{"id":10582,"date":"2026-10-13T18:45:15","date_gmt":"2026-10-13T16:45:15","guid":{"rendered":"https:\/\/great-artmag.com\/?p=10582"},"modified":"2026-10-13T21:47:54","modified_gmt":"2026-10-13T19:47:54","slug":"othoniel-cape-du-torero-mort-rivau","status":"publish","type":"post","link":"https:\/\/great-artmag.com\/en\/othoniel-cape-du-torero-mort-rivau\/","title":{"rendered":"Jean-Michel Othoniel : &#8220;Portrait du torero mort&#8221; ou la survivance du geste"},"content":{"rendered":"<p data-pm-slice=\"1 1 []\"><strong>En 1992, au Carr\u00e9 d\u2019Art de N\u00eemes, Jean-Michel Othoniel expose une cape de torero recouverte de soufre. Rigide, elle a perdu toute l\u00e9g\u00e8ret\u00e9. Ses plis semblent conserver la trace d\u2019un rituel dont il ne subsisterait que la d\u00e9pouille. Avec <em>Portrait du torero mort<\/em> (1991), entr\u00e9 dans la collection du ch\u00e2teau du Rivau d\u00e8s 1993, l\u2019artiste transforme l\u2019embl\u00e8me de la tauromachie en une pr\u00e9sence spectrale, suspendue entre la beaut\u00e9 du geste et l\u2019imminence de sa disparition.<\/strong><\/p>\n<p data-pm-slice=\"1 1 []\">Lorsqu\u2019il acquiert l\u2019\u0153uvre en 1993, le collectionneur \u00c9ric Laigneau pense imm\u00e9diatement au <em>Torero mort<\/em> (1864) d\u2019\u00c9douard Manet. Une parent\u00e9 s\u2019impose \u00e0 lui : \u00ab La cape en soufre, c\u2019est une cape de paseo sans le torero et devenue un linceul, un suaire, comme l\u2019est, je crois, pour Manet, le costume de lumi\u00e8re qui habille encore le torero mort. \u00bb D\u2019une \u0153uvre \u00e0 l\u2019autre, le v\u00eatement survit \u00e0 celui qu\u2019il devait accompagner. Il conserve la forme d\u2019une pr\u00e9sence tout en d\u00e9signant son irr\u00e9m\u00e9diable disparition. En effet, chez Manet comme chez Othoniel, le v\u00eatement devient ainsi le lieu paradoxal o\u00f9 la mort se donne \u00e0 voir sans jamais livrer tout \u00e0 fait son secret.<\/p>\n<h3>Une cape, un corps absent<\/h3>\n<p>Tout, dans la sculpture, convoque le combat sans en montrer l\u2019issue. La silhouette du torero s\u2019est effac\u00e9e ; demeure l\u2019\u00e9toffe, devenue corps de substitution. Monumentale et pourtant vuln\u00e9rable, elle conserve dans ses plis la m\u00e9moire d\u2019un mouvement. La cape ne flotte plus : elle r\u00e9siste. Sa rigidit\u00e9 fige l\u2019instant o\u00f9 la chor\u00e9graphie de l\u2019ar\u00e8ne bascule dans le silence. Jean-Michel Othoniel retient de la tauromachie moins le spectacle que sa tension fondamentale. L\u2019absence du torero rend celle-ci plus sensible encore. Il n\u2019y a plus ni adversaire ni public, seulement la trace mat\u00e9rielle d\u2019un affrontement. Avec son jaune min\u00e9ral, le soufre conf\u00e8re \u00e0 l\u2019\u0153uvre une dimension alchimique. Il enveloppe le tissu d\u2019une peau \u00e0 la fois protectrice et inqui\u00e9tante, comme si la mati\u00e8re avait absorb\u00e9 la violence du rituel pour en retenir l\u2019empreinte.