DOSSIER DOCUMENTAIRE, MODE D’EMPLOI
Conçu par le service éducatif, en collaboration avec l’ensemble du Jeu de Paume, ce dossier propose aux enseignants et aux équipes éducatives des éléments de documentation, d’analyse et de réflexion.
Il se compose de trois parties :
— Découvrir l’exposition offre une première approche du projet et du parcours de l’exposition, des artistes et des œuvres, ainsi que des repères chronologiques et iconographiques.
— Approfondir l’exposition développe plusieurs axes thématiques autour des conceptions de la représentation et du statut des images.
— Pistes scolaires initie des questionnements et des recherches, en lien avec une sélection d’œuvres et de documents présentés dans l’exposition.
Téléchargez le dossier documentaire (PDF) en bas de page.
L’exposition
« La photographie européenne de la première moitié du XXe siècle est assurément liée à la mobilité. Nous en trouvons de nombreux exemples dans la programmation du
Jeu de Paume de ces dernières années : dans l’exil forcé par la fragilité du contexte idéologique et politique du moment, se retrouvent des personnages tels que Lisette Model ou André Kertész, sans oublier Eva Besnyö, Nicolás Muller ou Germaine Krull. C’est aussi le cas d’Eli Lotar.
La mobilité concerne alors sans aucun doute le médium de la photographie lui-même, la variété de ses définitions ou la contestation de celles déjà existantes, et se manifeste par l’expérimentation de nombreuses voies de recherche formelle et conceptuelle par les photographes. Depuis le surréalisme jusqu’au documentalisme ou au photoreportage, en passant par l’adhésion à des mouvements artistiques d’avant-garde de l’entre-deux-guerres, la photographie moderne apparaît comme un médium troublé et ambigu – partagé entre son caractère scientifique et sa nature artistique – indissociable des vicissitudes historiques du moment. C’est à ce croisement d’instabilité et de
questionnements que prend forme le travail d’Eli Lotar.
Devenu photographe professionnel sous l’égide de Germaine Krull, il voit ses reportages publiés dans les meilleures revues illustrées de l’époque. Cependant, malgré cette reconnaissance, sa vocation de “producteur d’images” passe par plusieurs phases d’enthousiasme et de désenchantement, peut-être, entre autres, en raison de l’ambiguïté narrative inhérente à ce médium qui laisse insatisfait son désir de raconter le monde. Se retranchant derrière sa passion pour le cinéma, il trouve finalement
là le lieu narratif répondant à ses inquiétudes et à son engagement social. Passant de la photographie au cinéma, de l’image fixe à celle en mouvement, il apporte de la “mobilité” à ses clichés inspirés de la Nouvelle Vision, en mettant à profit les qualités prestidigitatrices de la caméra.
Cette rétrospective analyse en profondeur les différentes mobilités de l’œuvre d’Eli Lotar, partagé entre photographie et cinéma, entre document et expérimentation, entre exil et engagement. »
Marta Gili,
« Mobilités », in Eli Lotar , sous la direction de
Damarice Amao, Clément Chéroux et Pia Viewing,
Paris, Jeu de Paume /
Éditions du Centre Pompidou /
Arles, Photosynthèses, 2017, p. 11.
Contacts
Chargée des publics scolaires et des partenariats
Pauline Boucharlat : 01 47 03 04 95 /
paulineboucharlat@jeudepaume.org
Réservation des visites et des activités
Marie-Louise Ouahioune : 01 47 03 12 41 /
serviceeducatif@jeudepaume.org
Responsable du service éducatif
Sabine Thiriot
sabinethiriot@jeudepaume.org
Conférenciers et formateurs
Benjamin Bardinet : 01 47 03 12 42 /
benjaminbardinet@jeudepaume.org
Ève Lepaon : 01 47 03 12 42 /
evelepaon@jeudepaume.org
Professeurs-relais
Céline Lourd, académie de Paris
celinelourd@jeudepaume.org
Cédric Montel, académie de Créteil
cedricmontel@jeudepaume.org
Sans titre
1931
Épreuve gélatino-argentique d’époque, 29,9 x 39,3 cm.
