{"id":5270,"date":"2025-11-07T15:51:56","date_gmt":"2025-11-07T14:51:56","guid":{"rendered":"https:\/\/phonomuseum.fr\/?p=5270"},"modified":"2025-11-10T00:58:50","modified_gmt":"2025-11-09T23:58:50","slug":"llesthetique-du-gramophone-selon-sascha-brosamer","status":"publish","type":"post","link":"https:\/\/phonomuseum.fr\/llesthetique-du-gramophone-selon-sascha-brosamer\/","title":{"rendered":"L’esth\u00e9tique du gramophone selon Sascha Brosamer"},"content":{"rendered":"

L’ESTH\u00c9TIQUE DU GRAMOPHONE SELON SASCHA BROSAMER.<\/em><\/span><\/strong><\/p>\n

Sascha Brosamer, artiste outre-Rhin, est un Ami du PHONO Museum Paris, de longue date. Il est venu \u00e0 Paris accomplir certaines de ses \u0153uvres artistiques. Sascha Brosamer travaille actuellement \u00e0 la mise au point d’un pigment noir sp\u00e9cifique, le \u00ab Shellac Record Black \u00bb<\/em>, cr\u00e9\u00e9 \u00e0 partir de disques en gomme-laque originaux de la collection Phonopassion, afin de r\u00e9aliser une s\u00e9rie de peintures in\u00e9dites, en utilisant ce pigment noir.<\/p>\n

La th\u00e9oricienne de la culture mat\u00e9rielle et sonore \u00c9lodie A. Roy<\/em> retranscrit les motivations profondes de l’Artiste.<\/p>\n

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L’esth\u00e9tique du gramophone selon Sascha Brosamer<\/strong><\/span><\/p>\n

 <\/p>\n

La fascination de Sascha Brosamer pour le gramophone a d\u00e9but\u00e9 il y a pr\u00e8s de vingt ans, alors qu’il \u00e9tait \u00e9tudiant \u00e0 l’Acad\u00e9mie des Beaux-Arts de Karlsruhe. Mais c’est bien des ann\u00e9es plus tard, \u00e0 Paris, que l’artiste a commenc\u00e9 \u00e0 saisir plus intens\u00e9ment le potentiel cr\u00e9atif de l’appareil, \u00e0 la fois comme vecteur sonore et visuel. C’\u00e9tait en 2017. Sascha Brosamer jouait sur un gramophone emprunt\u00e9 dans un appartement haussmannien d\u00e9sert\u00e9, dont les propri\u00e9taires \u00e9taient partis ou d\u00e9c\u00e9d\u00e9s. Cette premi\u00e8re performance (non document\u00e9e)<\/em> s’intitulait \u00ab Jacqueline et Pierre \u00bb.<\/em> D\u00e9j\u00e0, l’artiste se sentait attir\u00e9 par l’aura de pass\u00e9 qui \u00e9manait de l’appareil et par le pouvoir \u00e9vocateur du son, capable de faire surgir des temps et des lieux disparus (avant de dispara\u00eetre \u00e0 son tour).<\/em> Plus que tout autre m\u00e9dium, le son pouvait raconter une histoire sans en d\u00e9voiler l’intrigue\u00a0: il r\u00e9v\u00e9lait tout, tout en pr\u00e9servant le myst\u00e8re. Il pouvait faire appara\u00eetre des pi\u00e8ces enti\u00e8res ou faire dispara\u00eetre des murs. Il se souvenait autant qu’il effa\u00e7ait. \u00c0 partir de \u00ab\u00a0Jacqueline et Pierre\u00a0\u00bb<\/em>, les gramophones sont devenus un \u00e9l\u00e9ment incontournable des \u0153uvres de Sascha Brosamer (servant \u00e0 la fois de supports visuels et d\u2019instruments centraux dans les concerts).<\/em><\/p>\n

