{"id":10133,"date":"2020-07-09T18:32:13","date_gmt":"2020-07-09T16:32:13","guid":{"rendered":"https:\/\/diploma2020.ecolecamondo.fr\/sujet-impose\/jean-michel-basquiat-et-la-musique\/"},"modified":"2020-10-22T12:45:12","modified_gmt":"2020-10-22T10:45:12","slug":"jean-michel-basquiat-and-music-120","status":"publish","type":"subject-imposed","link":"https:\/\/diploma2020.ecolecamondo.fr\/en\/sujet-impose\/marine-mathieu\/jean-michel-basquiat-and-music-120\/","title":{"rendered":"Jean-Michel Basquiat and music"},"content":{"rendered":"
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La sc\u00e9nographie s’organise de la fa\u00e7on suivante: le contexte, la production, l’identit\u00e9 et l’apr\u00e8s Basquiat.\r\n\r\n<\/p>\n <\/div>\n <\/div>\n<\/article>\n\n\n

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Pour faciliter la lecture des diff\u00e9rents chapitres et int\u00e9grer au mieux la musique, une lecture fonctionnelle<\/strong> isole les espaces sonores<\/strong> des espaces d’exposition<\/strong>.
\nDe ce fait, des sas musicau<\/strong>x introduisent<\/strong> les sections<\/strong> en diffusant des bandes sonores en continu et cr\u00e9ent une transition<\/strong> entre chaque section.<\/p>\n

Le passage des ces sas est obligatoire pour poursuivre la visite.<\/p>\n<\/figcaption>\n <\/article>\n\n\n

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Un principe de dualit\u00e9: un sas – une section<\/p>\n <\/div>\n <\/div>\n<\/article>\n\n\n

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Une partie est compos\u00e9e de deux espaces diff\u00e9rents qui se r\u00e9pondent<\/strong> et agissent ensemble<\/strong>.<\/p>\n

Tout au long de son parcours le visiteur oscille<\/strong> entre deux types d’espaces: l’un est confin\u00e9<\/strong> l’autre a\u00e9r\u00e9<\/strong>, color\u00e9<\/strong> et brut<\/strong>, sonore<\/strong> et silencieux<\/strong>.<\/p>\n

Les sas d\u2019introduction sont a l’image des pr\u00e9ludes musicaux<\/strong>; ils pr\u00e9c\u00e8dent<\/strong> et annoncent<\/strong> les sections.<\/p>\n<\/figcaption>\n <\/article>\n\n\n

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LA VISITE<\/p>\n <\/div>\n <\/div>\n<\/article>\n\n\n

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Le hall d’accueil<\/strong><\/p>\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.”<\/p>\n

Jean-Michel BASQUIAT<\/p>\n<\/figcaption>\n <\/article>\n\n\n

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

Immerger<\/strong> le visiteur dans une atmosph\u00e8re urbaine<\/strong> qui \u00e9voque le NY arpent\u00e9 par Basquiat. Cet espace permet au visiteur de d\u00e9ambuler librement<\/strong>. On y trouve de nombreux dispositifs sonores<\/strong> qui \u00e9mettent de la musique des clubs de l’\u00e9poque, des carnets de croquis, documents d’archive ou vid\u00e9os muettes, le tout baign\u00e9 dans une atmosph\u00e8re sonore urbaine<\/strong>.<\/p>\n<\/figcaption>\n <\/article>\n\n\n

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Je n’\u00e9coute pas les critiques d’art, je ne connais personne qui a besoin d’un critique pour trouver ce qu’est l’art.”<\/p>\n

Jean-Michel BASQUIAT<\/p>\n<\/figcaption>\n <\/article>\n\n\n

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

Dans cette section, le processus de cr\u00e9ation<\/strong> de Basquiat est mis en avant.<\/p>\n

L’artiste avait un rapport au sol<\/strong> important, il peignait \u00e0 m\u00eame le sol, marchait sur ses toiles, il passait du mur au sol, prenait du recul…<\/p>\n

Le visiteur se voit propos\u00e9 une approche diff\u00e9rente de la toile<\/strong>. Il lui est propos\u00e9 en quelque sorte de pouvoir marcher dessus, gr\u00e2ce \u00e0 une reproduction afin d’avoir acc\u00e8s \u00e0 des d\u00e9tails<\/strong> et des points de vue<\/strong> diff\u00e9rents dont seul Jean-Michel Basquiat pouvait profiter.<\/p>\n<\/figcaption>\n <\/article>\n\n\n\n \n\n\n\n\n

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“Croyez le ou pas, je peux effectivement dessiner”.<\/p>\n

Jean-Michel BASQUIAT<\/p>\n<\/figcaption>\n <\/article>\n\n\n

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L’identit\u00e9<\/strong><\/p>\n

Les jazzmen<\/em><\/p>\n

L’esprit d’atelier<\/strong> est recr\u00e9e en cr\u00e9ant une double peau<\/strong> de murs l\u00e9g\u00e8rement inclin\u00e9s<\/strong> ainsi qu’un jeu de parois pli\u00e9es<\/strong> qui donnent l’illusion de tenir en \u00e9quilibre. Ces parois accueillent des \u0153uvres mais aussi un \u00e9cran donnant la possibilit\u00e9 de visionner un reportage sur ces figures qui ont inspir\u00e9es l’artiste.<\/p>\n<\/figcaption>\n <\/article>\n\n\n

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L’identit\u00e9<\/strong><\/p>\n

La figure du Griot<\/em><\/p>\n

L’utilisation d’une peinture \u00e9paisse laissant volontairement des traces de rouleaux est un rappel au travail de l’artiste.<\/p>\n

 <\/p>\n<\/figcaption>\n <\/article>\n\n\n

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Gr\u00e2ce \u00e0 une couleur relativement neutre, ces espaces d’exposition se mettent l\u00e9g\u00e8rement en retrait de fa\u00e7on \u00e0 mettre en valeur et accompagner au premier plan les \u0153uvres. \r\nL’id\u00e9e n’est pas la cr\u00e9ation d’un d\u00e9cor mais un support d’exposition qui facilite la lecture des \u0153uvres. <\/p>\n <\/div>\n <\/div>\n<\/article>\n","protected":false},"author":108,"template":"","class_list":["post-10133","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\/marine-mathieu\/jean-michel-basquiat-and-music-120\/\" \/>\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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