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(8853,	1329,	'heidi_detour_body_fr',	'<p>À l’hôtel, on loue des kits BBQ pour faire cuire des saucisses sur le balcon.</p>\n'),
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(8901,	1346,	'heidi_detour_body_fr',	'<p>Le seul wifi dans cette ville est chez McDo</p>\n<p>donc tu auras ce message de Mildura demain.</p>\n'),
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(8909,	1348,	'heidi_detour_body_fr',	'<p>Ce n’est pas évidant de singer les constructions de l’Empire romain</p>\n<p>sans marbre et sans esclaves.</p>\n'),
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(8913,	1349,	'heidi_detour_body_fr',	'<p>Au nom de l\'audace, nous avons commandé</p>\n<p>des mollusques jaunes sautés aux poivrons verts.</p>\n'),
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(8929,	1353,	'heidi_detour_body_fr',	'<p>Ne pas vivre du tourisme rend aimable.</p>\n'),
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(8933,	1354,	'heidi_detour_body_fr',	'<p>Nous accusons réception de votre demande</p>\n<p>et la transférons au service concerné.</p>\n'),
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(8986,	1359,	'heidi_project_body_fr',	'<p class=\"Corps\" style=\"text-align: justify; text-justify: inter-ideograph;\"><span style=\"font-family: \'Calibre Regular\';\">Ce site Internet, réalisé lors d’un projet du 1% artistique au Collège de Bellegarde (30) en 2016, présente mes explorations des destinations touristiques alternatives ainsi que de mon environnement quotidien. Il recense les images et les anecdotes issues de ces recherches. Sorte de bloc-notes qui met les élèves dans les coulisses de la création artistique, il me permet d’échanger à distance avec eux sur la représentation de nos quotidiens respectifs.</span></p>\n'),
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(9016,	1362,	'heidi_public_art_title_fr',	'Pérenne'),
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(9029,	1365,	'_thumbnail_id',	'9361'),
(9030,	1365,	'heidi_public_art_subtitle_en',	'VITRY-SUR-SEINE'),
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(9038,	1365,	'heidi_public_art_title_fr',	'HLM, VITRY-SUR-SEINE (2007)'),
(9039,	1365,	'heidi_public_art_body_fr',	'<p>Construction d\'un ensemble de 113 logements et parkings par Logis-Transports. Le projet consiste en 24 panneaux en acier émaillé de 125cm x 90cm représentant le projet architectural lui-même ainsi que les environs. La livraison des œuvres était accompagnée d’une exposition à la galerie municipale, une publication explicative et des ateliers pour enfants.</p>\n<p>Concours remporté en 2007. Livré en février 2010.</p>\n'),
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(9044,	1371,	'_thumbnail_id',	'1372'),
(9045,	1371,	'heidi_public_art_subtitle_en',	'INSEP, PARIS'),
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(9048,	1371,	'heidi_public_art_title_fr',	'BALISAGE SPORTIVE (2008)'),
(9049,	1371,	'heidi_public_art_body_fr',	'<p><strong>INSEP, PARIS</strong></p>\n<p>Commande de signalétique lors de la réhabilitation de l\'Institut National du Sport, de l\'Expertise et de la Performance. Création d\'un vocabulaire de pictogrammes réalisés à partir des installations sportives, décliné sous forme de balisage à travers le campus. Le projet comprenait 3 phases : panneaux tricolores à l\'entrée du site, plan du site (phase 1) ; mur de panneaux en acier émaillé recto-verso (phase 2) ; signalisation routière de grand format visible de Google Earth (phase 3).</p>\n<p>Concours remporté en 2008. Phases 1 et 2 livrées en 2009 et 2011. Phase 3 annulée et remplacée par la commande « Détramé » en 2018.</p>\n'),
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(9054,	1373,	'_thumbnail_id',	'1374'),
(9055,	1373,	'heidi_public_art_subtitle_en',	'BOURGES VELODROME'),
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(9058,	1373,	'heidi_public_art_title_fr',	'RÉSISTANCE À L\'AIR (2011)'),
(9059,	1373,	'heidi_public_art_body_fr',	'<p><strong>VÉLODROME DE BOURGES</strong></p>\n<p>Concours pour la création d\'un motif pour l\'extérieur du vélodrome de Bourges. Le motif sur le bardage métallique est inspiré de l\'aérodynamique d\'un cycliste en mouvement. Ceux imprimés sur la paroi translucide décrivent les stratégies de course de quatre épreuves différentes.</p>\n<p>Remporté en juillet 2011. Livré septembre 2013.</p>\n'),
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(9064,	1375,	'_thumbnail_id',	'1969'),
(9065,	1375,	'heidi_public_art_subtitle_en',	'MEDICAL BUILDING, LIMOGES UNIVERSITY'),
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(9067,	1375,	'heidi_public_art_order',	'0'),
(9068,	1375,	'heidi_public_art_title_fr',	'Proliférations (2013)'),
(9069,	1375,	'heidi_public_art_body_fr',	'<p><strong>PÔLE BIOLOGIE-SANTÉ, UNIVERSITÉ DE LIMOGES</strong></p>\n<p>Conception de trois brise-soleil \"lames de microscope\" fabriqués en béton fibré pour couvrir la façade du nouveau Pôle biologie-santé à Limoges. Plus trois tableaux \"boîte de Pétri\" pour les deux halls d\'entrée.</p>\n<p>Concours remporté en mars 2013. Livré février 2014.</p>\n'),
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(9307,	1414,	'heidi_detour_body_fr',	'<p>Les icônes étaient sur les chevalets et il n\'y a rien à faire,</p>\n<p>ça fait expo de peintres de dimanche.</p>\n'),
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(9315,	1420,	'heidi_detour_body_fr',	'<p>La saison touristique n\'est pas terminée.</p>\n<p>Beaucoup de vieux et d\'étrangers. Des voitures partout.</p>\n'),
(9316,	1421,	'_edit_lock',	'1605705465:3'),
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(9319,	1421,	'heidi_detour_body_fr',	'<p>Oui, oui,<em> sassi</em> et non pas <em>stasi</em>. C’est le vérificateur d’orthographe</p>\n<p>qui connaît mieux les dérives communistes que les grottes.</p>\n'),
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(9324,	1423,	'_thumbnail_id',	'1424'),
(9325,	1423,	'heidi_detour_body_fr',	'<p>Nous vous remercions d’avoir choisi la télédéclaration.</p>\n'),
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(9327,	1425,	'_edit_last',	'3'),
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(9331,	1425,	'heidi_detour_body_fr',	'<p>Dans le cadre de l\'audit électrique des ateliers,</p>\n<p>nous avons absolument besoin de vérifier vos installations.</p>\n'),
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(9336,	1427,	'_thumbnail_id',	'1428'),
(9337,	1427,	'heidi_detour_body_fr',	'<p>Tu ne devinerais jamais qui m’a écrit un long message</p>\n<p>sur ses peines de qualification et son téléphone en panne.</p>\n'),
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(9342,	1429,	'_thumbnail_id',	'1430'),
(9343,	1429,	'heidi_detour_body_fr',	'<p>Finalement, je ne te confie pas la relecture du premier chapitre.</p>\n<p>ESTIME-TOI HEUREUSE !</p>\n'),
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(9351,	1431,	'heidi_detour_body_fr',	'<p>Il résulte de cette vérification que seuls les conduits</p>\n<p>des appartements au 4<sup>ème</sup> étage doivent faire l’objet de tubage.</p>\n'),
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(9357,	1434,	'heidi_detour_body_fr',	'<p>C\'est totalement incontournable de nos jours.</p>\n'),
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(9546,	1440,	'_thumbnail_id',	'8027'),
(9547,	1440,	'heidi_detour_body_fr',	'<p>… mais je peux déjà vous dire</p>\n<p>qu’il est hors de question que vous écriviez 200 pages.</p>\n'),
(9548,	1453,	'_edit_lock',	'1605813016:3'),
(9549,	1453,	'_edit_last',	'3'),
(9550,	1453,	'_thumbnail_id',	'4193'),
(9551,	1453,	'heidi_detour_body_fr',	'<p>Suis sur le quai 3…</p>\n<p>Tu es arrivée ?</p>\n'),
(9552,	1454,	'_edit_lock',	'1605705598:3'),
(9553,	1454,	'_edit_last',	'3'),
(9554,	1454,	'heidi_detour_body_fr',	'<p>La police était débordée de meurtres et d’overdoses.</p>\n<p>Un message disait d’appeler le 17 en cas d’urgence.</p>\n'),
(9555,	1455,	'_edit_lock',	'1605705606:3'),
(9556,	1455,	'_edit_last',	'3'),
(9557,	1455,	'_thumbnail_id',	'1443'),
(9558,	1455,	'heidi_detour_body_fr',	'<p>Je file cuisiner mes salades.</p>\n'),
(9559,	1456,	'_edit_lock',	'1605705615:3'),
(9560,	1456,	'_edit_last',	'3'),
(9561,	1456,	'_thumbnail_id',	'1521'),
(9562,	1456,	'heidi_detour_body_fr',	'<p>\"Il faut qu’on parte. Il y a des autrichiens\".</p>\n'),
(9563,	1457,	'_edit_lock',	'1605705624:3'),
(9564,	1457,	'_edit_last',	'3'),
(9565,	1457,	'_thumbnail_id',	'1445'),
(9566,	1457,	'heidi_detour_body_fr',	'<p>Oui, Philippe a assuré.</p>\n'),
(9567,	1458,	'_edit_lock',	'1605705634:3'),
(9568,	1458,	'_edit_last',	'3'),
(9569,	1458,	'_thumbnail_id',	'1446'),
(9570,	1458,	'heidi_detour_body_fr',	'<p>Je dois chercher un kilo de parmesan à 18h30 mais je peux passer après.</p>\n<p>C’est trop tard ?</p>\n'),
(9571,	1459,	'_edit_lock',	'1619437798:3'),
(9572,	1459,	'_edit_last',	'3'),
(9573,	1459,	'_thumbnail_id',	'9281'),
(9574,	1459,	'heidi_detour_body_fr',	'<p>Je te connais pas c est Manon stefann t sur</p>\n<p>de me connaître moi je pense que tu t tromper de num</p>\n'),
(9575,	1460,	'_edit_lock',	'1605705651:3'),
(9576,	1460,	'_edit_last',	'3'),
(9577,	1460,	'_thumbnail_id',	'1448'),
(9578,	1460,	'heidi_detour_body_fr',	'<p>Viens avec ton clébard. Pas de soucis.</p>\n<p>Je n’oublie pas tes particularités alimentaires.</p>\n'),
(9579,	1461,	'_edit_lock',	'1605705658:3'),
(9580,	1461,	'_edit_last',	'3'),
(9581,	1461,	'_thumbnail_id',	'1449'),
(9582,	1461,	'heidi_detour_body_fr',	'<p>Un mail du secrétariat suivra.</p>\n'),
(9583,	1462,	'_edit_lock',	'1605705665:3'),
(9584,	1462,	'_edit_last',	'3'),
(9585,	1462,	'_thumbnail_id',	'1450'),
(9586,	1462,	'heidi_detour_body_fr',	'<p>\"C’était super ce week-end. Ça ne m’a pas pesé du tout.\"</p>\n'),
(9587,	1463,	'_edit_lock',	'1619437444:3'),
(9588,	1463,	'_edit_last',	'3'),
(9589,	1463,	'_thumbnail_id',	'9280'),
(9590,	1463,	'heidi_detour_body_fr',	'<p>La fresque de Marmara au coucher du soleil a disparu,</p>\n<p>remplacée par un mur de fausses briques.</p>\n'),
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(9594,	1464,	'heidi_detour_body_fr',	'<p>La mairie, ayant montré sa bonne volonté,</p>\n<p>restait sourde à toute plainte supplémentaire.</p>\n'),
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(9608,	1465,	'heidi_detour_body_fr',	'<p>J’irais bien fêter ça mis il y a un forcené quelques maisons plus loin,</p>\n<p>avec deux otages, un bidon d’essence et l’envie de parler à l’ambassadeur d’Iran.</p>\n'),
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(9612,	1471,	'heidi_detour_body_fr',	'<p>Ce qui devait être une métaphore du pouvoir dégagé quand on agit de concert</p>\n<p>s’est transformé en leçon sur la nécessité d’organisation.</p>\n'),
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(9616,	1472,	'heidi_detour_body_fr',	'<p>À défaut, vous risquez de vous voir appliquer une amende.</p>\n'),
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(9620,	1473,	'heidi_detour_body_fr',	'<p>Pour votre sécurité, nous vous recommandons de ne jamais répondre</p>\n<p>à un courriel vous demandant votre numéro de carte bancaire.</p>\n'),
