{"id":46187,"date":"2026-05-22T09:20:05","date_gmt":"2026-05-22T07:20:05","guid":{"rendered":"https:\/\/sceaux-lagazette.fr\/?p=46187"},"modified":"2026-05-22T09:20:06","modified_gmt":"2026-05-22T07:20:06","slug":"la-geometrie-vivante-de-medjid-houari","status":"publish","type":"post","link":"https:\/\/sceaux-lagazette.fr\/index.php\/2026\/05\/22\/la-geometrie-vivante-de-medjid-houari\/","title":{"rendered":"La g\u00e9om\u00e9trie vivante de Medjid Houari"},"content":{"rendered":"\n

L\u2019exposition de sculptures de Medjid Houari qui s\u2019est tenue \u00e0 Ch\u00e2tenay a profond\u00e9ment touch\u00e9 Olivier Berger. Il a voulu partager son \u00e9motion. La Gazette l\u2019accueille d\u2019autant plus volontiers qu\u2019elle a \u00e9t\u00e9 elle-m\u00eame sous le charme de l\u2019artiste.<\/em><\/p>\n\n\n\n

Le Pavillon des Arts et du Patrimoine de Ch\u00e2tenay-Malabry nous avait habitu\u00e9s \u00e0 des expositions d’art contemporain de qualit\u00e9. En voici une de plus \u00e0 mettre \u00e0 son palmar\u00e8s, \u00e0 travers la pr\u00e9sentation publique des \u0153uvres de Medjid Houari, sculpteur originaire des Yvelines, dipl\u00f4m\u00e9 des Beaux-Arts de Paris. Intitul\u00e9e L’angle et la courbe<\/em>, l’exposition s\u2019est d\u00e9roul\u00e9e du 17 mars au 2 mai 2026.<\/p>\n\n\n\n

Travaillant le fer, la pierre et le bois, ainsi que le cuivre, l’artiste op\u00e8re tel un architecte \u00e0 la recherche d’une structure et d’un remplissage. On pourrait simplement r\u00e9sumer sa d\u00e9marche \u00e0 travers deux mots : ordre et d\u00e9sordre. Il oscille entre les deux, cherchant un \u00e9quilibre dans une \u0153uvre modifi\u00e9e par un \u00e9l\u00e9ment perturbateur qui s’int\u00e8gre \u00e0 elle pour faire d’elle ce qu’elle est, une \u0153uvre intemporelle qui ne peut conna\u00eetre la perfection. Ainsi d’un cube tel un livre aux pages corn\u00e9es, usure naturelle brisant l’unit\u00e9 du volume (M\u00e9moire<\/em>, 2001). Une sph\u00e8re attaque l’arr\u00eate d’un cube, des dalles de pierre empil\u00e9es sont d\u00e9cal\u00e9es, une plaque de t\u00f4le lac\u00e9r\u00e9e bouge dans tous les sens comme si elle \u00e9tait sous l’effet du vent. Ou un cube a un c\u00f4t\u00e9 qui s’ouvre de mani\u00e8re inattendue.<\/p>\n\n\n\n

Du monumental \u00e0 l\u2019intime<\/h2>\n\n\n\n

Les sculptures de Medjid Houari<\/a> peuvent \u00eatre grandes ou petites, s’int\u00e9grer \u00e0 une salle de s\u00e9jour autant qu’\u00e0 une place publique de l’esplanade de La D\u00e9fense. Ce sont des \u00ab immobiles \u00bb qui ont \u00e9t\u00e9 transform\u00e9s ou touch\u00e9s par un \u00e9l\u00e9ment qui les d\u00e9forme ou les endommage. Ces immobiles se contemplent sous l’angle que l’on veut et il faut absolument en faire le tour pour les voir et les comprendre. Le sens de l’\u0153uvre appara\u00eet au regard diff\u00e9remment selon la position. Houari a de l’exp\u00e9rience sur les grandes \u00e9chelles, il a particip\u00e9 \u00e0 la mise en \u0153uvre d’une mosa\u00efque monumentale sur l’\u00e9glise Notre-Dame de Maurepas con\u00e7ue par Robert Lesbounit (1973).<\/p>\n\n\n\n

