{"id":6746,"date":"2026-04-17T19:20:22","date_gmt":"2026-04-17T17:20:22","guid":{"rendered":"https:\/\/great-artmag.com\/?p=6746"},"modified":"2026-04-20T10:14:05","modified_gmt":"2026-04-20T08:14:05","slug":"ed-gallimard-le-syndrome-de-kyoto-de-nicolas-de-crecy","status":"publish","type":"post","link":"https:\/\/great-artmag.com\/en\/ed-gallimard-le-syndrome-de-kyoto-de-nicolas-de-crecy\/","title":{"rendered":"[\u00c9d. Gallimard] \u00ab Le syndrome de Kyoto \u00bb de Nicolas de Cr\u00e9cy"},"content":{"rendered":"

Un regard satur\u00e9 d\u2019images peut-il encore voir juste ? Avec Le syndrome de Kyoto<\/em>, paru en mars 2026 aux \u00e9ditions Gallimard (collection Sygne), Nicolas de Cr\u00e9cy signe un roman singulier, \u00e0 la crois\u00e9e des arts et des perceptions. Connu pour ses explorations graphiques, notamment autour du Louvre, l\u2019auteur d\u00e9laisse ici la bande dessin\u00e9e pour une fable litt\u00e9raire o\u00f9 s\u2019entrelacent peinture, \u00e9criture et trouble du regard.<\/strong><\/p>\n

Wayne Thiebaud, Robert Smithson, Utrillo, Bonnard, Basquiat, Kiefer\u2026 Tous d\u00e9filent dans une procession mentale satur\u00e9e, comme autant de visions superpos\u00e9es par del\u00e0 les si\u00e8cles et les styles, envahissantes, obs\u00e9dantes jusqu\u2019\u00e0 la naus\u00e9e, presque fi\u00e9vreuses. Tous ont pris possession du cerveau d\u2019Alexandre Vollin-Delbar, un artiste en perdition, en proie \u00ab aux excroissances envahissantes de (sa) m\u00e9moire \u00bb. R\u00e9sultat : le regard que le protagoniste du Syndrome de Kyoto porte sur le monde qui l\u2019entoure est devenu, au fil des ann\u00e9es, une exp\u00e9rience perceptive troublante, \u00e0 la fronti\u00e8re du vertige esth\u00e9tique et de la d\u00e9sagr\u00e9gation mentale. Au point que l\u2019artiste a fini par donner un nom \u00e0 cette \u00ab maladie qui lui empoisonne l\u2019existence \u00bb et qu\u2019aucun m\u00e9decin ne prend en consid\u00e9ration : la HMA (Hypertrophie de la M\u00e9moire de l\u2019Art). De quoi perdre sa propre inspiration en route et d\u00e9ambuler dans le labyrinthe satur\u00e9 d\u2019images de la cr\u00e9ation.<\/p>\n

\"\"
Nicolas de Cr\u00e9cy, “Concr\u00e9tions Roses”, 3,(2024) – galerie Huberty & Breyne<\/figcaption><\/figure>\n

Tel est le point de d\u00e9part de ce roman de Nicolas de Cr\u00e9cy, artiste lui-m\u00eame, auteur multi-r\u00e9compens\u00e9 de bande dessin\u00e9es et amoureux du Japon. Son personnage, Alexandre Vollin-Delbar, dessinateur au parcours chaotique, esp\u00e8re mettre fin \u00e0 sa d\u00e9rive int\u00e9rieure en acceptant une r\u00e9sidence de six mois \u00e0 Kyoto. Il compte retrouver ainsi un certain calme mental. Et effacer l\u2019imposture originelle de son \u0153uvre, son premier galeriste l\u2019ayant fait passer pour un g\u00e9nie am\u00e9ricain du street art en exposant ses \u00ab restes de palettes\u00bb, des brouillons criards qu\u2019il destinait \u00e0 la poubelle. Mais \u00e0 peine arriv\u00e9 au Japon, Alexandre s\u2019aper\u00e7oit de l\u2019imposture : sa venue tient, elle aussi, du malentendu. La directrice du centre d\u2019art (inspir\u00e9 de la c\u00e9l\u00e8bre Villa Kujoyama o\u00f9 Cr\u00e9cy fut lui-m\u00eame r\u00e9sident en 2008) l\u2019a confondu avec un autre. D\u00e8s lors, le cadre r\u00e9aliste de Kyoto devient une surface de projection, un th\u00e9\u00e2tre mental, une fiction nourrie d\u2019estampes, de souvenirs, d\u2019histoire de l\u2019art et de fantasmes dans lequel d\u00e9ambule et se perd l\u2019artiste, en proie au d\u00e9lire.<\/p>\n