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(9650,	1485,	'heidi_detour_body_fr',	'<p>&nbsp;</p>\n<p>L\'expérience et le plaisir de rendre heureux ceux qui frappent à ma porte</p>\n<p>est la clé de mon succès, depuis plus de 40 ans.</p>\n'),
(9651,	1486,	'_edit_lock',	'1605705769:3'),
(9652,	1486,	'_edit_last',	'3'),
(9653,	1486,	'_thumbnail_id',	'1478'),
(9654,	1486,	'heidi_detour_body_fr',	'<p>Verdict : « Ouais, comestible, sans plus ».</p>\n'),
(9655,	1487,	'_edit_lock',	'1605705778:3'),
(9656,	1487,	'_edit_last',	'3'),
(9657,	1487,	'_thumbnail_id',	'1479'),
(9658,	1487,	'heidi_detour_body_fr',	'<p>Pour la tranquillité et le respect de notre voisinage,</p>\n<p>merci de ne pas parler trop fort en terrasse et sur le trottoir.</p>\n'),
(9659,	1488,	'_edit_lock',	'1605705785:3'),
(9660,	1488,	'_edit_last',	'3'),
(9661,	1488,	'_thumbnail_id',	'1480'),
(9662,	1488,	'heidi_detour_body_fr',	'<p>Oui, c\'est très à la mode, des théorèmes.</p>\n'),
(9663,	1489,	'_edit_lock',	'1621973811:3'),
(9664,	1489,	'_edit_last',	'3'),
(9665,	1489,	'_thumbnail_id',	'9283'),
(9666,	1489,	'heidi_detour_body_fr',	'<p>C’est vrai, quoi. Je manque cruellement de corpus.</p>\n'),
(9667,	1490,	'_edit_lock',	'1619438955:3'),
(9668,	1490,	'_edit_last',	'3'),
(9669,	1490,	'_thumbnail_id',	'1482'),
(9670,	1490,	'heidi_detour_body_fr',	'<p>Il y a du brouilly en vin naturel :</p>\n<p>deux cauchemars réunis.</p>\n'),
(9705,	1491,	'_edit_lock',	'1605705811:3'),
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(9707,	1491,	'_thumbnail_id',	'4191'),
(9708,	1491,	'heidi_detour_body_fr',	'<p>Veuillez trouver ci-joint votre facture du mois de septembre.</p>\n<p>Bien cordialement</p>\n'),
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(9731,	1492,	'_thumbnail_id',	'4189'),
(9732,	1492,	'heidi_detour_body_fr',	'<p>De plus, j\'ai reçu ce matin un coup de téléphone du réparateur de notre lave-vaisselle.</p>\n<p>Il va passer demain dans l\'après-midi.</p>\n'),
(9733,	1503,	'_edit_lock',	'1605705833:3'),
(9734,	1503,	'_edit_last',	'3'),
(9735,	1503,	'_thumbnail_id',	'1494'),
(9736,	1503,	'heidi_detour_body_fr',	'<p>Aucune magie pendant la nuit !</p>\n'),
(9737,	1504,	'_edit_lock',	'1605705844:3'),
(9738,	1504,	'_edit_last',	'3'),
(9739,	1504,	'_thumbnail_id',	'1496'),
(9740,	1504,	'heidi_detour_body_fr',	'<p>Eh oui, comme Balzac, je travaille de mémoire.</p>\n<p>&nbsp;</p>\n<p>Envoyé de mon iPhone</p>\n'),
(9741,	1505,	'_edit_lock',	'1619434976:3'),
(9742,	1505,	'_edit_last',	'3'),
(9743,	1505,	'_thumbnail_id',	'9274'),
(9744,	1505,	'heidi_detour_body_fr',	'<p>Pas d’observation sur les documents joints qui devront être accompagnés</p>\n<p>de l’attestation concernant l’emploi de travailleurs handicapés.</p>\n'),
(9745,	1506,	'_edit_lock',	'1605705860:3'),
(9746,	1506,	'_edit_last',	'3'),
(9747,	1506,	'_thumbnail_id',	'1498'),
(9748,	1506,	'heidi_detour_body_fr',	'<p>Tu savais que l’Inde a décriminalisé l’homosexualité aujourd’hui ?</p>\n'),
(9749,	1507,	'_edit_lock',	'1605705872:3'),
(9750,	1507,	'_edit_last',	'3'),
(9751,	1507,	'_thumbnail_id',	'1499'),
(9752,	1507,	'heidi_detour_body_fr',	'<p>Conditions pour proposer un projet</p>\n<p>- être Français ou résider en France depuis plus d’un an</p>\n<p>- être âgé entre 18 à 35 ans</p>\n'),
(9753,	1508,	'_edit_lock',	'1605705889:3'),
(9754,	1508,	'_edit_last',	'3'),
(9755,	1508,	'_thumbnail_id',	'1500'),
(9756,	1508,	'heidi_detour_body_fr',	'<p>La résidence est décrite comme un processus d’immersion</p>\n<p>dans un environnement « autre » dans une perspective d’échanges,</p>\n<p>de partage et de mise en pratique d’une expérience artistique.</p>\n'),
(9757,	1509,	'_edit_lock',	'1605705900:3'),
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(9759,	1509,	'_thumbnail_id',	'1501'),
(9760,	1509,	'heidi_detour_body_fr',	'<p>C\'est la fin du mois. D\'un choux-fleur, on fait un repas.</p>\n'),
(9761,	1510,	'_edit_lock',	'1605948461:3'),
(9762,	1510,	'_edit_last',	'3'),
(9763,	1510,	'_thumbnail_id',	'1502'),
(9764,	1510,	'heidi_detour_body_fr',	'<p>elle fonctionne exactement comme la rubrique expositions.</p>\n'),
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(9769,	1506,	'heidi_detour_link',	'work-categories/my-school-only-better-2007/'),
(9770,	1505,	'heidi_detour_link',	'project-categories/museums-of-the-world-montreal/'),
(9771,	1504,	'heidi_detour_link',	'work-categories/industrial-collages/'),
(9772,	1503,	'heidi_detour_link',	'work-categories/anthropology-mqb/'),
(9773,	1492,	'heidi_detour_link',	'work-categories/tree-drawings/'),
(9774,	1491,	'heidi_detour_link',	'publicart-categories/museums-of-the-world-2013/'),
(9775,	1490,	'heidi_detour_link',	'work-categories/coming-soon-2006/'),
(9776,	1489,	'heidi_detour_link',	'work-categories/los-angeles-2004-2005/'),
(9777,	1488,	'heidi_detour_link',	'work-categories/photos/'),
(9778,	1487,	'heidi_detour_link',	'work-categories/iufm-2002-2005/'),
(9779,	1486,	'heidi_detour_link',	'work-categories/cristal-union-2002/'),
(9780,	1485,	'heidi_detour_link',	'work-categories/serving-suggestions-2001/'),
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(11114,	983,	'heidi_exhibition_internal_link_name_fr',	'VOIR PLUS : PROJET VACANCES D\'HIVER'),
(11115,	983,	'heidi_exhibition_body_fr',	'<p><strong>CHEVILLY - LARUE</strong></p>\n<p>L\'exposition à Maison des arts plastiques Rosa Bonheur a été le point culminant d\'une résidence d\'artiste de plus d\'une année à Chevilly-Larue. Un intérêt pour l\'intimité domestique des résidents a été complété d\'une étude des façades de rues.</p>\n<p>15 décembre 2011 - 15 février 2012</p>\n'),
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(11121,	985,	'heidi_exhibition_body_fr',	'<p><strong>GALERIE MUNICIPALE, VITRY-SUR-SEINE</strong></p>\n<p>Cette exposition a accompagné l’inauguration d\'une commande d’œuvres pérennes sur la façade d\'un ensemble d\'HLM. Elle avait comme objectif d\'expliciter ma méthode de travail, à la fois dans le cadre de cette commande et dans ma démarche artistique en général</p>\n<p>January 15 - 28 February 2010</p>\n'),
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(11127,	944,	'heidi_exhibition_body_fr',	'<p><strong>FKSE STUDIO, BUDAPEST</strong><br />\n\"Free Your Mind\" avec Adam Albert</p>\n<p>Commissaire d\'exposition : Sari Stenczer</p>\n<p>19 mai - 9 juin 2009</p>\n'),
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(11133,	946,	'heidi_exhibition_body_fr',	'<p><strong>MEYMAC CONTEMPORARY ART CENTER</strong></p>\n<p>L\'exposition présentait les œuvres réalisées lors d\'une résidence au centre d\'art, ancrées dans une étude du paysage et de l\'habitat limousins.</p>\n<p>19 avril - 21 juin 2009</p>\n'),
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(11152,	956,	'heidi_exhibition_body_fr',	'<p><strong>IMAGE/IMATGE, ORTHEZ</strong><br />\n16 janvier - 7 mars 2009</p>\n<p>Commissaire d\'exposition : Emilie Flory</p>\n'),
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(11171,	963,	'heidi_exhibition_body_fr',	'<p><strong>GALERIE D\'ESAD, AMIENS</strong></p>\n<p>L\'exposition a transformé la galerie de cette école de design en syndicat d\'initiative pour la ville de Santa Fe (États Unis). Peintures murales, collages de feutre et la série photographique <em>Authentic New Mexico</em> ont exploré le reformatage de traditions amérindiennes en argument de vente touristique.</p>\n<p>Commissaires d\'exposition : Barbara Denys &amp; Sylvie Couderc</p>\n'),
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(12540,	1681,	'heidi_doc_article_body_fr',	'<p>Dans les<em> Serving Suggestions</em>, le tableau est réduit à être qu’un des éléments d’un dispositif. Cette opération de « réduction » ne suit pas la pente minorante du mot mais correspond plutôt à son versant culinaire. Faire épaissir par évaporation.</p>\n<p>&nbsp;</p>\n<p>Peint pour lui-même, le tableau est ensuite intégré à un décor. Un environnement est construit qui lui servira de réceptacle. S’opère alors une véritable mise en scène. Une construction de situation.</p>\n<p>&nbsp;</p>\n<p>Des « images » sont ainsi produites par assemblage d’éléments disparates : tableaux, meubles, papier peint, linoléum, moquette, plantes, accessoires… selon une logique modulaire (combinaisons, reprises, chassés-croisés…).</p>\n<p>&nbsp;</p>\n<p>Pour <em>Quotidien aidé (LES LOCATAIRES)</em>, (première occurrence publique de ces <em>Serving Suggestions</em>), Heidi Wood avait « investi » la borne d’accueil de l’exposition, conjuguant ainsi différentes problématiques : conçues pour ce lieu particulier, cette intervention proposait un espace utilisable et utilisé ainsi qu’une image puisque l’ensemble était bâti en fonction d’un point de vue et de jeux de masses, de formes et de couleurs. On y décelait déjà les multiples ramifications de ce projet alors en germe : l’attention portée au décor, au fonctionnel, à l’image, au publicitaire.</p>\n<p>&nbsp;</p>\n<p>Ces <em>Serving Suggestions</em> se développent à mi-chemin entre des reconstitutions/propositions d’intérieurs et des corners de magasins de meubles ou de catalogues de ventes. Par là, la question de la consommation de l’art affleure. Les corners proposent en effet des espaces désirables, des espace d’identification et d’appel supposés inciter le consommateur à l’achat.</p>\n<p>&nbsp;</p>\n<p>Bien que réalistes ou vraisemblables, les espaces conçus sont véritablement fabriqués. Artificiels. Ceux qui m’intéressent tout particulièrement sont ceux qui dérapent. Qui signalent par petits décalages leur qualité de simulacres. Ceux qui évoquent l’utilisabilité mais où les meubles, trop bien rangés, posent. Ceux qui sont en proie à des déformations optiques, où la perspective est accentuée. Ceux qui proposent, comme des vues aberrantes issues d’un magazine de décoration. Ici, le tableau est trop proche du mur, là, de la table. Dans cet autre, le papier peint s’arrête net, ne couvrant que partiellement le mur. Dans celui-là, la combinaison des modules défie les lois du bon sens. Ils s’opèrent comme une mise à mal de l’efficacité attendue dans une optique communicationnelle et publicitaire. Comme de légers accrocs au spectacle.</p>\n<p>&nbsp;</p>\n<p>Ces défaillances internes ne sont pas immédiatement repérables. Elles minent la transparence de ces images.</p>\n<p>&nbsp;</p>\n<p>Produites aujourd’hui, ces images dialoguent forcément avec d’autres qui leur sont contemporaines. Je pense particulièrement, et cette position est totalement revendiquée par Heidi Wood, aux photographies de mode et de décoration d’intérieur. Bref, à ce retour que les formes des années 60/70 ont effectué ces dernières années dans notre champ visuel. On assiste à l’adéquation momentanée entre un univers pictural (l’esthétique développée depuis plusieurs années par Heidi Wood) et un mouvement de masse, social, éphémère, une mode (qui donc participe de la logique du spectacle, de l’argent, de la consommation, etc.) Cette rencontre inscrit ses recherches picturales dans un contexte plus large que la simple Histoire de la peinture. Ou plutôt envisage la pratique comme enclose, connectée avec le monde.</p>\n<p>&nbsp;</p>\n<p>Le recours à cette esthétique dépasse l’aspect conjoncturel. Elle est celle d’un temps révolu, un rappel du modernisme triomphant, de la consommation optimiste. Qui, déjà à l’époque de son apparition, reprenait et abâtardissait les recherches formelles des avant-gardes. Heidi Wood interroge à sa manière le dialogue historique entre l’abstraction géométrique et les arts décoratifs (dialogue qui, de Mondrian à Vasarely, a connu de nombreux avatars), mais celui-ci est désormais vide de toute implication utopique, de projet de révolution sociale. Les formes aujourd’hui épuisées du modernisme sont interrogées du point de vue domestique. Comment faire avec cette histoire ?</p>\n<p>&nbsp;</p>\n<p><strong>Frank Lamy</strong></p>\n<p>août 2001</p>\n'),
