{"id":52621,"date":"2019-12-05T20:33:22","date_gmt":"2019-12-05T19:33:22","guid":{"rendered":"https:\/\/alexandra-exter.net\/the-tours-exhibition\/les-bronzes-inedits\/"},"modified":"2021-02-18T13:05:50","modified_gmt":"2021-02-18T12:05:50","slug":"les-bronzes-inedits","status":"publish","type":"page","link":"https:\/\/alexandra-exter.net\/en\/the-tours-exhibition\/les-bronzes-inedits\/","title":{"rendered":"La surprise des \u00ab bronzes \u00bb in\u00e9dits"},"content":{"rendered":"\n
\n
\n

Dans la publication accompagnant l\u2019exposition de Tours 2009 figure un personnage inspir\u00e9 par la pi\u00e8ce Famira Kifared<\/em> (voir illustration ci-contre). <\/em>Le descriptif de la pi\u00e8ce indique \u00ab bronze \u00e9maill\u00e9, 56 cm de hauteur \u00bb. \u00c0 la page 214 figurent deux autres pi\u00e8ces en bronze \u00e9maill\u00e9, bas-reliefs que l\u2019on dit \u00ab r\u00e9alis\u00e9s d\u2019apr\u00e8s des projets de costumes \u00bb. <\/p>\n\n\n\n

Aucune de ces pi\u00e8ces ne figurait \u00e0 l\u2019exposition de Tours, mais les illustrations du catalogue permettaient de conclure \u00e0 l\u2019existence de pi\u00e8ces d\u00e9j\u00e0 r\u00e9alis\u00e9es. Ces objets sont effectivement apparus sur le march\u00e9 d\u2019art \u00e0 l\u2019automne 2009 (c\u2019est-\u00e0-dire plusieurs mois apr\u00e8s la fermeture de l\u2019exposition incrimin\u00e9e). Lors du Salon des antiquit\u00e9s pr\u00e9sent\u00e9 au mois d\u2019octobre \u00e0 Kiev, plusieurs bronzes polychrom\u00e9s, pi\u00e8ces toutes attribu\u00e9es \u00e0 Alexandra Exter, ont \u00e9t\u00e9 pr\u00e9sent\u00e9es. Des photographies, ainsi que des articles les commentant y compris des interviews donn\u00e9es \u00e0 la presse locale, ont circul\u00e9 abondamment sur Internet. <\/p>\n<\/div>\n\n\n\n

\n
\"Catalogue<\/a>
Catalogue de l’exposition
de Tours p. 215<\/figcaption><\/figure><\/div>\n<\/div>\n<\/div>\n\n\n\n
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Des explications concernant l\u2019origine de la premi\u00e8re pi\u00e8ce ont \u00e9t\u00e9 fournies \u00e0 la presse par L\u00e9onardo Benatov, le propri\u00e9taire de la fonderie Valsuani, qui appara\u00eet comme le fabricant de ces objets. Ces pi\u00e8ces ayant \u00e9t\u00e9 par la suite propos\u00e9es \u00e0 la vente par des galeries europ\u00e9ennes, les archives d\u2019Alexandra Exter ont \u00e9t\u00e9 consult\u00e9es tout r\u00e9cemment \u00e0 ce sujet. Suivant des indications fournies par le commerce d\u2019art, il est ainsi apparu qu\u2019une production tr\u00e8s vari\u00e9e en taille et en finition serait en cours. \u00c0 partir d\u2019un suppos\u00e9 \u00ab mod\u00e8le \u00bb (dit \u00ab original \u00bb) qui serait en \u00ab papier m\u00e2ch\u00e9 \u00bb, devenu par la suite \u00ab en pl\u00e2tre \u00bb, des sculptures en bronze \u00e9maill\u00e9 de taille et de coloration diff\u00e9rentes sont propos\u00e9s par diff\u00e9rentes galeries suisses. <\/p>\n\n\n\n

