Jane McAdam Freud, artiste, est l'arrière petite fille de Sigmund Freud et la fille de Lucian Freud.
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Art et designTranscription
00:00Sous-titrage MFP.
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04:30Libre d'embrasser le passé et le présent, je le cite,
04:34je pense qu'il est important de vivre simultanément son passé et son présente et de se souvenir de temps qu'ils construisent.
04:43Elle est libre avec des objets de quotidien qui réinventent, réconsidèrent, donnent à nos subjectivités à l'objet inanimé,
04:50libre de les faire converser les unes avec les autres,
04:53et libre de jouer avec les mots en les mettant sur des objets trouvés, abandonnés, maltraités.
05:04Dans le clairière de mon contact, Jane continue de me transmettre sa vitalité généreuse.
05:10Elle a son idéum, sa signature, ni discrète, ni soumise, ni éclipsée.
05:19Elle a renoué avec le sien, elle a trouvé un père situé et s'y accompli.
05:24Elle a se senti familière avec les possées de Zygmunt Freud, même si celle-ci, comme elle le dit souvent, n'appartient à la culture commune.
05:34Nous constatons, en tout cas je constate, sa gratitude de pouvoir dialoguer avec eux.
05:38Et notre privilège ici, dans cette exposition à la Fabrique, avec les différents dessins et de photomarking,
05:46est que c'est que nous pouvons contempler ensemble ces liens.
05:50Jane n'avait pas à s'arracher des ondes et ses illustres dans le sein.
05:56Elle projette la lumière sur eux, et dans la lumière de son âme, elle reste à l'air.
06:01Je vais vous présenter cette talke sur Jane en deux parts.
06:29En la première partie, je vais vous expliquer comment Jane et je m'ont rencontré,
06:37et je vais vous présenter ces observations sur notre temps ensemble.
06:42En la deuxième partie, je vais vous présenter Jane herself.
06:46Elle s'arracher en August 2022.
06:51Hopefully vous allez avoir une bonne idée de la personne à l'intérieur de cette conférence et exposition.
06:56So, Jane.
07:04How can I possibly sum up living with such a remarkable lady in just 20 minutes?
07:10She was extraordinary.
07:13Yep, she was, but that word does not do her justice.
07:15I met Jane at a wedding in the most romantical ways, back in the summer of 1999.
07:26I still have etched firmly in my memory my first glimpse of Jane.
07:32Her eyes came together and then seeing her beaming, all-embracing a beautiful smile.
07:38I consider myself the luckiest person in the world.
07:45I've been spending 23 monocle years with the most incredible person I have ever met in my life.
07:53Jane was multi-talented, but also multi-layer.
07:57There was never a dull moment around.
07:59I remember, on one of our first dates, Jane taking me to her father, Lucien's private view.
08:09Jane started introducing me to various members of the family.
08:13Now, I have to admit, I was rather ignorant about the Foy family.
08:18who had not learned that much about art at the time.
08:23And so, she introduced me to one, two, three, four siblings.
08:28After the fourth sibling, I said, Jane, how many brothers and sisters do you have ever met?
08:34I thought it was a reasonable question.
08:37Jane said, what kind of a question is that?
08:40How many brothers and sisters has Amy no good got?
08:43I suddenly realised that I'm a little bit of a special person.
08:50But, I came to realise that, as is often the case with an answer that Jane gave,
08:56when we thought about it, she was right.
08:59How can we, you know, how can we know how many brothers and sisters do you have to do it?
09:05So, in our early days, at least,
09:10which we loved about a few years later,
09:14I likened her to a bucking bronco.
09:18To me, she resembled an exotic wild horse
09:21that at times embraced the security of a paddock,
09:24but at other times wished to break free and fly.
09:28Her outlook for it was her art,
09:30which just flowed and flowed.
09:33I've also, too, many times made a new piece of art.
09:36She'd sit on the lounge,
09:38watching television,
09:39and working her way.
09:42It was fascinating to watch it,
09:43because it was the physical embodiment of this creative force.
09:47The work itself,
09:49often,
09:50to my eyes,
09:50complete,
09:51would then change form,
09:53over and over again,
09:54and I said,
09:54Jane,
09:54I'm going to finish.
09:57And she reworked it,
09:58and reworked it,
09:59while this creative force surged through her.
10:03And so, at some point,
10:03she was satisfied.
10:05And that force was spent,
10:07and she couldn't stop.
10:09You'll hear a lot about Jane and her art works this afternoon from others.
10:12I'm not going to talk about that.
10:15But,
10:16putting aside the quality of her work,
10:19what always amazed me about Jane was,
10:21that when the first day I ever met her,
10:22she worked tirelessly and continuously on her art,
10:26but she did it in a way,
10:27it fascinated me,
10:28because she was never interested in selling her work.
