{"id":1768,"date":"2024-06-20T14:41:12","date_gmt":"2024-06-20T12:41:12","guid":{"rendered":"https:\/\/marinewallon.fr\/?page_id=1768"},"modified":"2026-03-17T09:47:06","modified_gmt":"2026-03-17T08:47:06","slug":"text-2024-dominique-paini","status":"publish","type":"page","link":"https:\/\/marinewallon.fr\/?page_id=1768","title":{"rendered":"Text 2024, Dominique Pa\u00efni"},"content":{"rendered":"\n<h1 class=\"wp-block-heading\" style=\"font-size:28px\">Critical texts <\/h1>\n\n\n<style>.wp-block-kadence-spacer.kt-block-spacer-1768_80dbe8-bf .kt-block-spacer{height:10px;}.wp-block-kadence-spacer.kt-block-spacer-1768_80dbe8-bf .kt-divider{border-top-width:1px;height:1px;border-top-color:var(--global-palette1, #3182CE);width:80%;border-top-style:solid;}<\/style>\n<div class=\"wp-block-kadence-spacer aligncenter kt-block-spacer-1768_80dbe8-bf\"><div class=\"kt-block-spacer kt-block-spacer-halign-center\"><hr class=\"kt-divider\"\/><\/div><\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-1 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:38%\">\n<p class=\"has-small-font-size\"><code>2026<\/code><br>\u00b7 <a href=\"https:\/\/marinewallon.fr\/?page_id=2381\/#go23\">Paul Ardenne<\/a><br><br><code>2025<\/code><br>\u00b7 <a href=\"https:\/\/marinewallon.fr\/?page_id=2181\/#go21\">Thomas Delamarre<\/a><br><br><code>2024<\/code><br>\u2192 <strong>Dominique Pa\u00efni<\/strong><br>\u00b7 <a href=\"https:\/\/marinewallon.fr\/?page_id=1773\/#go1\">Elsa Hougue<\/a><br><br><code>2023<\/code><br>\u00b7 <a href=\"https:\/\/marinewallon.fr\/?page_id=1388\/#go19\">Estelle Marois<\/a><br>\u00b7 <a data-type=\"page\" data-id=\"1643\" href=\"https:\/\/marinewallon.fr\/?page_id=1643\/#go20\">Marie Maertens<\/a><br>\u00b7 <a href=\"https:\/\/marinewallon.fr\/?page_id=146\/#go18\">Didier Semin<\/a><br>\u00b7 <a href=\"https:\/\/marinewallon.fr\/?page_id=197\/#go16\">Marie de Brugerolle &amp; Anne Dary<\/a><br><br><code>2022<\/code><br>\u00b7 <a href=\"https:\/\/marinewallon.fr\/?page_id=187\/#go17\">Guy Boyer<\/a><br>\u00b7 <a href=\"https:\/\/marinewallon.fr\/?page_id=215\/#go15\">Benoit Blanchard &amp; Sarah Mercadante<\/a><br><br><code>2021<\/code><br>\u00b7 <a data-type=\"page\" data-id=\"230\" href=\"https:\/\/marinewallon.fr\/?page_id=230\/#go14\">Jo\u00ebl Riff<\/a><br>\u00b7 <a data-type=\"page\" data-id=\"232\" href=\"https:\/\/marinewallon.fr\/?page_id=232\/#go13\">Conversation<br><mark style=\"background-color:rgba(0, 0, 0, 0)\" class=\"has-inline-color has-theme-palette-1-color\">\u2014  <\/mark> Jennifer Douzenel \u2014 M. Wallon<\/a><br>\u00b7 <a data-type=\"page\" data-id=\"234\" href=\"https:\/\/marinewallon.fr\/?page_id=234\/#go12\">Horya Makhlouf<\/a><br><br><code>2020<\/code><br>\u00b7 <a data-type=\"page\" data-id=\"236\" href=\"https:\/\/marinewallon.fr\/?page_id=236\/#go11\">Lignes Br\u00e8ves<\/a><br><br><code>2019<\/code><br>\u00b7 <a data-type=\"page\" data-id=\"238\" href=\"https:\/\/marinewallon.fr\/?page_id=238\/#go10\">Jo\u00ebl Riff<\/a><br>\u00b7 <a data-type=\"page\" data-id=\"240\" href=\"https:\/\/marinewallon.fr\/?page_id=240\/#go9\">Entretien avec Karin Schlageter<\/a><br><br><code>2018\u00a0<\/code><br>\u00b7 <a data-type=\"page\" data-id=\"242\" href=\"https:\/\/marinewallon.fr\/?page_id=242\/#go8\">Sarah Ilher-Meyer<\/a><br>\u00b7 <a data-type=\"page\" data-id=\"244\" href=\"https:\/\/marinewallon.fr\/?page_id=244\/#go7\">Entretien avec Point Contemporain<\/a><br><br><code>2017<\/code><br>\u00b7 <a data-type=\"page\" data-id=\"246\" href=\"https:\/\/marinewallon.fr\/?page_id=246\/#go6\">Anne Collongues<\/a><br>\u00b7 <a data-type=\"page\" data-id=\"248\" href=\"https:\/\/marinewallon.fr\/?page_id=248\/#go5\">Th\u00e9o-Mario Coppola<\/a><br><br><code>2015<\/code><br>\u00b7 <a