{"id":585,"date":"2018-04-10T10:37:01","date_gmt":"2018-04-10T08:37:01","guid":{"rendered":"http:\/\/veroniquelemouel.com\/?page_id=585"},"modified":"2025-12-03T11:35:42","modified_gmt":"2025-12-03T10:35:42","slug":"biographie","status":"publish","type":"page","link":"http:\/\/veroniquelemouel.com\/?page_id=585","title":{"rendered":"Biographie"},"content":{"rendered":"\n
Le Projet Artistique \/ Artistic project<\/span><\/strong><\/span><\/div>\n\n\n\n
 <\/div>\n\n\n\n

Il s\u2019inscrit dans le contexte d\u2019une pratique n\u00e9e au XX\u00e8me si\u00e8cle, celle de l\u2019art participatif, qui est d\u2019impliquer les habitants de la cit\u00e9 en leur proposant de co-cr\u00e9er. <\/span>L\u2019artiste donne alors sa place au public qui devient acteur de la r\u00e9alisation d\u2019une \u0153uvre \u00e9ph\u00e9m\u00e8re ou p\u00e9renne. Le livre \u00ab\u00a0L\u2019\u0153uvre ouverte\u00a0\u00bb de Umberto Ecco, les propos de Joseph Beuys, le travail de Lygia Clark sont des r\u00e9f\u00e9rences importantes pour comprendre cette d\u00e9marche qui se d\u00e9marque d\u2019autres courants de l\u2019art contemporain par le fait que la notion d\u2019auteur est interrog\u00e9e.<\/span><\/p>\n

En effet, qui est l\u2019auteur de l\u2019\u0153uvre quand elle est est r\u00e9alis\u00e9e avec l\u2019apport de chacun, quand chaque personne a la possibilit\u00e9 d\u2019une expression personnelle dans une r\u00e9alisation formelle ?\u00a0<\/span>V\u00e9ronique Le Mou\u00ebl n\u2019essaye pas de r\u00e9soudre cette question, elle l\u2019exp\u00e9rimente. A la recherche de concepts et d’expressions formelles nouvelles, elle s’int\u00e9resse \u00e0 la question de l’identit\u00e9 individuelle et collective, \u00e0 l’expression personnelle de chacun, aux liens entre des personnes et des lieux, au sens que peut apporter l’art dans la vie, et \u00e0 la place de celui-ci. La plupart de ses travaux ont un caract\u00e8re sculptural, ils ont en commun d’inviter un public de tout \u00e2ge \u00e0 participer, et \u00e0 s’interroger en activant par un geste simple, sa propre expression personnelle.<\/span><\/p>\n

L’\u0153uvre est ouverte, et se transforme peu \u00e0 peu avec l’apport du public. Le processus de participation est pr\u00e9cis\u00e9ment d\u00e9fini : \u00e9laboration du concept, invitation, activation et documentation de l’\u0153uvre. Du premier geste \u00e0 l’\u0153uvre ensemble, elle garde la m\u00e9moire de chaque \u00e9tape et propose de la partager.<\/span><\/p>\n

La restitution prend diff\u00e9rentes formes et fait partie du travail de cr\u00e9ation : photo, \u00e9l\u00e9ment sculptural, livre, film, exposition, etc. <\/span>Les \u0153uvres sont activ\u00e9es dans des salons d’art, des lieux culturels, des espaces publics, des entreprises, etc..<\/span><\/p>\n

\/ Artistic project. <\/em><\/strong>It forms part of a practice created in the 20th century, known as interactive art, which invites city dwellers to get involved by co-creating. <\/em><\/span>The artist then gives the spotlight to the public who in turn becomes an actor in the creation of an ephemeral or permanent work of art. <\/em><\/span>\u201cThe Open Work\u201d by Umberto Eco,\u00a0 Joseph Beuys’ words, and Lygia Clark\u2019s work are all important references in order to understand this approach, that stands out from other contemporary art trends by challenging the notion of who the author is.<\/span><\/em><\/span><\/span><\/p>\n

Indeed, who is the author of the work when it is created from everyone\u2019s contributions, when each individual has the opportunity for personal expression within a formal production? <\/em><\/span>Rather than trying to answer this question, V\u00e9ronique Le Mou\u00ebl experiments with it. In her search for new concepts and expressions of form, she is<\/span> interested in the question of individual and collective identity, in each person’s individual expression, in the connections between people and places, in the meaning that art can bring to life, and in the place art occupies. Most of her works are sculptural in nature, and they share the common characteristic of inviting audiences of all ages to take part, and to explore within themselves by stimulating their own individual expression through a simple gesture.<\/span><\/em><\/span><\/p>\n

The work is accessible and it is slowly transformed with the public\u2019s input. The process for participation is clearly defined: elaboration of the concept, invitation, activation and documentation of the work. From the first step to the overall work, it keeps the memory of each phase and offers to share it.<\/em><\/span><\/p>\n

Disseminating the work can take on different forms and can be a part of the creative process: a photo, a sculptural element, a book, a film, an exhibition, etc. <\/em><\/span>The works are activated in art fairs, cultural or public spaces, company premises, etc.<\/em><\/span><\/p>\n