10:32I wouldn't prepare me for the future.
10:35She would document the process,
10:36that she fully believed,
10:37that her work would live on without her,
10:40that her babies,
10:41as she called them,
10:42would survive,
10:42and have a life,
10:43the old person.
10:44Jane is one of my favourite people.
10:55She's absolutely the worst.
10:57She's a few years older than me,
10:59and she took me under her wing.
11:01She taught me a few things about myself and others.
11:05She sees things differently to anyone I have ever met before.
11:08Perhaps through an artist's eye,
11:10or perhaps through the considerable inherited internet,
11:13handed down through her family.
11:16She's fun,
11:17and clever,
11:18and witty,
11:18and brave,
11:20and spending time with her
11:21is one of the absolute adventures of my life.
11:28So,
11:29I will now leave you with a few clips of the mumble and mumble lady.
11:34The professional video clips you'll see
11:36are from a Portuguese documentary series
11:38called Roots and Fruits,
11:41by a partner video.
11:43In the rather less professional clip,
11:45you'll see the first one,
11:46which is, I'm afraid,
11:47done by me,
11:48and is terribly unfocused,
11:50but it is the soundtrack of the matters,
11:53with Jane talking at an exhibition
11:55that occurred in Golders Green in 2014.
11:59And then the final musical video
12:01shows Jane dancing,
12:03surrounded by her work.
12:06Sorry, I hope you enjoyed it.
12:08The other thing about family
12:26is that, you know,
12:29you can be yourself,
12:31and you can, you can, you can, you can,
12:33you can,
12:33you can,
12:34if anyone's about to know,
12:35the ones you've never met.
12:37So,
12:37I think it's been great,
12:41and particularly,
12:43to my attention to me,
12:44because, you know,
12:45I can be the best person
12:46that could possibly be
12:48with him,
12:50you know,
12:50and we take for granted
12:54those who are
12:55massive support systems,
12:56who are,
12:59we couldn't live without.
13:01So, for example,
13:01my husband,
13:02he said,
13:03without him,
13:04nothing,
13:05who's handling me,
13:06I can't express
13:08enough
13:10how important it is
13:12for me to have
13:13Peter in my life,
13:15being able to do it.
13:16She is co-fondatrice
13:40de Cura Art
13:41et de Residency,
13:43des plateformes
13:44qui visent à soutenir
13:45les collectionneurs d'art
13:46et encourager
13:47le mécénat
13:47dans un but précis.
13:49Ayant acquis
13:50de l'expérience
13:51dans les musées,
13:52les galeries
13:53et les collections
13:54privées de Londres,
13:55Jean-Jean est spécialisé
13:57dans la gestion professionnelle,
13:59la recherche
13:59et l'exposition
14:01de collections.
14:03Jean-Jean est l'une
14:03des conférencières
14:04assidues
14:05de Christie's Education
14:07et s'exprime régulièrement
14:09sur le rôle
14:11du collectionneur
14:11aujourd'hui.
14:13Jean-Jean est donc
14:14conservatrice
14:15de la succession
14:16de Jane Macadam-Freud
14:17et membre
14:19du conseil d'administration
14:20de Plainsight Archive.
14:23Je te laisse la parole,
14:24Jean-Jean.
14:25Jean-Jean
14:26knew she wanted
14:27to be an artist
14:28from a young age,
14:29playing in a sound spirit
14:30and exploring
14:31an early interest
14:32in constructive form.
14:34She discovered
14:34what she later
14:35knew to be sculpture.
14:37She explained
14:38the inevitability
14:39of her destiny,
14:40saying that
14:41making art
14:41is like breathing
14:42and was encouraged
14:43and was encouraged
14:43by both of her parents,
14:45Catherine Macadam,
14:46who was an artist,
14:47as well as
14:47Lucian Freud,
14:48who had renounced
14:49her as a painter.
14:50In fact,
14:51growing up
14:52surrounded by artists,
14:53Jane admitted
14:54that as a child
14:54she didn't know
14:55any of the profession
14:56existed.
14:57She recalls painting
14:58and drawing
14:59on the back
14:59of plywood
15:00orange crates
15:00that her father
15:01would bring home
15:02and stated
15:03that he watched
15:03her intently
15:04when she drew
15:05and that as a family
15:06they communicated
15:07through images.
15:09Jane achieved
15:10great success
15:11in her lifetime
15:11with her unique thinking
15:13as well as
15:14her experimental
15:14and constantly evolving
15:16approach
15:16to the creative pursuit.