Les pi\u00e8ces en question sont accompagn\u00e9es d\u2019une \u00ab authentification \u00bb sign\u00e9e par Maria Valiaeva, ancienne collaboratrice de la galerie Tretiakov, reconvertie aujourd\u2019hui dans le secteur commercial, comme l\u2019affirme de fa\u00e7on non \u00e9quivoque un texte publi\u00e9 sur le site Internet de la galerie genevoise Art XXI<\/em> (galerie qui, quelques mois avant l’exposition de Tours 2009, pr\u00e9sentait \u00e0 Gen\u00e8ve plusieurs des pi\u00e8ces attribu\u00e9es \u00e0 Exter et saisies par la suite \u00e0 Tours). L\u00e0, le visiteur de 2008 est inform\u00e9 que \u00ab Maria Valiaeva et Jean Chauvelin se tiennent \u00e0 la disposition des clients de la galerie pour tout renseignement n\u00e9cessaire \u00bb.<\/p>\n<\/div>\n\n\n\n

\n
\"Catalogue<\/a>
Catalogue de l’exposition
de Tours p. 214<\/figcaption><\/figure><\/div>\n<\/div>\n<\/div>\n\n\n\n

L\u2019attestation de Valiaeva confirmant \u00ab l\u2019authenticit\u00e9 \u00bb des tirages en bronze ne contient par ailleurs aucun renseignement pr\u00e9cis quant \u00e0 l\u2019origine ou \u00e0 la r\u00e9alisation r\u00e9cente des pi\u00e8ces en bronze. Le bref texte se limite \u00e0 quelques lieux communs de nature \u00ab culturelle \u00bb, relatifs au seul spectacle de 1916. La seule r\u00e9f\u00e9rence \u00e0 Exter renvoie \u00e0 la publication Chauvelin-Filatoff de 2003. <\/p>\n\n\n\n

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Dans les d\u00e9clarations \u00e0 la presse publi\u00e9es sur Internet \u00e0 l\u2019occasion de l\u2019exposition de Kiev, le producteur de ces pi\u00e8ces propose une explication de leur origine, indiquant qu\u2019Alexandra Exter aurait fait des mod\u00e8les en papier m\u00e2ch\u00e9, \u00e0 partir desquels les pi\u00e8ces pour Famira Kifared<\/em> auraient \u00e9t\u00e9 r\u00e9alis\u00e9es. Le \u00ab certificat d\u2019authenticit\u00e9 \u00bb destin\u00e9 aux acheteurs indique : \u00ab Ce bronze a \u00e9t\u00e9 fondu \u00e0 la cire perdue \u00e0 partir d\u2019un pl\u00e2tre de fonderie, conforme \u00e0 l\u2019original de l\u2019empreinte prise \u00e0 partir d\u2019un carton \u2013 pl\u00e2tre fillasse de 1930 \u00bb. Or, ce fait n\u2019est r\u00e9pertori\u00e9 nulle part dans les archives de l\u2019artiste, dans quelque texte ou commentaire que ce soit relatif \u00e0 sa production de l\u2019\u00e9poque ou du vivant de l\u2019artiste.<\/p>\n\n\n\n

Plus grave encore, incongrue dans la situation de la Premi\u00e8re Guerre quand le spectacle de Ta\u00efroff fut pr\u00e9sent\u00e9es \u00e0 Moscou, l\u2019id\u00e9e m\u00eame de tirage en bronze d\u2019apr\u00e8s un personnage du spectacle Famira Kifared<\/em> de 1916 est tout simplement aberrante, pour la simple raison qu\u2019elle contredit non seulement les pratiques moscovites du moment, mais surtout la pratique de l\u2019artiste et son orientation esth\u00e9tique. Fid\u00e8le \u00e0 ses convictions futuristes et par la suite constructivistes, Alexandra Exter n\u2019a jamais envisag\u00e9 la production de pareils bibelots en fonte. <\/p>\n<\/div>\n\n\n\n

\n
\"\"<\/a>
Bronze \u00e9maill\u00e9 d’apr\u00e8s Famira Kifared r\u00e9alis\u00e9 par la fonderie Airaindor Valsuani<\/figcaption><\/figure><\/div>\n<\/div>\n<\/div>\n\n\n\n
\n
\n