Don de M. Jean-Pierre Marchand en 2009, collection Centre Pompidou, Paris, MNAM-CCI. © Eli Lotar
Eli Lotar
Locomotive
Vers 1929
Épreuve gélatino-argentique d’époque, 22,9 x 14,3 cm.
Achat grâce au mécénat de Yves Rocher, 2011. Ancienne collection Christian Bouqueret, collection Centre Pompidou, Paris, MNAM-CCI. © Eli Lotar
Eli Lotar
Aux Abattoirs de la Villette
1929
Épreuve gélatine-argentique d'époque, 22,2 x 16,2 cm.
Metropolitan Museum of Art, New York. © Eli Lotar
Eli Lotar
La Viande
1929
Épreuve gélatino-argentique d’époque, 15,5 x 22,2 cm.
Amsab-Institut d’Histoire Sociale, Gand. © Eli Lotar
Eli Lotar
Aux abattoirs de la Villette
1929
Épreuve gélatino-argentique d’époque, 24 x 18 cm.
Collection Centre Pompidou, Paris, MNAM-CCI. © Eli Lotar
Eli Lotar
Isolateur
Vers 1930
Épreuve gélatino-argentique d’époque, 24,1 x 20,1 cm, achat en 2005.
Collection Centre Pompidou, Paris, MNAM-CCI. © Eli Lotar
Eli Lotar
Vitre brisée
Vers 1940
Épreuve gélatino-argentique d’époque, 22,8 x 15,1 cm.
Don de Anne-Marie et Jean-Pierre Marchand, Mitzura Arghezi et Théo Arghezi 1993, collection Centre Pompidou, Paris, MNAM-CCI. © Eli Lotar
Eli Lotar
Eli Lotar, Sans titre [Lisbonne],1931, épreuve gélatino-argentique d’époque, don de M. Jean-Pierre Marchand 2009, collection Centre Pompidou, Paris, MNAM-CCI © Eli Lotar
Au milieu des années 1920, l’apparition de nouveaux appareils de petit format incite Eli Lotar à explorer le territoire des villes européennes, alors en pleine mutation. Attentif à son environnement, il arpente ainsi les villes à la manière d'un « chasseur-pêcheur » moderne en quête d’images insolites. Tel le « flâneur », l'« observateur passionné » évoqué par Baudelaire, il se laisse dériver dans l’effervescence et le tumulte de la vie citadine. Celle-ci offre en effet une photogénie toute nouvelle, provoquée, entre autres, par le développement des transports modernes (voitures, tramway, métro…) et la multiplication des images publicitaires qui investissent l’espace public. Ici, l’enseigne au premier plan semble « collée » sur le trottoir et se superpose aux piétons qui se trouvent au second plan. Cette impression de collage est symptomatique de l’expérience sensible que proposent alors les grandes villes occidentales. Chahutés par la juxtaposition hétéroclite d’événements et d’objets qui surgissent dans leur environnement immédiat, les citadins vivent leur expérience quotidienne de la ville comme un montage. Cette nouvelle expérience est à l’origine d’une esthétique singulière qui s’épanouit pleinement dans la photographie, comme en témoignent nombre d’images de Lotar.
1929
Eli Lotar, Punition , 1929, épreuve gélatino-argentique d’époque, achat grâce au mécénat de Yves Rocher, 2011, ancienne collection Christian Bouqueret, collection Centre Pompidou, Paris, MNAM-CCI © Eli Lotar
Cette paire de jambes factices cassées et posées sur le pavé d'une rue témoigne là encore des relations d'Eli Lotar avec le surréalisme. Rappelant la fascination pour le simulacre et le caractère incertain de ces vestiges abandonnés en pleine rue (fragments d'un jouet ou d'un mannequin ? Prothèses de jambes d'enfant ?), cette photographie fait naître chez le spectateur un certain malaise, de l'ordre de cette « inquiétante étrangeté » théorisée par Freud et reprise à leur compte par les surréalistes. Oscillant entre reconnaissance et trouble, cette sensation est ici renforcée par le titre qu'Eli Lotar donne à son cliché : « Punition ». Quelle serait donc l'origine de cette découpe ? Une faute ? Un fait divers sordide ? L'acte photographique lui-même, qui tranche dans le réel ? Les relations complexes entre images et mots, alors au coeur des réflexions des surréalistes et notamment de René Magritte, trouvent dans la pratique d'Eli Lotar d'intéressants échos. Sa collaboration avec différentes revues et notamment Documents à l’initiative de Georges Bataille, s'inscrit pleinement dans cette démarche.