(12541,	1682,	'heidi_doc_article_pdf_name',	'a:1:{i:0;s:16:\"Download article\";}'),
(12542,	1682,	'heidi_doc_article_pdf_name_fr',	'a:1:{i:0;s:22:\"Télécharger le texte\";}'),
(12543,	1682,	'heidi_doc_article_title_fr',	'VERBES IRRÉGULIERS'),
(12544,	1682,	'heidi_doc_article_body_fr',	'<p>Les verbes irréguliers anglais donnés pour titre aux triptyques que peint Heidi Wood sont des indices précieux pour comprendre mieux, sur le mode analogique, la grande complexité des tableaux qu’elle réalise, aux apparences doucement abstraites et décoratives.</p>\n<p>Chaque volet de cette série précisément intitulée « Irregular Verbs », se compose de trois tableaux de formats identiques, souvent petits ou de taille moyenne, sur lesquels sont posées des formes traitées en aplats, vaguement évocatrice des abstractions historiques. Les rapports de couleur souvent sourds, jamais faciles, ainsi que les tissus d’ameublement parfois utilisé comme support contribuent à l’altération des modèles, au ramollissement des références. Sommeil trompeur !</p>\n<p>En effet, ces petites peintures de compagnie sont en réalité de redoutables machines à dérégler le temps et le geste. Et les titres encouragent ce terrible mécanisme.<br />\nA l’image du verbe qui lui fait pendant, le triptyque retient ainsi toute narration et scande en trois parties le développement d’une action probable mais coupée dans l’immédiat de toute nécessité de résultat, du moindre rapport au réel. Appliquée à la peinture, la technique du « par cœur » impose une logique mécanique de la mémoire. Telles les deux virgules qui à l’écrit séparent les temps irréguliers de ces verbes d’exceptions, les qualités du traitement à l’huile, la texture trop visible de certains tissus s’efforcent alors de rappeler le présent.</p>\n<p>&nbsp;</p>\n<p>Loin des solutions naïvement syntaxiques qui permettent à beaucoup de peindre aujourd’hui, Heidi Wood, en jouant de manière si serrée avec le langage, s’offre les plus simples libertés en peinture.</p>\n<p>&nbsp;</p>\n<p><strong>Nicolas Chardon</strong><br />\ndécembre 1999</p>\n'),
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(12550,	1683,	'heidi_doc_article_pdf_name',	'a:1:{i:0;s:11:\"Download CV\";}'),
(12551,	1683,	'heidi_doc_article_pdf_name_fr',	'a:1:{i:0;s:19:\"Télécharger le CV\";}'),
(12552,	1683,	'heidi_doc_article_title_fr',	'HEIDI WOOD CV'),
(12554,	1687,	'_wp_attached_file',	'2018/09/CAT-1999-NChardon-ang.pdf'),
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(12560,	1690,	'_wp_attached_file',	'2018/09/CAT-2001-F-Lamy-cat-SS-ang.pdf'),
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(12566,	1681,	'heidi_doc_article_title_fr',	'PROPOSITION D\'ACCOMPAGNEMENT'),
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(12577,	1693,	'_wp_attached_file',	'2018/09/CAT-2015-De-Smet-ang.pdf'),
(12578,	1694,	'_wp_attached_file',	'2018/09/CAT-2015-De-Smet-fr.pdf'),
(12580,	1692,	'heidi_doc_article_pdf_name',	'a:1:{i:0;s:16:\"Download article\";}'),
(12582,	1692,	'heidi_doc_article_pdf_name_fr',	'a:1:{i:0;s:22:\"Télécharger le texte\";}'),
(12583,	1692,	'heidi_doc_article_title_fr',	'RE-CORBUSIER'),
(12584,	1692,	'heidi_doc_article_body_fr',	'<p>Au commencement, une peinture à l’huile de 130 cm par 81 cm, intitulée <em>You Win Some, You Lose Some</em> , appartenant à un ensemble de tableaux abstraits réalisés par l’artiste. De formats variables, ceux-ci ont en commun leurs couleurs vives et contrastées, leurs motifs abstraits et le tissu d’ameublement qui leur sert de support — matériau qui en quelque sorte devait sceller leur destin. On retrouve en effet ces même tableaux intégrés, tels des éléments de mobilier, à des espaces intérieurs que Heidi Wood arrange, puis photographie. Accroché sur un mur bleu, <em>You Win Some, You Lose Some </em> participe ainsi d’une composition où interviennent également le lampadaire Jielde de Jean-Louis Domecq (conçu vers 1950) et la chaise longue de Le Corbusier, Pierre Jeanneret et Charlotte Perriand (conçue en 1928). Le sol est jaune, le mur de droite est rouge. Une autre fois, <em>You Win Some, You Lose Some </em> apparaît seulement avec le luminaire de Domecq, posé sur un sol en damier noir et blanc. La série entière des Serving Suggestions repose sur ce principe : une ou deux peintures associées à quelques chaises, à un fauteuil, à une lampe dessinés au XX<sup>e </sup>siècle (parfois accompagnés d’une plante verte, d’une table basse ou d’un cendrier sur pied), se détachant sur des fonds aux teintes souvent vives.</p>\n<p>&nbsp;</p>\n<p>Outre la référence à Le Corbusier que constitue la polychromie de l’espace bleu-rouge-jaune photographié, on ne peut manquer de noter la parenté entre les Serving Suggestions en général et les vues proposées par la maison Salubra afin d’assurer la promotion de la gamme de papiers peints créée par l’architecte (vues reproduites dans le livre de 1959 et dans des publicités distribuées lors de sa publication, et ultérieurement). Une photographie de 1981 présente ainsi le papier peint « Mur » tapissant une paroi dans une pièce occupée par la chaise longue de 1928 flanquée d’un lampadaire récent. Sur l’autre paroi, rouge, un tableau de Le Corbusier est suspendu. Au premier plan, les palmes vertes d’une plante en pot complètent la mise en scène.</p>\n<p>&nbsp;</p>\n<p>Dans les <em>Serving Suggestions</em>, qui rappellent les images dont regorgent les catalogues de vente et les magazines de décoration, la hiérarchie est incertaine : à quoi se rapporte en premier chef la « suggestion de présentation » ? Le tableau vient rehausser l’environnement de la chaise longue autant que celle-ci vient meubler l’espace d’exposition du tableau, et l’anachronie de leur rapprochement est effacée par la logique convenue de l’installation : un parfait cliché moderne. Heidi Wood s’intéresse ainsi aux répercussions visuelles des stratégies de communication contemporaines. En témoigne aussi sa traduction de la silhouette de grands ensembles de banlieue en pictogrammes déclinés ensuite sur divers supports (<em>Architecture de zone péri-urbaine</em>, 2013), qui marquent également, d’une autre manière, son intérêt pour la modernité et ses suites.</p>\n<p>&nbsp;</p>\n<p><strong>Catherine de Smet</strong>, 2015</p>\n<p>Catalogue <em>Re-Corbusier</em></p>\n<p>Catalogue Re-Corbusier</p>\n'),
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(12592,	1695,	'heidi_doc_article_pdf_name_fr',	'a:1:{i:0;s:22:\"Télécharger le texte\";}'),
(12593,	1695,	'heidi_doc_article_title_fr',	'APPARITIONS COLLECTIVES'),
(12594,	1695,	'heidi_doc_article_body_fr',	'<p>On a découvert le travail d\'Heidi Wood au début des années 2000 par une stratégie qui mettait en avant le devenir décoratif de la peinture abstraite : l\'artiste concevait des décors domestiques (type salon avec papier peint et luminaire) dans lesquels elle accrochait ses propres compositions abstraites. L\'ensemble était pris en photo ou proposé sous forme de protocole et constituait, dans une logique marketing, une \"suggestion de présentation\".</p>\n<p>&nbsp;</p>\n<p>Ceci témoigne également de son intérêt pour l\'intrusion de l\'économie d\'entreprise dans les modes de production et de diffusion de l\'art. Elle démontre celle-ci par divers moyens (parfois aussi exagérés que l\'intrusion économique peut-être outrancière) : diffusion de ses oeuvres sous forme de spams, délégation de la production, définition d\'une date de péremption des tableaux, accrochages qui s\'inspirent du stand de foire ou du syndicat d\'initiative, déclinaison de ses oeuvres sous des formes qui empruntent au merchandising...</p>\n<p>&nbsp;</p>\n<p>Dans le cadre de résidences ou de commandes publiques, Heidi Wood a pour terrain d\'exploration des villes souvent inconnues dont elle cherche à extraire l\'essence. Dans une esthétique proche de la peinture géométrique, c\'est sous la forme de pictogrammes que ces synthèses de l\'espace urbain se traduisent. A la manière de logotypes promotionnels, ceux-ci sont imprimés sur des supports bons marchés (assiette, carte postale, calendrier, panneau signalétique...) qui maintiennent la confusion entre divers domaines.</p>\n<p>Répondre à l\'invitation des 30 ans des Frac a permis à Heidi Wood d\'appliquer ses méthodes de travail à une collection publique.</p>\n<p>&nbsp;</p>\n<p>Dans les \"Apparitions collectives\", deux axes sont développés : mettre en scène des oeuvres autour de thématiques communes et décanter sous forme de pictogrammes de possibles synthèses de cette collection. Pour chaque \"Apparition\", une oeuvre est exposée et les autres sont schématiquement représentées en peinture murale. Quatre des 14 protocoles créés sont réactivés à Toulouse après deux premiers cycles (partenaires en région Poitou Charentes puis au FRAC à Angoulême) :</p>\n<p>&nbsp;</p>\n<p>- avec l\'oeuvre de Didier Marcel (Philippe Pareno et Maurizio Cattelan, Pierre Malphettes), des structures relatent des micro-utopies et/ou l\'aménagement des espaces favorables aux échanges. Sans grande révolution, l\'utopie se veut relationnelle et débute au bas de l\'immeuble ;<br />\n- aux côtés de l\'oeuvre d\'Ingrid Luche (Mark Handforth, Mariano Fortuny), ambigus, poétiques, usuels ou graphiques, les luminaires deviennent matières premières à la création ;<br />\n- les briques de J. Duplo caractérisent l\'application répétitive d\'un système. L\'usage de matériaux pauvres et inattendus met en avant l\'ingéniosité et l\'obsession d\'un geste ( Nathalie Talec, Vincent Ganivet) ;<br />\n- outil numérique de synthèse formelle, on peut introduire le dispositif avec Delphine Coindet (Xavier Veilhan) par : \"L\'art pour moi, c\'est faire émerger des choses dont on connaît l\'existence, mais que l\'on ne voit pas. Je veux créer des sortes de logotypes qui placent le spectateur devant un questionnement.\" (X.V.)</p>\n<p>&nbsp;</p>\n<p><strong>Hélène Dantic</strong></p>\n<p>Texte du catalogue pour l\'exposition <em>Les Pléiades, 30 ans des Fonds Régionaux d\'art contemporain</em><br />\n28/09/2013 - 05/01/2014</p>\n'),
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(12611,	1700,	'heidi_doc_article_pdf_name_fr',	'a:1:{i:0;s:22:\"Télécharger le texte\";}'),