On conna\u00eet par contre une s\u00e9rie de marionnettes qu\u2019Exter a r\u00e9alis\u00e9e en 1927 \u00e0 Paris et qui furent expos\u00e9es et reproduites \u00e0 l\u2019\u00e9poque et aussi en 1975. Les personnages poly mat\u00e9riaux, fort caract\u00e9ristiques des tendances dada\u00efstes\/constructivistes de l\u2019\u00e9poque (voir Sophie T\u00e4uber ou Ivo Pannaggi), constituent des \u0153uvres dans lesquelles on peut voir la suite de l\u2019esth\u00e9tique futuriste et constructiviste de Boccioni et Tatline, esth\u00e9tique qu\u2019illustre aussi le travail d\u2019Exter pour Aelita<\/em> (1923-24). Ils sont tout \u00e0 l\u2019oppos\u00e9 des productions \u00ab pass\u00e9istes \u00bb en fonte imagin\u00e9es actuellement d\u2019apr\u00e8s des projets de costumes d\u2019Exter de 1916, par des entrepreneurs qui ignorent les postulats essentiels de sa d\u00e9marche artistique. Doit-on s\u2019\u00e9tonner que ces productions r\u00e9centes soient entreprises sans aucune autorisation ? <\/p>\n<\/div>\n\n\n\n

\n
\"\"<\/a>
Bronze \u00e9maill\u00e9 d’apr\u00e8s Famira Kifared r\u00e9alis\u00e9 par la fonderie Airaindor Valsuani <\/figcaption><\/figure><\/div>\n<\/div>\n<\/div>\n\n\n\n

Un dernier point m\u00e9rite d\u2019\u00eatre mentionn\u00e9 : la vague provenance indiqu\u00e9e pour les soi-disant pi\u00e8ces \u00ab en papier m\u00e2ch\u00e9 \u00bb n\u2019offre aucun point d\u2019attache documentaire que les archives de l\u2019artiste auraient permis de mettre en lumi\u00e8re : juste au contraire les archives la contredisent.<\/p>\n\n\n\n

<\/div>\n\n\n\n
\n

Les marionnettes d\u2019Exter, r\u00e9alis\u00e9es au cours des ann\u00e9es 1920, sont, elles, bien document\u00e9es dans les archives de l\u2019artiste. Elles figurent en bonne place dans les inventaires de sa succession. Leur sort est parfaitement clair car il fut d\u00e9cid\u00e9 par l\u2019h\u00e9ritier de l\u2019artiste, Simon Lissim. Plus encore, de magnifiques photographies (in\u00e9dites \u00e0 ce jour) de ces pi\u00e8ces ont \u00e9t\u00e9 r\u00e9alis\u00e9es \u00e0 l\u2019\u00e9poque et figurent \u00e9galement dans les archives d\u2019Exter. <\/p>\n\n\n\n

\"Marionnette\"<\/a><\/figure><\/div>\n<\/div><\/div>","protected":false},"excerpt":{"rendered":"

Dans la publication accompagnant l\u2019exposition de Tours 2009 figure un personnage inspir\u00e9 par la pi\u00e8ce Famira Kifared (voir illustration ci-contre). Le descriptif de la pi\u00e8ce indique \u00ab bronze \u00e9maill\u00e9, 56 cm de hauteur \u00bb. \u00c0 la page 214 figurent deux autres pi\u00e8ces en bronze \u00e9maill\u00e9, bas-reliefs que l\u2019on dit \u00ab r\u00e9alis\u00e9s d\u2019apr\u00e8s des projets de costumes \u00bb. Aucune de […]<\/p>","protected":false},"author":1,"featured_media":51576,"parent":51958,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_relevanssi_hide_post":"","_relevanssi_hide_content":"","_relevanssi_pin_for_all":"","_relevanssi_pin_keywords":"","_relevanssi_unpin_keywords":"","_relevanssi_related_keywords":"","_relevanssi_related_include_ids":"","_relevanssi_related_exclude_ids":"","_relevanssi_related_no_append":"","_relevanssi_related_not_related":"","_relevanssi_related_posts":"","_relevanssi_noindex_reason":"","_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"class_list":{"0":"post-52621","1":"page","2":"type-page","3":"status-publish","4":"has-post-thumbnail","6":"entry"},"yoast_head":"\nLa surprise des \u00ab bronzes \u00bb in\u00e9dits - Association Alexandra Exter<\/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:\/\/alexandra-exter.net\/en\/the-tours-exhibition\/les-bronzes-inedits\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"La surprise des \u00ab bronzes \u00bb in\u00e9dits\" \/>\n<meta property=\"og:description\" content=\"Dans la publication accompagnant l\u2019exposition de Tours 2009 figure un personnage inspir\u00e9 par la pi\u00e8ce Famira Kifared (voir illustration ci-contre). 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