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{"id":17891,"date":"2016-07-27T09:58:09","date_gmt":"2016-07-27T07:58:09","guid":{"rendered":"https:\/\/asialyst.com\/fr\/2016\/07\/26\/brouillon-regard-copy-3\/"},"modified":"2016-07-27T15:58:57","modified_gmt":"2016-07-27T13:58:57","slug":"le-doute-de-l-hote-antony-gormley-a-pekin","status":"publish","type":"post","link":"https:\/\/asialyst.com\/fr\/2016\/07\/27\/le-doute-de-l-hote-antony-gormley-a-pekin\/","title":{"rendered":"Le doute de l\u2019h\u00f4te : Antony Gormley \u00e0 P\u00e9kin"},"content":{"rendered":"<div class=\"container\">\n\t<meta itemprop=\"keywords\" content=\"Culture\" \/>\n\t<a href=\"https:\/\/asialyst.com\/fr\/culture\/\" class=\"category category-12\">Culture<\/a><br \/>\n\t<time datetime=\"2016-07-27T09:58:09Z\" itemprop=\"datePublished\">\n\t\tPubli\u00e9 27 Juillet 2016<br \/>\n\t\tMis \u00e0 jour 27 Juillet 2016\t<\/time>\n\t<meta itemprop=\"dateModified\" content=\"2016-07-27T15:58:57Z\" \/>\n<\/div>\n<div class=\"container\">\n<div class=\"surtitre\" itemprop=\"headline\">T\u00e9moin - P\u00e9kin contemporain<\/div><\/div>\n<div class=\"container\">\n\t<h1 itemprop=\"name\">Le doute de l\u2019h\u00f4te : Antony Gormley \u00e0 P\u00e9kin<\/h1>\n<\/div>\n<div class=\"container\">\n  <div class=\"authors\">\n    <ul>\n    \t        <li class=\"author\" itemprop=\"author\" itemscope itemtype=\"http:\/\/schema.org\/Person\">\n          <a href=\"https:\/\/asialyst.com\/fr\/auteur\/alessandro-rolandi\/\" class=\"category-color\" itemprop=\"url\">\n            <span itemprop=\"name\" class=\"name\">\n              Alessandro Rolandi            <\/span>\n            <img data-del=\"avatar\" alt=\"Alessandro Rolandi\" src='https:\/\/asialyst.com\/fr\/wp-content\/uploads\/2015\/05\/Portrait-Alessandro-Rolandi-150x150.jpg' class='avatar pp-user-avatar avatar-150 photo ' height='150' width='150'\/>          <\/a>\n        <\/li>\n    \t    <\/ul>\n  <\/div>\n<\/div>\n<div class=\"container\">\n  <div class=\"photo-une\" itemprop=\"image\" itemscope itemtype=\"http:\/\/schema.org\/ImageObject\">\n    <figure>\n      <a href=\"https:\/\/asialyst.com\/fr\/wp-content\/uploads\/2016\/07\/CHINE-GORMLEY-EXPOSITION.jpg\" class=\"article-image\" title=\"Une statue en fer de l'artiste Antony Gormley install\u00e9e sur la plage de Crosby Beach en Angleterre. (Cr\u00e9dit : Jonathan Nicholson \/ NurPhoto \/ AFP).\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"684\" src=\"https:\/\/asialyst.com\/fr\/wp-content\/uploads\/2016\/07\/CHINE-GORMLEY-EXPOSITION.jpg\" class=\"img-responsive\" alt=\"Une statue en fer de l&#039;artiste Antony Gormley install\u00e9e sur la plage de Crosby Beach en Angleterre.\" srcset=\"https:\/\/asialyst.com\/fr\/wp-content\/uploads\/2016\/07\/CHINE-GORMLEY-EXPOSITION.jpg 1024w, https:\/\/asialyst.com\/fr\/wp-content\/uploads\/2016\/07\/CHINE-GORMLEY-EXPOSITION-300x200.jpg 300w, https:\/\/asialyst.com\/fr\/wp-content\/uploads\/2016\/07\/CHINE-GORMLEY-EXPOSITION-768x513.jpg 768w, https:\/\/asialyst.com\/fr\/wp-content\/uploads\/2016\/07\/CHINE-GORMLEY-EXPOSITION-600x400.jpg 600w, https:\/\/asialyst.com\/fr\/wp-content\/uploads\/2016\/07\/CHINE-GORMLEY-EXPOSITION-900x600.jpg 900w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a>\n      <meta itemprop=\"height\" content=\"1024\"\/>\n      <meta itemprop=\"width\" content=\"684\"\/>\n      <meta itemprop=\"contentUrl\" content=\"https:\/\/asialyst.com\/fr\/2016\/07\/27\/le-doute-de-l-hote-antony-gormley-a-pekin\/\"\/>\n      <figcaption class=\"legend\" itemprop=\"description\">\n      \t<div class=\"container\">\n        \tUne statue en fer de l'artiste Antony Gormley install\u00e9e sur la plage de Crosby Beach en Angleterre. (Cr\u00e9dit : Jonathan Nicholson \/ NurPhoto \/ AFP).        <\/div>\n      <\/figcaption>\n    <\/figure>\n  <\/div>\n<\/div>\n\n<div class=\"container\">\n\t<div class=\"chapo\" itemprop=\"description\">\n\t\tCon\u00e7u comme un lieu de devenir, une \u00ab\u00a0soupe primordiale\u00a0\u00bb visant \u00e0 \u00ab\u00a0gu\u00e9rir\u00a0\u00bb la division entre int\u00e9rieur et  ext\u00e9rieur, l&rsquo;installation <em><a href=\"http:\/\/www.galleriacontinua.com\/exhibitions\/exhibition\/337\" target=\"_blank\">Host<\/a><\/em> du sculpteur anglais Antony Gormley prend tout son sens lorsqu&rsquo;on la replace dans un parcours plus large, celui de l&rsquo;artiste lui-m\u00eame, en ce qu\u2019elle montre la possibilit\u00e9 et l\u2019intrusion du doute de l\u2019artiste sur son propre cheminement.\t<\/div>\n<\/div>\n<div class=\"container\">\n\t<div class=\"text\" itemprop=\"articleBody\">\n\t\t<em>Host<\/em> est une installation que Antony Gormley a d\u00e9j\u00e0 pr\u00e9sent\u00e9e en deux occasions avant P\u00e9kin : une premi\u00e8re fois aux \u00c9tats-Unis en 1991 et une seconde fois en Allemagne en 1997. \n<p>Pour la r\u00e9aliser, le sol de l\u2019espace central de la galerie Galleria Continua (situ\u00e9e \u00e0 Dashanzi Art District) a \u00e9t\u00e9 recouvert d\u2019une couche de boue de 23 centim\u00e8tres, constitu\u00e9e d\u2019eau de mer provenant de la c\u00f4te de Tianjin (la grande municipalit\u00e9 portuaire attenante \u00e0 P\u00e9kin) m\u00e9lang\u00e9e \u00e0 50 % avec 95 m3 de terre de la pr\u00e9fecture de Changping (situ\u00e9e dans le nord de P\u00e9kin) \u00e0 la couleur marron jaun\u00e2tre caract\u00e9ristique.<br \/>\nL\u2019espace est ainsi satur\u00e9 par ce paysage naturel reconstruit artificiellement, sans aucun autre \u00e9l\u00e9ment sculptural ou physique, et o\u00f9 un sens du vide et du silence assez particulier s\u2019affirme.<br \/>\nGormley d\u00e9crit d&rsquo;ailleurs <em>Host<\/em> comme \u201cle lieu du devenir\u201d dont le but est d\u2019amener une sorte de \u00ab\u00a0soupe primordiale\u00a0\u00bb \u00e0 l\u2019int\u00e9rieur du mus\u00e9e afin de \u201cgu\u00e9rir\u201d la division entre int\u00e9rieur et ext\u00e9rieur et d\u2019amener le monde \u00e9l\u00e9mentaire au sein d\u2019un cadre culturel.<\/p>\n<p>Pourtant, c&rsquo;est surtout lorsque l&rsquo;on remplace cette \u0153uvre dans l\u2019\u00e9volution de la carri\u00e8re de Gormley qu\u2019elle devient int\u00e9ressante ; elle a en effet quelque chose de particulier qui la diff\u00e9rencie de celles qui ont jusqu&rsquo;\u00e0 pr\u00e9sent impos\u00e9 cet artiste anglais, n\u00e9 en 1950, comme une r\u00e9f\u00e9rence de la sculpture contemporaine. <em>Host<\/em> para\u00eet ainsi s\u2019opposer \u00e0 sa pratique artistique comme si elle voulait la d\u00e9masquer ou tester sa l\u00e9gitimit\u00e9.