Eli Lotar
Hôpital des Quinze-Vingt
1928
Épreuve gélatino-argentique d’époque, 21,5 x 14,8 cm.
Achat grâce au mécénat de Yves Rocher, 2011. Ancienne collection Christian Bouqueret, collection Centre Pompidou, Paris, MNAM-CCI. © Eli Lotar
Eli Lotar
1936
Eli Lotar, Dormeuse, Espagne, quatrième voyage, février 1936 . Epreuve gélatino-argentique obtenue d’après le négatif original selon le format d’un tirage d’époque existant, Acquisition, collection Centre Pompidou, Paris, MNAM-CCI © Eli Lotar
Eli Lotar réalise ce cliché d'une jeune femme dormant profondément sur la table d’une terrasse de café en 1936. Fasciné par cette situation insolite, il en saisit différents points de vue et met particulièrement en avant l'aspect désarticulé du corps de cette femme. Le relâchement total de ses membres ainsi que les contours de sa silhouette s'opposent à la rectitude géométrique et répétitive de la ville. La composition de l'image témoigne donc d'une préoccupation formelle mais aussi d'une fascination qu'Eli Lotar partage avec les surréalistes : le sommeil. En effet, André Breton plaidait alors en faveur d’un « regard retourné », enfin libéré du monde extérieur, tourné vers le « le modèle intérieur ». Chez Eli Lotar, les yeux fermés ou aveugles représentent le monde invisible des images mentales et de l'inconscient. Et s'il s'amuse ici de l'échec de la photographie à figurer la puissance de l'imagination, il parvient néanmoins à susciter celle du spectateur. Le photographe semble ainsi donner, dans ce cliché, une forme visuelle à la conception du surréalisme de Breton comme « photographie de la pensée ».
Eli Lotar
Benne (poussières)
1929
Épreuve gélatino-argentique d’époque, 22,5 x 16,5 cm.
Courtsey Gilles Peyroulet et Cie, Paris. © Eli Lotar
Eli Lotar
Travaux d’assèchement du Zuyderzee, Pays-Bas
1930
Épreuve gélatino-argentique d’époque, 17,4 x 12,8 cm.
Archives Tériade, musée départemental Matisse, Le Cateau-Cambrésis. © Eli Lotar
Eli Lotar
Eli Lotar, Las Hurdes , vers 1935
Épreuve gélatino-argentique d’époque, 22,8 x 17,9 cm, don de Anne-Marie et Jean-Pierre Marchand 1993, collection Centre Pompidou, Paris, MNAM-CCI © Eli Lotar
Madrid (Manifestation du Front Populaire après les élections février 1936)
1936
Épreuve gélatino-argentique d’époque, 19,2 x 26,6 cm.