data-type=\"page\" data-id=\"250\" href=\"https:\/\/marinewallon.fr\/?page_id=250\/#go4\">Marianne Derrien,<br><mark style=\"background-color:rgba(0, 0, 0, 0)\" class=\"has-inline-color has-theme-palette-1-color\">\u2014  <\/mark><em>Le mirage des images<\/em><\/a><br><br><code>2014<\/code><br>\u00b7 <a data-type=\"page\" data-id=\"252\" href=\"https:\/\/marinewallon.fr\/?page_id=252\/#go3\">Marion Delage de Luget,<br><mark style=\"background-color:rgba(0, 0, 0, 0)\" class=\"has-inline-color has-theme-palette-1-color\">\u2014  <\/mark><em>L&rsquo;horizontalit\u00e9 \u00e0 l\u2019\u0153uvre<\/em><\/a><br><br><code>2013\u00a0<\/code><br>\u00b7 <a data-type=\"page\" data-id=\"254\" href=\"https:\/\/marinewallon.fr\/?page_id=254\/#go2\">Marianne Derrien,<br><mark style=\"background-color:rgba(0, 0, 0, 0)\" class=\"has-inline-color has-theme-palette-1-color\">\u2014  <\/mark><em>Saxifraga Umbrosa<\/em><\/a><br><br><code>2011<\/code><br>\u00b7 <a href=\"https:\/\/marinewallon.fr\/?page_id=256\/#go1b\">Anne Collongues<\/a><\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:64%\">\n<h2 class=\"wp-block-heading\" id=\"go0\"><\/h2>\n\n\n<style>.wp-block-kadence-spacer.kt-block-spacer-1768_b1237a-fe .kt-block-spacer{height:14px;}.wp-block-kadence-spacer.kt-block-spacer-1768_b1237a-fe .kt-divider{border-top-width:1px;height:1px;border-top-color:var(--global-palette3, #1A202C);width:100%;border-top-style:solid;}<\/style>\n<div class=\"wp-block-kadence-spacer aligncenter kt-block-spacer-1768_b1237a-fe\"><div class=\"kt-block-spacer kt-block-spacer-halign-center\"><hr class=\"kt-divider\"\/><\/div><\/div>\n\n\n\n<p class=\"has-small-font-size\"><code>FRA<code>\u2014\u2014<\/code>\u2014<\/code> <br><strong>Les intermittences du paysage<\/strong><br>La premi\u00e8re rencontre avec la peinture de Marine Wallon m\u2019avait offert une exp\u00e9rience qui m\u2019\u00e9tonna. Je d\u00e9couvrais des propositions devenues assez peu fr\u00e9quentes en peinture contemporaine depuis que la photographie et le cin\u00e9ma sont advenus\u2009: visions du lointain et condensations de vastes \u00e9tendues sur des toiles de taille modeste que les vertus optiques de la cam\u00e9ra et sa mobilit\u00e9 ont rendu ordinaires visuellement. Et l\u2019abstraction ne triomphait pas comme si Marine Wallon tentait de r\u00e9sister aux encha\u00eenements fameux du type \u00ab\u2009de Monet \u00e0 Joan Mitchell\u2009\u00bb qu\u2019une exposition a illustr\u00e9s r\u00e9cemment.<br>Je supposais alors que cette jeune peintre voulait s\u2019affronter et se mesurer avec ceux et celles qu\u2019elle admirait. Mais sa d\u00e9marche n\u2019\u00e9tait pas vaniteuse. Marine Wallon \u00e9tait obs\u00e9d\u00e9e en revanche par ce mouvement de bascule, d\u2019\u00e9quilibre instable, ce moment o\u00f9 le paysage peint est au bord de cesser d\u2019\u00eatre reconnu tel, c\u2019est-\u00e0-dire, de \u00ab\u2009n\u2019\u00eatre plus que\u2009\u00bb composition abstraite de taches et de traits color\u00e9s. Ou, \u00e0 l\u2019inverse, ce moment auquel l\u2019abstraction \u00ab\u2009devient paysage\u2009\u00bb.<br>J\u2019en concluais que Marine Wallon \u00e9tait une exceptionnelle peintre contemporaine de paysages qui me rappela cette formule de Fontenelle, trop souvent, emprunt\u00e9e, mais non sans raison\u2009: \u00ab un paysage dont on aura vu toutes les parties, l\u2019une apr\u00e8s l\u2019autre, n\u2019a pourtant point \u00e9t\u00e9 vu\u2009; il faut qu\u2019il le soit d\u2019un lieu assez \u00e9lev\u00e9, o\u00f9 tous les objets auparavant dispers\u00e9s se rassemblent d\u2019un coup d\u2019\u0153il. \u00bb En effet, j\u2019\u00e9tais frapp\u00e9 que le recours tr\u00e8s fr\u00e9quent de l\u2019artiste \u00e0 la contre-plong\u00e9e contribuait \u00e0 r\u00e9sister aux perplexit\u00e9s s\u00e9ductrices de l\u2019abstraction et imposait ainsi une puissance fauve de paysages.