{"id":62357,"date":"2026-07-12T20:03:09","date_gmt":"2026-07-12T18:03:09","guid":{"rendered":"https:\/\/diploma.ecolecamondo.fr\/sujet-commun\/juliette-bernaert\/recuperer-transformer-reintegrer\/"},"modified":"2026-07-12T20:03:09","modified_gmt":"2026-07-12T18:03:09","slug":"seriousness-and-play-rigor-and-nonchalance-are-intimately-intertwined-in-a-work-of-art-walter-benjamin-1935","status":"publish","type":"project_type_1","link":"https:\/\/diploma.ecolecamondo.fr\/en\/sujet-commun\/juliette-bernaert\/seriousness-and-play-rigor-and-nonchalance-are-intimately-intertwined-in-a-work-of-art-walter-benjamin-1935\/","title":{"rendered":"\u201cSeriousness and Play, Rigor and Nonchalance are intimately intertwined in a work of art,\u201d Walter Benjamin, 1935"},"content":{"rendered":"\n

When this topic was proposed to me, I immediately wanted to move beyond the collective imagination associated with heritage, which is often perceived as monumental, precious, or exceptional. I then became interested in a more mundane form of heritage\u2014the kind found in our homes and attics. My project aims to extend the heritage value of these objects through a three-step process: recovery, transformation, and reintegration.
Unlike traditional heritage preservation, which seeks to repair and conserve the original object, I choose to conceal it beneath a layer of black papier-m\u00e2ch\u00e9. This color evokes the duality of the project: both mourning and nostalgia, disappearance and preservation.<\/p><\/div><\/div><\/article>\n\n

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\u00c9TAPE 1 : R\u00e9cup\u00e9rer <\/p><\/div><\/div><\/article>\n\n

Je demande \u00e0 des personnes de me confier ces objets porteurs d\u2019\u00e9motions par le biais des r\u00e9seaux sociaux et du bouche-\u00e0-oreille.
Je r\u00e9cup\u00e9re chaque objet, un \u00e0 un, chez leurs propri\u00e9taires, avant de les r\u00e9unir et de les d\u00e9poser \u00e0 l\u2019atelier.<\/p><\/div><\/div><\/article>\n\n

Ce d\u00e9placement marque une premi\u00e8re \u00e9tape du protocole :
l\u2019objet quitte le grenier.
Pour celles et ceux qui se demanderaient pourquoi je n\u2019ai pas utilis\u00e9 des objets m\u2019appartenant, ce choix n\u2019est pas anodin.
Comme je le partage dans mon m\u00e9moire, je vis avec une amn\u00e9sie qui entrave l\u2019acc\u00e8s \u00e0 mes propres souvenirs, anciens ou r\u00e9cents.<\/p><\/div><\/div><\/article>\n\n

Il m\u2019\u00e9tait difficile de m\u2019imaginer travailler \u00e0 partir de ma propre m\u00e9moire. Ce sont donc les m\u00e9moires de proches ou d\u2019inconnus, constitu\u00e9es de r\u00e9cits et d\u2019attachements r\u00e9els, qui viennent justifier la valeur patrimoniale de l\u2019objet.<\/p><\/div><\/div><\/article>\n

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\u00c9TAPE 2 : TRANSFORMER<\/p><\/div><\/div><\/article>\n

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\u00ab Une \u00e9quipe d\u2019arch\u00e9ologues \u00e9tudie une colossale t\u00eate olm\u00e8que en pierre \u00bb, la Venta au Mexique, 1947, \u00a9 Richard Hewitt Stewart \/ NATIONAL GEOGRAPHIC\n<\/figcaption>\n <\/article>\n\n\n\n

J\u2019op\u00e8re la transformation en ensevelissant les objets sous une enveloppe de papier m\u00e2ch\u00e9, un mat\u00e9riau pauvre, polyvalent et circulaire, qui pr\u00e9serve la forme de l\u2019objet sans la r\u00e9v\u00e9ler, comme une momification.
Ce choix affirme une dimension volontairement artisanale, presque primitive.<\/p><\/div><\/div><\/article>\n\n

Chaque objet est recouvert \u00e0 la main, couche apr\u00e8s couche, dans un rapport direct \u00e0 la mati\u00e8re, au temps et au geste.

Ensevelir : le mot est choisi.
D\u00e9finition du mot \u00ab ensevelir \u00bb par le CNRTL :
\u2014 envelopper un cadavre dans un linceul
\u2014 soustraire aux regards du monde
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Ce mot renvoie \u00e0 la fois \u00e0 la mort et \u00e0 la conservation, comme la terre conserve les vestiges arch\u00e9ologiques.
Cette enveloppe devient une projection d\u2019h\u00e9ritage :
une mani\u00e8re d\u2019imaginer la transmission de cet objet dans le temps.<\/p><\/div><\/div><\/article>\n\n