Parcours artistique et professionnel en bref \/Summary of artistic and professional background<\/em><\/span><\/strong><\/span><\/p>\n

Aujourd\u2019hui <\/strong>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 D\u00e9veloppement artistique du projet \u00ab \u0152uvre ensemble \u00bb, \u00e9laboration de processus de participation originaux, installations sculpturales et participatives, direction artistique de l\u2019Association \u0152uvre Participative pour les projets Art & Lien social.<\/span><\/p>\n

Depuis 2010\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/strong>Actions artistiques participatives dans diff\u00e9rents contextes\u00a0: lieux culturels, lieux publics et quartiers populaires, entreprises, b\u00e2timents prestigieux (Panth\u00e9on, Grand Palais).<\/span><\/p>\n

R\u00e9sidences artistiques :\u00a0<\/span>2017-2016<\/span> Artiste r\u00e9sidante pendant 6 mois \u00e0 l’ESCP Paris – Institut des Futurs souhaitables – Institut de prospective – <\/span>2015<\/span> Cr\u00e9ation puis activation de l\u2019\u0153uvre \u00ab\u0152uvre ensemble pour le climat\u00a0\u00bb au Grand Palais pendant la COP 21<\/span><\/p>\n

2013- 2011\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/strong>Master II \u00e0 l’universit\u00e9 St Charles Panth\u00e9on Sorbonne 1, sur le th\u00e8me de l\u2019\u0152uvre participative. D\u00e9finition du projet \u00ab\u00a0\u0152uvre ensemble\u00a0\u00bb<\/span><\/p>\n

2010\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/strong>Cr\u00e9ation du projet artistique \u00ab \u0152uvre ensemble \u00bb\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 Cr\u00e9ation de l\u2019Association \u0152uvre Participative<\/span><\/p>\n

2005-2009\u00a0<\/strong>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Apprentissage dans les ateliers de Evelyne Henrard (C\u00e9ramique), Dominique Rivaux (Taille de pierre), Paul Flury (Cire, Bronze, Pl\u00e2tre, Ciment).<\/span><\/p>\n

1986-2007\u00a0<\/strong>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Conseil en communication et design\u00a0dans de grandes agences parisiennes, sp\u00e9cialiste de strat\u00e9gie d\u2019identit\u00e9 visuelle des entreprises et des marques \u00e0 partir de 1996.<\/span><\/p>\n

1980-1985\u00a0<\/strong>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Formation Architecte designer \u00e0 l\u2019Ecole Camondo<\/span><\/p>\n

\/ Summary of artistic and professional background<\/em><\/strong><\/span><\/p>\n

Pr\u00e9sent\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/em><\/strong>Artistic development of the project \u201c\u0152uvre ensemble\u201d(Working together), conception of original participation processes, sculptural and interactive installations, artistic management for the Association Oeuvre Participative for the \u201cArt & Lien social\u201d projects.<\/em><\/span><\/p>\n

Since 2010 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/em><\/strong>Interactive artistic actions in different contexts: cultural spaces, public spaces, working-class districts, companies and prestigious buildings (the Panth\u00e9on, the Grand Palais).<\/em><\/span><\/p>\n

Artist-in-residence : <\/em><\/strong><\/span>2017-2016<\/span> 6-month seminar at ESCP Business School in Paris -for the institute for prospective Institute for Desirable Futures. <\/em>2015<\/span> Creation and then activation of the work \u201cWorking together for climate\u00a0\u00bb at the Grand Palais during the COP 21.<\/em><\/p>\n

2013-2011\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Master\u2019s degree from St Charles Panth\u00e9on Sorbonne 1 University <\/em><\/strong><\/span>on the subject of interactive artwork. Definition of the project \u201c\u0152uvre ensemble\u201d (Working together)<\/span><\/em><\/span><\/p>\n

2010\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0 Creation and launch of the artistic project \u201c\u0152uvre ensemble\u00a0\u00bb<\/em><\/strong><\/span><\/p>\n

Creation of the Association \u0152uvre Participative<\/em><\/strong><\/span><\/p>\n

2010-2005\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0 Apprenticeships<\/em><\/strong> at the workshops of Evelyne Henrard (Ceramics), Dominique Rivaux (stone cutting) and Paul Flury (wax, bronze, plaster, cement).<\/em> Full-time sculptor since early 2007.<\/em><\/span><\/p>\n

2007- 1986\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Communication and design consultant<\/em><\/strong> for important Parisian agencies, visual identity strategy specialist for companies and brands since 1996.<\/em><\/span><\/p>\n

1985-1980<\/strong>\u00a0\u00a0\u00a0\u00a0\u00a0 Camondo School – diploma in interior design and architecture.<\/em><\/span><\/p>\n

\u00a0<\/p>\n

\u00ab \u0152uvre ensemble \u00bb selon l\u2019artiste \/ \u00ab\u00a0Working together\u00a0\u00bb according to the artist<\/em><\/span><\/strong><\/span><\/p>\n

