{"id":10131,"date":"2020-07-09T20:17:19","date_gmt":"2020-07-09T18:17:19","guid":{"rendered":"https:\/\/diploma2020.ecolecamondo.fr\/sujet-impose\/jean-michel-basquiat-et-la-musique-2\/"},"modified":"2020-10-22T11:13:53","modified_gmt":"2020-10-22T09:13:53","slug":"jean-michel-basquiat-and-music-2","status":"publish","type":"subject-imposed","link":"https:\/\/diploma2020.ecolecamondo.fr\/en\/sujet-impose\/clemence-picard\/jean-michel-basquiat-and-music-2\/","title":{"rendered":"Jean-Michel Basquiat and music"},"content":{"rendered":"
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Le commissariat pr\u00e9sente une tr\u00e8s grande vari\u00e9t\u00e9 d\u2019informations aussi riches que disparates. Pour faciliter la lecture des diff\u00e9rents chapitres et int\u00e9grer au mieux la musique dans ce projet, nous avons pris le parti d\u2019une lecture fonctionnelle qui isole les espaces sonores des espaces d\u2019exposition.<\/p>\n <\/div>\n <\/div>\n<\/article>\n\n\n

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Parcours sc\u00e9nographique<\/strong>, chaque section de l\u2019exposition aura une identit\u00e9 musicale propre, con\u00e7ue en fonction du th\u00e8me trait\u00e9.<\/p>\n<\/figcaption>\n <\/article>\n\n\n

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Les sas musicaux confinent le visiteur dans des espaces plus restreints que les espaces d\u2019exposition beaucoup plus vastes et hauts de plafond.<\/p>\n <\/div>\n <\/div>\n<\/article>\n\n\n

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Chaque section se pr\u00e9sente selon un m\u00eame sch\u00e9ma un sas d’introduction et\u00a0un sas d’exposition.<\/p>\n<\/figcaption>\n <\/article>\n\n\n

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Tout au long de son parcours le visiteur oscille entre deux types d’espaces qui sont parall\u00e8lement<\/p>\n

a\u00e9r\u00e9s – confin\u00e9s<\/em><\/strong>,<\/em> bruts – color\u00e9s<\/em><\/strong>,<\/em> silencieux – sonores<\/em><\/strong><\/p>\n<\/figcaption>\n <\/article>\n\n\n

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Le jaune<\/strong><\/p>\n

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Basquiat utilisait de nombreux aplats de couleurs nets, vifs et criards. De cette fa\u00e7on la sc\u00e9nographie est ponctu\u00e9e de pr\u00e9ludes jaunes vifs qui contrastent avec le reste de la sc\u00e9nographie bien plus en retrait.<\/p>\n<\/div>\n<\/div>\n<\/div>\n

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Pr\u00e9sentation de la sc\u00e9nographie en suivant le parcours d\u2019un visiteur dans l\u2019exposition.<\/em><\/p>\n

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Ici, nous sommes dans le Hall d\u2019accueil, l\u00e0 o\u00f9 le visiteur d\u00e9marre la visite. Des informations sur Basquiat sont donn\u00e9es d\u00e8s le d\u00e9but de l\u2019exposition.\u00a0On aper\u00e7oit l\u2019entr\u00e9e du premier sas d\u2019introduction qui pr\u00e9c\u00e8de la premi\u00e8re section et appelle le visiteur \u00e0 entrer par la musique qu’il diffuse.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/figcaption>\n <\/article>\n\n\n

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“Je commence une image et je la termine. Je ne pense pas \u00e0 l’art quand je travaille, je pense \u00e0 la vie”. \r\n<\/p>\n <\/div>\n <\/div>\n<\/article>\n\n\n

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Ici, le premier sas qui introduit la section contexte. Une bande sonore est diffus\u00e9e en continue pour impr\u00e9gner le visiteur dans l’ambiance de l’espace d’exposition qui suit.<\/p>\n<\/figcaption>\n <\/article>\n\n\n

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Section contexte<\/strong><\/p>\n