Bien que Sascha Brosamer ait per\u00e7u d\u00e8s le d\u00e9part la valeur du gramophone en tant qu’objet historique, et qu’il ait rapidement tiss\u00e9 des liens \u00e9troits avec des collectionneurs en Allemagne et \u00e0 l’\u00e9tranger, son travail d\u00e9passe la simple nostalgie. Les disques en gomme-laque et les appareils de lecture repr\u00e9sentent bien plus pour lui que de vieux artefacts prenant la poussi\u00e8re dans des pi\u00e8ces \u00e0 demi oubli\u00e9es (\u00e0 l’instar des aspidistras \u00e9voqu\u00e9es par George Orwell).<\/em> Il les per\u00e7oit plut\u00f4t comme des objets qui lui permettent de collecter, d’acc\u00e9der et de lib\u00e9rer l’esprit de notre \u00e9poque. Ils sont pleinement et intens\u00e9ment vivants, en permanence.<\/p>\n

Les gramophones de Sascha Brosamer sont autant de portes d’entr\u00e9e vers le flux (excessif) <\/em>de la temporalit\u00e9 elle-m\u00eame, dans sa dimension dynamique et ind\u00e9termin\u00e9e. Il est peut-\u00eatre logique qu’au fil des ans, il ait jou\u00e9 \u2013 et trimball\u00e9 \u00e0 travers le monde \u2013 d’innombrables gramophones portables. Ce qui le fascine, c’est l’esth\u00e9tique de la valise que repr\u00e9sente la phonographie\u00a0: press\u00e9 sur de la gomme-laque, le son peut \u00eatre transport\u00e9, et il transporte \u00e0 son tour les auditeurs. Son \u0153uvre a toujours t\u00e9moign\u00e9 d’une sensibilit\u00e9 particuli\u00e8re \u00e0 la dimension mondiale et nomade du son enregistr\u00e9 (y compris son histoire coloniale\u00a0: symbole de domination imp\u00e9riale autant que moyen d’\u00e9mancipation et de pouvoir). <\/em>Cette sensibilit\u00e9 s’exprime, par exemple, dans une installation de 2017 intitul\u00e9e \u00ab\u00a0La Polyphonie des ports coloniaux\u00a0\u00bb<\/em>, pr\u00e9sentant cinq gramophones-valises en \u00e9quilibre pr\u00e9caire sur des bo\u00eetes en verre contenant des plantes vivantes (une \u0153uvre propos\u00e9e dans un esprit de dialogue avec l’analyse critique de la phonographie mondiale propos\u00e9e par Michael Denning dans son ouvrage \u00ab\u00a0Noise Uprising\u00a0\u00bb, 2015).<\/em><\/p>\n<\/div>\n

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Au premier abord, avant m\u00eame qu’il n’actionne le levier, les gramophones de Brosamer apparaissent comme des ready-mades (dans la lign\u00e9e de Duchamp).<\/em> Pourtant, ce sont aussi des appareils sonores\u00a0: ils ne sont pas choisis pour leur attrait visuel, mais pour les strates de m\u00e9moire qu’ils rec\u00e8lent et qu’ils peuvent exprimer par le son. La d\u00e9marche de Sascha Brosamer est r\u00e9solument arch\u00e9ologique, voire phono-arch\u00e9ologique. Il cite les Th\u00e8ses sur la philosophie de l’histoire de Walter Benjamin (1940)<\/em> parmi ses influences.<\/p>\n

Selon ses propres termes\u00a0: \u00ab\u00a0Mon attrait pour la gomme-laque, et en particulier pour les pressages de la soci\u00e9t\u00e9 Art-Tune de Hong Kong, r\u00e9side dans leur double nature\u00a0: ce sont \u00e0 la fois des objets musicaux et des palimpsestes culturels, chaque disque faisant converger de multiples histoires, qui se transforment \u00e0 chaque \u00e9coute.\u00a0\u00bb<\/em><\/p>\n