15:18She was represented
15:19by Gazzelli Art House
15:20in London
15:20and Seiki Contemporary
15:22in Milan
15:22and exhibited her work
15:24extensively
15:25in museum
15:26and gallery shows
15:26internationally.
15:28Jane was influenced
15:29and inspired
15:29by her words
15:30as well as
15:31her psychological
15:31theories
15:32passed down
15:33from her ancestry
15:33as a way
15:34of continuing
15:35their legacy.
15:36Through her work
15:37she sought
15:37to make critical
15:38connections
15:39between art
15:39and psychoanalysis
15:40and encourage
15:41discourse on the subject.
15:43She wrote
15:44about the subject
15:45included in
15:46the American
15:46Immiggo Journal
15:47which had been
15:48founded by
15:48Sigma Freud
15:49and Hal Sachs
15:49in 1939
15:51and published
15:51by John Hopkins
15:52University Press.
15:55Despite
15:56Jane's work
15:56being interwoven
15:57with her family's
15:58history
15:58she established
15:59herself
16:00under her name
16:01Jane McCadden
16:01and earned
16:02respect
16:03in her own
16:03right
16:03from her
16:04talent
16:04a practice
16:05including
16:06sculpture
16:06drawing
16:06painting
16:07print
16:07and
16:08digital
16:08media.
16:10As young
16:10Jane McCadden
16:11she went to
16:12college
16:12having her first
16:13show at 18
16:14completed a
16:15foundation course
16:16at Womerville College
16:17of art and took
16:18herself to
16:19remember
16:19and to learn
16:20the practice
16:20of mosaic
16:21returning to
16:22London
16:22she studied
16:23like both
16:23of her parents
16:24at Central
16:25School of
16:25Art and Design
16:26before an MA
16:27at the World
16:27College of
16:28Art
16:28under the
16:28guidance
16:29of Eduardo
16:29Colazzi
16:30amongst others.
16:32In 1986
16:33Jane was awarded
16:34the British
16:35Art
16:35Scholarship
16:36in Rome
16:36studying
16:37sculpture
16:38there
16:38at the
16:38Academy
16:39and the
16:40medal
16:41school.
16:42Jane
16:43the British
16:44Museum
16:44recognised
16:45Jane's skill
16:46at an early
16:46age
16:46requiring
16:47an example
16:48for that
16:48collection
16:48in 1979
16:49whilst Jane
16:50was a student
16:51at the
16:52Central
16:52School.
16:53Jane became
16:54a fellow
16:54of the Royal
16:54Society
16:55of British
16:55Sculptors
16:56in 1997
16:58and in 1991
16:59was granted
17:00the freedom
17:00of the City
17:01of London
17:01for her
17:02contribution
17:02to the field
17:03of silversmithing
17:04at the
17:04Nanbrook
17:04Goldsmiths
17:05Company.
17:06For the
17:07awards she
17:07was asked
17:07to present
17:08her father's
17:08birth certificate
17:09and occupation
17:10which outed
17:11her ancestry.
17:13The press
17:13attention
17:14that followed
17:14was a blessing
17:15and a curse
17:16but also
17:16to fully
17:17embrace
17:17her family
17:18and her
17:18identity
17:19and recover
17:19we
17:20discovered
17:20her father.
17:21Her exploration
17:22of her family
17:23history
17:23would then
17:23become a
17:24central steam
17:25and driving
17:25force
17:25for her
17:26work.
17:27Like her
17:27father,
17:28Jane was
17:28insistent
17:29on the importance
17:30of prolonged
17:30observation.
17:32Lucien referred
17:33to this process
17:33as biological
17:34truth-telling
17:35and Jane admitted
17:36to being hugely
17:37inspired by him
17:38in this respect
17:39stating that
17:40he taught me
17:41what it meant
17:41to really concentrate
17:42in keeping
17:46with her interest
17:47in art and
17:47psychoanalysis
17:48Jane had a second
17:49home in her
17:50great-grandfather
17:51Sigma
17:51Ford's birthplace
17:52a place called
17:53Chebol and the
17:53Chakra Public
17:54a place that
17:55became very close
17:56to her heart
17:57and where she
17:57spent many
17:57in her last
17:58years.
17:59She even
17:59awarded the
18:00Tregear Award
18:01for an artist
18:01achievement
18:02in Prague
18:04in 2014.
18:06Jane passed
18:07on her skill
18:07and innovative
18:08ideas as
18:09associate lecturer
18:10at Centre
18:10Saint-Martin's
18:11visiting lecturer
18:12at the
18:12World War
18:12and sculpture
18:13tutor
18:14at Morley
18:14College.
18:15She would
18:16insistent
18:16that artists
18:17should be well
18:17taught.
