QUE PEUT SIGNIFIER DEVENIR ARGILE DANS UNE PRATIQUE EN ARTS CÉRAMIQUES ?

Conference within the framework of the TimeWorld World Scientific Congresses: TimeWorld presents and animates knowledge in all its forms, theoretical, applied and prospective. TimeWorld offers a state of the art on a major theme, with a multicultural and interdisciplinary approach. It is the opportunity for meetings between researchers, industrialists, academics, artists and the general public to bring out ideas in science and build new projects. https://timeworldevent.com/fr/ ------------------------------------------------------------------------ For its 6th edition, TimeWorld takes place at the heart of the major development project of the energy valley, with UQTR, IDé Trois-Rivières and the Fonds de recherche du Québec as major partners on April 2, 3 and 4, 2024. 72 CONFERENCES - 7 DEBATES - 1 LUNCH-CHAT - 1 KIOSK AREA - 1 ART EXHIBITION - 1 TIMEWORLDSHOP - 1 PERFORMANCE ------------------------------------------------------------------------ Christine Ouellet is an artist and researcher in ceramic arts and new technologies. She teaches at the Maison des métiers d’art de Québec in the college ceramics program and at the Université du Québec à Trois-Rivières in the philosophy and arts department. She is responsible for coordinating the ceramics workshop at the Atelier Silex in Trois-Rivières. Her current research focuses on the relationship between geology and genealogy through the complementarity of matter and new media. Her works have been presented at art biennials, solo and group exhibitions, and as part of creative residencies in Quebec and France. She has received several awards and scholarships. She has a degree in ceramics and holds a bachelor's degree in visual arts (new media) as well as a master's degree in art and aesthetics from the Université du Québec à Trois-Rivières. She is currently working on developing her thesis-creation for her doctorate in arts studies and practices at the Université du Québec à Montréal. Conference: What can becoming clay mean in a ceramic arts practice? April 4, 2024 at the Centre d’Événements et de Congrès Interactifs in Trois-Rivières during the TimeWorld Energie world congress. Becoming clay induces the transition from one state to another. When limited to a practice in ceramic arts, this process can seem contradictory. Considering that ceramics are the result of the transformation of clay by fire and that there is no possible return to its original condition, what can this mean? It is by taking into account the environmental issues of our time that we will attempt to answer this question. Since the Guattarian ecosophical proposal (1989), that is, this ethico-political and aesthetic perspective based on the interrelation of the three social, mental and environmental ecologies, the ideas of redesigning the system are still relevant today. In the field of visual arts and crafts practices, the consideration of the carbon footprint is gradually manifesting itself. In the form of a narrative of practice, we will seek to legitimize the preservation of a thousand-year-old know-how; that of the ceramicist. We will question the production of new objects when our living environments are already saturated with them. We will skim over the physical, sensitive and metaphorical characteristics of clay that testify to its agency. The attentive gestures towards the material and the exchange of energy that emanates from it will bring us closer to our theme. Anthropologist Tim Ingold (2013) suggests developing a relationship with the material, letting the form emerge rather than imposing it. By following the thread of his thought, we will raise some reflexive and exploratory avenues that tend towards the reconciliation of creation and our ecological concerns.