<br>Ces derniers demeuraient pourtant sur cette cr\u00eate hypnotique et je me r\u00e9jouissais de ces suspens tr\u00e8s stimulants pour la vision\u2009: il me fallait un peu de temps pour qu\u2019un paysage s\u2019impose et qu\u2019il me soit impossible de revenir en arri\u00e8re. Marine Wallon d\u00e9montrait ainsi, pour moi, qu\u2019un paysage n\u2019est pas affaire d\u2019espace\u2009; c\u2019est du temps au cours duquel il s\u2019instaure et s\u2019identifie tel dans notre regard. C\u2019est l\u2019insistance et la dur\u00e9e de notre attention qui font de l\u2019extraction d\u2019un moment quelconque du monde, un paysage. Comme dit \u00ab\u2009l\u2019autre\u2009\u00bb c\u00e9l\u00e8bre, c\u2019est le regardeur qui fait le tableau et j\u2019en conclus depuis que c\u2019est la mani\u00e8re dont Marine Wallon, amatrice de cin\u00e9ma, int\u00e8gre \u00e9galement la troisi\u00e8me dimension du temps dans sa peinture.<br>L\u2019introduction de la figure humaine, parfois \u00e0 peine esquiss\u00e9e, au sein de tr\u00e8s larges \u00e9tendues de couleurs, a \u00e9t\u00e9 une autre de ses virtuosit\u00e9s figuratives qui n\u2019est pas sans faire songer \u00e0 la tradition de la peinture classique. Je pense aux personnages emprunt\u00e9s \u00e0 la mythologique antique et au r\u00e9cit biblique que Nicolas Poussin installait discr\u00e8tement, presque \u00e0 l\u2019insu de notre perception, personnages engloutis dans les profondeurs paysag\u00e8res, enfouis sous les pesantes ramures de for\u00eats qui capturent le regard et nous font oublier l\u2019\u00e9glogue qui justifia l\u2019\u0153uvre peinte.<br>Aujourd\u2019hui, Marine Wallon continue cette exp\u00e9rimentation de l\u2019intermittence, du mouvement entre paysage et abstraction, exp\u00e9rimentation picturale n\u00e9e il y a plus de cent cinquante ans \u00e0 l\u2019\u00e9poque de l\u2019apparition des images anim\u00e9es, du cin\u00e9matographe, qui firent de l\u2019instabilit\u00e9 un mode in\u00e9dit de plasticit\u00e9.<br>Dans ses toiles de grand format, elle accentue toujours les contre-plong\u00e9es. Dans ses toiles de moyen et petit format, elle s\u2019amuse des trouvailles de sa m\u00e9thode en glissant dans l\u2019espace infime, entre deux grandes surfaces bross\u00e9es et color\u00e9es, des petits navires qui \u00e9voquent de dangereux naufrages. C\u2019est Turner qui revient avec humour dans notre m\u00e9moire. Ou c\u2019est encore le clin d\u2019\u0153il que Marine Wallon fait \u00e0 Hokusai, contredit, en une m\u00eame d\u00e9sinvolte libert\u00e9, par des arbres fr\u00eales qui d\u00e9rangent le lyrisme \u00e9puis\u00e9 d\u2019une montagne devenue publicitaire. Et elle sugg\u00e8re par de minuscules b\u00e2tonnets des promeneurs qui r\u00e9v\u00e8lent ainsi une \u00e9tendue neigeuse \u00e0 perte de vue.<br>La peintre s\u2019amuse (et nous profitons de ses fac\u00e9ties) \u00e0 exp\u00e9rimenter des interventions les plus minimales qui soient pour d\u00e9tourner l\u2019abstraction \u2014 que ses premiers gestes inaugurent sur la toile \u2014, au profit du paysage.<br>Et comme si ce mouvement de l\u2019image ne lui suffisait pas, elle s\u2019essaie d\u00e9sormais aux polyptiques. Marine Wallon quitte alors les points de vue \u00e9lev\u00e9s et tente la folle entreprise de plonger dans ce qu\u2019elle ne contempla que de tr\u00e8s loin jusqu\u2019alors\u2009: la mer et ses profondeurs habit\u00e9es.<br>Digne des visions \u00e0 travers les hublots d\u2019un sous-marin que Jules Verne aurait pu d\u00e9crire, Marine bien nomm\u00e9e, nous entra\u00eene dans des chor\u00e9graphies d\u2019algues et de m\u00e9duses \u00e0 vingt mille lieues sous des couches de couleurs.