RICKY DOESN’T FIT
2024
[FR] La relation de l’humain à la nature a toujours oscillé entre contemplation admirative et sentiment d’effroi face à son immensité. À l’ère de l’Anthropocène, cette dynamique s’intensifie, transformant le regard esthétique sur la nature en une interrogation sur son devenir. L’idée du sublime, puisant ses origines dans l’esthétique romantique du XVIIIe siècle, apparaît comme un prisme pertinent pour analyser ces bouleversements. Cela dit, elle se métamorphose dans le contexte contemporain, où les enjeux environnementaux et technologiques redéfinissent la manière dont la nature est perçue et représentée. La question du regard est au centre de cette expérience de nature. Le film American Beauty de Sam Mendes (1999), et plus particulièrement sa célèbre scène du sac plastique, est à même de redéfinir l’expérience du sublime par l’outil cinématographique.
Ce projet s'inscrit dans une recherche plus large et résonne avec les projets Aucèu et Camargue.
[EN] The human relationship with nature has always oscillated between admiring contemplation and a sense of awe in the face of its immensity. In the Anthropocene era, this dynamic is intensifying, transforming the aesthetic view of nature into a questioning of its future. The idea of the sublime, with its origins in 18th-century Romantic aesthetics, appears to be a relevant prism for analyzing these upheavals. That said, it is transformed in the contemporary context, where environmental and technological issues are redefining the way nature is perceived and represented. The question of the gaze is central to this experience of nature. Sam Mendes’s American Beauty (1999), and in particular his famous scene with the plastic bag, redefines the experience of the sublime through cinematographic means.
This project is part of a broader body of research and resonates with the projects Aucèu and Camargue.
Ce projet s'inscrit dans une recherche plus large et résonne avec les projets Aucèu et Camargue.
[EN] The human relationship with nature has always oscillated between admiring contemplation and a sense of awe in the face of its immensity. In the Anthropocene era, this dynamic is intensifying, transforming the aesthetic view of nature into a questioning of its future. The idea of the sublime, with its origins in 18th-century Romantic aesthetics, appears to be a relevant prism for analyzing these upheavals. That said, it is transformed in the contemporary context, where environmental and technological issues are redefining the way nature is perceived and represented. The question of the gaze is central to this experience of nature. Sam Mendes’s American Beauty (1999), and in particular his famous scene with the plastic bag, redefines the experience of the sublime through cinematographic means.
This project is part of a broader body of research and resonates with the projects Aucèu and Camargue.