{"id":25031,"date":"2025-11-27T12:57:20","date_gmt":"2025-11-27T11:57:20","guid":{"rendered":"https:\/\/finelife.tv\/fr\/?p=25031"},"modified":"2025-11-27T18:29:47","modified_gmt":"2025-11-27T17:29:47","slug":"chloe-azzopardi-eco-photo-resistance","status":"publish","type":"post","link":"https:\/\/finelife.tv\/fr\/2025\/11\/27\/chloe-azzopardi-eco-photo-resistance\/","title":{"rendered":"Chlo\u00e9 Azzopardi \u00e9co photo r\u00e9sistance"},"content":{"rendered":"
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Chlo\u00e9 Azzopardi \u00e9co photo r\u00e9sistance. La photographe fran\u00e7aise utilise low tech et science fiction pour construire un r\u00e9cit \u00e9colo en noir et blanc o\u00f9 les cyborgs rencontrent le surr\u00e9alisme. Interview \u00e0 Paris Photo devant sa s\u00e9rie \u00ab\u00a0Non technonogical Devices\u00a0\u00bb.<\/strong><\/p>\n\n\n

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Photo Chlo\u00e9 Azzopardi<\/figcaption><\/figure>\n<\/div>\n\n\n

Il y a comme un go\u00fbt d’enfance dans la derni\u00e8re s\u00e9rie de la photographe performeuse. Une d\u00e9licatesse, une fragilit\u00e9 qui tient notamment aux mat\u00e9riaux. \u00c0 une magie narrative aussi qui transforme des brindilles en armures. Alors se d\u00e9gage vite une force, celle du care -du soin au vivant augment\u00e9 de proth\u00e8ses-. Et enfin presque une violence, avec le bouquet de graines urticantes qui s’approche d’un \u0153il \u00e9carquill\u00e9. \u00ab\u00a0Non technological Devices\u00a0\u00bb joue sur l’imaginaire, la sensibilit\u00e9 pour proposer un monde reli\u00e9 au vivant rescap\u00e9 de l’hypertech.<\/p>\n\n\n

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L\u00e9onore Cottrant <\/strong>: Pourquoi le noir et blanc ?<\/p>\n\n\n\n

Chlo\u00e9 Azzopardi<\/strong> : Tout d’abord, parce que je travaille avec des mat\u00e9riaux naturels, les branches, les roches … Si j’avais mis ces ressources en contact avec la couleur, cela aurait \u00ab\u00a0mang\u00e9 le sujet\u00a0\u00bb.<\/p>\n\n\n\n

Ensuite, quand j\u2019ai commenc\u00e9 cette s\u00e9rie, \u00ab\u00a0Non technological Devices\u00a0\u00bb je ne savais pas vraiment comment elle allait \u00e9voluer. J\u2019avais simplement en t\u00eate des archives de performances en noir et blanc.<\/p>\n\n\n\n

Enfin, dans mon inconscient \u00e9tait grav\u00e9 La Jet\u00e9e de Chris Marker, un moyen m\u00e9trage de SF essentiellement compos\u00e9 de photos en noir et blanc noir (1).<\/p>\n\n\n\n

LC: Terry Gilliam s’en est inspir\u00e9 pour \u00ab\u00a0L\u00b4Arm\u00e9e des douze singes\u00a0\u00bb. \u00c0 c\u00f4t\u00e9 des boucles spatio-temporelles, il y est notamment question de la puissance de la science. Votre conception d’une \u00ab\u00a0autod\u00e9fense \u00e9cologique\u00a0\u00bb d\u00e9rive-t-elle de cette r\u00e9sistance au tout tech?<\/p>\n\n\n\n

Forcer \u00e0 voir le vivant<\/h2>\n\n\n
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Photo Chlo\u00e9 Azzopardi<\/figcaption><\/figure>\n<\/div>\n\n\n

CA: Oui mais avant tout \u00e0 une exp\u00e9rience directe. La rencontre avec les opposants \u00e0 la m\u00e9ga-bassine de Sainte-Soline. J\u2019ai commenc\u00e9 \u00e0 travailler \u00e0 Niort en 2023, donc juste \u00e0 c\u00f4t\u00e9 des manifestants.<\/p>\n\n\n\n

