Un art vietnamien: penser d'autres modernités: Le projet de Victor Tardieu pour l'École des Beaux-Arts de l'Indochine à Hanoï en 1924 Nouvelle édition
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En partant de trois documents trouv�s aux Archives nationales d'outre-mer d'Aix-en-Provence, non publi�s � ce jour, j'ai voulu �clairer un moment cl� de l'art vietnamien; celui o�, en 1924, prend naissance le projet d'une Ecole des Beaux-Arts de l'Indochine � Hanoi. Celle-ci sera consid�r�e dans toute l'historiographie du xxe si�cle comme le lieu o� se sont form�s les premiers artistes de la modernit� vietnamienne. Pour comprendre les pr�misses de cette aventure, il fallait pr�senter le contexte culturel colonial et la personnalit� de Victor Tardieu porteur de ce projet. Il fallait ensuite approfondir les arguments �chang�s dans la pol�mique opposant les auteurs des trois textes retenus ici et en mesurer la port�e en les comparant aux id�es qui circulaient � la m�me �poque en Extr�me-Orient. L'ambition d'atteindre � un art national faisant la synth�se des apports occidentaux et extr�me-orientaux nous amenait ensuite � nous interroger sur la pertinence du concept de synth�se et son usage dans le cadre colonial. Au-del� de cette interrogation, c'�tait aussi une invitation � r�fl�chir sur l'interpr�tation d'une modernit� extra-europ�enne qu'il convient d'appr�cier � partir de crit�res nouveaux. Les trois documents ayant servi de point de d�part � cette enqu�te sont reproduits int�gralement en annexe.
Paliard Pierre: - Pierre Paliard est historien de l'art et critique. Il a notamment publié L'ordre domestique, mémoire de la ruralité dans les arts plastiques contemporains en Europe (L'Harmattan, 2006) et Critique de la pensée dualiste et art contemporain (L'Harmattan, 2020). Ses écrits et ses interventions publiques ont porté ces dernières années sur les approches nouvelles d'un art marqué par une écosophie ouverte. Il travaille également sur l'aspect diagrammatique des expressions contemporaines (Une modernité diagrammatique, Roven, revue critique sur le dessin contemporain n°8, automne-hiver 2012-2013). Sa curiosité pour les cultures de l'Extrême-Orient l'a conduit en 2004 et 2007 au Vietnam. Les questions posées par les productions actuelles de l'art vietnamien l'amènent à s'interroger sur son histoire et ses rapports avec la modernité occidentale.
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