{"id":298,"date":"2025-05-25T20:13:31","date_gmt":"2025-05-25T20:13:31","guid":{"rendered":"http:\/\/ce-ci.fr\/?page_id=298"},"modified":"2025-07-01T08:35:59","modified_gmt":"2025-07-01T08:35:59","slug":"bibliographie","status":"publish","type":"page","link":"https:\/\/ce-ci.fr\/en\/bibliographie\/","title":{"rendered":"bibliography"},"content":{"rendered":"

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bibliography<\/h1>\n

Roland Barthes<\/span>. 1980. La chambre claire<\/em>. Paris : Gallimard.<\/p>\n

Henri Bergson<\/span>. 1907. L’\u00e9volution cr\u00e9atrice<\/em>. Paris : F\u00e9lix Alcan. R\u00e9\u00e9d. Paris : Presses Universitaires de France, 2013.<\/p>\n

Andr\u00e9 Breton<\/span>. 1924. Manifeste du Surr\u00e9alisme.<\/em> Paris : \u00c9ditions du Sagittaire. R\u00e9\u00e9d. Paris : Gallimard, 2008.<\/p>\n

Peter Brook<\/span>. 1968. The Empty Space<\/em>. London : MacGibbon & Kee. R\u00e9\u00e9d. New York : Theatre Arts Books, 1996.<\/p>\n

R. Buckminster Fuller<\/span>. 1969. Operating Manual for Spaceship Earth<\/em>. Carbondale : Southern Illinois University Press.<\/p>\n

Pierre Cabanne<\/span>. 1967. Entretiens avec Marcel Duchamp<\/em>. Paris : Belfond. R\u00e9\u00e9d. Paris : Allia, 2015.<\/p>\n

John Cage<\/span>. 1961. Silence<\/em>. Middletown : Wesleyan University Press.<\/p>\n

Centre Pompidou. 2009. Vides : Une r\u00e9trospective<\/em> [Catalogue d’exposition]. Paris : Centre Pompidou.<\/p>\n

Thierry Davila<\/span>. 2010. De l’inframince : br\u00e8ve histoire de l’imperceptible, de Marcel Duchamp \u00e0 nos jours<\/em>. Paris : \u00c9ditions du Regard.<\/p>\n

John Dewey<\/span>. 1934. Art as Experience<\/em>. New York : Minton, Balch & Company.<\/p>\n

Georges Didi-Huberman<\/span>. 1992. Ce que nous voyons, ce qui nous regarde<\/em>. Paris : Minuit.<\/p>\n

Marcel Duchamp<\/span>. 1999. Notes sur l’inframince.<\/em> Paris : Flammarion.<\/p>\n

Fluxus<\/span>. 2002. Fluxus Dixit : Une anthologie.<\/em> Dijon : Les Presses du R\u00e9el.<\/p>\n

Gutai<\/span>. 2013. Gutai:Splendid Playground<\/em> [Catalogue d’exposition]. New York : Guggenheim Museum Publications.<\/p>\n

Donna Haraway<\/span>. 1991. \u201cA Cyborg Manifesto.\u201d In Simians, Cyborgs and Women: The Reinvention of Nature.<\/em> New York : Routledge.<\/p>\n

Allan Kaprow<\/span>. 1996. L\u2019art et la vie confondus.<\/em> Paris : Centre Georges Pompidou.<\/p>\n

Robin Wall Kimmerer<\/span>. 2013. Braiding Sweetgrass.<\/em> Minneapolis : Milkweed Editions.<\/p>\n

Joseph Kosuth<\/span>. 2018. Le jeu du dicible.<\/em> Paris : \u00c9cole nationale sup\u00e9rieure des beaux-arts.<\/p>\n

Paul Reps<\/span> (\u00e9d.). 1957. Zen Flesh, Zen Bones.<\/em> Boston : Tuttle Publishing.<\/p>\n

Michel Sanouillet<\/span>. 1975. Duchamp du signe.<\/em> Paris : Flammarion.<\/p>\n

Amartya Sen<\/span>. 1999. Development as Freedom.<\/em> New York : Oxford University Press.<\/p>\n

Baruch Spinoza<\/span>. 1677. \u00c9thique.<\/em> Trad. Bernard Pautrat. Paris : \u00c9ditions du Seuil, 2010.<\/p>\n

\u00a0Tyson Yunkaporta<\/span>. 2019. Sand Talk<\/em>. Melbourne : Text Publishing.<\/p>\n

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Photo credit: Raul Corr\u00eaa-Smith<\/p>\n

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Cut Piece<\/em>, 1964, par Yoko Ono.
Cr\u00e9dit photo : Minoru Niizuma<\/span><\/p>\n