Don de M. Jean-Pierre Marchand 2009, collection Centre Pompidou, Paris, MNAM-CCI. © Eli Lotar
Eli Lotar
1945-1946
Eli Lotar, Aubervilliers , 1945, photogramme, épreuve gélatino-argentique d’époque, don de M. Jean-Pierre Marchand 2009, collection Centre Pompidou, Paris, MNAM-CCI © Eli Lotar
En 1945, Charles Tillon, le maire communiste d’Aubervilliers commande à Lotar un film qui témoigne des conditions de vie déplorables des habitants de certains quartiers insalubres de sa ville. Proche d’Eli Lotar, Jacques Prévert écrit les textes, tandis que je Joseph Kosma se charge de la composition musicale. Fort de son expérience au sein de l’AEAR (Association des Ecrivains et Artistes Révolutionnaires), avec laquelle il a organisé en 1935 l’exposition « Documents de la vie sociale », Lotar joue des moyens du cinéma pour sensibilier le public au sort de ces personnes qui, malgré leurs revenus, ne peuvent s’offrir un logement décent. Ce court métrage, nominé au festival de Cannes dans la sélection « documentaire social » et récompensé au festival du film poétique à Knokke-le-Zoute, oscille entre un engagement militant hérité des années 1930 et une approche poétique annonciatrice des penchants de la photographie humaniste pour un pittoresque parisien légèrement suranné. Aussi, bien que cette oeuvre appelle à une reconstruction des taudis d’Aubervilliers, elle est traversée par une certaine nostalgie de ces banlieues maraichères qui vont laisser place à des cités dont la construction est imminente.
Eli Lotar
Aubervilliers (Film)
1945-1946
Épreuve gélatino-argentique d’époque, 18 x 24 cm.
Don de M. Jean-Pierre Marchand 2009, collection Centre Pompidou, Paris, MNAM-CCI. © Eli Lotar
Eli Lotar
Sans titre
Vers 1933-1935
Épreuve gélatino-argentique d’époque, 28,9 x 38,9 cm.
Don de M. Jean-Pierre Marchand en 2009, collection Centre Pompidou, Paris, MNAM-CCI. © Eli Lotar
Eli Lotar
Portrait de l’actrice Wanda Vangen
1929
Épreuve gélatino-argentique d’époque, 24 x 17,9 cm.
Achat en 1992, collection Centre Pompidou, Paris, MNAM-CCI. © Eli Lotar
Eli Lotar
Giacometti, buste de Lotar
1965
Épreuve gélatino-argentique d’époque, 17,8 x 12,7 cm.
Don de Anne-Marie et Jean-Pierre Marchand 1993, collection Centre Pompidou, Paris, MNAM-CCI. © Eli Lotar
Eli Lotar
Sans titre
1931
Épreuve gélatino-argentique d’époque, 29,9 x 39,3 cm.
Don de M. Jean-Pierre Marchand en 2009, collection Centre Pompidou, Paris, MNAM-CCI. © Eli Lotar
Eli Lotar
Locomotive
Vers 1929
Épreuve gélatino-argentique d’époque, 22,9 x 14,3 cm.
Achat grâce au mécénat de Yves Rocher, 2011. Ancienne collection Christian Bouqueret, collection Centre Pompidou, Paris, MNAM-CCI. © Eli Lotar
Eli Lotar
Aux Abattoirs de la Villette
1929
Épreuve gélatine-argentique d'époque, 22,2 x 16,2 cm.
Metropolitan Museum of Art, New York. © Eli Lotar
Eli Lotar
La Viande
1929
Épreuve gélatino-argentique d’époque, 15,5 x 22,2 cm.
Amsab-Institut d’Histoire Sociale, Gand. © Eli Lotar
Eli Lotar
Aux abattoirs de la Villette
1929
Épreuve gélatino-argentique d’époque, 24 x 18 cm.
Collection Centre Pompidou, Paris, MNAM-CCI. © Eli Lotar
Eli Lotar
Isolateur
Vers 1930
Épreuve gélatino-argentique d’époque, 24,1 x 20,1 cm, achat en 2005.
Collection Centre Pompidou, Paris, MNAM-CCI. © Eli Lotar
Eli Lotar
Vitre brisée
Vers 1940
Épreuve gélatino-argentique d’époque, 22,8 x 15,1 cm.
