{"id":157,"date":"2022-05-02T16:09:01","date_gmt":"2022-05-02T16:09:01","guid":{"rendered":"https:\/\/editions.grandpalaisrmn.fr\/blog\/?p=157"},"modified":"2023-07-19T08:46:06","modified_gmt":"2023-07-19T08:46:06","slug":"photographies-en-guerre-le-catalogue-de-lexposition","status":"publish","type":"post","link":"https:\/\/editions.grandpalaisrmn.fr\/blog\/photographies-en-guerre-le-catalogue-de-lexposition\/","title":{"rendered":"Photographies en guerre<\/i>, le catalogue de l\u2019exposition au mus\u00e9e de l\u2019Arm\u00e9e, entre livre d\u2019histoire et livre d\u2019art"},"content":{"rendered":"

Depuis les premi\u00e8res photographies du si\u00e8ge de Rome par l\u2019arm\u00e9e fran\u00e7aise en 1849, les intentions et les usages des clich\u00e9s de guerre sont complexes : documenter, faire peur, manipuler, esth\u00e9tiser.<\/p>\n

\"\"<\/p>\n

Enzo Dizarn, responsable d\u2019\u00e9dition<\/a>, est le ma\u00eetre d\u2019\u0153uvre du catalogue de l\u2019exposition \u00ab\u00a0Photographies en guerre\u00a0\u00bb<\/a>, con\u00e7u en collaboration avec les trois commissaires de l\u2019\u00e9v\u00e9nement du mus\u00e9e de l\u2019Arm\u00e9e\u00a0: Mathilde Benoistel, Sylvie Le Ray-Burimi et Anthony Petiteau.
\n\u00ab\u00a0Ce projet a tout de suite retenu mon attention et j\u2019ai souhait\u00e9 absolument le suivre. L\u2019ambition de cet ouvrage de se concentrer non pas sur les conflits mais sur leurs repr\u00e9sentations \u00e0 travers la photographie est passionnante et originale. Le sujet est tellement actuel\u2026 Aujourd\u2019hui, les images de la guerre contre Daech ou du conflit en Ukraine rapport\u00e9es par des reporters portent les m\u00eames enjeux et risques de d\u00e9rives\u00a0\u00bb commente Enzo Dizarn.<\/p>\n

Une pr\u00e9paration \u00e0 l\u2019image<\/strong>
\nPour appr\u00e9hender au mieux le pouvoir et la puissance de l\u2019image ainsi que son r\u00f4le dans l\u2019actualit\u00e9, l\u2019ouvrage est divis\u00e9 en dix s\u00e9quences chronologiques traitant chacune d\u2019une p\u00e9riode de l\u2019histoire de la photographie de guerre. Chaque chapitre s\u2019ouvre sur une image iconique, propose des essais pour contextualiser les clich\u00e9s dans une approche historique, et se cl\u00f4t par un entretien avec des historiens, des artistes, des chercheurs, des conservateurs ou encore des photographes de guerre.
\nEnzo Dizarn explique s\u2019\u00eatre attach\u00e9 \u00e0 relever deux enjeux principaux\u00a0: le premier \u00e9tait d\u2019\u00eatre \u00ab\u00a0tr\u00e8s attentif \u00e0 la contextualisation des photographies, souvent tr\u00e8s violentes, qui n\u00e9cessitent un accompagnement\u00a0: quel \u00e9tait le contexte de la prise de vue\u00a0? sa production\u00a0? \u00e0 qui \u00e9tait-elle destin\u00e9e\u00a0? \u2026 Le second [\u2026] \u00e9tait de veiller \u00e0 ce que les entretiens retranscrits soient dynamiques, gr\u00e2ce \u00e0 des coupes ou \u00e0 des reformulations. Les entretiens propos\u00e9s dans le catalogue sont essentiels. Ils apportent beaucoup de profondeur aux sujets.\u00a0\u00bb
\nIl souligne enfin une autre sp\u00e9cificit\u00e9 de ce travail\u00a0: \u00ab\u00a0L\u2019appel d\u2019offre<\/a> \u00e9tait extr\u00eamement pr\u00e9cis. Le report de l\u2019exposition caus\u00e9 par la pand\u00e9mie a permis aux commissaires de m\u00fbrir ce projet et de dresser la liste de leurs attentes et objectifs pour le catalogue.\u00a0\u00bb<\/p>\n