Au d\u00e9but, j’envisageais \u00ab\u00a0Non technological Devices\u00a0\u00bb comme une s\u00e9rie tendre et po\u00e9tique, mais au contact des militants les choses ont \u00e9volu\u00e9. J’ai \u00e9t\u00e9 sensible \u00e0 leur vision, leur ressenti : consid\u00e9rer plut\u00f4t les cyborgs et les exosquelettes comme des outils de soins. Plus pr\u00e9cis\u00e9ment des proth\u00e8ses qu\u2019ils avaient re\u00e7ues \u00e0 l\u2019h\u00f4pital quand ils avaient \u00e9t\u00e9 soign\u00e9s apr\u00e8s les charges de la police.<\/p>\n\n\n

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Photo Chlo\u00e9 Azzopardi<\/figcaption><\/figure>\n<\/div>\n\n\n

Le nom, \u00ab\u00a0autod\u00e9fense \u00e9cologique\u00a0\u00bb, c\u2019est alors impos\u00e9. Il s\u2019agissait de se forcer \u00e0 voir le vivant qui se d\u00e9fend, se forcer \u00e0 voir le vivant tout court. Le r\u00e9sultat est l’id\u00e9e d’une d\u00e9fense bas\u00e9e sur l\u2019alliance humain v\u00e9g\u00e9tal. La photo de la main avec les \u00e9pines en est un exemple.<\/p>\n\n\n\n

Alliance animal v\u00e9g\u00e9tal<\/h2>\n\n\n\n

LC: Les exosquelettes convoquent la sculpture. Quel rapport entretenez-vous avec elle?<\/p>\n\n\n\n

CA: J\u2019essaie de photographier comme si on touchait. Il s’agit \u00e0 la fois de toucher et d’\u00eatre touch\u00e9(e). Apr\u00e8s mon s\u00e9jour \u00e0 la Villa P\u00e9rochon en 2022, j\u2019ai mont\u00e9 des ateliers itin\u00e9rants. Je \u00ab\u00a0m’installais\u00a0\u00bb en fonction des mat\u00e9riaux que je pouvais glaner. Chez moi, dans le Sud, il y avait beaucoup de branches propices \u00e0 la fabrication d\u2019exosquelettes. Je glane toujours mes mat\u00e9riaux. Je pratique toujours le recyclage. J’utilise brindilles, coquillages et autres \u00e9l\u00e9ments naturels trouv\u00e9s au sol. J’en tire des instruments, des outils que j’utilise dans les photos. L’id\u00e9e est de fusionner l’homme et la nature. L’animal et le v\u00e9g\u00e9tal. Et de nous questionner sur la relation entre l\u2019Homme et son environnement.<\/p>\n\n\n

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LC: Quelle est la gen\u00e8se de la photo \u00ab\u00a0Graines\u00a0\u00bb avec ce pic de graines de coquelicots qui s’approche dangereusement d’un \u0153il qui pleure une larme? On pense au surr\u00e9alisme, \u00e0 Luis Bu\u00f1uel et au passage du Chien andalou o\u00f9 un scalpel s’approche d’un \u0153il.<\/p>\n\n\n\n

CA: C\u2019est vrai que beaucoup de gens pensent au surr\u00e9alisme en d\u00e9couvrant cette photo. De mon c\u00f4t\u00e9, j’\u00e9voquerais plut\u00f4t Orange m\u00e9canique. Au centre, il y a toujours l\u2019id\u00e9e qu\u2019il faut se forcer \u00e0 voir le vivant. Il faut aussi se donner les moyens de se forcer \u00e0 voir le vivant. La fleur qui s\u2019approche de l\u2019\u0153il va g\u00e9n\u00e9rer une larme. Une r\u00e9ponse, un abri \u00e9galement. Ce qui disparait trouve refuge en nous.<\/p>\n\n\n\n

Voir le vivant conduit alors \u00e0 imaginer des alternatives \u00e0 notre monde hyper-artificialis\u00e9, technologis\u00e9 et pilleur de ressources. <\/p>\n\n\n