(12612,	1700,	'heidi_doc_article_title_fr',	'UNE PEINTURE POPULAIRE ?'),
(12613,	1700,	'heidi_doc_article_body_fr',	'<p><em>Une oeuvre d\'art actuelle doit supporter la comparaison de fait</em></p>\n<p><em>avec n\'importe quel objet fabriqué. Le tableau-artiste est faux et périmé.</em></p>\n<p><em>Le tableau-objet est seul capable de subir la comparaison et de résister au temps.</em></p>\n<p>&nbsp;</p>\n<p><strong>Fernand Léger</strong></p>\n<p>&nbsp;</p>\n<p>Selon les ethnologues anglais de la fin du XIX<sup>e</sup> siècle tel Alfred Cort Haddon, l\'évolution du décor depuis la Préhistoire initie les prémices de l\'histoire culturelle des formes, liant dès l\'origine l\'art et la notion de décoratif.<a href=\"#_ftn1\" name=\"_ftnref1\">[1]</a> A l’automne 2013, le musée national Fernand Léger et le musée d’histoire et de céramique biotoises invitent l’artiste australienne Heidi Wood à poursuivre ce dialogue entre beaux-arts et arts appliqués, en lien avec la distinction pertinente établie par Léger entre tableau de chevalet et peinture ornementale. De cette rencontre inédite est née l’exposition Décor d’une vie ordinaire, conçue en deux volets.</p>\n<p>&nbsp;</p>\n<p>Expérimentant la picturalité sur tous supports, Heidi Wood croise deux temporalités (universelle et contextuelle) au gré de ses voyages et de ses résidences de création : « J’explore l’utilisation de pictogrammes dans la simulation et l’évocation d’un monde idéalisé. Je continue à concevoir des répertoires de formes en regard d’un contexte précis. Mais ces formes ne sont plus proposées à travers des séries photographiques pour devenir (éventuellement) des tableaux : l’oeuvre matérielle disparait. Je lui préfère des environnements éphémères ». Poursuivant son infiltration picturale du réel par un vertigineux marketing autopromotionnel, Heidi Wood détourne la fonctionnalité des objets en utilisant leur potentiel visuel (panneau d\'affichage ou routier, fanion ou trousse, assiette décorative ...). Avec la série des Serving Suggestions initiée en 2001 (tableaux abstraits intégrés à des intérieurs d\'esprit moderniste), l\'artiste prend acte de la banalisation de l\'oeuvre d\'art réduite à une image, telle qu\'annoncée par Walter Benjamin en 1935.<a href=\"#_ftn2\" name=\"_ftnref2\">[2]</a>. Ses mises en scène de type publicitaire transforment en conséquence le spectateur en consommateur.</p>\n<p>&nbsp;</p>\n<p>A Biot, Heidi Wood fait ainsi dialoguer ses paysages pictographiques avec l’esthétique progressiste de Fernand Léger en lien étroit avec la ville où le peintre normand pratiqua la céramique entre 1949 et 1955. Le thème urbain sert de fil rouge entre ces trois réalités car il constitue un enjeu central dans l’oeuvre de l\'artiste. En effet, Fernand Léger s’enthousiasme dès les années 1920 pour l’innovation tant architecturale que sociale développée par le Style international et mise en oeuvre par ses amis Le Corbusier ou Robert Mallet-Stevens. Lucide, il revendique néanmoins l’intégration de la peinture dans l’architecture et la reconquête par les artistes de l’impact visuel généré par la publicité. Lors du Salon de l\'aviation à Paris en 1912, il prend acte avec Marcel Duchamp et Constantin Brancusi de la concurrence de l\'objet industriel, en l\'occurence une hélice. Si Duchamp cesse de peindre au profit d\'une conceptualisation de l\'acte artistique, Fernand Léger opte pour une stratégie d\'intégration de la peinture aux projets d\'art total tels que l\'architecture, le cinéma ou le spectacle. Convaincu que l\'art est un moyen et non une fin, il découvre le peuple lors de la Première Guerre mondiale qu\'il passa sur le front aux côtés de mineurs, d\'artisans ou de terrassiers. Cette rupture lui fait prendre conscience que la quasi-abstraction à laquelle aboutit alors sa série cubisante des Contrastes de formes l\'éloigne de l\'homme de la rue. Lors des fameux débats à la Maison du peuple en 1936 qui l\'opposent aux tenants du réalisme socialiste dont Aragon, il revendique la nécessité d\'une éducation artistique pour tous et refuse l\'instrumentalisation de l\'art à des fins démagogiques ou individualistes : \"Si nos oeuvres n\'ont pas pénétré dans le peuple, c\'est la faute, je le répète, à l\'ordre social actuel et non pas parce que ces oeuvres manquent d\'humanité\".<a href=\"#_ftn3\" name=\"_ftnref3\">[3]</a> Il illustre désormais son concept de nouveau réalisme par la valorisation de l\'objet quotidien au détriment du sujet romantique sévissant depuis la Renaissance italienne. En 1923-24, il affirme ainsi que « Le Beau est partout, dans l\'ordre de vos casseroles, sur le mur blanc de votre cuisine, plus peut-être que dans votre salon XVIII<sup>e</sup> siècle ou dans les musées officiels ».<a href=\"#_ftn4\" name=\"_ftnref4\">[4]</a> Au moyen de sa théorie des contrastes, il revendique la beauté des moyens purs du peintre (ligne, forme, couleur).</p>\n<p>&nbsp;</p>\n<p>Avec son projet <em>Sister Suburbs</em> initié en 2011, Heidi Wood dresse l’état des lieux de cette histoire progressiste de l’art du XX<sup>e</sup> siècle au regard de l’actuel environnement péri-urbain, souvent dédaigné au profit du centre-ville jugé plus patrimonial. L’hommage qu’elle porte à la banlieue constitue ainsi une invitation à regarder autrement le paysage construit, ses codes visuels mais également ses contradictions. Entre ironie et militantisme, l’artiste revisite la fonction sociale de l’art située au coeur de l’utopie des avant-gardes. Marquée par l\'esthétique constructiviste de Malévitch et du Bauhaus, elle interroge la capacité de l\'art non-figuratif à fusionner avec la vie quotidienne. Quelle relation le peintre peut-il concrètement établir avec ses concitoyens ? L\'appropriation généralisée des topos de l\'abstraction géométrique par la communication visuelle et le design s\'analyse-t-elle comme une victoire ou une faillite du courant moderne ? Quelle place occupe l\'artiste dans l\'économie aujourd\'hui mondialisée des biens et des services ? Comme l\'énonce Nicolas Bourriaud, (...) \"le glossaire abstrait permet de rendre compte d’une réalité visible (architecturale, sociale ou économique) que le capitalisme a transformée en tableau abstrait\".<a href=\"#_ftn5\" name=\"_ftnref5\">[5]</a></p>\n<p>&nbsp;</p>\n<p>Prestataire au service de sa propre démarche créatrice, Heidi Wood apporte une réponse par l\'application d\'un protocole visuel d\'interrogation à partir des signes que lui renvoient les territoires qu\'elle traverse. Le renouvellement du regard qu\'elle propose questionne les valeurs qui sous-tendent notre époque et par conséquent le regard que nous portons sur elle. En cela, Heidi Wood incarne d\'évidence l\'utopie pertinente des avant-gardes du XX<sup>e</sup> siècle : le monde changera d\'abord grâce au regard lucide porté sur lui.</p>\n<p>&nbsp;</p>\n<p>Dans l\'exposition en diptyque <em>Décor d\'une vie ordinaire</em>, l\'artiste propose un dispositif réjouissant de mise en abyme. Acteur malgré lui d\'un reality show, le public est invité au musée à admirer l\'espace domestique dans lequel il vit. Spatialisée, la peinture rend l\'espace concret en (re)plaçant l\'homo erectus en son centre. Au musée national Fernand Léger, le volet <em>Grand ensemble</em> immerge ainsi le visiteur dans une oeuvre d’art totale reconstituant un appartement standardisé de type HLM. Entre beaux-arts, art appliqués et goût populaire, l’artiste s’amuse du statut ambigu de ses oeuvres qu\'elle réalise elle-même ou dont elle délègue la production à des tiers. L’art est-il soluble dans le décoratif ? Des panneaux routiers au motif floral sont accrochés sur des peintures murales en aplats monochromes évoquant des poncifs de l’architecture anonyme des banlieues. Des sculptures blanches en forme de plans de sol d’immeubles sociaux sont détournées : elles servent de présentoir pour des assiettes souvenir en porcelaine représentant un pylône électrique.</p>\n<p>&nbsp;</p>\n<p>Au musée d’histoire et de céramique biotoises, le volet <em>Pavillon</em> propose un dialogue vivifiant entre les collections retraçant la vie quotidienne dans ce beau village provençal et les oeuvres à l’esthétique industrielle de Heidi Wood. Renforcé par un jalonnement routier constitué de 5 affiches aux motifs floraux ou architecturaux sur des fonds en aplats colorés, ce parcours biotois suscite une interaction dynamique entre deux réalités urbaines du territoire de la Côte d’Azur, l’une au musée Léger sur le thème du dialogue entre peinture et architecture bon marché et l’autre au musée d’histoire et de céramique en lien avec les métiers d’art et l’objet quotidien.</p>\n<p>&nbsp;</p>\n<p>Pour Fernand Léger et Heidi Wood, la force de la peinture s\'incarne dans une pédagogie visuelle capable de s\'opposer à l\'aliénation de l\'homme par l\'homme. Leur stratégie de mise à distance du réel permet de regarder ce dernier plus intensément, avec bienveillance mais sans romantisme. Au-delà du tableau, peut-on habiter la peinture ? Notre habitat standardisé témoigne-t-il d\'un art savant accédant enfin à la popularité ? En nous proposant des clés de réponse, Heidi Wood enrichit à son tour l\'histoire culturelle des formes.</p>\n<p>&nbsp;</p>\n<p><strong>Diana Gay</strong>, 2013</p>\n<p>Catalogue<em> Décor d’une vie ordinaire</em></p>\n<p>&nbsp;</p>\n<h5><a href=\"#_ftnref1\" name=\"_ftn1\">[1]</a>      Guitemie Maldonado, « Chapitre 1 / Archéologie du terme » in Le cercle et l\'amibe. Le biomorphisme dans l\'art des années 1930, Paris, INHA/CTHS (« Les Essais de l\'INHA »), 2006 [en ligne], mis en ligne le 7 décembre 2010, consulté le 10 août 2013, http://inha.revues.org/2876.</h5>\n<h5><a href=\"#_ftnref2\" name=\"_ftn2\">[2]</a>     Walter Benjamin, L\'oeuvre d\'art à l\'époque de sa reproductibilité technique, Paris, Allia, 2003.</h5>\n<h5><a href=\"#_ftnref3\" name=\"_ftn3\">[3]</a>     Fernand Léger, « Le nouveau réalisme continue », Fonctions de la peinture, Paris, Gallimard coll. Folio Essais, 2009, p. 197.</h5>\n<h5><a href=\"#_ftnref4\" name=\"_ftn4\">[4]</a>     Fernand Léger, « L\'esthétique de la machine, l\'objet fabriqué, l\'artisan et l\'artiste», ibid, p. 88.</h5>\n<h5><a href=\"#_ftnref5\" name=\"_ftn5\">[5]</a>     Nicolas Bourriaud, Sarah Morris. Mechanical Ballet, catalogue numérique de l\'exposition au musée national Fernand Léger (17 novembre 2012-4 mars 2013), [en ligne], p. 5, consulté le 13 août 2013, <a href=\"http://www.musees-nationaux-alpesmaritimes.fr/library/Sarah%20Morris/SarahMorris2MN2012BD.pdf\">http://www.musees-nationaux-alpesmaritimes.fr/library/Sarah%20Morris/SarahMorris2MN2012BD.pdf</a></h5>\n<p>­</p>\n'),
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(12624,	1703,	'heidi_doc_article_title_fr',	'BANLIEUES'),