Nicolas de Cr\u00e9cy peint ainsi l\u2019inspiration en crise. Si ce th\u00e8me n\u2019est pas nouveau, elle y appara\u00eet comme une forme de contamination, chaque image en appelant une autre, chaque r\u00e9f\u00e9rence en masquant une autre, jusqu\u2019au malaise. Qui regarde ? Qui cr\u00e9e ? Que voit-on ? Et surtout : comment produire un geste singulier lorsque le cerveau est satur\u00e9 de citations visuelles ? Cette mise en doute constante du regard \u00e9voque, bien s\u00fbr, une forme contemporaine du syndrome de Stendhal. Mais l\u00e0 o\u00f9 Stendhal d\u00e9crivait une sid\u00e9ration face \u00e0 la beaut\u00e9, Nicolas de Cr\u00e9cy en propose une version d\u00e9grad\u00e9e, presque toxique. Il s\u2019agit ici d\u2019une surcharge et l\u2019\u00e9motion esth\u00e9tique devient un flux continu, indistinct, qui finit par dissoudre toute hi\u00e9rarchie. Si le cerveau d\u2019Alexandre Vollin-Delbar s\u2019apparente \u00e0 un mus\u00e9e, l\u2019artiste en est encombr\u00e9, incapable de faire le tri, happ\u00e9 par le labyrinthe. Une telle vision entre en r\u00e9sonance avec certaines critiques contemporaines de la culture visuelle, o\u00f9 l\u2019image devient prolif\u00e9rante, o\u00f9 la r\u00e9alit\u00e9 virtuelle propos\u00e9e au grand public l\u2019emporte sur les \u0153uvres elles-m\u00eames, o\u00f9 les cr\u00e9ations virtuelles deviennent parts de march\u00e9. Nicolas de Cr\u00e9cy s\u2019interroge aussi sur une forme d\u2019\u00e9puisement du monde de l\u2019art mais aussi du regard : voir trop, c\u2019est peut-\u00eatre ne plus voir du tout, jusqu\u2019\u00e0 la dissolution finale.<\/p>\n

\"\"<\/a>Ce r\u00e9cit, qui oscille entre la d\u00e9ambulation onirique et la satire acide, explore la solitude de l’artiste face \u00e0 l’impossibilit\u00e9 de la virginit\u00e9 visuelle. Le paysage de Kyoto, avec ses temples mill\u00e9naires et ses fant\u00f4mes de papier, sert de miroir d\u00e9formant. La qu\u00eate de r\u00e9demption d’Alexandre devient une lutte pour l’oubli, pour la simplicit\u00e9 d’un trait d\u00e9barrass\u00e9 des fant\u00f4mes des ma\u00eetres. En fin de compte, Nicolas de Cr\u00e9cy souligne l’urgence de retrouver un regard pur, un \u00ab point z\u00e9ro \u00bb de la vision. C\u2019est une r\u00e9flexion profonde sur la survie de la singularit\u00e9 \u00e0 l\u2019\u00e8re de la reproduction et de l\u2019\u00e9puisement des formes.<\/p>\n

Aude Seyssel<\/p>\n

Caract\u00e9ristiques<\/strong>
\nDate de parution : 19\/03\/2026
\nEditeur : Gallimard<\/a> Collection Sygne
\nNombre de pages : 208<\/p>\n","protected":false},"excerpt":{"rendered":"

Un regard satur\u00e9 d\u2019images peut-il encore voir juste ? Avec Le syndrome de Kyoto, paru en mars 2026 aux \u00e9ditions Gallimard (collection Sygne), Nicolas de Cr\u00e9cy signe un roman singulier, \u00e0 la crois\u00e9e des arts et des perceptions. Connu pour ses explorations graphiques, notamment autour du Louvre, l\u2019auteur d\u00e9laisse ici la bande dessin\u00e9e pour une […]<\/p>\n","protected":false},"author":5,"featured_media":6747,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"tdm_status":"","tdm_grid_status":"","footnotes":""},"categories":[1167],"tags":[1288],"class_list":{"0":"post-6746","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-livre","8":"tag-japon"},"yoast_head":"\n[\u00c9d. 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