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Présence Panchounette " Collectif d'assimilés-artistes " créé en 1969 à Bordeaux. Dissout en 1990. Né autour d'un faux puits de jardin érigé en œuvre à Bordeaux (1969), Présence Panchounette disparaît vingt-et-un ans plus tard, laissant pour monument un gigantesque nain habillé pour la plage, souriant aux anges et bénissant les visiteurs de la Fondation Cartier, dans le parc du château de Jouy-en-Josas, au cri de Dwarf ! Dwarf ! III (1990). Dans l'intervalle, un groupe à l'effectif changeant et mystérieux est partout, champion du papier peint mur-de-briques et adversaire des critiques ou des commissaires d'exposition. Créateur prolifique d'objets et d'installations, auteur de déclarations ravageuses, insaisissable protestataire et promoteur de lui-même, il annonce, dès le début, qu'il " travaille sur la dérive des goûts et des dégoûts, les chassés-croisés des décors et de leurs utilisateurs, des confusions et des conflits qui en résultent ", et conclut ses activités en déclarant gravement (?) : " Nous sommes beaucoup plus que des artistes – en définitive des maçons qui feraient rire en haut de l'échafaudage. " Entre-temps, Jacques Soulillou a théorisé le " ravissement " suscité chez le public et dans le milieu de l'art (à quelques exceptions près). Bertrand Lavier a déclaré : " Sans Présence Panchounette nous n'en serions pas où nous en sommes. " Le Monde a su discerner, dès 1978, qu'il s'agissait d'un " collectif fauteur de troubles ", collectionnant parmi ses " médailles " celle d'" artistes des années 80 " décernée par Jean Clair, celle de " fous dangereux ", par Jean-Louis Froment. Le Journal officiel aura publié leur " objet : encourager les lettres, les arts et les loisirs ", ils auront été exposés dans le Sud-Ouest et à Paris, à Stuttgart comme à Barcelone… Présence Panchounette a tout naturellement sa place à la Fondation Cartier pour l'art contemporain dans l'exposition L'Art fun ou l'Enfance de l'art (1986). Une grande salle y est constellée d'éclats de miroir réfléchissant la lumière comme la boule de bal qui tourne au plafond, le spectateur se trouvant entouré de sons subits, aboiements, portes qui claquent, applaudissements… Le projet a " pour avantage : TOUT, et particulièrement de rendre pour la première fois le bunker féerique " – il décline aussi l'installation présentée à Châlons, en 1983, dans une pièce parsemée de déchets en plastique ramassés sur les plages, sous le titre Cragg, Boum, Hue ! Pour les intéressés, " il s'agit d'instituer un nouvel art naïf afin de dévoiler l'arbitaire d'un jugement esthétique qui exclut certains objets de son champ d'intérêt. […] D'où ce procédé d'échange des contenus et des lieux de l'art, ce détournement de la galerie d'art au profit du pavillon de banlieue (petit puits, petits nains), ce troc de l'avant-garde artistique contre les poétiques divagations du kitsch populaire. […] De l'ordre du calembour, le résultat pourrait ressembler à la collection particulière d'un ethnographe camerounais. " Dans cet esprit trône au sein de la collection de la Fondation Cartier le trophée d'un châtelain-chasseur qui aurait refusé de faire la vaisselle et raccrocherait les gants de caoutchouc, faisant d'une biche Le Roi des rennes (1985). En 1989, la Fondation commande, spécialement pour Solex-nostalgie, un exemplaire du véhicule plaqué trois ors et cuir bordeaux, donc signé Cartier : Le Vrai classique du vide parfait (1989). Parodique et alternatif, le " collectif d'assimilés-artistes " pourrait incarner l'impensable perversion de Koons, Cragg ou Dietman qui, sans s'être jamais pris au sérieux, se seraient arrêtés de produire à l'aube des années 90. Se sabordant après avoir écrit, en 1983 : " De toute façon ça n'était pas une attitude, nous étions comme ça ", Présence Panchounette l'a fait. Pour de vrai.