(12625,	1703,	'heidi_doc_article_body_fr',	'<p>Le jumelage de villes de différents pays apparaît dans les années 1950, dans le but de favoriser le dialogue culturel et réduire ainsi les incompréhensions et les antagonismes qui avaient rendu possible les deux guerres mondiales et toutes les autres. Le jumelage est donc un projet de fraternité utopique, activé au niveau des communes, plutôt qu’à celui des États, toujours suspects de nationalisme et d’intérêts dits supérieurs.</p>\n<p>&nbsp;</p>\n<p>Au même moment, le modernisme tardif trouve ses formulations les plus pures dans la critique d’art et la peinture abstraite américaines. Il y aurait donc une surprenante correspondance, au moins historique, entre ces deux utopies que sont le dialogue entre les cultures et l’affirmation d’une eschatologie moderniste ancrée nationalement.</p>\n<p>&nbsp;</p>\n<p>Depuis, la pratique du jumelage a perdu en ambition avant-gardiste ce qu’elle a gagné en fonctionnement administratif et le vocabulaire formel du modernisme pictural a été largement récupéré par les professionnels de la publicité, de la communication, du graphisme et du design. À Limay, Heidi Wood met en relation ces deux héritages en proposant de jumeler cette petite ville des Yvelines et celle de Wheelers Hill, banlieue de Melbourne, en Australie. L’artiste imagine les offices de tourisme des deux villes, ornés de photographies, tableaux et peintures murales. Comme dans l’ensemble de son travail, le registre formel utilisé par Heidi Wood tient autant de l’abstraction géométrique que du logo et de la communication visuelle, troublant ainsi la nature de ce que l’on est en train de regarder. La greffe est d’ailleurs au principe de la plupart des procédures formelles utilisées : peinture à l’huile sur tissu d’ameublement synthétique, photographie et graphisme numérique en diptyque, confrontations de deux couleurs en aplat, coexistence du dessin d’observation et d’économies fictives complexes…</p>\n<p>&nbsp;</p>\n<p>La banlieue, qui est à la fois le lieu et l’objet de ce projet, se définit elle-même comme greffon : fantasme d’union de l’urbain et du champêtre, rêve de ville nouvelle, elle répond également à des représentations fondamentalement différentes en France, où elle incarne l’exclusion et la menace, et dans le monde anglo-saxon, où elle est une zone résidentielle. Dans les deux cas, ce sont des questions d’image(s). Signalons enfin que lorsqu’une greffe ne prend pas, on parle de « rejet ».</p>\n<p>&nbsp;</p>\n<p><strong>Karim Ghaddab</strong>, 2012</p>\n<p>Catalogue <em>Banlieues</em></p>\n<p>&nbsp;</p>\n<p><strong>INTENTIONS</strong></p>\n<p>BANLIEUES, Les Réservoirs, Limay</p>\n<p>9 mars – 15 avril 2012</p>\n<p>&nbsp;</p>\n<p>Ma première idée, lorsque j’ai reçu la proposition de présenter une exposition aux Réservoirs à Limay, a été de jumeler cette ville de la lointaine banlieue parisienne avec son équivalente dans un autre pays. J’espérais explorer la réalité cachée derrière les perceptions radicalement différentes de la banlieue en France et dans les pays anglophones.</p>\n<p>&nbsp;</p>\n<p>Quand les français pensent à la banlieue ils imaginent uniquement ses quartiers les plus difficiles. Les urbanistes définissent 751 « zones urbaines sensibles » (ZUS) en France. D’après Wikipédia, celles-ci se caractérisent par un taux de chômage élevé, une large proportion de personnes non diplômées et un faible potentiel fiscal. La proportion de personnes d’origine étrangère y est deux fois plus élevée que dans d’autres agglomérations et 60% des habitants des ZUS sont locataires de HLM contre 20% en moyenne ailleurs. Les Zusards étaient 4,4 million en 2006 (7% de la population). Entre 77,5 à 85% de la population française est urbanisée selon les sources. Les banlieues qui ne sont pas « sensibles » sont couramment appelées « villes ». Limay est sur la liste de zones urbaines sensibles. Pour les français, elle est donc une banlieue.</p>\n<p>&nbsp;</p>\n<p>J’ai grandi en banlieue Australienne. Le terme suburbia évoque l’existence calme de la classe moyenne dans de vastes zones pavillonnaires parsemées de centres commerciaux énormes. Cet imaginaire correspond parfaitement à l’expérience que j’en ai faite. L’équivalent de la banlieue aurait été inner west (proche banlieue ouest), associée elle aussi à une concentration des maux sociaux, mais de nos jours ces quartiers se sont largement embourgeoisés.</p>\n<p>&nbsp;</p>\n<p>J’ai commencé mes recherches d’une banlieue jumèle pour Limay en contactant des amis qui vivent à l’étranger. J’ai définit Limay ainsi :</p>\n<p>&nbsp;</p>\n<p>C’est une banlieue très excentrée (presqu’en Normandie), une ville ouvrière construite dans les années 60 avec quelques grands ensembles et beaucoup de maisons individuelles. Les vaches broutent à proximité de l’industrie lourde. La municipalité est communiste.</p>\n<p>&nbsp;</p>\n<p>Leurs réponses :</p>\n<p><em>Camarade Heidi : L’idée de maires communistes aux Etats-Unis m’a bien fait rigoler. Je ne pense pas que soit possible en Amérique un élu qui professe ouvertement des convictions communistes… Nous autres américains aimons notre capitalisme ultra-libéral et hard-core avec une passion qui vire au fétichisme. En creusant un peu, il serait peut-être possible de trouver une communauté florissante dotée d’une économie de troc plus ou moins clandestine, mais seuls les marges les plus nuancées de notre conscience collective peuvent y avoir accès. Mais j’imagine que le rhétorique serait libertaire (Vivre libre ou mourir étant un de nos devises fondateurs) plutôt que communiste ou socialiste. Peut-être pourrais-tu plutôt comparer/contraster dans ton projet de jumelage de banlieues. Je suis convaincue que bien de villes aux US sont aussi profondément capitalistes que le sont tes communistes de l’UE.</em></p>\n<p>(<strong>KC Bitterman</strong>)</p>\n<p>&nbsp;</p>\n<p><em>Nous n’avons pas de communistes ici à Hong Kong. Nous avons une dictature bienveillante de spéculateurs immobiliers organisés par une bureaucratie énorme (Grande Bretagne + Chine = grande passion pour la bureaucratie). Nous croyons à peine en l’utilité d’aider notre prochain, sans parler d’autogestion communautaire.</em></p>\n<p>(<strong>Tanya Hart</strong>)</p>\n<p>&nbsp;</p>\n<p><em>En Angleterre, la banlieue et le communisme sont comme le jour et la nuit, tu ne les trouveras jamais ensemble ! En Angleterre c’est la banlieue et le conservatisme qui sont main dans la main. Si tu veux savoir à quoi pensent les gens qui habitent les banlieues anglaises, il faut lire the Daily Mail ( <a href=\"http://www.dailymail.co.uk/\">www.dailymail.co.uk</a> ).</em></p>\n<p>(<strong>Craig Dickson</strong>)</p>\n<p>&nbsp;</p>\n<p>Face à la difficulté de trouver un équivalent exact, j’ai décidé de choisir une jumelle qui, comme Limay, corresponde à une définition nationale de banlieue. J’ai choisi celle que je connais le mieux : Wheelers Hill, 22 km au sud est du centre de Melbourne où j’ai vécu de 7 à 17 ans. Une visite récente a révélé qu’elle est devenue plus prospère et moins périphérique qu’elle ne l’a été au milieu des années 80, quand je l’ai quittée.</p>\n<p>&nbsp;</p>\n<p>Chose intéressante : le site web de la municipalité de Monash, qui englobe Wheelers Hill, donne les numéros de portable de ses élus mais ne mentionne pas leur couleur politique. Quand j’ai appelé la municipalité, la personne de l’accueil n’était pas autorisée à dévoiler l’appartenance politique de la maire. Elle m’a transférée à plusieurs agents municipaux qui ne pouvaient pas me le dire ou ne le savaient pas. La Maire elle-même a répondu à mon mail pour expliquer que l’appartenance à un parti politique à un niveau municipal, comme être membre de n’importe autre club, est une affaire personnelle. Pour sa part, elle est affiliée au parti travailliste. J’ai appelé la mairie de Limay et posé la même question. La réponse immédiate était : communiste.</p>\n<p>&nbsp;</p>\n<p>J’envisage les deux salles d’exposition aux Réservoirs comme deux syndicats d’initiative pour ces deux banlieues. J’explorerai le tissu urbain et l’ambiance des deux dans une série de tableaux, de peintures murales et de photographies.</p>\n<p>&nbsp;</p>\n<p><strong>Heidi Wood</strong></p>\n<p>janvier 2012</p>\n'),
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(12636,	1706,	'heidi_doc_article_title_fr',	'LIÉS PAR LES IMAGES'),
(12637,	1706,	'heidi_doc_article_body_fr',	'<p>La rapidité à laquelle se produisent, se fabriquent, se transforment et se distribuent les objets quotidiens est telle que leur usage tout aussi éphémère en vient à annihiler l’idée même de quotidien, de familier, de proximité, d’appropriation. Tout semble organisé pour que nous ne puissions avoir le temps de faire réellement nôtres des objets qui pourtant nous expriment et nous représentent, puisqu’à travers nos choix et nos utilisations ils ne sont que les prolongements de nos corps et de nos émotions. Si nous prêtons un tant soit peu d’attention aux choses et objets qui nous entourent, ils apparaissent tous, sans exception, comme l’envers ou le négatif de la forme de nos corps. Des chaussures, des maisons, des ouvres-boîtes, des vêtements, des sacs, des voitures, des chaises, tout cela est notre forme inversée. Sans tomber dans l’idolâtrie de la société de consommation – ce sont après tout des objets et non d’autres sujets –, on comprend mieux l’investissement affectif à leur égard lorsque l’on prend conscience que la moindre manipulation, de la plus légère à la plus forte, est au final une interaction avec la société des corps humains que ces objets représentent, reforment et recomposent. Ils nous refigurent, et ils signifient. Les formes, couleurs, textures, matériaux, tailles, poids de tous ces objets ne sont donc pas anodins, étant bien plutôt un mode de communication par codes avec les usagers et aussi un moyen de communication des usagers entre eux. Ce constat est banal et connu depuis longtemps. Il n’en reste pas moins que peu de personnes remettent en question ladite société de consommation, ses règles et ses normes, au point qu’un nombre considérable d’objets est souvent consommé économiquement sans que l’on ait eu le temps d’en faire usage physiquement — le cas des téléphones portables étant l’exemple le plus courant. Au mieux l’usage demeure symbolique, au pire il fait de nous des acteurs sociaux au service de l’économie, alors que c’est le système marchand qui devrait et doit être à notre service. C’est ainsi que depuis la naissance de l’industrialisation nous sommes progressivement devenus des objets pour d’autres individus qui nous considèrent tels.