<\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><code>ENG<code>\u2014\u2014<\/code>\u2014<\/code> <br><strong>Intermittent landscape<\/strong><br>My first encounter with Marine Wallon&rsquo;s painting had been an astonishing experience. I discovered proposals which had become rather infrequent in contemporary painting with the advent of photography and the cinema: visions of distant horizons and condensations of vast stretches of land on canvases of modest dimensions became quite ordinary visually due to the optical properties of the lens and camera movements. And abstraction did not win the day, as if Marine Wallon was trying to resist well-known linkages such as \u00ab\u00a0from Monet to Joan Mitchell\u00a0\u00bb, recently illustrated in an exhibition.<br>I thus supposed that this young painter wanted to confront and size herself up against men and women she admired. Though not out of vanity. Marine Wallon was, in fact, obsessed by seesaw movements, unsteady balance, the moment when the painted landscape is on the verge of ceasing to be recognized as such, in other words, \u201cbeing no more than\u201d an abstract composition of smudges and coloured stripes. Or, conversely, the moment at which abstraction \u201cbecomes scenery\u201d.<br>I came to the conclusion that Marine Wallon was an exceptional contemporary landscape painter who reminded me of a quote from Fontenelle, too often borrowed, but nevertheless telling: \u201cA landscape, all of whose parts will have been seen, one after another, has not, however, been seen at all; it has to be viewed from a rather elevated position, where all the objects previously dispersed come together in the twinkling of an eye.\u00a0\u00bb I was, in fact, struck that the artist&rsquo;s very frequent recourse to a low-angle perspective helped to counter the seductive perplexities of abstraction, thus imposing a wild beast powerfulness on her landscapes.<br>Landscapes which nevertheless remained on a hypnotic crest, and I was captivated by this suspense, highly stimulating for one&rsquo;s vision: it took a little while for a landscape to stand out, and for me to find it impossible to turn back. For me, Marine Wallon thus demonstrated that a landscape is not a matter of space; it is about the time in which it takes hold and identifies itself as such in our gaze. It is the insistence and duration of our attention that transforms the extraction of a given moment in the world into a landscape. As the well-known saying goes, it is the spectator who creates the painting, and I have since decided that it is the way in which movie-fan Marine Wallon also incorporates the third dimension of time into her painting.<br>The introduction of the human figure, sometimes sketchily defined, within very broad expanses of colours, has been another example of her figurative skills, making one think of the tradition of classical painting. I am thinking of characters borrowed from Antique mythology and the Biblical tale that Nicolas Poussin inserted discreetly, almost unperceived by us, figures engulfed in the depths of scenery, buried beneath heavy branches in forests, capturing our gaze and making us forget the eclogue which gave the painting its meaning.<br>Today, Marine Wallon continues this experimentation with vagaries, movement between landscape and abstraction, pictorial experimentation born over 150 years ago at the time when animated images and the moviemaker appeared, making instability an unprecedented mode of plasticity.