Ainsi, Brosamer utilise-t-il les tourne-disques comme de d\u00e9licates et impr\u00e9visibles machines \u00e0 remonter le temps, nous permettant de remonter toujours plus loin dans le pass\u00e9. Une s\u00e9ance d’\u00e9coute se transforme rapidement en une sorte de spiritisme. En passant des disques de la premi\u00e8re moiti\u00e9 du XXe si\u00e8cle, l’artiste brouille \u00e9galement les fronti\u00e8res. L’\u00e9coute ne nous transporte pas comme par magie dans le pass\u00e9, et encore moins n’engage-t-elle un dialogue fluide avec les \u00e9v\u00e9nements historiques. Nous ne pouvons m\u00eame pas commencer \u00e0 saisir l’immensit\u00e9 du pass\u00e9. Nous prenons plut\u00f4t conscience de l’irr\u00e9versibilit\u00e9 de ce qui a \u00e9t\u00e9. Et pourtant, le pass\u00e9 ne dispara\u00eet pas. Il persiste, il vacille. Il cr\u00e9pite. Il se fige, impuissant. Qu\u2019entendons-nous ? O\u00f9 nous situons-nous ? O\u00f9 portons-nous notre attention ? O\u00f9 se porte notre regard ? Lorsque j\u2019\u00e9coute des disques 78 tours, je me surprends \u00e0 h\u00e9siter : je ne sais plus vraiment ce que j\u2019\u00e9coute, ce que je cherche \u00e0 entendre. Le monde entier se met \u00e0 trembler. Les fronti\u00e8res entre le monde int\u00e9rieur et le monde ext\u00e9rieur s\u2019estompent. D\u2019une certaine mani\u00e8re, j\u2019entends les \u00e9chos de mon propre \u00e9merveillement, de ma confusion, de mon propre sentiment de d\u00e9racinement. Je n\u2019entends pas le pass\u00e9 : j\u2019entends des vagues de pass\u00e9, certaines infimes, d\u2019autres monumentales, qui s\u2019\u00e9crasent sans cesse sur les rivages du pr\u00e9sent. J\u2019entends l\u2019ambigu\u00eft\u00e9, la r\u00e9p\u00e9titivit\u00e9, les cycles du temps et de la mort qui me submergent. L\u2019effet peut \u00eatre bouleversant, voire d\u00e9stabilisant, et il cr\u00e9e une \u00e9nergie brute et rare : les signaux acoustiques se transforment en pure \u00e9lectricit\u00e9.<\/p>\n

Ainsi, \u00e0 travers ses r\u00e9citals immersifs sur gramophone, Sascha Brosamer cr\u00e9e un espace d’\u00e9coute et de r\u00e9flexion, un lieu o\u00f9 se d\u00e9connecter temporairement de notre environnement imm\u00e9diat (afin de mieux percevoir notre situation actuelle sous un autre angle). <\/em>Son \u0153uvre r\u00e9v\u00e8le la vitalit\u00e9 excessive, presque hallucinatoire, et la post\u00e9rit\u00e9 des objets culturels. Ces derni\u00e8res ann\u00e9es, il a fusionn\u00e9 des technologies d’\u00e9coute archa\u00efques et hyper-contemporaines, combinant des disques d\u00e9coup\u00e9s \u00e0 la main, inspir\u00e9s par Christian Marclay, avec des performances participatives sur smartphone utilisant la technologie Grainfield de l’IRCAM pour cr\u00e9er des espaces d’\u00e9coute immersifs.<\/p>\n

Je crois qu’il s’int\u00e9resse autant au son enregistr\u00e9 qu’aux espaces non marqu\u00e9s et non enregistr\u00e9s (pourtant jamais silencieux)<\/em> entre les sillons \u2013 \u00e0 ces bruits al\u00e9atoires et parasites qui sont aussi des moments o\u00f9 la vie et le sens peuvent rena\u00eetre.<\/p>\n

Malgr\u00e9 leur immat\u00e9rialit\u00e9, les fant\u00f4mes ont besoin d’environnements physiques pour exister. Ils hantent les maisons, les objets du quotidien \u2013 les textures famili\u00e8res. Surtout, comme Derrida et Stiegler l’ont soulign\u00e9 lors de leurs \u00e9changes sur les spectres audiovisuels, ils sont d\u00e9pendants de la technologie, chaque nouvelle technologie engendrant des modes et des formes de hantise particuliers.<\/p>\n