</p>\n<p>&nbsp;</p>\n<p>Le caractère magique, envoûtant, ensorcelant de la marchandise – ce que Marx appelait le « fétichisme de la marchandise », du mot portugais <em>feitiço</em>, signifiant « magique » –, ne peut s’activer et fonctionner que si l’on y croit, comme en religion. Et les adorateurs de la marchandise ne manquent pas ; ils se comptent par milliards. Cela s’explique par le double caractère de la valeur attribuée à l’objet, ayant à la fois une valeur d’usage et une valeur symbolique, cette dernière excédant parfois la valeur marchande de l’objet — tel objet de famille, tel objet rare ou singulier pour lequel nous sommes prêts à dépenser des sommes importantes. Nous avons donc une propension à une sorte de « fétichisme psychique » relativement à l’objet, un surinvestissement affectif qui nous lie à lui, mais également, par son entremise, à tout un réseau d’affects, de codes et de signes humains quelque peu estompés, quasiment imperceptibles, mais toujours présents et continuant à vivre. L’une des caractéristiques du travail d’Heidi Wood est de rendre littéralement visibles les structures sous-jacentes, esthétiques autant que fonctionnelles, de nombres de codifications attachées aux objets, à leurs contextes et destinations. Son travail n’est pas seulement révélateur de situations visuelles et signifiantes qui passent souvent inaperçues par désintérêt ou par conditionnement, il est surtout transformateur. Les affiches qu’elle a réalisées pour l’exposition <em>Vacances d’hiver</em> montrent autrement les objets et leurs différents usages comme en les ouvrant, les découpant, présentant ainsi des éléments, des facettes, des aspects qui seraient restés occultés sans les diverses opérations effectuées. Ils signifient alors autrement, mais aussi autre chose, acquérant d’autres valeurs plastiques, esthétiques et artistiques.</p>\n<p>&nbsp;</p>\n<p>La transformation que leur fait subir Heidi Wood se fait cependant à partir d’eux-mêmes, comme par mutations, évolutions, développements, ce que le jargon de la communication visuelle nomme des déclinaisons graphiques. Jouant des ambivalences des modes de réception des publicités, du design, des graphismes, de toutes sortes de signes, et des ambivalences des modes de production, de conception et de réalisation de ce vaste système de codes, Heidi Wood fait plus que détourner leur signification et destination. En dernière instance, elle resocialise tout un processus de significations qui aura consisté à l’origine à désocialiser pour mieux le faire circuler dans le système de la marchandise. Car enfin, les milliers de signes que nous lisons et interprétons quotidiennement sous la forme d’objets de toutes sortes – à l’exception de ceux qui sont strictement informatifs – ne servent qu’à attirer et à canaliser l’attention sur tout autre chose qui est généralement la vente… d’autres objets. Les panneaux que l’on trouve ici et là dans la rue possèdent toujours, au sens propre et figuré, un double discours : informatif et mercantile. Comme si l’on ne pouvait pas signifier, communiquer, informer sans aussitôt vous solliciter en vue de la vente future de quelque produit. On omet sciemment le fait que toute communication n’est pas intéressée et instrumentalisante. Du coup, la rue, l’avenue, la place, l’église, la maison, le rond-point, la pharmacie, la caserne de pompiers, l’hôpital, tout peut devenir ou est déjà signe marchand, la société tout entière devenant un hyper-logo, un signe d’elle-même comme système de marchandisation auto-productrice d’autres signes et d’autres logos.</p>\n<p>&nbsp;</p>\n<p>Si, partant d’un système de symboles existant, Heidi Wood reprend, redessine, reconfigure, duplique, il faut alors prendre à la rigueur le caractère de symbole et de symbolique de ses affiches, à savoir deux éléments que l’on joint, que l’on réunit (du grec <em>symbolon</em>, « mettre ensemble »), autrement dit, un lien social qui s’établit entre celle ou celui qui imagine et produit le signe et celles et ceux qui le perçoivent et l’interprètent. Sachant qu’un symbole n’a de sens que s’il est compris et partagé par un groupe, une communauté, une société, les affiches d’Heidi Wood sont alors hautement symboliques plastiquement, esthétiquement et artistiquement, mais aussi symboliquement en tant qu’ils créent des signes de reconnaissances entre membres de la société, créant véritablement des liens entre personnes qui se reconnaissent en tant que sujets et non comme objets interchangeables. Traitant toujours la spécificité des lieux et des espaces, Heidi Wood a assurément recours à un système générique de signes, lequel s’insère toujours dans la singularité du lieu de sorte que ces œuvres font littéralement signe aux utilisateurs, s’adressent à eux, en l’occurrence les Chevillais qui devraient se voir et se percevoir comme reflétés en partie par elles. Les surprises négatives ou positives que peuvent créer les affiches d’Heidi Wood, voire la parfaite détestation, sont une autre manière de créer des liens avec les utilisateurs du paysage urbain, et ce qu’ils voient non seulement leur environnement habituel sous un autre angle et dans une perspective surprenante, mais en ce qu’ils comprennent par là même qu’une forme différente de participation sociale est possible, qu’une autre manière de percevoir est viable, qu’un autre imaginaire en société peut se concrétiser. L’espace public n’est jamais un donné que l’on manie comme n’importe quel ustensile, un objet à portée de main n’ayant d’autre valeur que celle de l’utilitaire, et que l’on met au rebut une fois décrétée son obsolescence. De manière subreptice tout autant qu’explicite et visible, les œuvres d’Heidi Wood démontrent que l’espace public est construit en permanence par celles et ceux qui le font, le pratiquent, le pensent, qui forment la société. L’idée de former étant à prendre aussi comme la forme que l’on donne à l’espace et au public de cet espace, un espace où signes et images tissent précisément des liens et ne défont pas les formes sociales.</p>\n<p>&nbsp;</p>\n<p><strong>Jacinto Lageira</strong>, 2011</p>\n<p>Catalogue <em>Vacances d’hiver</em></p>\n'),
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(12649,	1709,	'heidi_doc_article_body_fr',	'<p>L’environnement urbain est comme une boîte de Petri, un creuset permettant de retracer les profondes transformations survenues depuis le début du XXe siècle et l’apogée du modernisme occidental. Partez pour n’importe quelle grande ville, de Bruxelles à Bucarest et plus loin encore, et vous y trouverez immeubles d’habitation, bâtiments publics, universités et toutes sortes d’infrastructures sociales désormais pris dans de gigantesques bannières publicitaires ou convertis en panneaux d’affichage surdimensionnés vantant des montres, parfums ou autres produits de luxe. Les zones industrielles qui face au néolibéralisme des années 1990 étaient en proie à l’obsolescence – villes portuaires telles que Gdansk ou Hambourg et autres pôles industriels tels que Kaunas – connaissent aujourd’hui une seconde naissance, ressuscitées au milieu d\'économies de services mondialisées et d’industries soi-disant créatives dans le but d’en faire des sites touristiques ou des parcs d’attractions historiques. Des lieux qui deviennent ensuite moteur de consommation, conçus non plus pour être appréciés dans l’instant, mais de sorte qu’on les photographie pour se les remémorer plus tard au travers d’anecdotes.</p>\n<p>&nbsp;</p>\n<p>L’art, ou du moins la culture visuelle, joue dans ce mécanisme un rôle essentiel, comme le suggère le travail d’Heidi Wood. Les images abstraites qui ont constitué ces dernières années la base de sa pratique artistique, et notamment la série sur laquelle elle travaille actuellement, puisent dans cette façon qu’ont les entreprises publiques et privées de laisser entrevoir un peu de leur environnement local à travers logos, accroches visuelles et autres photos-souvenirs. Les symboles ou « pictogrammes » d\'Heidi Wood imitent les monuments de l’industrie moderne (grues, usines, miradors), les réduisant à des formes schématiques tout comme les cartes postales (ou les biennales artistiques, d’ailleurs) réduisent un lieu à des emplacements-clés ou à des points de vue appelés à être appréciés par un public non local. Les résidences d’artistes – à l’image de celle dont Wood a bénéficié à Brème en septembre et octobre 2009 et qui a d’ailleurs permis de poser les bases du travail présenté dans cette exposition – peuvent se voir attribuer une valeur d’usage équivalente, dans la mesure où elles insufflent dans une pratique artistique « étrangère » un sens « local », que l’artiste peut par la suite disséminer dans le monde entier au gré de ses expositions. De ce fait le « local » devient aussi un souvenir mobilisé, si l’on peut dire, à l‘instar de ces assiettes bleues qui font fureur en Allemagne, et que Wood reproduit ici dans une commémoration des périples d’un voyageur en terrain inconnu.</p>\n<p>&nbsp;</p>\n<p>L’abstraction caractéristique des mouvements d’avant-garde et de néo-avant-garde européens – de Wassily Kandinsky ou Albert Renger-Patzsch à Bernd et Hilla Becher et la vision qu’ils nous offraient d’une industrie au bord du déclin dans les années 1960 – constitue aujourd’hui la lingua franca de la société de consommation contemporaine. C’est cette abstraction qui permet de baliser « le local » et « le social », qui fait de nous la cible des publicités affichées sur les façades ou que l’on poste avec ce petit mot jubilatoire écrit à un ami pour déplorer son absence, à mesure que sont définis les paramètres de la subjectivité contemporaine. Les pictogrammes, assiettes bleues et panneaux signalétiques que réalise Heidi Wood sont clairement empreints d’une dette comparable envers les industries créatives « corporatisées ». Pourtant, plutôt qu\'une simple répétition ou capitulation, il convient de considérer sa pratique davantage comme une sur-identification à ces constructions ; une esthétique de l’imitation qui sous-tend une tendance significative de l’art contemporain dans sa quête de nouveaux moyens de négociation avec le néolibéralisme. Le travail d’Heidi Wood, tout comme celui des Yes Men ou de ®TMark ou même du collectif IRWIN avant eux, exagère de façon délibérée les processus et aspects des régimes esthétiques néolibéraux, ce qui a pour effet d’ouvrir une brèche dans la mince frontière qui sépare la critique à l’encontre d’un régime et la complicité que l\'on peut entretenir avec, ou qui distingue une subjectivité imposée d’une subjectivité souveraine. C’est dans cette sorte d\'« entre-deux » ouvert que se situe l’exploration des conditions contemporaines et de la mnémotechnique du présent à laquelle s’adonne Heidi Wood, et qui ne peut être imputée à aucun positionnement politique ou culturel particulier, si ce n’est celui relevant de cette denrée bien trop rare en ce jour : une curiosité intentionnelle pour le véritable positionnement de la culture, pour les messages qu’elle peut fournir et le public qu’elle peut cibler, au sein des sphères urbaines néolibérales.</p>\n<p>&nbsp;</p>\n<p><strong>Anthony Gardner</strong>, 2009</p>\n<p>Catalogue <em>Partie de chasse</em><br />\nTraduit de l\'anglais par D. Suboticki</p>\n'),
(12651,	1713,	'_wp_attached_file',	'2018/09/CAT-2007-F-Lamy-ang.pdf'),
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(12662,	1715,	'heidi_doc_article_title_fr',	'LES CONTOURS DE QUELQUE CHOSE'),
