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[ Julie Mehretu : Paysages Politisés ]

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Il n’y a rien de tel que le “paysage”.

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Le paysage actuel est politisé au travers

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des évènements qui y prennent place.

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Et je ne pense pas possible pour moi,
en général,

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de concevoir le paysage américain

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sans penser à l’histoire coloniale,

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et la violence coloniale, de ce récit.

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L’élan abolitionniste.

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La guerre civile.

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Le passage vers l’émancipation.

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Toutes ces dynamiques sociales 
qui font parties de ce récit,

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on n’en parle presque pas dans
les peintures des paysages américains.

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Et, que signifie peindre un paysage

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et essayer, et être un artiste 
dans ce moment politique ?

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Les couleurs dans ces peintures
sont vraiment venues

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de photographies floues incorporées
sous le dessous des peintures.

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Les sirènes et les flammes 
des émeutes raciales

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étaient une manière d’incorporée
les peinture avec du DNA

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et répliquer de manière plus profonde.

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-Je monte y jeter un oeil.

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-Oui, super !

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[ Rires ]

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Marian Goodman m’a contacté,

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me disant que SFMOMA était intéressé
pour faire cette commission

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avant que le nouveau musée ouvre.

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Je suis aller plusieurs fois 
à San Francisco visiter le musée.

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J’étais là à fixer 
ce très caverneux espace,

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et ces deux murs.

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Et j’ai commencé à penser 
aux parcs nationaux,

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et aux peintures du paysage américain.

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Surout quand je suis revenue,

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j’ai cogité sur les peintres
de l’école Hudson River Valley,

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comme Edwin Church,

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Thomas Cole, Bierstadt,

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car ils avaient encapsulé l’idée
de migrer vers l’ouest.

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