Genius loci : creuser pour révéler ? Art et Archéologie, l’exemple de Terra Amata

La pratique de l’archéologue et celle de l’artiste, au moment d’investir un site, sont-elles si éloignées ? Pour aborder un espace, il convient de prendre la mesure de l’existant. Si cet existant constitue un indice pour l’archéologue, comment est-il perçu par l’artiste qui tente de l’appréhender ? La plasticienne Charlotte Pringuey-Cessac et le préhistorien Bertrand Roussel évoquent leur approche respective du site de Terra Amata, dans le cadre d’une exposition qu’ils ont présentée du 6 décembre 2019 au 17 mai 2020, intitulée Bruit originaire.

Is the approach of the scientist, in this case, the archaeologist, and that of the artist when they discover a prehistoric site, truly so distant? To comprehend a space, it is necessary to gauge what already exists. If this element serves as a clue for the archaeologist, how is it perceived by the artist attempting to understand it? Visual artist Charlotte Pringuey-Cessac and prehistorian Bertrand Roussel discuss their respective approaches to the Terra Amata site, within the framework of an exhibition they presented from December 6, 2019, to May 17, 2020, titled "Bruit originaire" (Original Noise). Even if the origin of humanity is probably forever concealed from us, it does not prevent us from wanting to approach it. It seems that there is a similar and shared intention between the artist’s practice and that of the prehistorian. Whether in the artist’s intention or the archaeologist’s, the idea of promise persists in the very practice of each.

expressions humaines dessin Préhistoire feu charbon empreinte ocres goethite hématite

human expressions drawing Prehistory fire charcoal imprint ochres goethite hematite