{"id":1385,"date":"2018-12-13T23:35:35","date_gmt":"2018-12-13T22:35:35","guid":{"rendered":"https:\/\/littexpress.iut.u-bordeaux-montaigne.fr\/?p=1385"},"modified":"2018-12-18T00:21:28","modified_gmt":"2018-12-17T23:21:28","slug":"antoine-choplin-le-heron-de-guernica","status":"publish","type":"post","link":"https:\/\/littexpress.iut.u-bordeaux-montaigne.fr\/index.php\/2018\/12\/13\/antoine-choplin-le-heron-de-guernica\/","title":{"rendered":"Antoine CHOPLIN, Le H\u00e9ron de Guernica"},"content":{"rendered":"
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Antoine CHOPLIN,<\/span><\/h1>\n

Le He\u0301ron de Guernica<\/span><\/em><\/h1>\n

Rouergue, 2011.
\nPoints, 2015
\n<\/span>ISBN 978-2757843321<\/span><\/strong><\/p>\n

L\u2019art pour dire l’indicible<\/span><\/h2>\n
\n

\u00ab Basilio se dit que la peinture ne pourra jamais rendre c\u0327a. C\u2019est de\u0301ja\u0300 difficile de confe\u0301rer par le pinceau un peu d\u2019allant a\u0300 la repre\u0301sentation d\u2019un e\u0302tre en mouvement ; mais s\u2019il renonce a\u0300 bouger ne serait-ce qu\u2019un cil, alors la\u0300.
\n<\/span>Il s\u2019y essaye pourtant sans rela\u0302che Basilio. Il s\u2019invente quelques stratage\u0300mes pour cela ; en constate les limites ; en expe\u0301rimente de nouveaux. Tous ont en commun de l\u2019amener a\u0300 tricher un peu, d\u2019un manie\u0300re ou d\u2019une autre. A\u0300 courber le rectiligne, a\u0300 barbouiller un peu l\u2019e\u0301vidence du re\u0301el visible. A\u0300 e\u0301roder les lignes trop nettes, les contours trop prononce\u0301s. \u00bb (p. 32)<\/span><\/p>\n<\/blockquote>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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 <\/p>\n

Guernica, printemps 1937, Basilio peint des he\u0301rons.<\/span>
\nLe village vit, le marche\u0301, le bal de la fin de la semaine, le doux bruissement de la simplicite\u0301 court le long des pages, a\u0300 peine trouble\u0301 par quelques e\u0301chos de la guerre : une troupe de soldats traverse la ville, des rumeurs, des familles qui pensent de\u0301me\u0301nager a\u0300 Bilbao au cas ou\u0300 les troupes nationalistes se rapprocheraient.<\/span>
\nMais rien de tout cela ne vient troubler Basilio, il a un cochon a\u0300 vendre au marche\u0301, des haricots a\u0300 conserver, et un he\u0301ron a\u0300 peindre pour Celestina, l\u2019ouvrie\u0300re de l\u2019usine de confiserie qu\u2019il aime timidement.<\/span>
\nEt pourtant c\u2019est un apre\u0300s-midi calme, apre\u0300s le marche\u0301, alors que Basilio est plonge\u0301 dans sa peinture de he\u0301ron : sa pie\u0300ce mai\u0302tresse qu\u2019il re\u0302ve d\u2019offrir a\u0300 Celestina, qu\u2019explosent les bombes, de\u0301truisant le village, l\u2019usine de confiserie ainsi que 1 654 vies.<\/span>
\nIl faudra te\u0301moigner, hurler au monde la force de cet e\u0301ve\u0301nement injuste, mais comment ?<\/span><\/p>\n

L\u2019histoire du massacre de Guernica, immortalise\u0301e par l\u2019art avec le ce\u0301le\u0300bre tableau de Pablo Picasso, trouve ici son pendant litte\u0301raire et imaginaire.<\/span><\/p>\n

