• christophegervot

Nowadays’ creating issues

Mis à jour : juin 16

Today is no longer yesterday Yesterday's artists depended a lot on their patrons to live and create. Mozart, Bach, Lully, Velázquez, the sculptors of the Greek and Roman temples, the architects of the pyramids, etc. had to wait for the princes' orders to live from their art. Séraphine de Senlis painted without asking anyone the subject of his paintings, like all the artists who also create for themselves. When an artist is discovered, and for painters who could not be known - this is still the case - only by chance or by doing everything to exhibit, and for musicians they once needed - this is still the case, of course, as, for instance, Soprano wrote in his autobiography ("Melancolique anonyme", Points, Seuil) or La Fouine ("Drôle de parcours", Flammarion) – to start their carreer on stage, to find collaborations, to look for a studio, to work on their musical creations with the means at their disposal, to have enough money to produce a first project, then the next one… to hope, if their art is well received from the public, articles or passages in the media, but when comes being discovered, when we appear, it is false to believe that the reception of state structures is benevolent. The artist must first, according to these structures, follow the uses that please "at the top of the pyramid". Why? Why in our time, which is that of human rights, that even those "evoke" during their travels to countries where it is especially good to trade? The means are in the hands of the top of our societies.

But precisely, if we are artists, it is that we are at the side of those with whom we live with, in everyday reality, not trapped in palaces. Our means are those of our artistic practices, those of our sensitivity, our history, our relationship to language, our designs of what is right. Artists, we are daily workers, we live from our work, without pretending to impose on leaders our aesthetic tastes, while they would like to control our expression by an adaptation to what it is wise to express or not according to the times we go through. Today is today. We are, we live, we are linked to national and global economies, we have human rights and, legally, all those recognized by all our laws and Constitutions. This is where we are not equal in the world. But this is where we are still equal. We are still equal, equal to our peers, equal to our fellow citizens, equal to all those who can't even claim equality. Still, equality in our societies should be based on human and political principles that guarantee its effectiveness, and reality, but not by leveling down our rights. Many will say, and I agree, that proclaim rights is often only beautiful words, which hide acts quite different. Should we accept it? If we want to live from our arts, who is also interested ? We consume, we pay our taxes. The interest of the powerful is that we do it the best we think, not in precariousness.

For any of those matters, all trainings we passed will help us being respected by state power, even if our professions aren’t legally related to the possession of any diploma, degree or training certificate, and will help us work in peace.

That is why teachings and trainings must be allowed and possible for anybody.

Christophe Gervot, musician, concept artist, writer, translator, psychoanalyst and trainer, march the 18th 2020.

Psychanalyste à Missillac, dans la région nantaise et nazairienne, non loin de Vannes, depuis 2012 après plus de 20 ans d'analyse, musicien et parolier, ancien chargé de cours à l'université de Nantes, je m'intéresse aux questions liées à ces activités et à leur prise en compte dans le champ politique, notamment. Je suis diplômé d'une Licence en Langues, Littérature et Civilisation étrangères de l'Institut de Perfectionnement en Langues vivantes (IPLV, université catholique de l'ouest) et d'un Master 2 Recherche en Arts, Lettres, Langues, Communication, mention Langues, Littérature et Civilisation étrangères, Langues romanes (Espagnol), de l'université Rennes 2, d'un Diplôme d’Études Supérieures d'Université (DESU) en Études européennes, option 'Politiques et Pratiques culturelles en Europe' (PPCE) de L'Institut d’Études européennes (IEE) de l'université Paris 8 et d'un Master 1 de psychanalyse du Département de psychanalyse de l'université Paris 8, après m'être formé dans les associations du Champ freudien dont l'Antenne clinique d'Angers et la Section clinique de Nantes, et avoir fait partie du Laboratoire du Centre Interdisciplinaire sur l'ENfant et l'adolescent (CIEN) La Passerelle de Saint-Nazaire et avoir réussi ma formation en psychopathologie et en psychologie sociale de Licence 1 en psychologie à l'université Rennes 2. Je me suis formé également au métier de Responsable de formation au DPRH de Saint-Nazaire et au CAFOC de Nantes, en arts appliqués à l’École Pivaut de Nantes, en Histoire de l'art à l’École du Centre Pompidou, grâce aux Mooc culturels de la Fondation Orange, en Lettres à l'Université Paris Lumières et ai suivi une formation de piano classique, moderne, contemporain et jazz, de solfège et de chant, auprès d'une professeure particulière diplômée de l'université, pendant douze ans, récompensée par de nombreuses réussites au Concours national de musique et une au concours Madeleine de Valmalète de piano, après avoir obtenu un baccalauréat général scientifique et avoir passé avec succès le concours d'entrée à l’École des Beaux Arts de Nantes.

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