{"id":10053,"date":"2020-07-10T15:25:01","date_gmt":"2020-07-10T13:25:01","guid":{"rendered":"https:\/\/diploma2020.ecolecamondo.fr\/memoire\/collection-dobjets-esthetique-minimale\/"},"modified":"2020-10-20T15:35:30","modified_gmt":"2020-10-20T13:35:30","slug":"collection-of-objects-minimal-aesthetics","status":"publish","type":"dissertation","link":"https:\/\/diploma2020.ecolecamondo.fr\/en\/memoire\/clemence-picard\/collection-of-objects-minimal-aesthetics\/","title":{"rendered":"Collection of objects, minimal aesthetics."},"content":{"rendered":"
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Donald Judd, untitled<\/em>, 1965<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/figcaption>\n <\/article>\n\n\n

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Judd d\u00e9veloppe son propre langage qui se caract\u00e9rise par un emploi syst\u00e9matique de formes simples et modulables \u00e0 l\u2019infini. G\u00e9n\u00e9ralement cubiques ou rectangulaires, il les pr\u00e9sente de mani\u00e8re rigoureuse voire presque obsessionnelle, en respectant un \u00e9cart identique entre chaque module. <\/p>\n <\/div>\n <\/div>\n<\/article>\n\n\n

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Sol LeWitt, Cube<\/em>, 1965<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/figcaption>\n <\/article>\n\n\n

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Sol LeWitt est \u00e0 l\u2019origine du terme \u00ab art conceptuel \u00bb des ann\u00e9es 1960. Pour lui l\u2019important n\u2019est pas ce \u00e0 quoi ressemble une oeuvre d\u2019art mais plut\u00f4t la mani\u00e8re dont elle a \u00e9t\u00e9 pens\u00e9. En clair, l\u2019id\u00e9e prime sur le r\u00e9sultat.<\/p>\n <\/div>\n <\/div>\n<\/article>\n\n\n

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Carl Andr\u00e9, Fallen Timbers<\/em>, 1980<\/p>\n

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\u00ab Pour moi, une sculpture est semblable \u00e0 une route… Mes oeuvres obligent le spectateur \u00e0 marcher le long d\u2019elles, ou autour d\u2019elles ou au-dessus d\u2019elles \u00bb. \r\nCarl Andr\u00e9 d\u00e9fend l\u2019id\u00e9e selon laquelle une oeuvre d\u2019art s\u2019enrichit \u00e0 mesure que le temps passe et qu\u2019elle s\u2019use.<\/p>\n <\/div>\n <\/div>\n<\/article>\n\n\n

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Mies van der Rohe, Farnsworth House<\/em>, 1945<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/figcaption>\n <\/article>\n\n\n

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Tr\u00e8s connu pour utiliser massivement le verre et l\u2019acier, il r\u00e9alise un design fonctionnel qui favorise l\u2019usage \u00e0 la forme. Son extr\u00eame sobri\u00e9t\u00e9, son \u00e9loge au d\u00e9pouillement, il le formulera par la c\u00e9l\u00e8bre phrase \u00ab less is more \u00bb qui le caract\u00e9rise. <\/p>\n <\/div>\n <\/div>\n<\/article>\n\n\n

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Luis Barrag\u00e1n, La maison-atelier<\/em>, 1947<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/figcaption>\n <\/article>\n\n\n

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Le style de Barrag\u00e1n se d\u00e9finit comme la parfaite alliance entre culture mexicaine et modernisme europ\u00e9en.<\/p>\n <\/div>\n <\/div>\n<\/article>\n\n\n

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Dominique Perrault, Biblioth\u00e8que Nationale de France, <\/em>1994<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/figcaption>\n <\/article>\n\n\n

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Peu habitu\u00e9 \u00e0 une telle radicalit\u00e9 de forme, ce projet est accueilli avec beaucoup de m\u00e9fiance et d\u2019a priori.<\/p>\n <\/div>\n <\/div>\n<\/article>\n\n\n

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Marcel Breuer, Fauteuil Wassily<\/em>, 1925<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/figcaption>\n <\/article>\n\n\n

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Breuer exp\u00e9rimente le tube en acier et cr\u00e9er de v\u00e9ritables sculptures dans l\u2019espace. Il r\u00e9invente totalement les codes du design. Entre radicalit\u00e9, sobri\u00e9t\u00e9 et d\u00e9pouillement, le fauteuil Wassily impose clairement des caract\u00e9ristiques minimalistes.<\/p>\n <\/div>\n <\/div>\n<\/article>\n\n\n

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Gerrit Rietveld, Chaise Zig-Zag<\/em>, 1934<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/figcaption>\n <\/article>\n\n\n

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Les lignes parfaites, rythm\u00e9es et sans ornements, d\u00e9finissent clairement le radicalisme de Gerrit Rietveld, qui inscrit sa chaise \u00ab Zig-Zag \u00bb comme une \u0153uvre minimaliste.\r\n<\/p>\n <\/div>\n <\/div>\n<\/article>\n\n\n

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Shiro Kuramata, Fauteuil en verre<\/em>, 1976<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/figcaption>\n <\/article>\n\n\n

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Jusque-l\u00e0, le verre n\u2019a jamais \u00e9t\u00e9 pens\u00e9 pour cr\u00e9er du mobilier d\u2019assise. Mais Shiro Kuramata voit dans ce mat\u00e9riau jusque-l\u00e0 peu exp\u00e9riment\u00e9, un int\u00e9r\u00eat tout particulier et un grand potentiel. <\/p>\n <\/div>\n <\/div>\n<\/article>\n\n\n

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\u00abBol \u00e0 th\u00e9 Raku<\/em>\u00bb, XVIe si\u00e8cle<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/figcaption>\n <\/article>\n\n\n

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Le Wabi-Sabi est une v\u00e9ritable philosophie de vie japonaise qui consiste \u00e0 vivre simplement, avec l\u2019essentiel, en acceptant la beaut\u00e9 des choses imparfaites, impermanentes et incompl\u00e8tes. C\u2019est plus particuli\u00e8rement dans la c\u00e9r\u00e9monie du th\u00e9 qu\u2019il s\u2019exprime de la mani\u00e8re la plus compl\u00e8te.<\/p>\n <\/div>\n <\/div>\n<\/article>\n\n\n

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\n \n \n \n <\/svg>\n <\/div>\n<\/div>\n <\/div>\n <\/div>\n <\/div>\n<\/article>\n","protected":false},"author":89,"template":"","class_list":["post-10053","dissertation","type-dissertation","status-publish","hentry","keywords-artistic-field","keywords-research-approach","keywords-societal-field","teachers_list_1-aurelien-lemonier-en"],"acf":[],"yoast_head":"\nCollection of objects, minimal aesthetics. - Diploma Camondo \u00e9dition 2020<\/title>\n\n\n\n\n\n\n\n\n\n