Didier CHRISTOPHE / Research & higher education

Didier Christophe, PhD in Arts, is teacher-educator, state employee, postgraduate and master courses conductor in the ENSFEA (Ecole nationale supérieure de formation de l'enseignement agricole),
the
National Superior School of Agricultural Education Training, in Toulouse, France.
He led from 2002 till 2006 a doctorate research in history, theory and practice of Arts, at Bordeaux Montaigne University. He obtained the doctoral degree with highest honor and praise.

In 2017, he prepare a post-doctoral thesis for a reacherch leadership qualification, at Bordeaux Montaigne University, about the sense of belonging and the territories, in an interdisciplinary approach between art and human sciences.
From 2008 to 2016, he teached at Blaise Pascal Clermont-Ferrand University (VetAgro-Sup's Bachelor of engineering "organic agriculture consulting and development").
From 2012 to 2015, he was project-leader for animation and development of territories (Tulle-Naves
Edgard Pisani Agricultural high scool, French Ministry of Agriculture).
From 2011 to 2014, he was associated scientist and scientific committee member of the research program L'Appartenir [how to belong to a rural territory], conduced by Professors Gérard Peylet and Hélène Sorbé within Bordeaux Montaigne University.
From 1995 till 1998, he participated in the national
action-demonstration for Agroecology, an educational and agronomic experiment of the Ministry of Agriculture.
Since 1993, he is state employee in Ministry of Agriculture (teaching at HND level since 1997 to 2016).

Directed by Prof. Hélène Sorbé, and supervised by Prof. Jean-Pierre Prod'homme for sociological and agricultural aspects, he dedicated his doctorate, as artist and scientist, to the following problem:

According to what modalities can we assign to the plastic creation the role of revelation of the agricultural identity of a territory?

This interdisciplinary PhD thesis research was validated (summa cum laude, 2006) by a jury including Professors Bernard CALAS (Geography, Pau University), Dominique DUSSOL (History of contemporary art, Bordeaux Montaigne University), Jean-Pierre PROD'HOMME (Rural sociology, AgroParisTech) and Hélène SORBÉ (Director of the Arts Department, Bordeaux Montaigne University).

This is the object of an article appeared in the french review Champs culturels (special number, 2007). [Read it in French]


Didier CHRISTOPHE, 
THE AGRICULTURE OF A TERRITORY IN THE ART EXPERIMENT.
Doctoral thesis in arts (history, theory, practice).

SUMMARY.Planche du portfolio Elevages et Millevaches prennent un s, 2005.
Kee-words : plastic arts, agriculture, territory, art history, aesthetic, rural
sociology, Limousin, poethic, inculturation.

This research-action in plastic arts aims at giving art as the means to reveal the agricultural identity of an
area through its capacity to summon and articulate observable data and aesthetic potentialities, and to
produce readability. In this context, this study shows observations, stakes and tracks for a creation linked to
knowledge and evolutions of the agriculture of an area, while emphasizing my own committed action.
Once having stated some basic points of the evolution of our plastic works, the history of arts will be
studied taking into account the representation of the agricultural world especially through the notion of
inculturation.
An outlook on today's world will show the institutional implication between arts and the agricultural world.
Researching theoretical basis will emphasize important concepts which will be examined from the aesthetic
point of view as a preliminary in the plaiting of multiple angles more in grip with contemporary art. Looking
for a poethic dimension will be done through poetry, alternative cinema and contemporary artists dealing
with social and agricultural realities.
Then rural areas as artistic experimental fields of agriculture will be explored, in Limousin and Berry. One of
the targets will be to understand and define a micro-area within an area by spotting and articulating
agronomic and geographical features. A look back on contemporary plastic skills will show that diversely
famous artists, some of them quite recently have met local needs.
There will still remain strategies of production and artistic presentation experimenting agriculture to be
conceived and applied. Consequently basic plastic methods will have to be adapted as well as the stakes
of exhibition modes.
Finally, the research-action will be achieved, according to these propositions, for creative residences
defining rules of plastic creation. In the long run, if this idea of a direct plastic cooperation with farmers
turns out difficult, then creation will be fed by interviews with professionals in agriculture : the result will be
the proposition of portfolios meddling territory and technical economy. The outcome will allow the
presentation of creations and true experiments, and their aesthetic analyses.

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