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\u00ab Alors je comprends pas, avait dit Basilio.<\/span>
\nQu\u2019est-ce que tu ne comprends pas?<\/span>
\nJe comprend pas comment il peut peindre sur les e\u0301ve\u0301nements de Guernica, s\u2019il n\u2019y e\u0301tait pas quand cela s\u2019est produit.<\/span>
\nLes artistes peuvent faire cela, avait dit le cure\u0301. \u00bb (p. 12)<\/span><\/p>\n<\/blockquote>\n

Le livre a la force de nous faire interroger le re\u0301el et ses repre\u0301sentations, en admettant en son sein autant de visions que de personnages. En exprimant ces sensibilite\u0301s multiples, il nous permet de ba\u0302tir nos propres repre\u0301sentations sans rien imposer, sans rien figer.<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Tout comme nous sommes laisse\u0301s libres d\u2019imaginer le tableau peint par Basilio ce jour la\u0300 (dont nous ne savons rien d\u2019autre que les re\u0301actions qu\u2019il provoque chez ceux qui le voient), nous sommes laisse\u0301s libres de ressentir l\u2019e\u0301criture d\u2019Antoine Choplin, comme une poe\u0301sie. Le regard de l\u2019artiste est a\u0300 la fois le fond et la forme du roman qui posse\u0300de un vrai pouvoir e\u0301vocateur, qui \u201cfait la place\u201d :<\/span><\/p>\n

\u00ab Rien que c\u0327a, une bicyclette qui repose a\u0300 terre, au milieu d’une place de\u0301serte. Je crois que c’est pas mal pour donner a\u0300 deviner tout ce qu’on voit pas sur l’image. Toutes ces choses qui flottent dans l’air et qui fabriquent notre peur de maintenant. Qu’on peut pas graver sur du papier mais qui nous empe\u0302chent presque de respirer, par moments. Tu vois ce que je veux dire ?
\n<\/span>Oui.<\/span>
\nAlors je trouve que cette image de bicyclette, elle fait la place a\u0300 tout c\u0327a et c’est dans ce sens qu’elle vaut bien une photographie de bombardier.\u00bb (p. 46)<\/span><\/p><\/blockquote>\n

Choisir comme acte de te\u0301moignage ultime de photographier une bicyclette abandonne\u0301e pluto\u0302t qu\u2019un bombardier, imaginer une courbe la\u0300 ou\u0300 il n\u2019y a qu\u2019une ligne droite, pre\u0301fe\u0301rer un gribouillage abstrait a\u0300 un portrait re\u0301aliste, c\u2019est la de\u0301marche de l\u2019artiste qui sait que la repre\u0301sentation exacte et directe ne transmet pas tout, et que, peut-e\u0302tre, il faut tricher, de\u0301vier, contourner pour savoir e\u0301voquer.<\/span><\/p>\n

C\u2019est en tous cas ce que re\u0301ussit Antoine Choplin mieux que personne, car lui seul sait nous dire comme le soleil du matin taquine, comme les flammes sont fugitives et comme les images peuvent transpercer un corps.<\/span><\/p>\n

A\u0300 ceux qui demandent a\u0300 quoi sert l\u2019art, on ne peut pas trouver meilleure re\u0301ponse que ce re\u0301cit a\u0300 l\u2019e\u0301criture si particulie\u0300re qui a su (a\u0300 juste titre) se faire remarquer par la presse et les libraires, on remercie Antoine Choplin, on remercie les e\u0301ditions du Rouergue, et on se souviendra encore longtemps de cette lec\u0327on de perception, unique et douce, au coeur de la catastrophe.<\/span><\/p>\n

Le He\u0301ron de Guernica<\/em> est une vraie de\u0301couverte, un livre qui n\u2019a pas besoin de tout nous dire mais qu\u2019on sent pre\u0301cis comme une me\u0301taphore, rythme\u0301 comme une poe\u0301sie, simple, puissant :<\/span><\/p>\n

