{"id":44987,"date":"2025-07-14T22:06:37","date_gmt":"2025-07-14T20:06:37","guid":{"rendered":"https:\/\/diploma.ecolecamondo.fr\/memoire\/baptiste-crovetto\/moi-aussi-je-peux-le-faire\/"},"modified":"2026-01-27T13:02:47","modified_gmt":"2026-01-27T12:02:47","slug":"moi-aussi-je-peux-le-faire","status":"publish","type":"dissertation","link":"https:\/\/diploma.ecolecamondo.fr\/en\/memoire\/baptiste-crovetto\/moi-aussi-je-peux-le-faire\/","title":{"rendered":"I can do that too"},"content":{"rendered":"
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\n<\/article>\n\n\n\n

Le “n’importe quoi”
dans l’art contemporain<\/p><\/div><\/div><\/article>\n\n\n\n

Face \u00e0 l\u2019\u00e9volution constante de la d\u00e9finition de l\u2019art ainsi que les pol\u00e9miques autour de l\u2019art contemporain, des questions \u00e9mergent : jusqu\u2019\u00e0 quel point peut-on consid\u00e9rer des \u0153uvres d\u2019art comme \u00ab n\u2019importe quoi \u00bb? Celui-ci existe-t-il r\u00e9ellement, et comment pouvons-nous le d\u00e9finir?<\/p><\/div><\/div><\/article>\n\n\n

\n
\n \n \"\"\n <\/a>\n <\/div>\n
Aper\u00e7u de la mise en page du m\u00e9moire<\/em>\n<\/figcaption>\n <\/article>\n\n\n\n

“Ceux qui d\u00e9noncent le bazar de l\u2019art contemporain comme ceux qui l\u2019exposent ou le commercialisent utilisent tous la notion d\u2019art contemporain pour unifier cette disparit\u00e9 dont ils s\u2019indignent ou dont au contraire ils profitent.”<\/p>

Yves Michaud<\/span> – <\/span>Crit\u00e8res esth\u00e9tiques et jugement de go\u00fbt, Paris, A. Fayard-Pluriel, 2011.<\/span><\/p><\/div><\/div><\/div><\/article>\n\n\n

\n
\n \n \"\"\n <\/a>\n <\/div>\n <\/article>\n\n\n
\n
\n<\/article>\n\n\n\n

Projet mentionn\u00e9 “Excellent” par le jury.
<\/p><\/div><\/div><\/article>\n\n\n

\n
\n @baptiste.crovetto<\/a>\n <\/div>\n<\/article>\n","protected":false},"author":40,"featured_media":44988,"template":"","meta":{"_acf_changed":false,"_metafield_presentation":"It's absolutely ridiculous!
Too simple, meaningless or confronting taboo subjects, contemporary art now faces many criticisms. Could the reticence of audiences lie in a language barrier between visitors and artists. The aesthetic, conceptual or moral vocabulary of works also frequently operates outside the codes of art we are accustomed to. Misunderstandings are becoming more and more frequent, and the qualification of certain works as art is called into question. The changes in the definition of art over the centuries demonstrate that both art and what is not considered as such have evolved in parallel. How do you make the difference between masterpieces and \"the ridiculous\"?","_metafield_image_toggle":false,"_metafield_image_legend":"","_metafield_gallery":"[{\"id\":44988,\"title\":\"picasso56\",\"url\":\"https:\/\/diploma.ecolecamondo.fr\/content\/uploads\/2025\/07\/picasso56.webp\",\"thumbnail\":\"https:\/\/diploma.ecolecamondo.fr\/content\/uploads\/2025\/07\/picasso56-150x150.webp\"}]"},"keywords":[57,60,68],"teachers_list_1":[55],"class_list":["post-44987","dissertation","type-dissertation","status-publish","has-post-thumbnail","hentry","keywords-artistic-field","keywords-museum-design","keywords-research-approach","teachers_list_1-julien-verhaeghe-en"],"acf":[],"yoast_head":"\nI can do that too - Diploma Camondo<\/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:\/\/diploma.ecolecamondo.fr\/en\/memoire\/baptiste-crovetto\/moi-aussi-je-peux-le-faire\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"I can do that too - 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