Calenda - La critique d鈥檃rt et le mus茅e : dynamiques et enjeux d鈥檜ne relation au XXe si猫cle

<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="fr" lang="fr"> <head> <meta http-equiv="Content-type" content="text/html; charset=utf-8" /> <meta http-equiv="Content-language" content="" /> <link rel="shortcut icon" type="image/x-icon" href="favicon.ico" /> <title>Calenda - La critique d鈥檃rt et le mus茅e : dynamiques et enjeux d鈥檜ne relation au XXe si猫cle</title> <link rel="stylesheet" type="text/css" href="https://static-origin.openedition.org/openbarre_/styles/main.css?date=2018-11-06" /> <link rel="stylesheet" type="text/css" href="css/screen.css" media="screen, print" /> <link rel="stylesheet" type="text/css" href="css/print.css" media="print" /> <script type="text/javascript" src="js/jquery.js"></script> <script type="text/javascript" src="js/jquery-ui-1.8.17.custom.min.js"></script> <script type="text/javascript" src="js/jquery.form.js"></script> <script type="text/javascript" src="js/jquery.ui.datepicker-fr.js"></script> <script type="text/javascript" src="js/jquery.ui.datepicker-de.js"></script> <script type="text/javascript" src="js/jquery.ui.datepicker-en.js"></script> <script type="text/javascript" src="js/jquery.ui.datepicker-pt.js"></script> <script type="text/javascript" src="js/jquery.ui.datepicker-es.js"></script> <script type="text/javascript" src="js/jquery.sprintf.js"></script> <script type="text/javascript" src="js/calenda.js"></script> <script type="text/javascript" src="js/common.js"></script> <meta name="twitter:card" content="summary" /> <meta property="og:type" content="article" /> <meta name="twitter:site" content="@calendaSHS" /> <meta property="og:url" content="https://calenda.org/1186496" /> <meta property="og:title" content="La critique d鈥檃rt et le mus茅e : dynamiques et enjeux d鈥檜ne relation..." /> <meta property="og:description" content="L’université Rennes 2 organise au printemps 2025 une journée d’étude consacrée aux rapports entre la critique d’art et les musées. Elle a pour objectif d’explorer les différentes modalités des rela..." /> <meta property="og:image" content="https://calenda.org/images/favicon_150x150.png" /> <meta name="DC.rights" content="https://creativecommons.org/publicdomain/zero/1.0/" /> <meta name="viewport" content="width=device-width, initial-scale=1, shrink-to-fit=no"></head> <body> <div id="ob-breadcrumb" class="ob-breadcrumb-calenda"> <div class="container"> <a href="https://calenda.org">Accueil</a><a href=""><span>La critique d鈥檃rt et le mus茅e : dynamiques et enjeux d鈥檜ne relation au XXe si猫cle</span></a> </div> </div> <div id="wrapper"> <div id="content"> <script type="text/javascript" src="js/jquery.js"></script> <script type="text/javascript" src="js/jquery-ui-1.8.17.custom.min.js"></script> <script type="text/javascript" src="js/jquery.form.js"></script> <script type="text/javascript" src="js/jquery.ui.datepicker-fr.js"></script> <script type="text/javascript" src="js/jquery.ui.datepicker-de.js"></script> <script type="text/javascript" src="js/jquery.ui.datepicker-en.js"></script> <script type="text/javascript" src="js/jquery.ui.datepicker-pt.js"></script> <script type="text/javascript" src="js/jquery.ui.datepicker-es.js"></script> <script type="text/javascript" src="js/jquery.sprintf.js"></script> <script type="text/javascript" src="js/calenda.js"></script> <script type="text/javascript" src="js/common.js"></script> <div class="colwrapper"> <div id="icon" class="column"> <h2><a href="search?primary=ftype&ftype=40">Appel 脿 contribution</a><span><a href="search?primary=fsubject&fsubject=276">Repr茅sentations</a></span></h2> <div id="tabledates"> <h2>Dates</h2> <div class="list_dates"> <table> <tbody> <tr> <td class="unique_date"> <div class="day"><a href="search.html?primary=fdate&fyear=2024&fmonth=10&fday=23">23</a></div> <div class="month"><a href="search.html?primary=fdate&fyear=2024&fmonth=10">oct</a></div> <div class="year"><a href="search.html?primary=fdate&fyear=2024">2024</a></div> </td> </tr> </tbody> </table> </div> </div> <div id="listcategories"> <h2>Cat茅gories</h2> <ul> <li><a href="search?primary=fsubject&fsubject=277">Histoire culturelle</a></li> <li><a href="search?primary=fsubject&fsubject=278">Histoire de l'art</a></li> <li><a href="search?primary=fsubject&fsubject=319">XXe si猫cle</a></li> <li><a href="search?primary=fsubject&fsubject=279">Patrimoine</a></li> <li><a href="search?primary=fsubject&fsubject=281">Identit茅s culturelles</a></li> </ul> </div> </div> <div id="document" class="column"> <div id="main"> <div class="titles"> <h1 class="origt"><a href="1186496">La critique d鈥檃rt et le mus茅e : dynamiques et enjeux d鈥檜ne relation au XXe si猫cle</a></h1> </div> <div class="mapuce2">*  *  *</div> <p id="pubdate"> Publi茅 le mercredi 04 septembre 2024 </p> <div id="texte"> <div id="resume"> <p class="intitule">R茅sum茅</p> <div id="resume-1186496-fr" class="tabContent" lang="fr" xml:lang="fr"> <p style="text-align: left;">L’université Rennes 2 organise au printemps 2025 une journée d’étude consacrée aux rapports entre la critique d’art et les musées. Elle a pour objectif d’explorer les différentes modalités des relations de la critique d’art et des musées au