{"id":308,"date":"2014-03-11T13:32:06","date_gmt":"2014-03-11T12:32:06","guid":{"rendered":"https:\/\/yannbeauvais.com\/?p=308"},"modified":"2014-11-04T18:07:42","modified_gmt":"2014-11-04T17:07:42","slug":"da-galpao-da-dona-ana","status":"publish","type":"post","link":"https:\/\/yannbeauvais.com\/?p=308","title":{"rendered":"Da galpao da Dona Ana"},"content":{"rendered":"
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Dans le Nordeste (au Br\u00e9sil), \u00e0 Petrolina, alors que Dona Ana parle avec un ami qui reproduit ces oeuvres et documents, je filme de la cour de son atelier. Celui-ci donne sur l\u2019une des routes entrant dans la ville.<\/p>\n<\/div>\n

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Il fait 42\u00b0, c\u2019est l\u2019apr\u00e8s midi en janvier.<\/p>\n

\"da<\/a><\/p>\n

Dona Ana das Carrancas est une artiste de pr\u00e8s de quatre-vingt ans, qui a pass\u00e9 sa vie \u00e0 fabriquer des carrancas, figures de terre cuite qui originellement \u00e9taient en bois arrim\u00e9es sur la proue des navires afin d\u2019\u00e9carter d\u00e9mons et pr\u00e9dateurs. Cependant ces carrancas ne sont pas faits pour les bateaux voguant sur le fleuve Sao Francisco. Dona Ana retrouve sans la conna\u00eetre ces figures qu\u2019utilisaient les p\u00eacheurs espagnols sur leurs barques et bateaux de p\u00eaches. La production de ces carrancas s\u2019est r\u00e9alis\u00e9e \u00e0 c\u00f4t\u00e9 de la production familiale artisanale d\u2019objets du quotidien. En tant qu\u2019artiste noire, pauvre, elle a \u00e9t\u00e9 un personnage politique qui s\u2019est pr\u00e9occup\u00e9 des questions d\u2019alphab\u00e9tisation, autant que de la divulgation de la culture populaire, et elle a toujours \u00e9t\u00e9 pr\u00e9occup\u00e9e par les questions de l\u2019\u00e9ducation \u00e9tant elle-m\u00eame analphab\u00e8te. Elle a cr\u00e9e des espaces de convivialit\u00e9, des espaces ouverts \u00e0 toutes formes de pratiques culturelles et artistiques. La mairie de Petrolina a d\u00e9cid\u00e9 de construire un centre culturel dans lequel elle peut exercer toutes ses activit\u00e9s et y vivre avec toute sa famille. Elle s\u2019y est install\u00e9e il y a cinq ans. Edson Barrus, qui l\u2019a rencontr\u00e9 alors qu\u2019il \u00e9tait encore enfant, va la voir chaque fois qu\u2019il retourne dans sa ville natale. Dona Ana a \u00e9t\u00e9 d\u00e9terminante par rapport \u00e0 sa compr\u00e9hension de l\u2019art et de la pratique artistique. Pour tous les deux, en effet l\u2019art n\u2019est pas une profession mais une mission.<\/p>\n

C\u2019est ainsi qu\u2019en cette apr\u00e8s-midi de janvier, je me retrouvais dans la cour de l\u2019atelier, alors qu\u2019un carranca \u00e9tait fabriqu\u00e9. Edson Barrus et Dona Ana parlaient avant de commencer le travail de documentation. Je filmais sans plus, puis, sortit sur le pas de la cour, vers la rue. C\u2019est alors que je remarquais cet incroyable alignement de lignes de fuite. Je d\u00e9cidais de filmer ce que je voyais, mais pas du premier plan, c\u2019est-\u00e0-dire de la rue, mais de la cour de l\u2019atelier, profitant du cadre que formaient les portes et les colonnes d\u2019acc\u00e8s et ce en dehors du fait que je n\u2019avais pas de pied avec moi.<\/p>\n