Images de guerre, guerre des images<\/strong>
\nLe clich\u00e9 Th\u00e9\u00e2tre de guerre. Photographie avec un groupe de gu\u00e9rilla kurde, 2012<\/em> d\u2019\u00c9meric Lhuisset a \u00e9t\u00e9 choisi pour illustrer la couverture du catalogue\u00a0: des combattants kurdes scrutent l\u2019horizon et semblent guetter l\u2019issue d\u2019un combat. Au premier plan, les jambes d\u2019un soldat gisant au sol, son pouce pos\u00e9 sur son t\u00e9l\u00e9phone portable. Pr\u00e8s de lui, un lance-roquettes\u2026
\nL\u2019image est en r\u00e9alit\u00e9 une fiction, une mise en sc\u00e8ne jou\u00e9e par des soldats et inspir\u00e9e, dans sa composition, des tableaux d\u2019Alphonse de Neuville r\u00e9alis\u00e9s apr\u00e8s la guerre franco-prussienne de 1870-1871. La photographie, comme l\u2019art, est pr\u00e9sent\u00e9e comme \u00ab\u00a0un outil pour donner \u00e0 voir une image peut-\u00eatre moins fid\u00e8le de la r\u00e9alit\u00e9 mais plus percutante\u00a0\u00bb (Anthony Petiteau, co-commissaire de l\u2019exposition. Extrait du catalogue, p.\u00a022).<\/p>\n

\u00ab\u00a0Les soldats sont d\u00e9sormais les premiers producteurs d\u2019images du conflit. Avec leurs t\u00e9l\u00e9phones, ils capturent des sc\u00e8nes avant les reporters\u00a0!\u00a0\u00bb souligne l\u2019\u00e9diteur. Aux affrontements militaires s\u2019ajoute une nouvelle guerre des images sur Internet, proposant une exp\u00e9rience directe des combats et d\u00e9roulant, sous nos yeux, des clich\u00e9s instantan\u00e9s, entre r\u00e9alit\u00e9 et propagande. Chaque camp cherche \u00e0 convaincre l\u2019opinion publique. \u00ab\u00a0Il faudrait l\u2019\u00e9quivalent d\u2019un serment d\u2019Hippocrate pour les journalistes, pour sanctuariser leur r\u00f4le, qui doit \u00eatre d\u2019informer et de relater les \u00e9v\u00e9nements tels qu\u2019ils se pr\u00e9sentent devant eux, sans les travestir.\u00a0\u00bb (Yann Morvan, photojournaliste. Extrait du catalogue. S\u00e9quence \u00ab\u00a0Photographier les guerres civiles et le terrorisme\u00a0\u00bb)<\/p>\n

Comment mieux appr\u00e9hender les images choc des combats et s\u2019en prot\u00e9ger\u00a0? \u00ab\u00a0Justement, le catalogue est l\u00e0 pour \u00e7a. Il donne des armes\u2026\u00a0\u00bb conclut Enzo Dizarn.<\/p>\n

\n

Explorez le catalogue<\/a><\/p>\n

le mus\u00e9e de l’arm\u00e9e – Invalides<\/a><\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Depuis les premi\u00e8res photographies du si\u00e8ge de Rome par l\u2019arm\u00e9e fran\u00e7aise en 1849, les intentions et les usages des clich\u00e9s de guerre sont complexes : documenter, faire peur, manipuler, esth\u00e9tiser. Enzo Dizarn, responsable d\u2019\u00e9dition, est le ma\u00eetre d\u2019\u0153uvre du catalogue de l\u2019exposition \u00ab\u00a0Photographies en guerre\u00a0\u00bb, con\u00e7u en collaboration avec les trois commissaires de l\u2019\u00e9v\u00e9nement du…<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[3],"tags":[],"class_list":["post-157","post","type-post","status-publish","format-standard","hentry","category-edition"],"yoast_head":"\nHistoire de la photographie de guerre.<\/title>\n<meta name=\"description\" content=\"Le catalogue de l\u2019exposition Photographies en guerre au mus\u00e9e de l\u2019Arm\u00e9e retrace l'histoire de la photographie de guerre et du m\u00e9tier de photographe de guerre\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" 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