<br>In her large format canvases, she always gives precedence to low-angle shots. In her medium and small format canvases, she amuses herself with findings that arise from her method by slipping into infinitesimal space, between two large surfaces, brushed and coloured, little boats evoking dangerous shipwrecks. Our memory then conjures up Turner, with a touch of humour. Or then again, the nod-and-a-wink made by Marine Wallon to Hokusai, at odds, in the same casual freedom, with frail trees which disrupt the exhausted lyricism of a mountain peak, now become an advertisement. And in tiny sticks, she suggests walkers who thus reveal an expanse of snow as far as the eye can see.<br>The artist is having fun (and we enjoy this facetiousness) by experimenting with the most minimalist interventions possible to discourage abstraction \u2014 which her first gestures inaugurate on the canvas \u2014, for the landscape&rsquo;s benefit.<br>And as if this movement within the image were not enough, she now tries her hand at polyptychs. Marine Wallon then leaves elevated viewpoints and attempts the crazy enterprise of diving into what she has so far only contemplated from very far away: the sea and its inhabited depths.<br>Worthy of views through the portholes of a submarine that Jules Verne could well have described, the aptly-named Marine draws us into choreographies of algae and jellyfish 20,000 leagues beneath layers of colours.<\/p>\n\n\n\n<p class=\"has-text-align-right has-small-font-size\">Dominique Pa\u00efni, 2024<\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>Critical texts 2026\u00b7 Paul Ardenne 2025\u00b7 Thomas Delamarre 2024\u2192 Dominique Pa\u00efni\u00b7 Elsa Hougue 2023\u00b7 Estelle Marois\u00b7 Marie Maertens\u00b7 Didier Semin\u00b7 Marie de Brugerolle &amp; Anne Dary 2022\u00b7 Guy Boyer\u00b7 Benoit Blanchard &amp; Sarah Mercadante 2021\u00b7 Jo\u00ebl Riff\u00b7 Conversation\u2014 Jennifer Douzenel \u2014 M. Wallon\u00b7 Horya Makhlouf 2020\u00b7 Lignes Br\u00e8ves 2019\u00b7 Jo\u00ebl Riff\u00b7 Entretien avec Karin Schlageter&#8230;<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_kad_post_transparent":"","_kad_post_title":"","_kad_post_layout":"","_kad_post_sidebar_id":"","_kad_post_content_style":"","_kad_post_vertical_padding":"","_kad_post_feature":"","_kad_post_feature_position":"","_kad_post_header":false,"_kad_post_footer":false,"footnotes":""},"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v21.6 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Text 2024, Dominique Pa\u00efni - MARINE WALLON<\/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:\/\/marinewallon.fr\/?page_id=1768\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Text 2024, Dominique Pa\u00efni - MARINE WALLON\" \/>\n<meta property=\"og:description\" content=\"Critical texts 2026\u00b7 Paul Ardenne 2025\u00b7 Thomas Delamarre 2024\u2192 Dominique Pa\u00efni\u00b7 Elsa Hougue 2023\u00b7 Estelle Marois\u00b7 Marie Maertens\u00b7 Didier Semin\u00b7 Marie de Brugerolle &amp; Anne Dary 2022\u00b7 Guy Boyer\u00b7 Benoit Blanchard &amp; Sarah Mercadante 2021\u00b7 Jo\u00ebl Riff\u00b7 Conversation\u2014 Jennifer Douzenel \u2014 M. Wallon\u00b7 Horya Makhlouf 2020\u00b7 Lignes Br\u00e8ves 2019\u00b7 Jo\u00ebl Riff\u00b7 Entretien avec Karin Schlageter...\" \/>\n<meta property=\"og:url\" content=\"https:\/\/marinewallon.fr\/?page_id=1768\" \/>\n<meta property=\"og:site_name\" content=\"MARINE WALLON\" \/>\n<meta property=\"article:modified_time\" content=\"2026-03-17T08:47:06+00:00\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Dur\u00e9e de lecture estim\u00e9e\" \/>\n\t<meta name=\"twitter:data1\" content=\"9 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/marinewallon.fr\/?page_id=1768\",\"url\":\"https:\/\/marinewallon.fr\/?page_id=1768\",\"name\":\"Text 2024, Dominique Pa\u00efni - MARINE