(12663,	1715,	'heidi_doc_article_body_fr',	'<p>Heidi Wood désigne mais ne nous fait pas signe, quand bien même nous délivre-t-elle des formes signalées, presque signalétiques. Elle nous les tend telles qu’elle les a prélevées dans cette zone indistincte qui joint la réalité comme représentation et la représentation comme réalité. Tirées de paysages refaits par les images qui les ont adoptés. Elle ôte, elle détache, elle extrait les signes de l’environnement où ils se signalaient mollement, signant avant tout une appartenance ou une apparence. Dé-signant, elle dé-cèle, dé-toure, dé-voie. Dessine.</p>\n<p>&nbsp;</p>\n<p>Dessiner, soit dès l’origine du mot, désigner, « tracer les contours de quelque chose ». Quelque chose de visible ou d’invisible, de réalisable ou d’irréel, de limpide ou d’inexplicable. Contraires souvent unis jusqu’à ce que le dessin les distingue. En l’occurrence, Heidi Wood décolle le signe et son référent, nous donnant des signes dévêtus de leur signification, déduits du monde et déposés nus devant sa reproduction. Détachés de l’univers tout compris et de son bon sens continu.</p>\n<p>&nbsp;</p>\n<p>Pour autant, il ne s’agit pas pour Heidi Wood de déconstruire, même si l’on verrait bien dans les croquis redressés et les plans aveuglés des outils pour penser l’infrastructure et bricoler la superstructure. On pressent plutôt la tentation d’une recomposition et d’un déploiement. Que la forme dépasse la forme et le signe dévoile le signe, en somme que la révélation esthétique régénère l’anesthésie sémiotique. Après avoir évidé l’évidence, pouvoir tracer les contours de quelque chose d’autre.</p>\n<p>&nbsp;</p>\n<p><em>« Comme le rêve, le dessin travaille à la séparation, mais pas plus que ceux du rêve, ses liens avec la réalité ne sont entièrement rompus »</em><br />\nPhilippe-Alain MICHAUD</p>\n<p>&nbsp;</p>\n<p><strong>Jacques Norigeon</strong>, 2009<br />\nCatalogue <em>Carnet sagace 20</em></p>\n'),
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(12671,	1719,	'heidi_doc_article_pdf_name_fr',	'a:1:{i:0;s:22:\"Télécharger le texte\";}'),
(12672,	1719,	'heidi_doc_article_title_fr',	'Œuvres de 2001 à 2007, 2008'),
(12673,	1719,	'heidi_doc_article_body_fr',	'<p>En 1997, quand je rencontrai Heidi Wood, elle se livrait à un travail de sape des formes d’un modernisme mâle et conquérant, envahissant la sphère visuelle. Ses polyptiques annonçaient les développements récents de son œuvre. J’aimai cette mise en crise des idéologies dominantes en l’indexant sur des fondements picturo-linguistiques. Cette mise en équivalence des verbes irréguliers anglais (le système, la règle, l’exception) et l’invention de formes abstraites évoquant des versions abâtardies du modernisme filtré à l’aune du tout design, du tout graphique, participait déjà de ce troisième degré qu’évoque Stephen Wright, une sorte de troisième voie.</p>\n<p>&nbsp;</p>\n<p>Un grand tournant s’est opéré en 2001, pour l’exposition « quotidien aidé (LES LOCATAIRES) », avec l’apparition des « Serving Suggestions » (que l’on pourrait traduire en français par suggestion de présentation). A partir de ce moment, elle travaille et questionne les relations complexes, fragiles, contradictoires, futiles, nécessaires, intimes, forcées… entre le tableau et son alentour. Cette réflexion, fort bien analysée par Philippe Coubetergues, passe par différentes étapes. Le tableau n’est plus seul, il est accompagné, présenté, mis en valeur. Un décor pour un tableau, un tableau pour un lieu, une mise en scène fugace pour une photographie, une exposition… Reliant monstration et stratégie marketing, elle mêle les registres économiques et décoratifs, les niveaux de lectures, pelliculant un véritable mille feuille.</p>\n<p>&nbsp;</p>\n<p>Une question essentielle se posait déjà : où, exactement, se situe l’œuvre ? Dès ce moment, le travail d’Heidi se construit sur un trouble. Il est confus. Je veux dire par là qu’il occupe un terrain troublé et qu’il joue de la confusion. Des genres et des attitudes. Brouillant délibérément les pistes, elle accorde autant d’importance au tableau, sa mise en scène, son décor, les éléments qui l’accompagnent, la trace de sa mise en scène, etc. Ses expositions jouent de ces accumulations de strates de natures diverses, procédant ainsi à une forte perturbante (pour le puriste) dé-hiérarchisation des valeurs. Dès lors, c’est à un art de projet, un art d’attitude qu’elle s’adonne.</p>\n<p>&nbsp;</p>\n<p>Peu à peu sortant du confortable cadre domestique où elle a pu expérimenter et fonder sa réflexion, elle se confronte à l’espace public (Paris 10<sup>e</sup> arrondissement, Los Angeles, Budapest…). Quelques excursions dans des vitrines de magasins avaient déjà amorcé le processus. Mais, renouant peut-être avec les préoccupations des avant-gardes (pour qui on le sait structures sociales et formes étaient fondamentalement liées par l’idéologie) elle décide d’infiltrer le réél à la manière d’un spam.</p>\n<p>&nbsp;</p>\n<p>Aujourd’hui, son attachement se porte plus précisément aux formes vulgaires, vernaculaires de la culture visuelle mondialisée. Jouant des pouvoirs de l’image, elle œuvre entre fiction et réalité, précisément à cet endroit là, sur cette frontière indiscernable. Elle s’installe au cœur du symbolique. Et c’est de l’authenticité dont il est fondamentalement question.</p>\n<p>&nbsp;</p>\n<p><strong>Frank Lamy</strong></p>\n<p>Catalogue <em>Heidi Wood, œuvres de 2001 à 2007</em></p>\n'),
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(12682,	1722,	'heidi_doc_article_title_fr',	'Heidi Wood : une prestation Coming soon '),
(12683,	1722,	'heidi_doc_article_body_fr',	'<p>La prestation <em>Heidi Wood</em> relève d’un concept qui s’est précisé au fil des années pour s’affirmer en définitive comme une référence tout à fait originale dans le domaine de la représentation<a href=\"#_edn1\" name=\"_ednref1\">[i]</a>. C’est un concept simple, efficace et fiable qui consiste en quelques mots à faire image au moyen de motifs élaborés et destinés à s’inscrire dans un environnement donné<a href=\"#_edn2\" name=\"_ednref2\">[ii]</a>. La prestation <em>Heidi Wood</em> vise un public large puisqu’elle intéresse toute personne ou instance, commanditaire ou spectatrice, susceptible d’être confrontée dans son environnement réel ou virtuel, aux difficiles contrôles et déviations de l’image. Plus qu’un tableau à suspendre, la prestation <em>Heidi Wood</em> est une image à défendre ; plus qu’un résultat, c’est une suggestion, une projection. En ce sens, la prestation <em>Heidi Wood</em> est à prendre comme idéal à venir, un <em>Coming Soon</em>.</p>\n<p>&nbsp;</p>\n<p><strong>Description de la prestation</strong><a href=\"#_edn3\" name=\"_ednref3\"><strong>[iii]</strong></a></p>\n<p>La prestation <em>Coming Soon</em> d’<em>Heidi Wood</em> consiste en une suggestion formulée selon différentes modalités qui varient et s’associent selon les cas : photographie, installation, montage, arrangement, etc. Cette formulation aussi aboutie soit-elle, ne peut être appréciée qu’en tant que simulation, à titre d’anticipation<a href=\"#_edn4\" name=\"_ednref4\">[iv]</a>.</p>\n<p>&nbsp;</p>\n<p><strong>Description du service suggéré</strong><a href=\"#_edn5\" name=\"_ednref5\"><strong>[v]</strong></a></p>\n<p>Le service suggéré par le <em>Coming Soon</em> d’<em>Heidi Wood</em> consiste en une amélioration du visible, un enjolivement du contexte, au moyen d’un système graphique dont la marque Heidi Wood est l’unique dépositaire<a href=\"#_edn6\" name=\"_ednref6\">[vi]</a>. Le service proposé comprend la conception et la fabrication des motifs à partir des données contextuelles, et leur inscription au sein de ce même contexte, de façon effective ou simulée, permanente ou temporaire.</p>\n<p>&nbsp;</p>\n<p><strong>Description du produit fourni</strong></p>\n<p>Le produit attaché à la prestation <em>Coming Soon</em> d’<em>Heidi Wood</em> consiste en une image ou une série d’images composées qui anticipent sur le service suggéré<a href=\"#_edn7\" name=\"_ednref7\">[vii]</a>. Ces images incluent les motifs issus de la gamme graphique Heidi Wood. Cette anticipation n’est qu’une occurrence possible de la prestation. D’autres produits dérivés du projet peuvent accompagner les images et leur présentation<a href=\"#_edn8\" name=\"_ednref8\">[viii]</a>.</p>\n<p>&nbsp;</p>\n<p><strong>Exclusivité et protection du produit </strong></p>\n<p>La prestation <em>Coming Soon</em> d’<em>Heidi Wood</em> garantie l’exclusivité du produit dans le sens ou chaque attribution suggérée de motif est originale. Par ailleurs, une fois attribué à un contexte donné, le motif est considéré comme définitivement dévolu à cette première et unique qualification<a href=\"#_edn9\" name=\"_ednref9\">[ix]</a>.</p>\n<p>&nbsp;</p>\n<p><strong>Dépôt de la marque et droits d’auteur </strong></p>\n<p>Par essence et par nature, la marque <em>Heidi Wood </em>en tant que ligne graphique et prestation originales est déposée. Elle est également infalsifiable puisque scellée contre ou au sein du contexte qualifié<a href=\"#_edn10\" name=\"_ednref10\">[x]</a>. Toute contrefaçon est rendue impossible par le système codé du motif que le service de conception <em>Heidi Wood</em> est seul à connaître. Les droits d’auteur inhérents à l’utilisation prescrite d’un motif ne sont en aucun cas cessibles à d’autres emplois dans d’autres contextes<a href=\"#_edn11\" name=\"_ednref11\">[xi]</a>.</p>\n<p>&nbsp;</p>\n<p><strong> </strong><strong>La cible </strong></p>\n<p>Si elle concerne par essence tous les publics, la prestation <em>Coming Soon</em> d’<em>Heidi Wood</em> cible néanmoins les personnes ou instances, propriétaires ou responsables d’un espace donné, et attachées à l’image qu’affiche la configuration architecturale et décorative de cet espace. Plus spécifiquement, la prestation <em>Coming Soon</em> d’<em>Heidi Wood</em> vise les espaces fonctionnels modernistes, souvent imprégnés d’une esthétique formaliste, dérivée de la peinture abstraite et géométrique du 20<sup>ème</sup> siècle. La prestation <em>Coming Soon</em> d’<em>Heidi Wood</em> tend à révéler cette inspiration sous-jacente et néanmoins décisive en termes d’image de marque. Elle vise à réaffirmer cette origine de l’image tout en valorisant son recours<a href=\"#_edn12\" name=\"_ednref12\">[xii]</a>.</p>\n<p>&nbsp;</p>\n<p><strong>Les avantages liés au concept d’entreprise</strong></p>\n<p>Le concept <em>Coming Soon</em> de l’entreprise <em>Heidi Wood</em> présente des avantages originaux par rapport à la concurrence déjà présente sur le marché de la représentation à caractère décoratif. L’attribution du motif, loin d’être arbitraire, est ici directement liée à la plasticité spécifique du contexte, ce qui rend ce motif efficient et parfaitement praticable en matière de valorisation du lieu et d’affirmation d’image. Le motif est par ailleurs déterminé dans une référence implicite à l’histoire des formes, ce qui assure à la proposition sa cohérence stylistique<a href=\"#_edn13\" name=\"_ednref13\">[xiii]</a>.