Affirmer que Sascha Brosamer travaille avec les fant\u00f4mes signifie donc aussi que son \u0153uvre prend pour point de d\u00e9part \u2013 et reconna\u00eet \u2013 le substrat mat\u00e9riel du monde (dans la tradition ludique de Fluxus et de Joseph Beuys, l\u2019une de ses principales influences)<\/em>. L\u2019art de Sascha Brosamer int\u00e8gre la mati\u00e8re de l\u2019exp\u00e9rience quotidienne, le fragile socle commun de l\u2019histoire \u2013 ainsi que les tentatives de donner un sens \u00e0 cette histoire \u2013 avant qu\u2019elle ne se d\u00e9sagr\u00e8ge \u00e0 nouveau.<\/p>\n

Elodie A. Roy<\/p>\n

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Sascha Brosamer\u2019s Gramophone Aesthetics (Original Text)<\/em><\/strong><\/span><\/p>\n

 <\/p>\n

Sascha Brosamer\u2019s fascination with the gramophone began nearly two decades ago when he was a student at the Karlsruhe Academy of Fine Arts. But it is years later, in Paris, that the artist started grasping more acutely the machine\u2019s creative potentials \u2013 both as a sonic and visual vessel. The year was 2017. Brosamer played a borrowed gramophone in a deserted Haussmannian apartment whose owners had left, or passed away. This early (undocumented)<\/em> gramophone performance was called Jacqueline et Pierre<\/em>. Already the artist felt drawn to the device\u2019s aura of pastness \u2013 and to the evocative power of sound to conjure up vanished times and places (before vanishing in turn).<\/em> More than any other medium, sound could tell a story without giving any of the plot away \u2013 it revealed everything while keeping the mystery intact. It could conjure up entire rooms, or make walls disappear. It remembered as much as it erased. From Jacqueline et Pierre <\/em>onwards, gramophones became a fixture of Brosamer\u2019s works (both serving as visual prompts and as central instruments in concerts).<\/em><\/p>\n

Although Brosamer perceived from the start the gramophone\u2019s value as an historical object, soon forming very close acquaintances with collectors in Germany and beyond, his work goes beyond nostalgic attachment. Shellac records and playback devices are much more to him than retro artefacts quietly gathering dust in semi-forgotten rooms (like George Orwell\u2019s proverbial aspidistra plants).<\/em> Rather, he sees them as objects that may help him collect, and access\/liberate, the spirit of the present era. They are completely, vibrantly alive \u2013 at all times.<\/p>\n

Brosamer\u2019s gramophones act as gateways into the (over)flow of temporality itself \u2013 in its dynamic, indeterminate quality. Perhaps it is fitting that over the years he should have played \u2013 and lugged around the world \u2013 countless portable gramophones. What appeals to him is phonography\u2019s suitcase aesthetics: pressed onto shellac, sound can be transported, and it transports listeners in turn. His work has always showcased a particular sensitivity to the global, nomadic dimension of recorded sound (including its colonial history: as a symbol of imperial domination as well as a means of potential empowerment and emancipation)<\/em>. This sensitivity is expressed, for instance, in a 2017 installation entitled The Polyphony of the Colonial Ports<\/em>, showing five suitcase gramophones precariously perched onto glass boxes containing living plants (a work offered in a spirit of dialogue with Michael Denning\u2019s critical reading of global phonography in his book Noise Uprising, 2015).<\/em><\/p>\n

At first sight, and before he starts cranking the lever, Brosamer\u2019s gramophones exist as readymades (in the tradition of Duchamp).<\/em> Yet they are also sounding devices : they are not chosen for their visual appeal \u2013 but for the layers of memory they hold and may sonically express. Brosamer\u2019s approach is resolutely archaeological \u2013 or, perhaps, phono-archaeological. He cites Walter Benjamin\u2019s 1940 Theses on the Philosophy of History <\/em>as one of his influences.<\/p>\n

In his words, My attraction to shellac, particularly Hong Kong’s Art-Tune Company pressings, lies in their dual nature: they are both musical objects and cultural palimpsests [with] each record bring[ing] multiple histories into alignment, changing with each encounter.<\/p>\n