La g\u00e9om\u00e9trie parfaite devient imparfaite sous l’action d’un \u00e9l\u00e9ment ajout\u00e9 par l’artiste. Il nous dit que rien n’est fig\u00e9 une fois pour toutes, que rien n’est d\u00e9finitif, le changement survient au coin de la rue, impr\u00e9visible, pour faire autre chose d’une \u0153uvre initiale. Les escaliers menant nulle part sinon devant une dalle ou un tuyau sont l\u00e0 pour rappeler que la construction d’une \u0153uvre \u00e0 partir d’\u00e9l\u00e9ments industrialis\u00e9s est infinie, lesdits \u00e9l\u00e9ments se combinant \u00e0 souhait. L’architecture moderne \u00e9pure les formes, les d\u00e9pouille pour les rendre presque brutes. Medjid Houari reprend ces formes et met de la rondeur et du mouvement dans le fig\u00e9, le rectiligne. Ses bijoux en cuivre se marient parfaitement aux sculptures qui bougent et dont on croit percevoir les mouvements. Elles refl\u00e8tent la personnalit\u00e9 de l’artiste qui joue sur les contrastes entre mat\u00e9riaux tout en cherchant un \u00e9quilibre. Sans socle, ses \u0153uvres sont l\u00e0 pour habiter le monde quand elles adoptent une dimension monumentale, dans un parc en pleine nature. Leur couleur est moins importante que leurs formes.<\/p>\n\n\n\n

\u00c0 la forge : pleins et vides<\/h2>\n\n\n\n

N\u00e9 en usine, l’acier brut ou patin\u00e9 se d\u00e9cline autant que le souhaite le sculpteur qui jongle avec ses outils, les ma\u00eetrisant \u00e0 merveille au gr\u00e9 de l’inspiration. Ensuite, la lumi\u00e8re ajoute une touche en masquant ou surlignant les volumes pour faire varier la perception de chaque \u0153uvre. Un \u00e9l\u00e9ment absent ou d\u00e9plac\u00e9 est-il, aux yeux de l’artiste, une all\u00e9gorie du manque et de son d\u00e9sir humain de chercher \u00e0 le combler ? Communication<\/em> (2010) relie ainsi, difficilement, un morceau s\u00e9par\u00e9 d’un cube. Les 3 marches<\/em> (2007) m\u00e8nent \u00e0 un vide dont le spectateur imagine ce qu’il incarne : est-ce son destin ou sa route \u00e0 tracer, l’avenir qu’il va se forger \u00e0 partir de rien ? Deux films projet\u00e9s en salle d’exposition permettent de mieux comprendre la d\u00e9marche de Medjid Houari dans son atelier.<\/p>\n\n\n\n

L’opposition entre les pleins et les vides et le travail de composition qu’il engage rapproche bien Medjid Houari d’un architecte. On ressentira une parent\u00e9 avec l’\u0153uvre d’Andr\u00e9 Wogenscky<\/a> et de sa femme la sculptrice Marta Pan<\/a>, \u0153uvre totalement int\u00e9gr\u00e9e au mouvement de l’architecture moderne, comme son prolongement, avec le jeu entre les lignes droites et les courbes sur de grands volumes.<\/p>\n\n\n\n

Olivier Berger<\/p>\n\n\n\n

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

L\u2019exposition de sculptures de Medjid Houari qui s\u2019est tenue \u00e0 Ch\u00e2tenay a profond\u00e9ment touch\u00e9 Olivier Berger. Il a voulu partager son \u00e9motion. La Gazette l\u2019accueille d\u2019autant plus volontiers qu\u2019elle a \u00e9t\u00e9 elle-m\u00eame sous le charme de l\u2019artiste. Le Pavillon des Arts et du Patrimoine de Ch\u00e2tenay-Malabry nous avait habitu\u00e9s \u00e0…<\/p>\n","protected":false},"author":20,"featured_media":45649,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"_uf_show_specific_survey":0,"_uf_disable_surveys":false,"footnotes":""},"categories":[263,276],"tags":[],"class_list":["post-46187","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-chatenay-malabry","category-sculpture","entry","simple"],"yoast_head":"\nLa g\u00e9om\u00e9trie vivante de Medjid Houari - La Gazette<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/sceaux-lagazette.fr\/index.php\/2026\/05\/22\/la-geometrie-vivante-de-medjid-houari\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"La g\u00e9om\u00e9trie vivante de Medjid Houari - La Gazette\" \/>\n<meta property=\"og:description\" content=\"L\u2019exposition de sculptures de Medjid Houari qui s\u2019est tenue \u00e0 Ch\u00e2tenay a profond\u00e9ment touch\u00e9 Olivier Berger. Il a voulu partager son \u00e9motion. La Gazette l\u2019accueille d\u2019autant plus volontiers qu\u2019elle a \u00e9t\u00e9 elle-m\u00eame sous le charme de l\u2019artiste. 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