Tisser des liens avec un mat\u00e9riau artistique et donner forme, tel est le sens de mon projet artistique. Je l\u2019ai appel\u00e9 \u0152uvre ensemble.<\/em><\/span><\/p>\n

Un regard interrogatif et d\u00e9cal\u00e9 me permet de cr\u00e9er et de proposer des id\u00e9es pour relier, f\u00e9d\u00e9rer, mettre en mouvement des personnes. Ces id\u00e9es ont toute en commun d\u2019inviter \u00e0 une expression cr\u00e9ative individuelle pour une \u0153uvre plastique et collective.<\/u><\/span><\/p>\n

    \n
  • La question de l\u2019Art et du lien social\u2026Dans l\u2019espace public, sur le terrain, dans les quartiers dits Politique de la Ville, comment donner acc\u00e8s \u00e0 diff\u00e9rentes formes d\u2019expression artistique en faisant \u0153uvre commune.<\/span><\/li>\n
  • La question de l\u2019art et des enjeux soci\u00e9taux\u2026A la rencontre du grand public, imaginer comment une \u0153uvre collective peut interroger le public sur des sujets anxiog\u00e8nes et\/ou cruciaux,<\/span><\/li>\n
  • La question de l\u2019art dans les entreprises\u2026Dans des s\u00e9minaires, lors d\u2019\u00e9v\u00e8nements, ou pour d\u00e9cloisonner des organisations trop fig\u00e9es, proposer des moments de cr\u00e9ation pour partager une exp\u00e9rience d\u2019\u0153uvre collective.<\/span><\/li>\n<\/ul>\n

    \u00a0<\/p>\n

    L\u201c\u0152uvre ensemble\u201d (Working together) according to the artist<\/em><\/strong><\/span><\/p>\n

    The intention behind my artistic project is to bring different people together, to question relevant issues of our time, and build links by interacting with an artistic material,\u00a0 giving shape to it and therefore to the issue it represents. I have called this \u0152uvre ensemble.<\/em><\/span><\/p>\n

    A curious and offbeat vision have allowed me to create and propose ideas to connect, unite and motivate people. These ideas all have the common characteristic of giving way to individual creative expression for a collective plastic work<\/u>.<\/em><\/span><\/p>\n

      \n
    • The question of Art and social ties: in public spaces, on the field, in so-called political neighbourhoods, how to give access to different forms of artistic expression by creating a common work.<\/em><\/span><\/li>\n
    • The question of art and societal issues: in search of a general public, imagining how a collective work can question the public on stressful and\/or crucial subjects.<\/em><\/span><\/li>\n
    • The question of art in company premises: in seminars, at events or to break down the barriers of organisations that are too rigid, by proposing creative moments to share an experience of collective work.
      <\/em><\/span><\/li>\n<\/ul>\n\n\n\n
      \u00a0<\/div>\n\n\n\n

            <\/strong>
      <\/p>\n","protected":false},"excerpt":{"rendered":"

      Le Projet Artistique \/ Artistic project   Il s\u2019inscrit dans le contexte d\u2019une pratique n\u00e9e au XX\u00e8me si\u00e8cle, celle de l\u2019art participatif, qui est d\u2019impliquer les habitants de la cit\u00e9 en leur proposant de co-cr\u00e9er. L\u2019artiste donne alors sa place au public qui devient acteur de la r\u00e9alisation d\u2019une \u0153uvre \u00e9ph\u00e9m\u00e8re ou p\u00e9renne. Le livre […]<\/p>\n","protected":false},"author":4,"featured_media":1225,"parent":0,"menu_order":2,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_exactmetrics_skip_tracking":false,"_exactmetrics_sitenote_active":false,"_exactmetrics_sitenote_note":"","_exactmetrics_sitenote_category":0},"acf":[],"cmb2":{"_bio_group_metabox_parcours":{"_bio_group_parcours":""},"_bio_group_metabox_expositions":{"_bio_group_expositions":""},"_bio_group_metabox_actions":{"_bio_group_actions":""},"_bio_group_metabox_residences":{"_bio_group_residence":""},"_bio_group_metabox_publications":{"_bio_group_publications":""},"_bio_group_metabox_references":{"_bio_group_references":""}},"_links":{"self":[{"href":"http:\/\/veroniquelemouel.com\/index.php?rest_route=\/wp\/v2\/pages\/585"}],"collection":[{"href":"http:\/\/veroniquelemouel.com\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"http:\/\/veroniquelemouel.com\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"http:\/\/veroniquelemouel.com\/index.php?rest_route=\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"http:\/\/veroniquelemouel.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=585"}],"version-history":[{"count":54,"href":"http:\/\/veroniquelemouel.com\/index.php?rest_route=\/wp\/v2\/pages\/585\/revisions"}],"predecessor-version":[{"id":1326,"href":"http:\/\/veroniquelemouel.com\/index.php?rest_route=\/wp\/v2\/pages\/585\/revisions\/1326"}],"wp:featuredmedia":[{"embeddable":true,"href":"http:\/\/veroniquelemouel.com\/index.php?rest_route=\/wp\/v2\/media\/1225"}],"wp:attachment":[{"href":"http:\/\/veroniquelemouel.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=585"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}