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Les mouvements artistiques et collectifs Gutai, n\u00e9 au Japon en 1954, et Fluxus, n\u00e9 \u00e0 Paris en 1962, explorent la porosit\u00e9 entre geste, mati\u00e8re, \u00e9v\u00e9nement. L\u2019\u0153uvre na\u00eet dans l\u2019interstice entre intention et accident.<\/p>\n

[\/et_pb_text][et_pb_image src=\u00a0\u00bbhttps:\/\/ce-ci.fr\/wp-content\/uploads\/2025\/05\/26fluxus-women-gfvk-superJumbo.webp\u00a0\u00bb title_text=\u00a0\u00bbScreenshot\u00a0\u00bb align=\u00a0\u00bbcenter\u00a0\u00bb _builder_version=\u00a0\u00bb4.27.4″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb custom_margin=\u00a0\u00bb6vh||0px||false|false\u00a0\u00bb filter_saturate=\u00a0\u00bb0%\u00a0\u00bb global_colors_info=\u00a0\u00bb{}\u00a0\u00bb][\/et_pb_image][et_pb_text _builder_version=\u00a0\u00bb4.27.4″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb text_text_color=\u00a0\u00bb#6B6B6B\u00a0\u00bb text_font_size=\u00a0\u00bb14px\u00a0\u00bb custom_margin=\u00a0\u00bb||1vh||false|false\u00a0\u00bb hover_enabled=\u00a0\u00bb0″ text_font_size_tablet=\u00a0\u00bb14px\u00a0\u00bb text_font_size_phone=\u00a0\u00bb13px\u00a0\u00bb text_font_size_last_edited=\u00a0\u00bbon|phone\u00a0\u00bb locked=\u00a0\u00bboff\u00a0\u00bb global_colors_info=\u00a0\u00bb{}\u00a0\u00bb sticky_enabled=\u00a0\u00bb0″]<\/p>\n

Earth Piece,<\/em> 1963, par Yoko Ono.<\/p>\n

[\/et_pb_text][et_pb_image src=\u00a0\u00bbhttps:\/\/ce-ci.fr\/wp-content\/uploads\/2025\/05\/gutai.jpeg\u00a0\u00bb title_text=\u00a0\u00bbScreenshot\u00a0\u00bb align=\u00a0\u00bbcenter\u00a0\u00bb _builder_version=\u00a0\u00bb4.27.4″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb custom_margin=\u00a0\u00bb6vh||0px||false|false\u00a0\u00bb filter_saturate=\u00a0\u00bb0%\u00a0\u00bb global_colors_info=\u00a0\u00bb{}\u00a0\u00bb][\/et_pb_image][et_pb_text _builder_version=\u00a0\u00bb4.27.4″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb text_text_color=\u00a0\u00bb#6B6B6B\u00a0\u00bb text_font_size=\u00a0\u00bb14px\u00a0\u00bb custom_margin=\u00a0\u00bb||1vh||false|false\u00a0\u00bb hover_enabled=\u00a0\u00bb0″ text_font_size_tablet=\u00a0\u00bb14px\u00a0\u00bb text_font_size_phone=\u00a0\u00bb13px\u00a0\u00bb text_font_size_last_edited=\u00a0\u00bbon|phone\u00a0\u00bb locked=\u00a0\u00bboff\u00a0\u00bb global_colors_info=\u00a0\u00bb{}\u00a0\u00bb sticky_enabled=\u00a0\u00bb0″]<\/p>\n

Kazuo Shiraga dans son atelier, 1962. Cr\u00e9dit photo : Amagasaki Cultural Foundation<\/p>\n

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Trading Dirt,<\/em> 1983, par Kaprow.
Cr\u00e9dit photo : Allan Kaprow<\/p>\n

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Kaprow a confondu art et vie dans les interstices du quotidien \u2013 happenings \u00e9ph\u00e9m\u00e8res o\u00f9 la cr\u00e9ation surgit sans d\u00e9cor.<\/p>\n

