybalka, Les \u00e9crits de Sartre, Gallimard, 1970, p. 562.<\/p>\n\n\n\n

5. The gesture used by Dulom to curve sheets of paper allows him to create resistance in order to be able to place them precisely on his steel supports.<\/p>\n\n\n\n

Text taken from the catalogue published by the ETC gallery for the exhibition Du temps \u00e0 l\u2019autre<\/em> (30 November 2023 \u2013 3 February 2024), Vincent Dulom \u2013 Du temps \u00e0 l\u2019autre<\/em>, Catalogue, 66 pages, Edition ETC, 2023, p.p. 7-9.<\/p>\n\n\n\n

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

Winner of the Prix de la critique d\u2019art 2023 (AICA France). Elora Weill-Engerer is a critic, curator and art historian. She contributes to several art journals and magazines. She is currently preparing a doctoral thesis in history, under the supervision of Pierre Wat. She teaches at Paris I and the Ecole du Louvre. <\/p>\n\n\n\n

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

English translation:  Heather Seavey<\/p>\n\n\n\n

\n\n\n\n

T\u00e9l\u00e9charger<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Par Elora Weill-Engerer<\/p>\n

[\u2026] Cette beaut\u00e9 \u00ab\u2009explosante\u2011fixe\u2009\u00bb\u20093\u00a0est en constante et silencieuse mutation\u2009: il en va d\u2019une \u00e9nergie de la dilatation, de l\u2019oscillation, de la contraction, du r\u00e9tr\u00e9cissement, de l\u2019absorption qui part ou converge vers un foyer diffus\u200a; ce sont, pr\u00e9cis\u00e9ment, autant de phases en rapport avec les dynamiques internes du corps du regardeur. [\u2026]<\/p>\n

[\u2026] This stunning \u201cexplosive stillness\u201d\u00a03\u00a0is in a constant state of silent mutation\u2009: expanding, oscillating, contracting, shrinking, absorbing, it is either leading us away from, or guiding us directly towards a diffused focal point\u200a; these are, precisely, the phases that correspond to the internal corporal processes of the viewer. [\u2026]<\/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-473","post","type-post","status-publish","format-standard","hentry","category-textes"],"_links":{"self":[{"href":"https:\/\/www.vincentdulom.com\/editorial\/wp-json\/wp\/v2\/posts\/473","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=473"}],"version-history":[{"count":11,"href":"https:\/\/www.vincentdulom.com\/editorial\/wp-json\/wp\/v2\/posts\/473\/revisions"}],"predecessor-version":[{"id":918,"href":"https:\/\/www.vincentdulom.com\/editorial\/wp-json\/wp\/v2\/posts\/473\/revisions\/918"}],"wp:attachment":[{"href":"https:\/\/www.vincentdulom.com\/editorial\/wp-json\/wp\/v2\/media?parent=473"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.vincentdulom.com\/editorial\/wp-json\/wp\/v2\/categories?post=473"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.vincentdulom.com\/editorial\/wp-json\/wp\/v2\/tags?post=473"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}