18:18and that's
18:23what it means
18:23is
18:24going to be
18:24to be
18:24to be
18:25to be
18:26On va maintenant écouter Christine, je vais la présenter pendant qu'elle s'installe.
18:42Christine Henry est donc franco-italienne, elle est formée en philosophie et elle est
18:48commissaire d'exposition.
18:49Elle est fondatrice et directrice artistique de CE Contemporary à Milan.
18:55Depuis 2014, elle dirige la galerie civique et le musée de Palazzo Tagliaferro pour la
19:03municipalité d'Andorre.
19:05A ce titre, elle entretient des relations institutionnelles avec les ambassades italiennes en Europe
19:10ainsi qu'avec les consulats de France, de Suisse, de Corée du Sud et en Italie.
19:16Elle a été une des initiatrices du cycle d'expositions Arte e Pantombante, l'art
19:24et malgré tant d'étrangeté.
19:27Mettant en avant l'artiste Jane McAlan-Freud, en Italie, elle a consacré plusieurs expositions
19:33à cet artiste et a récemment achevé un essai intitulé Jane McAlan-Freud.
19:38L'art comme instrument de recherche identitaire qui est publié et qui va être traduit prochainement
19:48en français et en anglais.
19:50Je l'ai également accompagnée à plusieurs colloques en Italie et en France en tant qu'intervenante
20:01et à l'occasion j'ai eu la possibilité de connaître Arnelle, Juliana et Linda, voilà, Julien, Linda.
20:12Et je l'ai côtoyée à nombreuses reprises et tant sur le plan professionnel que personnel.
20:21Avec mon mari, nous avons été évités dans sa maison à Londres.
20:25On a vécu des moments vraiment intenses.
20:27Et bon, vous allez pardonner l'émotion, on peut voir quelques images.
20:35Maintenant, je vais rentrer dans ma halle et sortir du personnel, voilà.
20:41Et on a quelques images de quant à vous visiter, on a organisé les expos chez Jane.
20:48Et puis bon, au moment du dossier de Jane, j'étais en totale immersion dans la sécurité de l'église.
21:06Alors, je te demande pardon.
21:07Et ça a été vraiment spontané, proposé à Jane de dédier un livre et une recherche à Jane.
21:22Et donc, voilà, mon intervention est une synthèse de ce qui est né sur l'inspiration de Jane.
21:30Alors, Jane n'était pas seulement un artiste.
21:33Vous avez eu l'occasion depuis ce matin d'approfondir sa vie.
21:39Mais ça a été aussi la fille d'un des plus grands artistes d'art contemporain, Lucien Freud.
21:44Ainsi que l'arrière, petite fille du père fondateur de la psychanalyse.
21:49Et donc, il a été vraiment fascinant pour moi de comprendre comment il pouvait assumer à elle
21:55et sur elle ce lourd héritage culturel.
21:59C'est un héritage conceptuel qui a traversé les relations familiales à plusieurs niveaux.
22:08De l'artistique au philosophique, du sémiologique au psychanalyptique.
22:14Qu'elle semblait vivre de manière presque instinctive.
22:20L'aspect de Jane de dédier qu'à l'anfreude qui m'a toujours le plus fascinée
22:24et sa manière d'apporter les situations à les personnes.
22:29Alors, Jane était marquée par cette merveille anthologique
22:34au sens où lui ont donné les grands penseurs du passé
22:40de par l'aide à l'arrière de guerre, en passant par Platon.
22:44Donc, non seulement un éveil humain et un enchantement,
22:50mais aussi et surtout une prise de conscience de l'existence,
22:54de son mystère et de son valeur et de sa signification profonde.
22:59Quand on est dans ses œuvres, c'est qu'elle cherchait.
23:04Et c'est là où elle est partagée.
23:06C'est ce que disait elle aussi.
23:07Elle n'est pas dans le fait de faire des choses extraordinaires
23:12dont tout le monde va parler.
23:15La différence, tu parlais de Haïdéber, entre le moi et le soi.
23:20Ça veut dire qu'à un moment donné,
23:23elle n'est pas dans le gonflement du moi narcissique,
23:29mais elle est dans la recherche.
23:31Par la recherche.
23:32C'est très juste.
23:33Par la recherche, par la recherche.
23:36Oui, oui, ça lui a permis.
23:40Ça lui a permis ça.
23:42Et c'est en cela qu'elle est artiste,
23:44pas dans le fait de faire des chefs-d'œuvre.
23:46D'abord, tous les artistes cherchent à faire un chef-d'œuvre
23:50et il n'y en a pas beaucoup qui parviennent.
24:06Sous-titrage Société Radio-Canada