Don de Anne-Marie et Jean-Pierre Marchand, Mitzura Arghezi et Théo Arghezi 1993, collection Centre Pompidou, Paris, MNAM-CCI. © Eli Lotar
Eli Lotar
Eli Lotar, Sans titre [Lisbonne],1931, épreuve gélatino-argentique d’époque, don de M. Jean-Pierre Marchand 2009, collection Centre Pompidou, Paris, MNAM-CCI © Eli Lotar
Au milieu des années 1920, l’apparition de nouveaux appareils de petit format incite Eli Lotar à explorer le territoire des villes européennes, alors en pleine mutation. Attentif à son environnement, il arpente ainsi les villes à la manière d'un « chasseur-pêcheur » moderne en quête d’images insolites. Tel le « flâneur », l'« observateur passionné » évoqué par Baudelaire, il se laisse dériver dans l’effervescence et le tumulte de la vie citadine. Celle-ci offre en effet une photogénie toute nouvelle, provoquée, entre autres, par le développement des transports modernes (voitures, tramway, métro…) et la multiplication des images publicitaires qui investissent l’espace public. Ici, l’enseigne au premier plan semble « collée » sur le trottoir et se superpose aux piétons qui se trouvent au second plan. Cette impression de collage est symptomatique de l’expérience sensible que proposent alors les grandes villes occidentales. Chahutés par la juxtaposition hétéroclite d’événements et d’objets qui surgissent dans leur environnement immédiat, les citadins vivent leur expérience quotidienne de la ville comme un montage. Cette nouvelle expérience est à l’origine d’une esthétique singulière qui s’épanouit pleinement dans la photographie, comme en témoignent nombre d’images de Lotar.
1929
Eli Lotar, Punition , 1929, épreuve gélatino-argentique d’époque, achat grâce au mécénat de Yves Rocher, 2011, ancienne collection Christian Bouqueret, collection Centre Pompidou, Paris, MNAM-CCI © Eli Lotar
Cette paire de jambes factices cassées et posées sur le pavé d'une rue témoigne là encore des relations d'Eli Lotar avec le surréalisme. Rappelant la fascination pour le simulacre et le caractère incertain de ces vestiges abandonnés en pleine rue (fragments d'un jouet ou d'un mannequin ? Prothèses de jambes d'enfant ?), cette photographie fait naître chez le spectateur un certain malaise, de l'ordre de cette « inquiétante étrangeté » théorisée par Freud et reprise à leur compte par les surréalistes. Oscillant entre reconnaissance et trouble, cette sensation est ici renforcée par le titre qu'Eli Lotar donne à son cliché : « Punition ». Quelle serait donc l'origine de cette découpe ? Une faute ? Un fait divers sordide ? L'acte photographique lui-même, qui tranche dans le réel ? Les relations complexes entre images et mots, alors au coeur des réflexions des surréalistes et notamment de René Magritte, trouvent dans la pratique d'Eli Lotar d'intéressants échos. Sa collaboration avec différentes revues et notamment Documents à l’initiative de Georges Bataille, s'inscrit pleinement dans cette démarche.
Eli Lotar
Hôpital des Quinze-Vingt
1928
Épreuve gélatino-argentique d’époque, 21,5 x 14,8 cm.
Achat grâce au mécénat de Yves Rocher, 2011. Ancienne collection Christian Bouqueret, collection Centre Pompidou, Paris, MNAM-CCI. © Eli Lotar
Eli Lotar
1936
Eli Lotar, Dormeuse, Espagne, quatrième voyage, février 1936 . Epreuve gélatino-argentique obtenue d’après le négatif original selon le format d’un tirage d’époque existant, Acquisition, collection Centre Pompidou, Paris, MNAM-CCI © Eli Lotar
Eli Lotar réalise ce cliché d'une jeune femme dormant profondément sur la table d’une terrasse de café en 1936. Fasciné par cette situation insolite, il en saisit différents points de vue et met particulièrement en avant l'aspect désarticulé du corps de cette femme. Le relâchement total de ses membres ainsi que les contours de sa silhouette s'opposent à la rectitude géométrique et répétitive de la ville. La composition de l'image témoigne donc d'une préoccupation formelle mais aussi d'une fascination qu'Eli Lotar partage avec les surréalistes : le sommeil. En effet, André Breton plaidait alors en faveur d’un « regard retourné », enfin libéré du monde extérieur, tourné vers le « le modèle intérieur ». Chez Eli Lotar, les yeux fermés ou aveugles représentent le monde invisible des images mentales et de l'inconscient. Et s'il s'amuse ici de l'échec de la photographie à figurer la puissance de l'imagination, il parvient néanmoins à susciter celle du spectateur. Le photographe semble ainsi donner, dans ce cliché, une forme visuelle à la conception du surréalisme de Breton comme « photographie de la pensée ».