<\/p>\n<h3>Le soufre, mati\u00e8re des m\u00e9tamorphoses<\/h3>\n<p>En 1991, lors d\u2019un s\u00e9jour \u00e0 S\u00e8te, Jean-Michel Othoniel d\u00e9couvre le soufre, qui devient pendant quelques ann\u00e9es l\u2019un des mat\u00e9riaux de son travail, avant que le verre ne s\u2019impose. La poudre jaune l\u2019attire pour ses qualit\u00e9s plastiques autant que pour ses r\u00e9sonances symboliques. Solide, liquide ou vapeur, le soufre incarne une mati\u00e8re instable, susceptible de se recomposer. Cette recherche traverse les \u0153uvres pr\u00e9sent\u00e9es en 1992 au Carr\u00e9 d\u2019Art, notamment <em>Les Coups sourds<\/em>, qui ouvrent sur une s\u00e9rie de sculptures jouant avec les formes organiques, les cavit\u00e9s et les retournements du corps. <em>L\u2019\u00c2me moul\u00e9e au cul<\/em>, <em>Le Borgne<\/em>, <em>Le Doigt du mari\u00e9<\/em> et <em>Le Trou de la Sybille<\/em> explorent ainsi les dualit\u00e9s du visible et du cach\u00e9.<\/p>\n<h3>La beaut\u00e9 \u00e0 l\u2019\u00e9preuve de la disparition<\/h3>\n<p><em>Portrait du torero mort<\/em> (1991) appartient \u00e0 cette premi\u00e8re p\u00e9riode o\u00f9 Jean-Michel Othoniel explore la capacit\u00e9 de la mati\u00e8re \u00e0 conserver ce qui, par nature, lui \u00e9chappe : le mouvement, la pr\u00e9sence, la vie. Bien avant ses colliers monumentaux et ses sculptures de verre, l\u2019artiste fait de la transformation mat\u00e9rielle un langage \u00e0 part enti\u00e8re. La cape soufr\u00e9e convoque autant l\u2019imaginaire des vanit\u00e9s que la th\u00e9\u00e2tralit\u00e9 du baroque. Mais l\u00e0 o\u00f9 les \u00e9toffes baroques semblent anim\u00e9es, celle-ci oppose au regard une immobilit\u00e9 d\u00e9finitive. Dans cette sculpture pr\u00e9coce se dessine d\u00e9j\u00e0 une question centrale de l\u2019\u0153uvre d\u2019Othoniel : comment donner une forme sensible \u00e0 ce qui se d\u00e9robe, et faire de la fragilit\u00e9 m\u00eame des mat\u00e9riaux une puissance po\u00e9tique ?<\/p>\n<p>&gt; Le studio <a href=\"http:\/\/www.othoniel.fr\/\" target=\"_blank\" rel=\"noopener\">Othoniel<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>En 1992, au Carr\u00e9 d\u2019Art de N\u00eemes, Jean-Michel Othoniel expose une cape de torero recouverte de soufre. Rigide, elle a perdu toute l\u00e9g\u00e8ret\u00e9. Ses plis semblent conserver la trace d\u2019un rituel dont il ne subsisterait que la d\u00e9pouille. Avec Portrait du torero mort (1991), entr\u00e9 dans la collection du ch\u00e2teau du Rivau d\u00e8s 1993, l\u2019artiste [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":10584,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"footnotes":""},"categories":[1166],"tags":[],"class_list":["post-10582","post","type-post","status-publish","format-standard","has-post-thumbnail","category-masterpiece"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.6 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Jean-Michel Othoniel : &quot;Portrait du torero mort&quot; ou la survivance du geste - GREAT-ARTMAG<\/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:\/\/great-artmag.com\/en\/othoniel-cape-du-torero-mort-rivau\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Jean-Michel Othoniel : &quot;Portrait du torero mort&quot; ou la survivance du geste - GREAT-ARTMAG\" \/>\n<meta property=\"og:description\" content=\"En 1992, au Carr\u00e9 d\u2019Art de N\u00eemes, Jean-Michel Othoniel expose une cape de torero recouverte de soufre. 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