<\/p>\n<p>En effet, Antony Gormley a choisi de b\u00e2tir sa recherche sculpturale autour de la figure humaine ; il l\u2019a synth\u00e9tis\u00e9e et il l\u2019a ensuite d\u00e9clin\u00e9e en s\u00e9ries &#8211; en variant mat\u00e9riaux et  structures formelles. L&rsquo;essentiel de son \u0153uvre est ainsi construit autour d\u2019une tentative de r\u00e9-appropriation de la repr\u00e9sentation du volume du corps humain qui, tout en restant dans un syst\u00e8me de r\u00e9f\u00e9rence pr\u00e9-classique et classique, a r\u00e9ussi \u00e0 s\u2019imposer au milieu de la d\u00e9sint\u00e9gration postmoderne et de la discussion de l\u2019anthropocentrisme qui l\u2019accompagne.  <\/p>\n<p>Cela dit, malgr\u00e9 une ex\u00e9cution attentive et une grande sensibilit\u00e9 dans le choix des mat\u00e9riaux, ses corps n\u2019ont ni l\u2019extraordinaire force \u00e9vocatrice, ni le pouvoir de plastique et de transformation sur l\u2019espace des figurines d\u2019un Alberto Giacometti. <\/p>\n<p>L&rsquo;artiste britannique a d\u00e9plac\u00e9 ailleurs le \u201cmode d\u2019existence\u201d de ses personnages. Il a utilis\u00e9 la force de l\u2019espace naturel et urbain, pas simplement comme support, mais comme partie int\u00e9grante de son travail, et a invent\u00e9 un \u00e9quilibre propre. Ainsi, les humano\u00efdes de Gormley &#8211; en fonte, en acier, en fer ou en aluminium, \u00e0 l\u2019aspect solide et dense ou a\u00e9rien et pixelis\u00e9, \u00e0 l\u2019occasion expressionnistes, impressionnistes ou simplement modernistes &#8211; ont \u00e9t\u00e9 plac\u00e9s aux quatre coins du globe, dans des lieux \u00e9tonnants, difficiles d\u2019acc\u00e8s ou fortement symboliques. <\/p>\n<p>Dans ce m\u00e9lange \u00e9trange de \u00ab\u00a0Land Art\u00a0\u00bb et de sculpture traditionnelle, ses figurines sont devenues la personnification d\u2019une rh\u00e9torique plut\u00f4t sentimentale aux tons parfois vaguement paternalistes (comme pour le gigantesque Ange du Nord), parfois plus proprement po\u00e9tique-existentielle o\u00f9 l\u2019on reconna\u00eet des racines romantiques et symboliques (ainsi la s\u00e9rie de figurines plac\u00e9es dans lieux inaccessibles, tels les plages du nord de l&rsquo;Europe ou l\u2019Outback australien).  <\/p>\n<p>En occupant un espace \u00e0 forte connotation \u00e9motionnelle, ces sculptures fonctionnent, non pas en raison de leur influence sur ces lieux d\u2019accueil mais, au contraire, en fonction de l\u2019action qu&rsquo;elles impriment \u00e0 l\u2019espace qui les englobe &#8211; le tout en soulignant leur dimension anonyme. C&rsquo;est de cela qu&rsquo;est n\u00e9e l\u2019importance d\u2019une \u0153uvre comme <em>Host<\/em> : la n\u00e9cessit\u00e9 d\u2019imposer l\u2019existence de ces figurines se dissout pour devenir une image d\u2019un abstrait sublime, encore organique et pas uniquement conceptuelle. <\/p>\n<p><em>Host<\/em> peut \u00e9voquer parfois une version tridimensionnelle d\u2019une toile de Mark Rothko ; l&rsquo;installation peut alors se d\u00e9finir de fa\u00e7on subjective, comme une \u00ab\u00a0entit\u00e9\u00a0\u00bb, un \u00ab\u00a0h\u00f4te\u00a0\u00bb. De cette fa\u00e7on, en la r\u00e9cup\u00e9rant