WALLON\",\"isPartOf\":{\"@id\":\"https:\/\/marinewallon.fr\/#website\"},\"datePublished\":\"2024-06-20T12:41:12+00:00\",\"dateModified\":\"2026-03-17T08:47:06+00:00\",\"breadcrumb\":{\"@id\":\"https:\/\/marinewallon.fr\/?page_id=1768#breadcrumb\"},\"inLanguage\":\"fr-FR\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/marinewallon.fr\/?page_id=1768\"]}]},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/marinewallon.fr\/?page_id=1768#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Accueil\",\"item\":\"https:\/\/marinewallon.fr\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Text 2024, Dominique Pa\u00efni\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/marinewallon.fr\/#website\",\"url\":\"https:\/\/marinewallon.fr\/\",\"name\":\"MARINE WALLON\",\"description\":\"\",\"alternateName\":\"marinewallon\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/marinewallon.fr\/?s={search_term_string}\"},\"query-input\":\"required name=search_term_string\"}],\"inLanguage\":\"fr-FR\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Text 2024, Dominique Pa\u00efni - MARINE WALLON","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/marinewallon.fr\/?page_id=1768","og_locale":"fr_FR","og_type":"article","og_title":"Text 2024, Dominique Pa\u00efni - MARINE WALLON","og_description":"Critical texts 2026\u00b7 Paul Ardenne 2025\u00b7 Thomas Delamarre 2024\u2192 Dominique Pa\u00efni\u00b7 Elsa Hougue 2023\u00b7 Estelle Marois\u00b7 Marie Maertens\u00b7 Didier Semin\u00b7 Marie de Brugerolle &amp; Anne Dary 2022\u00b7 Guy Boyer\u00b7 Benoit Blanchard &amp; Sarah Mercadante 2021\u00b7 Jo\u00ebl Riff\u00b7 Conversation\u2014 Jennifer Douzenel \u2014 M. Wallon\u00b7 Horya Makhlouf 2020\u00b7 Lignes Br\u00e8ves 2019\u00b7 Jo\u00ebl Riff\u00b7 Entretien avec Karin Schlageter...","og_url":"https:\/\/marinewallon.fr\/?page_id=1768","og_site_name":"MARINE WALLON","article_modified_time":"2026-03-17T08:47:06+00:00","twitter_card":"summary_large_image","twitter_misc":{"Dur\u00e9e de lecture estim\u00e9e":"9 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"WebPage","@id":"https:\/\/marinewallon.fr\/?page_id=1768","url":"https:\/\/marinewallon.fr\/?page_id=1768","name":"Text 2024, Dominique Pa\u00efni - MARINE WALLON","isPartOf":{"@id":"https:\/\/marinewallon.fr\/#website"},"datePublished":"2024-06-20T12:41:12+00:00","dateModified":"2026-03-17T08:47:06+00:00","breadcrumb":{"@id":"https:\/\/marinewallon.fr\/?page_id=1768#breadcrumb"},"inLanguage":"fr-FR","potentialAction":[{"@type":"ReadAction","target":["https:\/\/marinewallon.fr\/?page_id=1768"]}]},{"@type":"BreadcrumbList","@id":"https:\/\/marinewallon.fr\/?page_id=1768#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Accueil","item":"https:\/\/marinewallon.fr\/"},{"@type":"ListItem","position":2,"name":"Text 2024, Dominique Pa\u00efni"}]},{"@type":"WebSite","@id":"https:\/\/marinewallon.fr\/#website","url":"https:\/\/marinewallon.fr\/","name":"MARINE WALLON","description":"","alternateName":"marinewallon","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/marinewallon.fr\/?s={search_term_string}"},"query-input":"required name=search_term_string"}],"inLanguage":"fr-FR"}]}},"_links":{"self":[{"href":"https:\/\/marinewallon.fr\/index.php?rest_route=\/wp\/v2\/pages\/1768"}],"collection":[{"href":"https:\/\/marinewallon.fr\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/marinewallon.fr\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/marinewallon.fr\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/marinewallon.fr\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1768"}],"version-history":[{"count":17,"href":"https:\/\/marinewallon.fr\/index.php?rest_route=\/wp\/v2\/pages\/1768\/revisions"}],"predecessor-version":[{"id":2393,"href":"https:\/\/marinewallon.fr\/index.php?rest_route=\/wp\/v2\/pages\/1768\/revisions\/2393"}],"wp:attachment":[{"href":"https:\/\/marinewallon.fr\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1768"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}