[\/et_pb_text][et_pb_image src=\u00a0\u00bbhttps:\/\/ce-ci.fr\/wp-content\/uploads\/2025\/06\/Kaprow2.jpg\u00a0\u00bb title_text=\u00a0\u00bbKaprow2″ align=\u00a0\u00bbcenter\u00a0\u00bb _builder_version=\u00a0\u00bb4.27.4″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb custom_margin=\u00a0\u00bb6vh||0px||false|false\u00a0\u00bb filter_saturate=\u00a0\u00bb0%\u00a0\u00bb global_colors_info=\u00a0\u00bb{}\u00a0\u00bb][\/et_pb_image][et_pb_text _builder_version=\u00a0\u00bb4.27.4″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb text_text_color=\u00a0\u00bb#6B6B6B\u00a0\u00bb text_font_size=\u00a0\u00bb14px\u00a0\u00bb custom_margin=\u00a0\u00bb||1vh||false|false\u00a0\u00bb hover_enabled=\u00a0\u00bb0″ text_font_size_tablet=\u00a0\u00bb14px\u00a0\u00bb text_font_size_phone=\u00a0\u00bb13px\u00a0\u00bb text_font_size_last_edited=\u00a0\u00bbon|phone\u00a0\u00bb locked=\u00a0\u00bboff\u00a0\u00bb global_colors_info=\u00a0\u00bb{}\u00a0\u00bb sticky_enabled=\u00a0\u00bb0″]<\/p>\n

Household,<\/em> 1964, par Kaprow. Cr\u00e9dit photo : Sol Goldberg<\/p>\n

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Robin Wall Kimmerer, 2024. Cr\u00e9dit photo : Maranie Rae<\/p>\n

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Robin Wall Kimmerer entrelace science et tradition indig\u00e8ne, ouvrant de puissants interstices o\u00f9 connaissance et gratitude peuvent prendre racine de mani\u00e8re non exclusive, en compl\u00e9ment l\u2019une de l\u2019autre.<\/p>\n

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Les Bouffes du Nord, l’embl\u00e9matique th\u00e9atre de Peter Brook \u00e0 Paris.<\/p>\n

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Peter Brook fait du vide un espace d\u2019\u00e9mergence : l\u2019interstice nu entre l\u2019acteur et le spectateur devient lieu de r\u00e9v\u00e9lation.<\/p>\n

[\/et_pb_text][et_pb_image src=\u00a0\u00bbhttps:\/\/ce-ci.fr\/wp-content\/uploads\/2025\/05\/brook.jpg\u00a0\u00bb title_text=\u00a0\u00bbScreenshot\u00a0\u00bb align=\u00a0\u00bbcenter\u00a0\u00bb _builder_version=\u00a0\u00bb4.27.4″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb custom_margin=\u00a0\u00bb6vh||0px||false|false\u00a0\u00bb filter_saturate=\u00a0\u00bb0%\u00a0\u00bb global_colors_info=\u00a0\u00bb{}\u00a0\u00bb][\/et_pb_image][et_pb_text _builder_version=\u00a0\u00bb4.27.4″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb text_text_color=\u00a0\u00bb#6B6B6B\u00a0\u00bb text_font_size=\u00a0\u00bb14px\u00a0\u00bb custom_margin=\u00a0\u00bb||1vh||false|false\u00a0\u00bb text_font_size_tablet=\u00a0\u00bb14px\u00a0\u00bb text_font_size_phone=\u00a0\u00bb13px\u00a0\u00bb text_font_size_last_edited=\u00a0\u00bbon|phone\u00a0\u00bb locked=\u00a0\u00bboff\u00a0\u00bb global_colors_info=\u00a0\u00bb{}\u00a0\u00bb]<\/p>\n

Peter Brook \u00e0 New York en 1965. Cr\u00e9dit photo : Associated Press<\/p>\n

[\/et_pb_text][et_pb_image src=\u00a0\u00bbhttps:\/\/ce-ci.fr\/wp-content\/uploads\/2025\/05\/Untitled3-3.jpg\u00a0\u00bb title_text=\u00a0\u00bbScreenshot\u00a0\u00bb align=\u00a0\u00bbcenter\u00a0\u00bb _builder_version=\u00a0\u00bb4.27.4″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb custom_margin=\u00a0\u00bb6vh||0px||false|false\u00a0\u00bb filter_saturate=\u00a0\u00bb0%\u00a0\u00bb global_colors_info=\u00a0\u00bb{}\u00a0\u00bb][\/et_pb_image][et_pb_text _builder_version=\u00a0\u00bb4.27.4″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb text_text_color=\u00a0\u00bb#6B6B6B\u00a0\u00bb text_font_size=\u00a0\u00bb14px\u00a0\u00bb custom_margin=\u00a0\u00bb||1vh||false|false\u00a0\u00bb text_font_size_tablet=\u00a0\u00bb14px\u00a0\u00bb text_font_size_phone=\u00a0\u00bb13px\u00a0\u00bb text_font_size_last_edited=\u00a0\u00bbon|phone\u00a0\u00bb locked=\u00a0\u00bboff\u00a0\u00bb global_colors_info=\u00a0\u00bb{}\u00a0\u00bb]<\/p>\n

Roland Barthes dans les bras de sa m\u00e8re en 1923. Cr\u00e9dit photo : Fonds Roland Barthes\/Archives IMEC<\/p>\n