dans le domaine s\u00e9mantique, Gormley renonce \u00e0 se s\u00e9parer compl\u00e8tement de l\u2019unit\u00e9 anthropomorphique. L\u2019installation porte en soi le potentiel d\u2019effacer tout geste d\u2019auto-affirmation repr\u00e9sent\u00e9e par chaque figurine que Gormley a plac\u00e9e sur la plan\u00e8te. <\/p>\n<p>C&rsquo;est \u00e0 ce titre qu&rsquo;il me para\u00eet clair que cette \u0153uvre cherche avant tout \u00e0 nous inciter \u00e0 nous interroger sur le choix figuratif de la carri\u00e8re de Gormley. Cette installation peut, me semble-t-il, exprimer le doute qui s\u2019empare d\u2019un artiste qui, tout en n\u2019ayant plus rien \u00e0 prouver, h\u00e9site n\u00e9anmoins \u00e0 se confronter avec l\u2019id\u00e9e que tout ce qui lui a valu la reconnaissance puisse \u00eatre inutile, inappropri\u00e9 ou m\u00eame n&rsquo;\u00eatre rien de moins qu&rsquo;une qu\u00eate dans la mauvaise direction.<br \/>\nDans cette possibilit\u00e9 et cette ins\u00e9curit\u00e9, il existe pourtant une qualit\u00e9 qui nous renseigne sur la profondeur de la recherche de Gormley : <em>Host<\/em> substitue la nostalgie (dangereuse et superficielle) d\u2019une affirmation symbolique trop intrusive et auto-r\u00e9f\u00e9rentielle avec une pr\u00e9sence qui r\u00e9sonne, comme un t\u00e9moignage, de fa\u00e7on plus ample, plus subtile et plus complexe. <\/p>\n<p>D\u00e9j\u00e0 dans plusieurs de ses installations pr\u00e9c\u00e9dentes, on pouvait voir Gormley d\u00e9velopper une sensibilit\u00e9 architecturale pour l\u2019espace, mais c&rsquo;\u00e9tait une sensibilit\u00e9 encore subordonn\u00e9e \u00e0 la mise en sc\u00e8ne centrale des figurines humaines. Avec <em>Host<\/em> il semble que cet imp\u00e9ratif soit devenu superflu :  tout est remis \u00e0 z\u00e9ro dans un processus de soustraction qui, \u00e0 travers l\u2019absence, exprime de mani\u00e8re plus puissante et synth\u00e9tique la condition humaine que ses figurines muettes portent en elles-m\u00eames.\t<\/p><\/div>\n<\/div>\n\n<div class=\"container\">\n\t<div class=\"text\" style=\"background:#d9463d; padding:20px 20px 30px 20px; text-align:center; border-radius:8px;\">\n\t\t<h3 style=\"color:#fff; font-weight:700;\">Soutenez-nous !<\/h3>\n\t\t<p style=\"color:#fff; font-size:0.8em; line-height:1.5em; margin-bottom:30px;\">Asialyst est con\u00e7u par une \u00e9quipe compos\u00e9e \u00e0 100 % de b\u00e9n\u00e9voles et gr\u00e2ce \u00e0 un r\u00e9seau de contributeurs en Asie ou ailleurs, journalistes, experts, universitaires, consultants ou anciens diplomates... Notre seul but : partager la connaissance de l'Asie au plus large public.<\/p>\n\t\t<a href=\"https:\/\/www.helloasso.com\/associations\/les-amis-d-asialyst\/formulaires\/1\" target=\"_blank\" style=\"display:inline; background:#fff; padding:10px 25px; font-weight:700; border-radius:4px; color:#000; font-size:0.9em;\">Faire un don<\/a>\n\t<\/div>\n<\/div>\n<div class=\"container\">\n\t<div class=\"tags\">\n\t\t<h5>Tags de l'article<\/h5>\n\t\t<ul><li><a href=\"https:\/\/asialyst.com\/fr\/tag\/art\/\" rel=\"tag\">art<\/a><\/li><li><a href=\"https:\/\/asialyst.com\/fr\/tag\/asie-du-nord-est\/\" rel=\"tag\">Asie du Nord-Est<\/a><\/li><li><a href=\"https:\/\/asialyst.com\/fr\/tag\/chine\/\" rel=\"tag\">Chine<\/a><\/li><li><a