{"id":6128,"date":"2014-12-25T00:00:01","date_gmt":"2014-12-24T23:00:01","guid":{"rendered":"http:\/\/comgraph.hear.fr\/?p=6128"},"modified":"2014-12-18T19:45:49","modified_gmt":"2014-12-18T18:45:49","slug":"le-graphisme-pour-qui-pourquoi","status":"publish","type":"post","link":"https:\/\/comgraph.hear.fr\/surkrut\/2014\/12\/le-graphisme-pour-qui-pourquoi\/","title":{"rendered":"Le graphisme.
Pour qui ? Pourquoi ?"},"content":{"rendered":"

\"IMG_6679\"<\/a><\/p>\n

Nous nous sommes tous assis, ce samedi midi, autour de la grande table de travail de l\u2019Atelier de cr\u00e9ation graphique, fond\u00e9 en 1990, apr\u00e8s la fin du collectif Grapus.\u00a0Pierre Bernard est revenu avec nous sur l\u2019histoire de son atelier et de ses diff\u00e9rentes collaborations au fil des ann\u00e9es. De ses d\u00e9buts au magazine Jeune Afrique <\/em>dont\u00a0il r\u00e9alisait la maquette jusqu’\u00e0 l\u2019identit\u00e9 visuelle du parc de la Villette, Pierre Bernard nous a pr\u00e9sent\u00e9 ses projets avec le recul n\u00e9cessaire et une fine analyse du m\u00e9tier de graphiste et son \u00e9volution.<\/p>\n

Dipl\u00f4m\u00e9 de l\u2019Ensad en tant que d\u00e9corateur sp\u00e9cialit\u00e9 art graphique, il voyage ensuite en Pologne o\u00f9 il est admiratif des affiches lib\u00e9r\u00e9es de la rigueur formelle constructiviste, et lib\u00e9ratrices par leur caract\u00e8re contestataire et po\u00e9tique. Ce langage qui s’est d\u00e9velopp\u00e9\u00a0en r\u00e9action \u00e0 la\u00a0censure et au\u00a0diktat de l\u2019esth\u00e9tique dominante, a nourri Pierre Bernard, notamment\u00a0gr\u00e2ce \u00e0\u00a0l\u2019enseignement de Henryk Tomaszewski et l\u2019\u00e9cole polonaise.<\/p>\n

Quelques ann\u00e9es apr\u00e8s, il participe activement au mouvement de mai 68 qu\u2019il consid\u00e8re comme un moment \u00ab magique \u00bb et \u00ab \u00e9blouissant \u00bb, et\u00a0rencontre G\u00e9rard Paris-Clavel et Fran\u00e7ois Miehe, bient\u00f4t collaborateurs du collectif Grapus. L\u2019utilit\u00e9 sociale du graphisme, toujours pr\u00e9sente dans son travail constituait le\u00a0fil directeur de\u00a0sa pr\u00e9sentation. Le souci de rendre l\u2019information et la culture accessibles \u00e0 toutes et \u00e0 tous se refl\u00e8te dans des projets comme l\u2019identit\u00e9 du parc de la Villette, du mus\u00e9e du Louvre ou encore des commandes pour des institutions publiques. D\u2019autres projets, comme la collaboration avec le Parti communiste ou le Secours populaire fran\u00e7ais, r\u00e9v\u00e8lent un besoin criant de s\u2019exprimer sur des causes sociales et politiques.<\/p>\n

Un brin nostalgique des ann\u00e9es o\u00f9 l\u2019engagement \u00e9tait plus ancr\u00e9 dans les consciences collectives, Pierre Bernard n\u2019est pas pour autant pessimiste quant \u00e0 l\u2019avenir du graphisme engag\u00e9. Bien que l\u2019Atelier de cr\u00e9ation graphique se soit cr\u00e9\u00e9 selon lui dans une p\u00e9riode r\u00e9gressive o\u00f9 l\u2019individualisme prenait le pas sur la conscience collective, Pierre Bernard voit \u00e9merger aujourd\u2019hui plusieurs collectifs\u00a0dont le travail fait \u00e9cho \u00e0 nos probl\u00e9matiques contemporaines.<\/p>\n","protected":false},"excerpt":{"rendered":"

Nous nous sommes tous assis, ce samedi midi, autour de la grande table de travail de l\u2019Atelier de cr\u00e9ation graphique, fond\u00e9 en 1990, apr\u00e8s la fin du collectif Grapus.\u00a0Pierre Bernard est revenu avec nous sur l\u2019histoire de son atelier et de ses diff\u00e9rentes collaborations au fil des ann\u00e9es. De ses d\u00e9buts au magazine Jeune Afrique […]<\/p>\n","protected":false},"author":66,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"spay_email":"","jetpack_publicize_message":"","jetpack_is_tweetstorm":false},"categories":[100,69],"tags":[423,82,420,422,421,90,200],"yoast_head":"\nLe graphisme. Pour qui ? 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