{"id":9179,"date":"2020-10-07T15:28:43","date_gmt":"2020-10-07T13:28:43","guid":{"rendered":"https:\/\/vichy-encheres.com\/?p=9179"},"modified":"2023-11-07T10:29:56","modified_gmt":"2023-11-07T09:29:56","slug":"philippe-krumm-confluences-lyon","status":"publish","type":"post","link":"https:\/\/vichy-encheres.com\/en\/2020\/10\/07\/philippe-krumm-confluences-lyon\/","title":{"rendered":"Philippe Kr\u00fcmm rejoint le mus\u00e9e des Confluences de Lyon"},"content":{"rendered":"\n
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Toute l\u2019\u00e9quipe de Vichy Ench\u00e8res est fi\u00e8re de partager l\u2019annonce de la nomination de Philippe Kr\u00fcmm, expert en instruments de musique populaire, en tant que Conseiller de la programmation scientifique et culturelle du mus\u00e9e des Confluences de Lyon. L\u2019occasion de revenir sur la place des instruments de musique dans le monde et sur ce qu\u2019ils peuvent nous en dire. <\/p>\n<\/blockquote>\n\n\n\n

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\u201cC\u2019est avec les oreilles qu\u2019on ouvre les yeux\u201d<\/h1>\n\n\n\n
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\u00a9 Jacques-Henri Bayle<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Philippe Kr\u00fcmm<\/a> a int\u00e9gr\u00e9 le service du mus\u00e9e visant \u00e0 assurer l\u2019entourage des expositions par l\u2019organisation de rencontres autour d\u2019un objet, de conf\u00e9rences, de masterclass, ou encore de concerts. Comme l\u2019expert s\u2019amuse \u00e0 le dire : \u201cc\u2019est avec les oreilles qu\u2019on ouvre les yeux\u201d. Celui qui, d\u00e8s l\u2019\u00e2ge de 15 ans, est parti \u00e0 la rencontre des cultures du monde, consid\u00e8re \u201cla musique comme une porte d\u2019entr\u00e9e\u201d sur l\u2019inconnu. Bien que la plupart des radios nous laissent croire le contraire, les musiques sont infinies, les instruments \u00e9galement. Dans un grand nombre de civilisations, la musique est avant tout c\u00e9r\u00e9monielle et rythme la vie des individus, de la naissance \u00e0 la mort. La notion d\u2019artiste n\u2019existe pas. Les instruments t\u00e9moignent ainsi de la vie des gens. Ils racontent une histoire. Ce sont ces r\u00e9cits que Philippe Kr\u00fcmm, au sein du mus\u00e9e des Confluences<\/a>, entend d\u00e9voiler au public. En effet, le mus\u00e9e des Confluences <\/a>cherche \u00e0 pr\u00e9senter l\u2019Homme dans toute sa diversit\u00e9, en rassemblant des millions d\u2019objets, dont un grand nombre d\u2019instruments. <\/p>\n<\/div>\n<\/div>\n<\/div><\/div>\n\n\n\n

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L\u2019instrument comme t\u00e9moin d\u2019une culture<\/h1>\n\n\n\n
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Au cours de ses voyages, Philippe Kr\u00fcmm<\/a> s\u2019est attach\u00e9 \u00e0 rencontrer les musiciens et facteurs d\u2019instruments des lieux visit\u00e9s. C\u2019est de cette observation directe des pratiques musicales, des savoir-faire et des gens, que se fonde aujourd\u2019hui son expertise. Que ce soit pour le mus\u00e9e des Confluences<\/a>, ou pour Vichy Ench\u00e8res, son approche des instruments reste la m\u00eame. L\u2019instrument n\u2019est jamais per\u00e7u comme un objet d\u00e9tach\u00e9 de son histoire, mais toujours comme le t\u00e9moin d\u2019une culture et d\u2019un mode de vie. Ainsi, tout en constituant un \u00e9l\u00e9ment du patrimoine mat\u00e9riel d\u2019une communaut\u00e9, l\u2019instrument renvoie \u00e9galement \u00e0 son patrimoine culturel immat\u00e9riel. Observer un instrument de musique populaire, c\u2019est entrer en contact avec un peuple. <\/p>\n<\/div>\n\n\n\n

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Mus\u00e9e des Confluences de Lyon\n\u00a9 Arnaud Contreras<\/figcaption><\/figure>\n<\/div>\n<\/div>\n<\/div><\/div>\n\n\n\n
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Des objets peu repr\u00e9sent\u00e9s<\/h1>\n\n\n\n
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\"Vielle<\/a>
Vielle \u00e0 roue par OUVRARD <\/figcaption><\/figure>\n\n\n\n
\"Cornemuse<\/a>
Cornemuse par B\u00c9CHONNET<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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D\u00e8s lors, on ne saurait que vous encourager \u00e0 visiter le mus\u00e9e des Confluences<\/a>. En effet, peu de mus\u00e9es pr\u00e9sentent ce type de collections, mis \u00e0 part quelques exceptions telles que le MuPop<\/a> (mus\u00e9e des Musiques Populaires de Montlu\u00e7on). Toutefois, Philippe Kr\u00fcmm<\/a> rappelle que l\u2019approche des objets reste diff\u00e9rente en mus\u00e9e, puisqu’ils sont plac\u00e9s sous vitrine et non jou\u00e9s. Dans le priv\u00e9, il d\u00e9plore \u00e9galement que la plupart des collections restent dans l\u2019ombre, ou encore que les grandes boutiques, telles que celles d\u2019Alain Vian ou d\u2019Andr\u00e9 Bissonnet, aient successivement ferm\u00e9s. <\/p>\n<\/div>\n\n\n\n