href=\"https:\/\/asialyst.com\/fr\/tag\/pekin\/\" rel=\"tag\">P\u00e9kin<\/a><\/li><li><a href=\"https:\/\/asialyst.com\/fr\/tag\/regards\/\" rel=\"tag\">Regards<\/a><\/li><\/ul><ul>\t<\/ul><\/div>\n<\/div>\n\n\t\t<div class=\"social-sharing ss-social-sharing\">\r\n\t\t\t\t        <a onclick=\"return ss_plugin_loadpopup_js(this);\" rel=\"external nofollow\" class=\"ss-button-facebook\" href=\"http:\/\/www.facebook.com\/sharer\/sharer.php?u=https%3A%2F%2Fasialyst.com%2Ffr%2F2016%2F07%2F27%2Fle-doute-de-l-hote-antony-gormley-a-pekin%2F\" target=\"_blank\">Share on Facebook<\/a><a onclick=\"return ss_plugin_loadpopup_js(this);\" rel=\"external nofollow\" class=\"ss-button-twitter\" href=\"http:\/\/twitter.com\/intent\/tweet\/?text=Le+doute+de+l%E2%80%99h%C3%B4te+%3A+Antony+Gormley+%C3%A0+P%C3%A9kin&url=https%3A%2F%2Fasialyst.com%2Ffr%2F2016%2F07%2F27%2Fle-doute-de-l-hote-antony-gormley-a-pekin%2F&via=asialyst\" target=\"_blank\">Share on Twitter<\/a><a onclick=\"return ss_plugin_loadpopup_js(this);\" rel=\"external nofollow\" class=\"ss-button-linkedin\" href=\"http:\/\/www.linkedin.com\/shareArticle?mini=true&url=https%3A%2F%2Fasialyst.com%2Ffr%2F2016%2F07%2F27%2Fle-doute-de-l-hote-antony-gormley-a-pekin%2F&title=Le+doute+de+l%E2%80%99h%C3%B4te+%3A+Antony+Gormley+%C3%A0+P%C3%A9kin\" target=\"_blank\">Share on Linkedin<\/a><a onclick=\"return ss_plugin_loadpopup_js(this);\" rel=\"external nofollow\" class=\"ss-button-pinterest\" href=\"http:\/\/pinterest.com\/pin\/create\/button\/?url=https%3A%2F%2Fasialyst.com%2Ffr%2F2016%2F07%2F27%2Fle-doute-de-l-hote-antony-gormley-a-pekin%2F&media=https%3A%2F%2Fasialyst.com%2Ffr%2Fwp-content%2Fuploads%2F2016%2F07%2FCHINE-GORMLEY-EXPOSITION-300x200.jpg&description=Le+doute+de+l%E2%80%99h%C3%B4te+%3A+Antony+Gormley+%C3%A0+P%C3%A9kin\" target=\"_blank\">Share on Pinterest<\/a>\t        \t    <\/div>\r\n\t    \n<div class=\"container\">\n\t<div class=\"auteurs-a-propos\">\n\t\t<h5>A propos de l'auteur<\/h5>\n\t\t\t\t\t<div class=\"author\">\n\t\t\t\t<img data-del=\"avatar\" src='https:\/\/asialyst.com\/fr\/wp-content\/uploads\/2015\/05\/Portrait-Alessandro-Rolandi-150x150.jpg' class='avatar pp-user-avatar avatar-150wp-user-avatar wp-user-avatar-150 photo ' height='150' width='150'\/>\t\t\t\t<div class=\"infos\">\n\t\t\t\t\t<div class=\"name\">\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t<a href=\"https:\/\/asialyst.com\/fr\/auteur\/alessandro-rolandi\/\">\n\t\t\t\t\t\t\tAlessandro Rolandi\t\t\t\t\t\t<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t<div class=\"description\">\n\t\t\t\t\t\tAlessandro Rolandi est un artiste italien qui vit et travaille \u00e0 P\u00e9kin depuis 2003. Son travail navigue entre l\u2019art, la connaissance, le contexte social et le langage. Il utilise le dessin, la sculpture, l\u2019installation, la performance, la photographie, les objets trouv\u00e9s, les interventions, la vid\u00e9o et l\u2019\u00e9criture textuelle. Il observe, emprunte, transforme et documente la r\u00e9alit\u00e9 pour pour d\u00e9fier notre structure socio-politique, pointer ses effets sur notre vie quotidienne et sur nos sch\u00e9mas de pens\u00e9e. <a