Eli Lotar
Benne (poussières)
1929
Épreuve gélatino-argentique d’époque, 22,5 x 16,5 cm.
Courtsey Gilles Peyroulet et Cie, Paris. © Eli Lotar
Eli Lotar
Travaux d’assèchement du Zuyderzee, Pays-Bas
1930
Épreuve gélatino-argentique d’époque, 17,4 x 12,8 cm.
Archives Tériade, musée départemental Matisse, Le Cateau-Cambrésis. © Eli Lotar
Eli Lotar
Eli Lotar, Las Hurdes , vers 1935
Épreuve gélatino-argentique d’époque, 22,8 x 17,9 cm, don de Anne-Marie et Jean-Pierre Marchand 1993, collection Centre Pompidou, Paris, MNAM-CCI © Eli Lotar
Madrid (Manifestation du Front Populaire après les élections février 1936)
1936
Épreuve gélatino-argentique d’époque, 19,2 x 26,6 cm.
Don de M. Jean-Pierre Marchand 2009, collection Centre Pompidou, Paris, MNAM-CCI. © Eli Lotar
Eli Lotar
1945-1946
Eli Lotar, Aubervilliers , 1945, photogramme, épreuve gélatino-argentique d’époque, don de M. Jean-Pierre Marchand 2009, collection Centre Pompidou, Paris, MNAM-CCI © Eli Lotar
En 1945, Charles Tillon, le maire communiste d’Aubervilliers commande à Lotar un film qui témoigne des conditions de vie déplorables des habitants de certains quartiers insalubres de sa ville. Proche d’Eli Lotar, Jacques Prévert écrit les textes, tandis que je Joseph Kosma se charge de la composition musicale. Fort de son expérience au sein de l’AEAR (Association des Ecrivains et Artistes Révolutionnaires), avec laquelle il a organisé en 1935 l’exposition « Documents de la vie sociale », Lotar joue des moyens du cinéma pour sensibilier le public au sort de ces personnes qui, malgré leurs revenus, ne peuvent s’offrir un logement décent. Ce court métrage, nominé au festival de Cannes dans la sélection « documentaire social » et récompensé au festival du film poétique à Knokke-le-Zoute, oscille entre un engagement militant hérité des années 1930 et une approche poétique annonciatrice des penchants de la photographie humaniste pour un pittoresque parisien légèrement suranné. Aussi, bien que cette oeuvre appelle à une reconstruction des taudis d’Aubervilliers, elle est traversée par une certaine nostalgie de ces banlieues maraichères qui vont laisser place à des cités dont la construction est imminente.
Eli Lotar
Aubervilliers (Film)
1945-1946
Épreuve gélatino-argentique d’époque, 18 x 24 cm.
Don de M. Jean-Pierre Marchand 2009, collection Centre Pompidou, Paris, MNAM-CCI. © Eli Lotar
Eli Lotar
Sans titre
Vers 1933-1935
Épreuve gélatino-argentique d’époque, 28,9 x 38,9 cm.
Don de M. Jean-Pierre Marchand en 2009, collection Centre Pompidou, Paris, MNAM-CCI. © Eli Lotar
Eli Lotar
Portrait de l’actrice Wanda Vangen
1929
Épreuve gélatino-argentique d’époque, 24 x 17,9 cm.
Achat en 1992, collection Centre Pompidou, Paris, MNAM-CCI. © Eli Lotar
Eli Lotar
Giacometti, buste de Lotar
1965
Épreuve gélatino-argentique d’époque, 17,8 x 12,7 cm.
Don de Anne-Marie et Jean-Pierre Marchand 1993, collection Centre Pompidou, Paris, MNAM-CCI. © Eli Lotar
Eli Lotar
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