Il est question d’immerger le visiteur dans une atmosph\u00e8re urbaine, qui \u00e9voque le New-York arpent\u00e9 par Basquiat \u00e0 l’\u00e9poque. On y trouve de nombreux dispositifs sonores qui \u00e9mettent les musiques des clubs fr\u00e9quent\u00e9s par l’artiste, ainsi que bon nombre de carnets de croquis, documents d’archives ou vid\u00e9os muettes.<\/p>\n<\/figcaption>\n <\/article>\n\n\n

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Section production<\/strong><\/p>\n

Basquiat avait un rapport au sol important puisqu’il peignait \u00e0 m\u00eame le sol, en marchant dessus. Il relevait sa toile, la reposait \u00e0 plat, prenait du recul…tout en \u00e9coutant de la musique. Dans le fond on peut apercevoir une photographie de lui allong\u00e9 sur sa toile. Juste \u00e0 c\u00f4t\u00e9 on retrouve l’oeuvre finale, et au sol une reproduction de certains d\u00e9tails. Le visiteur est ainsi plac\u00e9 au coeur du processus de cr\u00e9ation gr\u00e2ce \u00e0 une approche diff\u00e9rente par rapport \u00e0 la toile. Il peut “marcher” dessus, avoir acc\u00e8s \u00e0 des d\u00e9tails et des points de vues diff\u00e9rents, dont seul Basquiat pouvait profiter. Des dispositifs sonores renforcent l’immersion du visiteur en diffusant des musiques qu’il \u00e9coutait lorsqu’il peignait ses toiles.<\/p>\n

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Cette salle permet d’isoler le visiteur. L’id\u00e9e est de faire ressentir la musique autrement qu’en l’\u00e9coutant, avec les vibrations des basses. La salle est plong\u00e9e dans le noir pour faire ressortir les oeuvres.<\/p>\n<\/figcaption>\n <\/article>\n\n\n

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Section identit\u00e9 jazzmen<\/strong><\/p>\n

Ici, l’id\u00e9e \u00e9tait de recr\u00e9er l’esprit d’un atelier gr\u00e2ce \u00e0 une double peau de murs l\u00e9g\u00e8rement pench\u00e9s ainsi qu’un jeu de parois pli\u00e9es qui donnent l’illusion de tenir en \u00e9quilibre. Il est possible de consulter de nombreuses oeuvres et de visionner un reportage sur les jazzmen qui l’ont inspir\u00e9.<\/p>\n<\/figcaption>\n <\/article>\n\n\n

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Section identit\u00e9 griot<\/strong><\/p>\n

La visite se poursuit sur le th\u00e8me du griot, dans la continuit\u00e9 des jazzmen ce qui justifie une sc\u00e9nographie similaire. L’utilisation d’une peinture \u00e9paisse qui laisse volontairement les traces des rouleaux apparentes est un clin d’oeil direct au travail de l’artiste.<\/p>\n

L’utilisations d’une couleur “neutre” dans les espaces d’exposition permet de se placer l\u00e9g\u00e8rement en retrait pour mettre en valeur et accompagner au premier plan les oeuvres. On ne cherche pas \u00e0 cr\u00e9er un d\u00e9cor mais plut\u00f4t un support d’exposition qui facilite la lecture du commissariat.<\/p>\n<\/figcaption>\n <\/article>\n\n\n

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Fin de la visite,\u00a0<\/strong><\/em><\/p>\n

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On est ici face au dernier pr\u00e9lude qui guide le visiteur vers la derni\u00e8re section \u00abl\u2019apr\u00e8s Basquiat<\/em>\u00bb o\u00f9 seront pr\u00e9sent\u00e9s des documents qui \u00e9voque ce qu\u2019est devenu Jean-Michel Baquiat sur le march\u00e9 de l\u2019art contemporain actuel.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/figcaption>\n <\/article>\n","protected":false},"author":89,"template":"","class_list":["post-10131","subject-imposed","type-subject-imposed","status-publish","hentry","teachers_list_2-emmanuel-benet-en","teachers_list_2-evangelos-vasileiou-en"],"acf":[],"yoast_head":"\nJean-Michel Basquiat and music - Diploma Camondo \u00e9dition 2020<\/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:\/\/diploma2020.ecolecamondo.fr\/en\/sujet-impose\/clemence-picard\/jean-michel-basquiat-and-music-2\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Jean-Michel Basquiat and music - 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