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Il se r\u00e9jouit enfin que circulent, \u00e0 Vichy Ench\u00e8res, un grand nombre d\u2019instruments populaires, que l\u2019on peut approcher, voire essayer, lors des expositions :\u00a0
\u201cCela permet \u00e0 des passionn\u00e9s d\u2019en voir, car ils sont souvent cach\u00e9s de tous. Vichy Ench\u00e8res offre \u00e9galement la possibilit\u00e9 d\u2019observer des instruments incroyables, fruits des fantasmes des plus grands luthiers, comme en t\u00e9moignent la vielle \u00e0 roue d\u2019Ouvrard ou la cornemuse de B\u00e9chonnet de la vente \u00e0 venir\u201d (Vente d\u2019instruments de musique \u00e0 vent et \u00e0 cordes pinc\u00e9es, 7 novembre 2020).<\/p>\n<\/div>\n<\/div>\n\n\n\n

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Merci au mus\u00e9e des Confluences de Lyon qui nous a permis d’utiliser ses photographies.<\/em><\/p>\n\n\n\n

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PHILIPPE KR\u00dcMM JOINS THE MUSEE DES CONFLUENCES IN LYON<\/h1>\n\n\n\n
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The entire Vichy Ench\u00e8res team is thrilled to share the announcement of the appointment of Philippe Kr\u00fcmm, the expert in popular musical instruments, as Advisor for the scientific and cultural programming at the Mus\u00e9e des Confluences in Lyon. This is an opportunity to examine the place occupied by musical instruments in the world and what they tell us about it.<\/em><\/p>\n<\/blockquote>\n\n\n\n

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\u201cIt is with the ears that we open our eyes\u201d<\/h1>\n\n\n\n
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\u00a9 Jacques-Henri Bayle<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Philippe Kr\u00fcmm<\/a> has joined the museum’s department in charge of organizing meetings, conferences, masterclasses as well as concerts in connection with particular exhibitions. To quote the expert himself: \u201cit is with the ears that we open our eyes\u201d. From the age of 15, he went in search of the various cultures of the world, and he considers \u201cmusic to be the gateway\u201d to the uncovering the secrets of civilizations. Although most radios would have us believe otherwise, music is endless, and so are instruments. In many civilizations, music is above all ceremonial and punctuates the life of individuals, from birth to death. The notion of artist does not exist. The instruments bear witness to the people’s lives. They tell a story. These are the stories that Philippe Kr\u00fcmm, through the mus\u00e9e des Confluences<\/a>, intends to reveal to the public. Indeed, the mus\u00e9e des Confluences <\/a>seeks to present human civilisation in all its diversity, by bringing together millions of objects, including a large number of musical instruments.<\/p>\n<\/div>\n<\/div>\n<\/div><\/div>\n\n\n\n

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The instrument as an expression of a culture<\/h1>\n\n\n\n
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During his travels, Philippe Kr\u00fcmm<\/a> met the musicians and instrument makers of the places he visited. It is his first-hand observation of musical practices, people and their skills that form the basis for his expertise today. Whether working for the le mus\u00e9e des Confluences<\/a>, , or for Vichy Ench\u00e8res, his approach to instruments remains the same. The instrument is never considered as an object detached from its history, but always as the expression of a culture and a way of life. Indeed, while instruments constitute tangible elements of a community\u2019s legacy, they also embody its intangible cultural elements. To study a popular musical instrument is to come into contact with its people.<\/p>\n<\/div>\n\n\n\n

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Mus\u00e9e des Confluences de Lyon\n\u00a9 Arnaud Contreras<\/figcaption><\/figure>\n<\/div>\n<\/div>\n<\/div><\/div>\n\n\n\n
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Underrepresented objects<\/h1>\n\n\n\n
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\"Vielle<\/a>
Vielle \u00e0 roue par OUVRARD <\/figcaption><\/figure>\n\n\n\n
\"Cornemuse<\/a>
Cornemuse par B\u00c9CHONNET<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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We would highly recommend a visit the mus\u00e9e des Confluences<\/a>. Indeed, few museums feature these types of collection, apart from a few exceptions such as the MuPop<\/a> (Museum of Popular Music of Montlu\u00e7on). Philippe Kr\u00fcmm<\/a> reminds us that the approach to objects in museums results in instruments being displayed behind glass and not played. He also notes that, unfortunately, in the private sector most of the collections remain hidden away, and that the large shops, such as those of Alain Vian or Andr\u00e9 Bissonnet, have closed one after the other. <\/p>\n<\/div>\n\n\n\n

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Finally, he is delighted that a large number of popular instruments are going through Vichy Ench\u00e8res, where they can be studied, and even tried out, during the viewing days:
\u201cThis allows enthusiasts to see them, as they are often hidden away from the public. Vichy Ench\u00e8res also provides the opportunity to study wonderful instruments, the fruit of the imagination of the greatest makers, as for instance the hurdy-gurdy by Ouvrard or the bagpipes by B\u00e9chonnet in the sale to come\u201d (Wind and plucked instruments sale, 7 November 2020).<\/p>\n<\/div>\n<\/div>\n\n\n\n

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Thanks to the Mus\u00e9e des Confluences in Lyon for permission to use its photographs.<\/em><\/p>\n\n\n\n

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\ud83d\ude80 Suivez-nous !<\/strong><\/h2>\n\n\n\n