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Photo Chlo\u00e9 Azzopardi<\/figcaption><\/figure>\n<\/div>\n\n\n

La Jet\u00e9e de Chris Marker<\/h2>\n\n\n\n

(1) La Jet\u00e9e de Chris Marker (1921-2012), est un moyen m\u00e9trage d’anticipation de 28 minutes sorti en 1962. Cet \u00ab\u00a0essai cin\u00e9matographique\u00a0\u00bb, comme Chris Marker aimait qualifier ses \u0153uvres, aborde ses th\u00e8mes de pr\u00e9dilection : le temps, la m\u00e9moire, la puissance des images. La Jet\u00e9e est construit sur le mod\u00e8le d’une roman photo avec une succession d’images en noir et blanc et une voix off. Terry Gilliam s’est inspir\u00e9 de \u00ab La Jet\u00e9e \u00bb pour \u00ab L\u00b4Arm\u00e9e des douze singes. On y retrouve la femme assassin\u00e9e du d\u00e9but, le voyage dans le temps, la r\u00e9sistance, la guerre, le th\u00e8me de la fin du monde.<\/p>\n\n\n\n

<\/p>\n\n\n\n

Chlo\u00e9 Azzopardi biographie<\/h2>\n\n\n\n

Chlo\u00e9 Azzopardi est une photographe plasticienne fran\u00e7aise n\u00e9 en 1994 dans la massif catalan de Montserrat. Elle vit et travaille aujourd’hui sur une \u00eele de Seine-Saint-Denis (93). Form\u00e9e aux Beaux-Arts de Grenoble, Chlo\u00e9 Azzopardi d\u00e9veloppe un art incluant la sant\u00e9 mentale, le care, l’\u00e9thologie ou encore l’anticipation. Sa pratique allie photographie, sculpture et performance. <\/p>\n\n\n\n

Chlo\u00e9 Azzopardi a r\u00e9cemment re\u00e7u le prix \u00ab\u00a0Nouvelles \u00e9critures de la photographie environnementale\u00a0\u00bb au festival de La Gacilly ainsi que la bourse Artiste \u00e9mergent de la Fondation Lucie. R\u00e9sidente \u00e0 la Villa Perochon, elle a \u00e9galement accroch\u00e9 ses \u0153uvres lors des rencontres de la jeune photographie internationale de Niort en 2023. <\/p>\n\n\n\n


On retrouve son travail dans des magazines tels que NYTimes, British Journal of Photography, ou encore Fisheye ou Ignant. Il a aussi \u00e9t\u00e9 expos\u00e9 au PhMuseum, \u00e0 \u0141\u00f3d\u017a Fotofestiwal, aux Encontros da Imagem, \u00e0 la Fisheye Gallery, au Festival de la photo d’Ath\u00e8nes et au Photomonth de Cracovie.<\/p>\n\n\n\n

<\/p>\n\n\n\n

INFOS<\/h2>\n\n\n\n

\u200b<\/em><\/p>\n\n\n\n

Chlo\u00e9 Azzopardi<\/strong> est \u00e0 d\u00e9couvrir sur le site de la galerie Fisheye<\/a><\/strong> ainsi que sur son site ici<\/a><\/strong><\/p>\n\n\n\n


<\/p>\n\n\n\n

Article li\u00e9 Chlo\u00e9 Azzopardi \u00e9co photo r\u00e9sistance<\/strong> \/ Chlo\u00e9 Azzopardi \u00e9co photo r\u00e9sistance<\/strong> <\/p>\n\n\n\n

Paris Photo 2025 urgence climatique<\/a><\/strong><\/p>\n\n\n\n

<\/em><\/p>\n\n\n\n



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Chlo\u00e9 Azzopardi \u00e9co photo r\u00e9sistance. Avec \u00ab\u00a0No technical Devices\u00a0\u00bb, la photographe fran\u00e7aise utilise low tech et science fiction pour construire un r\u00e9cit \u00e9colo en noir et blanc o\u00f9 les cyborgs rencontrent le surr\u00e9alisme. 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