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Dans \u00ab\u00a0La chambre claire\u00a0\u00bb, Barthes explore l\u2019interstice entre le visible et le souvenir, l\u00e0 o\u00f9 l\u2019image contient plus que ce qu\u2019elle montre – un \u201cpunctum\u201d, une blessure.<\/p>\n

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Donna Haraway en 2025<\/p>\n

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Le cyborg de Donna Haraway habite l\u2019interstice entre nature et technologie, d\u00e9jouant les fronti\u00e8res fixes du corps, du genre et de l\u2019esp\u00e8ce, et ouvrant de nouveaux possibles en termes de relations \u00e0 l\u2019alterit\u00e9, \u00e0 l\u2019intelligence et \u00e0 la libert\u00e9.<\/p>\n

[\/et_pb_text][et_pb_image src=\u00a0\u00bbhttps:\/\/ce-ci.fr\/wp-content\/uploads\/2025\/05\/Untitled-6.jpg\u00a0\u00bb title_text=\u00a0\u00bbScreenshot\u00a0\u00bb align=\u00a0\u00bbcenter\u00a0\u00bb _builder_version=\u00a0\u00bb4.27.4″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb custom_margin=\u00a0\u00bb6vh||0px||false|false\u00a0\u00bb filter_saturate=\u00a0\u00bb0%\u00a0\u00bb global_colors_info=\u00a0\u00bb{}\u00a0\u00bb][\/et_pb_image][et_pb_text _builder_version=\u00a0\u00bb4.27.4″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb text_text_color=\u00a0\u00bb#6B6B6B\u00a0\u00bb text_font_size=\u00a0\u00bb14px\u00a0\u00bb custom_margin=\u00a0\u00bb||1vh||false|false\u00a0\u00bb text_font_size_tablet=\u00a0\u00bb14px\u00a0\u00bb text_font_size_phone=\u00a0\u00bb13px\u00a0\u00bb text_font_size_last_edited=\u00a0\u00bbon|phone\u00a0\u00bb locked=\u00a0\u00bboff\u00a0\u00bb global_colors_info=\u00a0\u00bb{}\u00a0\u00bb]<\/p>\n

Le d\u00e9je\u00fbner en fourrure, 1936, de Meret Oppenheim<\/p>\n

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\u00a0Le Surr\u00e9alisme r\u00e9v\u00e8le des interstices existentiels o\u00f9 le rationnel, basculant dans l\u2019onirique, laisse de l\u2019espace pour autre chose que ses propres explications.<\/p>\n

[\/et_pb_text][et_pb_image src=\u00a0\u00bbhttps:\/\/ce-ci.fr\/wp-content\/uploads\/2025\/05\/download.jpeg\u00a0\u00bb title_text=\u00a0\u00bbScreenshot\u00a0\u00bb align=\u00a0\u00bbcenter\u00a0\u00bb _builder_version=\u00a0\u00bb4.27.4″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb custom_margin=\u00a0\u00bb6vh||0px||false|false\u00a0\u00bb filter_saturate=\u00a0\u00bb0%\u00a0\u00bb global_colors_info=\u00a0\u00bb{}\u00a0\u00bb][\/et_pb_image][et_pb_text _builder_version=\u00a0\u00bb4.27.4″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb text_text_color=\u00a0\u00bb#6B6B6B\u00a0\u00bb text_font_size=\u00a0\u00bb14px\u00a0\u00bb custom_margin=\u00a0\u00bb||1vh||false|false\u00a0\u00bb text_font_size_tablet=\u00a0\u00bb14px\u00a0\u00bb text_font_size_phone=\u00a0\u00bb13px\u00a0\u00bb text_font_size_last_edited=\u00a0\u00bbon|phone\u00a0\u00bb locked=\u00a0\u00bboff\u00a0\u00bb global_colors_info=\u00a0\u00bb{}\u00a0\u00bb]<\/p>\n

Meret Oppenheim. Cr\u00e9dit photo : \u00a0Mebusch<\/span><\/p>\n

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Meret Oppenheim, artiste surr\u00e9aliste<\/p>\n

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bibliographie Roland Barthes. 1980. La chambre claire. Paris : Gallimard. Henri Bergson. 1907. L’\u00e9volution cr\u00e9atrice. Paris : F\u00e9lix Alcan. R\u00e9\u00e9d. Paris : Presses Universitaires de France, 2013. Andr\u00e9 Breton. 1924. Manifeste du Surr\u00e9alisme. Paris : \u00c9ditions du Sagittaire. R\u00e9\u00e9d. Paris : Gallimard, 2008. Peter Brook. 1968. The Empty Space. London : MacGibbon & Kee. R\u00e9\u00e9d. 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