</p>\n<p>&nbsp;</p>\n<p><strong>La part de marché</strong></p>\n<p>L’évolution du marché – plus que jamais prospère - de la représentation et ses mutations probables à longue échéance, permet d’envisager une croissance régulière de l’entreprise <em>Heidi Wood</em>. Cela se traduira par une augmentation de la part de marché détenue actuellement, ceci par effet de fidélisation et d’accroissement progressif de la clientèle, compte-tenu des multiples besoins ressentis en termes de gestion d’image<a href=\"#_edn14\" name=\"_ednref14\">[xiv]</a>.</p>\n<p>&nbsp;</p>\n<p><strong>Gamme de motifs</strong></p>\n<p>Le catalogue <em>Heidi Wood</em> offre d’ores et déjà une gamme élargie de motifs génériques encore disponibles et adaptables à toute situation<a href=\"#_edn15\" name=\"_ednref15\">[xv]</a>. Par ailleurs, son service de conception / confection l’augmente régulièrement de nouveautés qui tiennent compte des tendances passées et réactualisées<a href=\"#_edn16\" name=\"_ednref16\">[xvi]</a>.</p>\n<p>&nbsp;</p>\n<p>&nbsp;</p>\n<p><strong>Philippe Coubetergues</strong></p>\n<p>catalogue <em>Heidi Wood, oeuvres de 2001 à 2007 </em></p>\n<p>&nbsp;</p>\n<h5><a href=\"#_ednref1\" name=\"_edn1\">[i]</a> En tant qu’artiste, Heidi Wood se présente comme un prestataire de service. Elle situe volontairement ses propositions dans une réalité économique de marché. Ses modèles de fonctionnement et de communication sont calqués sur ceux de l’entreprise. Dés lors, il devient possible de décrire et apprécier son travail en se plaçant délibérément de ce côté.</h5>\n<h5><a href=\"#_ednref2\" name=\"_edn2\">[ii]</a> La feinte d’Heidi Wood peut être décrite comme une fiction : celle d’une petite entreprise qui conçoit et fournit un service en fonction d’un besoin repéré chez une clientèle ciblée. Le principe retenu par ce texte, consiste à jouer le jeu de la simulation induite par l’œuvre. En d’autres termes, il s’agit de pousser à son paroxysme la logique affichée de l’œuvre, en tentant de l’aborder comme le véritable modèle qu’elle simule. Ce texte s’inscrit donc dans la dimension diégétique de l’œuvre. Au même titre que l’œuvre, il faut le prendre comme une proposition supplémentaire à la fiction.</h5>\n<h5><a href=\"#_ednref3\" name=\"_edn3\">[iii]</a> L’exercice a valeur de test. La description d’un projet d’entreprise exige de rationaliser tous les aspects de son fonctionnement pour justifier de sa validité. Le commentaire critique lorsqu’il tend à valoriser la cohérence de l’œuvre, se doit également de prendre en compte tous les aspects de la démarche. Le rapprochement entre les deux types de texte est donc plausible. La contrainte tient principalement au vocabulaire (prestation, service, produit, clientèle, etc.) et à ses connotations. Le risque encouru est celui de la caricature. Mais c’est précisément au caractère forcé du trait que tient la métaphore. Et sur le contexte que repose une lecture au deuxième degré, à l’instar des œuvres d’Heidi Wood.</h5>\n<h5><a href=\"#_ednref4\" name=\"_edn4\">[iv]</a> Ces notes de bas de page font donc office de contexte (au moins pour un premier cercle). En se présentant comme un commentaire sur le texte, elles visent indirectement l’œuvre.</h5>\n<h5><a href=\"#_ednref5\" name=\"_edn5\">[v]</a> L’œuvre d’Heidi Wood, on l’aura compris, ne se prête pas à l’analyse comme le ferait une œuvre photographique classique. Ce n’est pas un constat, un enregistrement des choses en l’état mais plutôt une suggestion de transformation, d’amélioration, de valorisation de cet état des choses. Cette suggestion s’exprime au moyen de la photographie le plus souvent associée à un motif graphique inclus ou juxtaposé.</h5>\n<h5><a href=\"#_ednref6\" name=\"_edn6\">[vi]</a> Dans un sens, cette suggestion peut être vue comme une proposition décorative classique. La question reste de savoir ce qui est décoré et ce qui fait décor. Le motif apparemment tient lieu de tableau conçu pour le cadre de référence. Il joue le rôle de la touche décorative. Mais en même temps, il désigne et condense le caractère décoratif sous-jacent de ce cadre. Le rapport d’indexation entre le cadre et le tableau s’équilibre alors. Le milieu justifie le motif et inversement. Le cadre décore le tableau autant que le tableau décore le cadre. Le cadre pas plus que le tableau n’est décoratif. L’est seulement le rapport entre les deux.</h5>\n<h5><a href=\"#_ednref7\" name=\"_edn7\">[vii]</a> Mais tout cela n’est qu’une promesse. Une promesse de décor. La photographie, le motif inclus ou non, le papier peint, le montage, l’arrangement, tout ceci n’est qu’un simulacre. Rien n’est fait réellement. C’est une image, un reflet possible des choses. L’artiste face à une réalité fait une proposition qui s’attache à ce qu’elle voit mais également à ce qu’elle prévoit. Elle donne sa vision des choses sous la forme d’une anticipation que l’on a choisi de nommer ici <em>Coming Soon</em>.</h5>\n<h5><a href=\"#_ednref8\" name=\"_edn8\">[viii]</a> <em>Coming soon</em> est l’expression anglo-saxonne que l’on utilise pour annoncer la venue prochaine d’un évènement. Heidi Wood la reprend et l’intègre à son travail en tant qu’élément textuel ready-made. <em>Coming soon</em> 2006 peut être interprété à juste titre comme l’annonce d’une exposition mais également par glissement comme la désignation générique des expositions d’Heidi Wood.</h5>\n<h5><a href=\"#_ednref9\" name=\"_edn9\">[ix]</a> A l’instar de cette expression, toute l’œuvre d’Heidi Wood fonctionne en référence à des modèles de communication employés dans le domaine commercial. Ses installations peuvent être agencées comme des corners de grand magasin, ses œuvres diffusées sous forme de spam, ses compositions polyptiques se présentent comme des panneaux publicitaires quand ce ne sont pas les slogans eux-mêmes qui sont directement repris et détournés. Depuis ses premières œuvres, l’artiste oriente délibérément son registre d’expression sur le mode de la communication. Ce qui l’intéresse ce n’est pas l’annonce elle-même ni même ses codes spécifiques qui la régissent mais plutôt l’effet d’annonce. Heidi Wood travaille sur la puissance suggestive de ce type de visuels et les formes d’idéalisation vers lesquelles ils nous entraînent.</h5>\n<h5><a href=\"#_ednref10\" name=\"_edn10\">[x]</a> L’un des moteurs les plus efficaces de cette suggestion consiste à faire jouer sur un même plan plusieurs éléments hétérogènes, tels qu’une image photographique, un motif abstrait ou un slogan. Au sens traditionnel, c’est un collage. Sa force d’évocation repose sur le hiatus, le décalage qui se maintient entre ces éléments malgré leur rapprochement. Mais dans la mesure où le collage reprend et cite les modalités convenues de la communication visuelle, le hiatus est interprété et partiellement résolu selon les modes associatifs les plus courants : valorisation, désignation, substitution, prévision, anticipation.</h5>\n<h5><a href=\"#_ednref11\" name=\"_edn11\">[xi]</a> En combinant ainsi des données iconiques, textuelles, abstraites, figuratives, graphiques et photographiques, en se référant à l’abstraction géométrique, ses répercussions sur notre environnement architectural et décoratif, ses diverses récupérations et détournements en matière de design, de logo et de signalétique, en s’appropriant (par un détournement au second degré) ces mêmes codes de communication tout en simulant les mêmes modalités d’accroche, Heidi Wood face à une réalité donnée fait image, comme elle peindrait un tableau.</h5>\n<h5><a href=\"#_ednref12\" name=\"_edn12\">[xii]</a> Tous les ingrédients de la peinture y sont réunis : composition, motif, référence, citation, titre… A l’exception du médium certes qui n’est pas celui de la peinture traditionnelle. La médiation s’est ici substituée au médium. La matérialité est insignifiante, les œuvres d’Heidi Wood sont régénérables, et parfois même actualisées selon des matérialités diverses, à l’instar des visuels de notre temps. Mais dans la peinture ce qui compte, ce n’est pas tant la matière que la facture. A l’heure du numérique, les œuvres d’Heidi Wood affichent une émancipation presque insolente de la matérialité pour mieux mettre en valeur ses modalités factuelles de conception.</h5>\n<h5><a href=\"#_ednref13\" name=\"_edn13\">[xiii]</a> Cependant le travail d’Heidi Wood passe par des actualisations réelles particulièrement soignées et abouties. En termes de démarche, l’œuvre s’affirme en tant que projet. Mais en termes d’objet, les œuvres d’Heidi Wood sont parfaitement finalisées. Dans le pur respect des phénomènes plastiques détournés, elles affichent le caractère glacé et définitif qui convient à l’expression d’un idéal.</h5>\n<h5><a href=\"#_ednref14\" name=\"_edn14\">[xiv]</a> Ce texte commenté comme ce commentaire de texte, tendent à définir les grandes lignes d’une démarche à un instant donné. Ils cherchent à faire apparaître les caractères communs des œuvres, et pour ce faire, les décrit selon la logique d’un système. C’est sans doute la loi du genre. L’œuvre cependant ne respecte réellement aucun système. Elle évolue au fil du temps. Depuis la série des <em>Serving Suggestion</em> de 2001, jusqu’à la série <em>Authentic New Mexico</em> de 2007, plusieurs bouleversements sont apparus. L’expérience des spams de la série <em>Los Angeles</em>, par exemple, fut sans doute particulièrement marquante et décisive pour ce qui concerne la dimension d’autopromotion de l’œuvre.</h5>\n<h5><a href=\"#_ednref15\" name=\"_edn15\">[xv]</a> <em>Authentic New Mexico, </em>la série la plus récente à ce jour, ne ressemble pas aux séries précédentes. La partie « motif » pour la première fois est explicitement figurative. La figurine cite et détourne un art traditionnel. La poupée Kachina tire vers le play-mobil. Cette déviation fait commentaire sur une autre moins explicite et néanmoins présente dans le faux style en adobe qu’arbore l’architecture contemporaine de Santa Fe. L’association de la photographie et du motif n’est plus réellement une proposition décorative. C’est plutôt l’expression d’un regard amusé sur la tournure que prennent les choses dans le contexte particulier d’un environnement urbain - semble-t-il - entièrement dédié au tourisme. La question n’est plus de savoir si le motif doit être intégré dans l’environnement. D’une certaine façon, c’est déjà fait. La confrontation des deux suffit à le révéler implicitement.</h5>\n<h5><a href=\"#_ednref16\" name=\"_edn16\">[xvi]</a> Citation, emprunt et suggestion. L’œuvre d’Heidi Wood se fonde sur ces trois axes. La citation renvoie au passé, à l’histoire de l’art, à l’histoire de l’abstraction, à l’histoire des styles. L’emprunt porte sur les modes de communication visuelle qui prévalent actuellement dans le monde contemporain, lui-même très marqué par cette histoire des formes. La suggestion enfin se tourne vers le devenir formel de cet environnement en tant que décor. Chaque série exprime à sa façon une certaine réactualisation des utopies auxquelles ces formes étaient attachées. Il y a dans le travail d’Heidi Wood un goût à la fois nostalgique, facétieux et réjoui pour les capacités illusoires de l’image à nous promettre un monde toujours plus clair, plus simple, plus authentique.</h5>\n'),