J\u2019utilise la couleur noire pour sceller la transformation :
couleur de la nostalgie, mais aussi du deuil accompli et du passage termin\u00e9.
C\u2019est un clin d\u2019\u0153il au pass\u00e9 comme \u00e0 l\u2019avenir.
Le noir contribue \u00e9galement \u00e0 installer cette atmosph\u00e8re de \u00ab myst\u00e8re \u00bb, propre \u00e0 la po\u00e9sie de mon projet.<\/p><\/div><\/div><\/article>\n\n

Ce choix fait aussi \u00e9cho au travail du designer n\u00e9erlandais Maarten Baas, n\u00e9 en 1978, et \u00e0 sa s\u00e9rie d\u2019objets br\u00fbl\u00e9s.
En br\u00fblant des ic\u00f4nes du design, Baas interroge notre rapport \u00e0 la beaut\u00e9, \u00e0 la perfection et \u00e0 la permanence des formes. <\/p><\/div><\/div><\/article>\n

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\u00ab Where There\u2019s Smoke \u00bb, Zig Zag Chair (Gerrit Rietveld), 2002, \u00a9 Maarten Baas\n<\/figcaption>\n <\/article>\n\n\n\n

Les objets sont carbonis\u00e9s, puis stabilis\u00e9s par une r\u00e9sine \u00e9poxy transparente qui leur permet de redevenir fonctionnels.
Dans mon cas, le noir produit un basculement similaire en transformant l\u2019objet sans annuler totalement sa pr\u00e9sence. L\u2019objet perd son apparence d\u2019origine, mais il retrouve une nouvelle valeur d\u2019usage et de transmission.<\/p><\/div><\/div><\/article>\n

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\u00c9TAPE 3 : R\u00c9INT\u00c9GRER <\/p><\/div><\/div><\/article>\n\n

La r\u00e9int\u00e9gration constitue la derni\u00e8re \u00e9tape du protocole.
Elle d\u00e9pend de l\u2019objet confi\u00e9 et de son potentiel, selon sa forme, son volume et sa r\u00e9sistance.
Je ne plaque pas un programme identique sur tous les objets, j\u2019observe ce qu\u2019ils peuvent devenir. <\/p><\/div><\/div><\/article>\n\n

Certains se transforment en assises, d\u2019autres en luminaires ou encore en \u00e9l\u00e9ments sculpturaux.
La collection se compose alors d\u2019un ensemble de pi\u00e8ces uniques devenant des objets de design \u00e0 part enti\u00e8re, capables d\u2019exister dans un int\u00e9rieur, d\u2019\u00eatre regard\u00e9s, utilis\u00e9s, transmis.<\/p><\/div><\/div><\/article>\n\n

J\u2019incorpore \u00e0 chaque objet transform\u00e9 un label, inspir\u00e9 d\u2019un v\u00e9ritable label patrimonial, afin de valoriser son origine et de conserver une trace de ce qu\u2019il a \u00e9t\u00e9.
Je vous invite \u00e0 d\u00e9couvrir, dans le catalogue de la collection, le patrimoine de ces objets, ce qu\u2019ils ont \u00e9t\u00e9 et ce qu\u2019ils sont devenus.<\/p><\/div><\/div><\/article>\n

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\u00ab Label site patrimonial remarquable \u00bb, 2017, \u00a9 Chantal Grossen\n<\/figcaption>\n <\/article>\n\n\n
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Unlike traditional heritage preservation, which seeks to repair and conserve the original object, I choose to conceal it beneath a layer of black papier-m\u00e2ch\u00e9. This color evokes the duality of the project: both mourning and nostalgia, disappearance and preservation.","_metafield_image_toggle":false,"_metafield_image_legend":"","_metafield_gallery":[48034,48024,48004,47923,47922,47983,47980,47988,47987,47981],"_metafield_students":[999]},"teachers_list_2":[87],"class_list":["post-62357","project_type_1","type-project_type_1","status-publish","has-post-thumbnail","hentry","teachers_list_2-lisa-dehove"],"acf":[],"_links":{"self":[{"href":"https:\/\/diploma.ecolecamondo.fr\/en\/wp-json\/wp\/v2\/project_type_1\/62357","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/diploma.ecolecamondo.fr\/en\/wp-json\/wp\/v2\/project_type_1"}],"about":[{"href":"https:\/\/diploma.ecolecamondo.fr\/en\/wp-json\/wp\/v2\/types\/project_type_1"}],"author":[{"embeddable":true,"href":"https:\/\/diploma.ecolecamondo.fr\/en\/wp-json\/wp\/v2\/users\/76"}],"version-history":[{"count":0,"href":"https:\/\/diploma.ecolecamondo.fr\/en\/wp-json\/wp\/v2\/project_type_1\/62357\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/diploma.ecolecamondo.fr\/en\/wp-json\/wp\/v2\/media\/62399"}],"wp:attachment":[{"href":"https:\/\/diploma.ecolecamondo.fr\/en\/wp-json\/wp\/v2\/media?parent=62357"}],"wp:term":[{"taxonomy":"teachers_list_2","embeddable":true,"href":"https:\/\/diploma.ecolecamondo.fr\/en\/wp-json\/wp\/v2\/teachers_list_2?post=62357"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}