href=\"www.alessandrorolandi.org\">alessandrorolandi.org<\/a>\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t\t<\/div>\n<\/div>\n[asl-front-abonnez-vous]\n<div class=\"block3news\">\n\t<div class=\"container\">\n\t\t<div class=\"recommand\">\n\t\t\t<h5>On vous recommande<\/h5>\t\t\t<ul class=\"row\">\n\t\t\t\t<li class=\"col-md-6 col-sm-12 col-xs-12 news\"><a href=\"https:\/\/asialyst.com\/fr\/2016\/06\/22\/dans-les-interstices-entre-le-langage-et-l-infini-yang-jian-a-white-space-beijing\/\"><span class=\"photo\"><img loading=\"lazy\" decoding=\"async\" width=\"600\" height=\"400\" src=\"https:\/\/asialyst.com\/fr\/wp-content\/uploads\/2016\/06\/CHINE-YANG-JIAN-WHITESPACE.jpg\" class=\"img-responsive wp-post-image\" alt=\"Le travail de l&#039;artiste Yang Jian\" srcset=\"https:\/\/asialyst.com\/fr\/wp-content\/uploads\/2016\/06\/CHINE-YANG-JIAN-WHITESPACE.jpg 600w, https:\/\/asialyst.com\/fr\/wp-content\/uploads\/2016\/06\/CHINE-YANG-JIAN-WHITESPACE-300x200.jpg 300w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\" \/><\/span><span class=\"info\"><span class=\"metadata category category-\">Culture<\/span><h4>Dans les interstices entre le langage et l\u2019infini : Yang Jian \u00e0 White Space Beijing<\/h4><\/span><\/a><\/li><li class=\"col-md-6 col-sm-12 col-xs-12 news\"><a href=\"https:\/\/asialyst.com\/fr\/2016\/07\/20\/japon-quel-avenir-pour-le-theatre-no\/\"><span class=\"photo\"><img loading=\"lazy\" decoding=\"async\" width=\"600\" height=\"400\" src=\"https:\/\/asialyst.com\/fr\/wp-content\/uploads\/2016\/07\/JAPON-NO-SHARI-600x400.jpg\" class=\"img-responsive wp-post-image\" alt=\"Manjir\u00f4 Tatsumi joue la pi\u00e8ce &quot;Shari&quot; dans le r\u00f4le du d\u00e9mon Sokushitsuki, poursuivi par le gardien Idaten pour avoir vol\u00e9 une relique de Bouddha\" srcset=\"https:\/\/asialyst.com\/fr\/wp-content\/uploads\/2016\/07\/JAPON-NO-SHARI-600x400.jpg 600w, https:\/\/asialyst.com\/fr\/wp-content\/uploads\/2016\/07\/JAPON-NO-SHARI-300x200.jpg 300w, https:\/\/asialyst.com\/fr\/wp-content\/uploads\/2016\/07\/JAPON-NO-SHARI-900x600.jpg 900w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\" \/><\/span><span class=\"info\"><span class=\"metadata category category-\">Culture<\/span><h4>Japon : quel avenir pour le th\u00e9atre n\u00f4 ?<\/h4><\/span><\/a><\/li>\t\t\t<\/ul>\n\t\t<\/div>\n\t<\/div>\n<\/div>\n<div class=\"container\">\n\t<div class=\"comments\">\n\t\t\t<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>L\u2019installation \u00ab\u00a0Host\u00a0\u00bb du sculpteur anglais Antony Gormley s\u2019invite \u00e0 l\u2019espace Galleria Continua \u00e0 P\u00e9kin. Reflexions autour du doute.<\/p>\n","protected":false},"author":40,"featured_media":17893,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[12],"tags":[15,23,22,176,194],"class_list":["post-17891","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-culture","tag-art","tag-asie-du-nord-est","tag-chine","tag-pekin","tag-regards"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Le doute de l\u2019h\u00f4te : Antony Gormley \u00e0 P\u00e9kin - Asialyst<\/title>\n<meta name=\"description\" content=\"L\u2019installation &quot;Host&quot; du sculpteur anglais Antony Gormley s\u2019invite \u00e0 l\u2019espace Galleria Continua \u00e0 P\u00e9kin. 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