\u00ab les artistes peuvent faire cela<\/em> \u00bb …<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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M.Kleinhans AS e\u0301dition\/librairie 2018.<\/span><\/strong><\/p>\n

Sources :
\n<\/span><\/strong>Fiche auteur sur le site des e\u0301ditions Rouergue :
\n<\/span>https:\/\/www.lerouergue.com\/auteurs\/choplin-antoine<\/a><\/span><\/p>\n

Fiche auteur sur le site de l\u2019association Lettres du Monde :
\n<\/span>https:\/\/lettresdumonde33.com\/invites-2017\/antoine-choplin\/<\/a>
\n<\/span>Postface du livre Le He\u0301ron de Guernica<\/em> <\/span><\/p>\n

Biographie de l\u2019auteur :<\/span><\/strong><\/p>\n\n\n\n
\"\"<\/span><\/td>\nNationalit\u00e9 : France<\/span><\/p>\n

N\u00e9 \u00e0\u00a0 : Ch\u00e2teauroux (1962)<\/span><\/td>\n

Antoine Choplin, le diplo\u0302me\u0301 d\u2019HEC en costume cravate, est passe\u0301 des chiffres aux lettres et c\u2019est tant mieux ! Une dizaine de romans plus tard, cet amoureux de la montagne vit pre\u0300s de Grenoble avec ses deux enfants et assure la direction artistique du festival de l\u2019Arpenteur.<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

Bibliographie non-exhaustive<\/strong>\u00a0 :
\n<\/span>Radeau<\/em>, La Fosse aux ours, 2003. Prix des librairies Initiales 2003
\n<\/span>L\u2019Impasse<\/em>, La Fosse aux ours, 2006.
\n<\/span>Cour Nord<\/em>,\u00a0 Rouergue, coll. \u00ab La Brune \u00bb, 2009.<\/span>
\nLa Nuit tombe\u0301e<\/em>,\u00a0 La Fosse aux ours, 2012.<\/span>
\nUne fore\u0302t d’arbres creux<\/em>, La Fosse aux ours, 2015.<\/span>
\nQuelques jours dans la vie de Tomas Kusar<\/em>, La Fosse aux ours, 2016.\u00a0<\/span>Prix Louis-Guilloux\u00a0 2017.<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Antoine CHOPLIN, Le He\u0301ron de Guernica Rouergue, 2011. Points, 2015 ISBN 978-2757843321 L\u2019art pour dire l’indicible \u00ab Basilio se dit que la peinture ne pourra jamais rendre c\u0327a. C\u2019est de\u0301ja\u0300 difficile de confe\u0301rer par le pinceau un peu d\u2019allant a\u0300 la repre\u0301sentation d\u2019un e\u0302tre en mouvement ; mais s\u2019il renonce a\u0300 bouger ne serait-ce qu\u2019un […]<\/p>\n","protected":false},"author":1,"featured_media":1525,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"episode_type":"","audio_file":"","podmotor_file_id":"","podmotor_episode_id":"","cover_image":"","cover_image_id":"","duration":"","filesize":"","filesize_raw":"","date_recorded":"","explicit":"","block":"","itunes_episode_number":"","itunes_title":"","itunes_season_number":"","itunes_episode_type":"","h5ap_radio_sources":[],"footnotes":""},"categories":[7],"tags":[102,103],"class_list":["post-1385","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-litterature-francaise","tag-espagne","tag-fiction-courte"],"yoast_head":"\nAntoine CHOPLIN, Le H\u00e9ron de Guernica - Litt'Express<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/littexpress.iut.u-bordeaux-montaigne.fr\/index.php\/2018\/12\/13\/antoine-choplin-le-heron-de-guernica\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Antoine CHOPLIN, Le H\u00e9ron de Guernica - Litt'Express\" \/>\n<meta property=\"og:description\" content=\"Antoine CHOPLIN, Le He\u0301ron de Guernica Rouergue, 2011. 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