Je filmais une quarantaine de minutes dont je n\u2019ai gard\u00e9 que la moiti\u00e9. Malgr\u00e9 la chaleur, j\u2019\u00e9tais happ\u00e9 par ce qui se d\u00e9roulait devant mes yeux, ce n\u2019\u00e9tait pas seulement ce microcosme que la mani\u00e8re dont le cadre fa\u00e7onnait la vision des \u00e9v\u00e8nements ou des temps morts. Projet\u00e9s dans l\u2019espace j\u2019en oubliais souvent les tensions que l\u2019on retrouve dans les boug\u00e9s. Ce n\u2019est pas tant l\u2019exotisme du lieu et des comportements qui me pr\u00e9occupaient que les questions de la structuration de l\u2019espace visuel et son occupation. Comment un tel espace d\u00e9coupe, redistribue lui-m\u00eame l\u2019espace et le champ perceptif. A la limite du documentaire, je retrouvais des pr\u00e9occupations sur le d\u00e9filement simultan\u00e9 autant que sur la divergence des directions dans un espace donn\u00e9, confin\u00e9 par le viseur, c\u2019est-\u00e0-dire cadr\u00e9 dans tous les sens du terme.<\/p>\n<\/div>\n

Dona Ana\u2019s studio lies in Petrolina, a Nordest city of Brazil, where she is speaking to her friend Edson Barrus, who is copying documents for her while I film in the courtyard. The courtyard opens out into one of the city\u2019s access roads.<\/span><\/p>\n<\/div>\n

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It\u2019s 42 degrees Celsius.<\/p>\n

\"da<\/a><\/p>\n

Dona Ana das Carrancas is an artist in her eighties. All her life she has made \u201ccarrancas\u201d; fired clay figures inspired by the wooden figureheads that used to adorn the bows of ships to ward off demons and robbers. When she is not producing \u201ccarrancas\u201d she produces everyday items. A black artist living in an impoverished surroundings, Dona Ana was always politically-minded., actively involved in education and literacy campaigns as well as the spread of popular culture, even so she too is illiterate. She has set up venues for all kind of artistic and cultural activities. The mayor of Petrolina had a cultural center build so that Dona Ana could work and live with her family. She moves in five years ago. Edson Barrus has known her all his life, and visits her whenever he is in town. Dona Ana has had a decisive influence on both his understanding of art and the way he views himself as an artist.<\/p>\n

On this January afternoon, I found myself in the courtyard of the studio while a carranca was being made. Edson Barrus and Dona Ana had said they wanted to start documenting her work soon. Meanwhile, I carried on shooting; moving across the courtyard and onto the street. It was then I discovered the incredible arrangement of a series of vanishing lines. Although I didn\u2019t have a tripod with me, I decided to film what I saw; not from the street, but from the courtyard, where the doors and columns by the entrance formed a frame that I was keen to use.<\/p>\n

I shot about 40 minutes, only half on which I used for the film. In spite of the heat, I was fascinated by what was happening in front of my eyes, less by the microcosm that presented itself than by the way this image shaped my awareness of events and dead moments. I was gripped not as much by the strangeness of this place or the behavior of these two people than by questions about how this visual space was structured and used, or rather, how cognitive surroundings are changed when a space is sliced up in a very specific manner. I am interested in how directions can simultaneously come together end drift apart in a predefined space that delimits -literally frames- the viewer\u2019s field of vision.<\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Dans le Nordeste (au Br\u00e9sil), \u00e0 Petrolina, alors que Dona Ana parle avec un ami qui reproduit ces oeuvres et documents, je filme de la cour de son atelier. Celui-ci donne sur l\u2019une des routes entrant dans la ville. Il fait 42\u00b0, c\u2019est l\u2019apr\u00e8s midi en janvier. Dona Ana das Carrancas est une artiste de […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[4],"tags":[98,92],"class_list":["post-308","post","type-post","status-publish","format-standard","hentry","category-films","tag-cityscape","tag-landscape-film"],"acf":[],"_links":{"self":[{"href":"https:\/\/yannbeauvais.com\/index.php?rest_route=\/wp\/v2\/posts\/308","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/yannbeauvais.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/yannbeauvais.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/yannbeauvais.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/yannbeauvais.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=308"}],"version-history":[{"count":4,"href":"https:\/\/yannbeauvais.com\/index.php?rest_route=\/wp\/v2\/posts\/308\/revisions"}],"predecessor-version":[{"id":1006,"href":"https:\/\/yannbeauvais.com\/index.php?rest_route=\/wp\/v2\/posts\/308\/revisions\/1006"}],"wp:attachment":[{"href":"https:\/\/yannbeauvais.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=308"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/yannbeauvais.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=308"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/yannbeauvais.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=308"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}