{"id":5441,"date":"2025-10-21T15:32:03","date_gmt":"2025-10-21T13:32:03","guid":{"rendered":"https:\/\/great-artmag.com\/?p=5441"},"modified":"2026-02-10T08:58:58","modified_gmt":"2026-02-10T07:58:58","slug":"fabienne-verdier-mute-cite-de-architecture-paris","status":"publish","type":"post","link":"https:\/\/great-artmag.com\/en\/fabienne-verdier-mute-cite-de-architecture-paris\/","title":{"rendered":"Fabienne Verdier \u00e0 la Cit\u00e9 de l\u2019architecture"},"content":{"rendered":"

Dans la nef de pierre du Trocad\u00e9ro, l\u2019air porte une odeur froide, presque poudreuse. Celle de la pierre m\u00e9di\u00e9vale. Les reliefs gothiques, \u00e0 demi effac\u00e9s par le temps, murmurent une pr\u00e9sence immobile. Entre eux, les toiles monumentales de Fabienne Verdier vibrent comme des voix muettes. L\u2019exposition Mute, con\u00e7ue par Matthieu Poirier \u00e0 la Cit\u00e9 de l\u2019architecture et du patrimoine, fait dialoguer l\u2019abstraction gestuelle de l\u2019artiste avec la solennit\u00e9 des portails romans et des drap\u00e9s sculpt\u00e9s. Jusqu’au 16 f\u00e9vrier 2026.<\/strong><\/p>\n

\u201cMute\u201d ou la polys\u00e9mie du silence<\/p><\/blockquote>\n

\u00ab Dans l\u2019all\u00e9e profonde, la lumi\u00e8re oblique est calme ; la porte paisible, les saules hauts se dispersent. \u00bb Ce vers du po\u00e8te chinois Wang Wei (701-761) semble flotter dans la galerie. Le silence n\u2019est pas absence, mais tension contenue. Chez Fabienne Verdier, il devient mati\u00e8re. Le geste suspendu, la trace du pinceau-pendule, la vibration du fond sont autant de respirations. Form\u00e9e \u00e0 la calligraphie en Chine, Fabienne Verdier a transfigur\u00e9 cet h\u00e9ritage pour s\u2019affranchir du signe. L\u2019\u00e9criture devient flux, l\u2019id\u00e9ogramme s\u2019ouvre au cosmos. Son art \u00e9volue de mani\u00e8re circulaire, non lin\u00e9aire : chaque cycle revient sur un motif ancien, en qu\u00eate d\u2019une essence dynamique du monde. Ses toiles ne repr\u00e9sentent pas, elles incarnent le mouvement. Chaque trait, chaque vortex est le fruit d\u2019une tension entre gravit\u00e9 et \u00e9l\u00e9vation, entre contr\u00f4le et l\u00e2cher-prise. L\u2019artiste parle d\u2019une \u201ccontemplation des forces que nous entendons\u201d : le vent, le flux, le souffle… pour en extraire \u201cdes formes essentielles, minimales\u201d.<\/p>\n

\"\"
Fabienne Verdier “Vide vibration n\u00b0 7” (2017)<\/figcaption><\/figure>\n

Le titre, “Mute”, joue sur le double sens anglais de \u201cmuet\u201d et de \u201cmutation\u201d. Il \u00e9voque la m\u00e9tamorphose silencieuse de la mati\u00e8re, la mutation du geste en forme, du son en silence. L\u2019exposition invite \u00e0 \u00e9couter la peinture sans mots, \u00e0 ressentir sa r\u00e9sonance physique. Dans ce dialogue entre l\u2019art contemporain et la pierre du Moyen \u00c2ge, le silence devient actif, porteur d\u2019\u00e9nergie. Comme une onde invisible entre deux temps : celui des b\u00e2tisseurs et celui du geste contemporain. Parmi les moments de gr\u00e2ce, Trilogie <\/em>(2018) s\u2019impose comme une pi\u00e8ce charni\u00e8re. Sur un fond bleu profond, vibrant et nuanc\u00e9, la peintre d\u00e9ploie trois grands gestes calligraphiques, \u00e0 la fois libres et ma\u00eetris\u00e9s, qui semblent suspendus entre ciel et terre. Ce bleu n\u2019est pas d\u00e9coratif, il agit comme une couleur matricielle, un espace de recueillement o\u00f9 le mouvement pictural devient acte spirituel. Chaque geste est une exp\u00e9rience d\u2019\u00e9l\u00e9vation, h\u00e9rit\u00e9e de son long apprentissage aupr\u00e8s des ma\u00eetres calligraphes chinois. Ainsi, dans Trilogie<\/em>, le bleu rappelle le sens du sacr\u00e9, non pas au sens religieux, mais comme une pr\u00e9sence int\u00e9rieure.<\/p>\n

\"\"Dans la Galerie d\u2019architecture m\u00e9di\u00e9vale, l\u2019exposition prend tout son sens. Les architectes du Moyen \u00c2ge travaillaient, eux aussi, avec la gravit\u00e9 : le fil \u00e0 plomb r\u00e9pond aujourd\u2019hui au pinceau pendule. Les forces naturelles qu\u2019ils cherchaient \u00e0 rendre visibles dans la pierre trouvent un \u00e9cho dans les tourbillons de peinture de l’artiste. La sc\u00e9nographie, d\u00e9ploy\u00e9e sur 1 450 m\u00b2, \u00e9pouse cette r\u00e9sonance : un archipel de formes serpentines, sans angle droit, guide le regard entre les \u0153uvres et les portails sculpt\u00e9s. Les toiles semblent \u00e9merger des reliefs, comme si la peinture poursuivait la sculpture dans l\u2019espace.<\/p>\n

>Le site de Fabienne Verdier fabienneverdier.com<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Dans la nef de pierre du Trocad\u00e9ro, l\u2019air porte une odeur froide, presque poudreuse. Celle de la pierre m\u00e9di\u00e9vale. Les reliefs gothiques, \u00e0 demi effac\u00e9s par le temps, murmurent une pr\u00e9sence immobile. Entre eux, les toiles monumentales de Fabienne Verdier vibrent comme des voix muettes. L\u2019exposition Mute, con\u00e7ue par Matthieu Poirier \u00e0 la Cit\u00e9 de […]<\/p>\n","protected":false},"author":1,"featured_media":5443,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"tdm_status":"","tdm_grid_status":"","footnotes":""},"categories":[1320,1163],"tags":[],"class_list":{"0":"post-5441","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-architecture","8":"category-exposition"},"yoast_head":"\nFabienne Verdier \u00e0 la Cit\u00e9 de l\u2019architecture - 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\/fabienne-verdier-mute-cite-de-architecture-paris\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Fabienne Verdier \u00e0 la Cit\u00e9 de l\u2019architecture - GREAT-ARTMAG\" \/>\n<meta property=\"og:description\" content=\"Dans la nef de pierre du Trocad\u00e9ro, l\u2019air porte une odeur froide, presque poudreuse. Celle de la pierre m\u00e9di\u00e9vale. Les reliefs gothiques, \u00e0 demi effac\u00e9s par le temps, murmurent une pr\u00e9sence immobile. Entre eux, les toiles monumentales de Fabienne Verdier vibrent comme des voix muettes. 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