Accordingly, Brosamer uses record players as delicate, unpredictable time machines, as means of going further and further back in time. A gramophone listening session quickly becomes a s\u00e9ance with ghosts. As he plays records from the first half of the century, the artist also blurs boundaries. When we listen, we don\u2019t magically return to the past \u2013 let alone enter into a seamless conversation with historical events. We cannot even begin to measure the vastness of what has gone. Rather, we become aware of the irreversibility of what has been. And yet the past doesn\u2019t vanish. It lingers and it stutters. It crackles. It gets stuck \u2013 helplessly. What do we hear? Where do we place ourselves? Where do we direct our ears? Where does our focus lie ? When I listen to 78s records I suddenly hesitate: I\u2019m not sure anymore what it is I am listening \u2013 what I am listening for. The whole world begins to shake. Frontiers between the inner and the outer realms get blurred. In some ways, I hear reverberations of my own wonder, my confusion \u2013 my own sense of displacement. I\u2019m not hearing the past: I\u2019m hearing waves of pastness, some tiny, others monumental, endlessly crashing to the shores of the present. I\u2019m hearing ambiguity, repetitiveness, the cycles of time and death washing over me. The effect can be overwhelming or destabilizing \u2013 and it creates a rare, raw energy \u2013 acoustic signals become pure electricity.<\/p>\n

And so, with his immersive gramophone recitals, Brosamer creates room to listen, to reflect \u2013 a space to become temporarily estranged or de-tuned from our immediate environment (so as to better perceive our current situation, from another angle). <\/em>His work reveals the excessive, hallucinatory vitality \u2013 and afterlife \u2013 of cultural commodities. In recent years, he\u2019s brought together archaic and hyper-contemporary technologies of listening, combining \u201chandmade cut-up records inspired by Christian Marclay with participatory smartphone performances that use IRCAM\u2019s Grainfield technology to create immersive listening spaces.\u201d <\/em><\/p>\n

I believe he\u2019s as interested in recorded sound as he is in the unmarked and unrecorded (yet never silent)<\/em> spaces between the grooves \u2013 in the random, parasitic noises that are also moments where life and meaning may emerge anew.<\/p>\n

For all their immateriality, ghost need physical environments to exist. They dwell in houses, domestic objects \u2013 familiar textures. Importantly, as Derrida and Stiegler once noted in their conversations on audiovisual spectres, they are technology-dependent, with every new technology giving rise to particular modes and forms of haunting.<\/p>\n

To say that Brosamer works with ghosts therefore also means that his work begins with \u2013 and acknowledges \u2013 the material substrate of the world (in the playful tradition of Fluxus and Joseph Beuys, one of his key influences).<\/em> Brosamer\u2019s art incorporates the stuff of everyday experience, the fragile, common ground of history \u2013 as well as the attempts to make sense of that history \u2013 before it starts falling apart again.<\/p>\n

Elodie A. Roy<\/p>\n<\/div>\n

\u00a0<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

L’ESTH\u00c9TIQUE DU GRAMOPHONE SELON SASCHA BROSAMER. Sascha Brosamer, artiste outre-Rhin, est un Ami du PHONO Museum Paris, de longue date. Il est venu \u00e0 Paris accomplir certaines de ses \u0153uvres artistiques. Sascha Brosamer travaille actuellement \u00e0 la mise au point d’un pigment noir sp\u00e9cifique, le \u00ab Shellac Record Black \u00bb, cr\u00e9\u00e9 \u00e0 partir de disques […]<\/p>\n","protected":false},"author":4,"featured_media":5269,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[14],"tags":[],"class_list":["post-5270","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-blog"],"yoast_head":"\nL'esth\u00e9tique du gramophone selon Sascha Brosamer - PHONO Museum Paris<\/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:\/\/phonomuseum.fr\/llesthetique-du-gramophone-selon-sascha-brosamer\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"L'esth\u00e9tique du gramophone selon Sascha Brosamer - PHONO Museum Paris\" \/>\n<meta property=\"og:description\" content=\"L’ESTH\u00c9TIQUE DU GRAMOPHONE SELON SASCHA BROSAMER. 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