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Fanny Terno

Fanny Terno was born in Monaco in 1992. After training at the École Supérieure d’Arts Appliqués Dupérré in Paris, she studied at the École Nationale Supérieure de la Photographie in Arles, from which she graduated with honours in 2018. Since 2019 she has been developing her work by crossing the field of image with that of mesology (風土学) as part of a doctorate in research-creation at the University of Aix-Marseille and the ENSP of Arles, in partnership with the Kyoto City University of Art in Japan where she will reside between 2020 and 2022.

Her projects have been exhibited in Kyoto (Yokai Soho Gallery, French Institute of Kansai, Tomo Gallery), Tokyo (Spiral Art Centre), France (Tenri Institute, Rencontres d’Arles, Le Magasin de Jouet Gallery, Ricard Corporate Foundation), and Monaco. She was the winner of the Olympus – ENSP prize in 2018, and the Japanese government’s Monbukagakusho scholarship (2020-2022).

Part of her work is co-produced with artist-researcher Thomas Vauthier (University of Paris VIII) as part of their collaborative structure Engawa.

Summary

«Mésologie de l’image, images de la mésologie»

Partant d’un constat de crise générale liée à l’anthropocène et à ses effets dans les domaines sociaux, environnementaux, politiques, représentationnels, il nous semble que le trouble de nos rapports au monde, à l’altérité et à l’art semble en être symptomatique. Il est alors possible de se demander si une écologie de l’attention (Citton) expérimentée à travers la pratique artistique et sa réception pourrait, au delà d’une médiation (représentation), proposer des re-médiations en tant qu’hypothèses artistiques de résiliences écologiques, sociales et mentales (Guattari). Cette recherche se situe à à la croisée de plusieurs champs disciplinaires (arts visuels, architecture, esthétique, philosophie, curation) autour de ce qu’il y a entre les choses, les êtres et en leur milieu, s’attachant à expérimenter des possibilités de méditer – littéralement, prendre soin de – la rencontre entre des habitants mitoyens d’un même milieu.

La méthodologie à l’oeuvre dans cette recherche réside dans la conjugaison de la mésologie avec le champ de l’image contemporaine, de sa pratique et de ses mutations. La mésologie (風土学, fūdogaku), entendue comme la science des milieux est en réalité plutôt une perspective générale et pluridisciplinaire. Son objectif est, selon Augustin Berque, de bâtir une alternative au paradigme occidental moderne classique. Ce dernier est caractérisé par le dualisme cartésien à travers une série d’oppositions qualifiant notre rapport au monde et à nous-même (objet et sujet, nature et culture, homme et animaux, etc.) et a pour conséquence d’abstraire l’humain de la terre (acosmie) de manière destructrice pour les espèces, les paysages, les cultures.

La symbiose des champs de l’image et de celui de la mésologie permettra des échanges et élaborations d’outils, de méthodologies d’analyses et de créations : nous envisageons de donner corps et action à la mésologie par le biais de l’image (images mésologiques) et de même, de penser et pratiquer méso-logiquement l’image (mésologie de l’image).

Le terrain d’éude et d’expérimentation – dont l’auctorialité sera en partie partagée avec l’artiste-chercheur Thomas Vauthier prendront place dans un espace-temps bien précis, à savoir une akiya (空き家) maison traditionnelle japonaise laissée à l’abandon à Onomichi, préfecture d’Hiroshima (Japon). Ce processus, de la restauration architecturale à son ouverture au public lors d’expositions et événements performatifs, en passant par son habitation, sera l’objet-sujet d’une captation élargie. En effet, sera mis en oeuvre l’élaboration simili-factuelle de récits audio-texto-visuels venant relater, sans s’y réduire, le processus de rénovation de l’akiya. Pour ce faire, deux formats seront employés : un scénario, récit prédicitif anticipant – sur un mode utopique – les situations qui pourraient advenir et un film, symptomatique de l’écart entre le scénario et l’advenir réel. Dans ce cadre, un dispositif de captation prototypique sera conçu. Il manifestera un intérêt prononcé pour des formes de laisser-faire, de dé-subjectivisation, notamment en développant une pratique d’images du milieu (mésogramme).