XX<sup>e</sup> siècle. En analysant leurs domaines respectifs, leurs parcours et leurs circulations, nous chercherons à éclairer leurs actions conjointes, leurs oppositions et leurs effets réciproques. Bien que cette étude parte d’un point de focal ancré dans le monde occidental, toute proposition ouvrant vers d’autres aires géographiques sera la bienvenue. </p> </div> </div> <div id="annonce"> <p class="intitule">Annonce</p> <div id="annonce-1186496-fr" class="tabContent" lang="fr" xml:lang="fr"> <h1>Argumentaire</h1> <p style="text-align: left;">Le 18 mai 1968, à Paris, un groupe de critiques d’art manifestant se rassemble aux abords de l’avenue du Président Wilson, portant l’ambition d’occuper le Musée National d’Art Moderne. À la tête de cette foule, Pierre Restany (1968) élève sa voix, entonnant le discours d’une « autre Bastille bourgeoise à abattre : après la Sorbonne, le Musée national d’art moderne ». Les événements des années soixante cristallisent dans le monde occidental une crise de confiance du milieu intellectuel envers le musée et ses objets, déjà perceptible depuis les écrits de Pierre Bourdieu et Alain Darbel (1966). Les réflexions de l’époque sur les structures institutionnelles de l’art ébranlent profondément le fonctionnement du musée autant que celui de la critique d’art, en écho aux développements et à la remise en cause des conceptions traditionnelles de l’autonomie formelle de l’&oelig;uvre d’art.</p> <p style="text-align: left;">Malgré sa centralité, la relation entre critique d’art et musées est jusqu’à présent restée une question discrète des recherches universitaires et institutionnelles en histoire de l’art et en étude des musées. L’institution muséale et la critique d’art ont pourtant connu des développements concomitants depuis leurs origines et des liens évidents les relient. Si elle est définie comme un genre littéraire autonome par Albert Dresdner (1915), la critique d’art existe pourtant toujours au sein d’un contexte historique multidimensionnel. Elle participe à produire les conditions nécessaires de légitimation et de valorisation de la création artistique contemporaine et entretient des rapports étroits avec les pratiques de l’exposition, de la collection et de la patrimonialisation de l’art - activités traditionnellement prises en charge par les musées. À l’inverse, certains directeurs de musées, comme le français Jean Cassou et l’américain James Johnson Sweeney, venaient du domaine de l’écriture sur l’art et participaient autant aux activités de l’Association internationale des critiques d’art (AICA) que du Conseil International des Musées (ICOM). Les missions du musée et de la critique d’art ont également fait l’objet de désaccords idéologiques récurrents au sein des systèmes culturels occidentaux, mettant en lumière l’importance de leurs relations réciproques.</p> <p style="text-align: left;">Au cours de cette journée d’étude, notre objectif est d’explorer les différentes modalités des relations de la critique d’art et des musées au XXe siècle. En analysant leurs domaines respectifs, leurs parcours et leurs circulations, nous chercherons à éclairer leurs actions conjointes, leurs oppositions et leurs effets réciproques. Bien que cette étude parte d’un point de focal ancré dans le monde occidental, toute proposition ouvrant vers d’autres aires géographiques sera la bienvenue. Pour cela, nous proposons de nous intéresser à trois axes thématiques :</p> <h3>Circulations, croisements et transferts entre la critique d’art et le musée</h3> <ul> <li>Par quelles opérations de translation internationales ou transnationales les relations entre les réseaux critiques et institutionnels de l’art s’organisent-elles ? Quels en sont les dynamiques et les effets ? Quelle place les organismes culturels supranationaux tels que l’AICA et l’ICOM occupent-ils dans ces échanges ?</li> <li>Quels sont les impacts des circulations transnationales entre la critique d’art et le musée sur la possible réévaluation du modèle traditionnel de “centre” et de “périphérie” dans la géographie artistique ?</li> <li>Quels sont les impacts des tensions géopolitiques (guerres mondiales, Guerre froide, luttes postcoloniales, etc.) sur ces relations ?</li> </ul> <h3>Fonctions sociales de la critique d’art et du musée</h3> <ul> <li>Comment la critique d’art évolue-t-elle et s’implique-t-elle dans la transformation du musée, de son action culturelle ? En quoi participe-t-elle à la création du musée « forum » ou « laboratoire », à son déploiement dans l’espace public ?</li> <li>À l’inverse, quelles places les acteurs de musées choisissent-ils de prendre dans les espaces éditoriaux de la critique d’art ?</li> <li>En tant qu’acteurs de l’écriture de l’histoire de l’art qui lui est contemporain, quels récits la critique d’art et le musée produisent-ils ? En quoi sont-ils semblables ou particuliers ?</li> </ul> <h3>Formes, pratiques et enjeux des médias de la critique d’art et du musée</h3> <ul> <li>En quoi les médias privilégiés du musée (collections, expositions…) et de la critique d’art (revues d’art, préfaces et catalogues d’exposition…) se distinguent-ils ou se rapprochent-ils ?</li> <li>Quelles formes et pratiques autorisent-ils ? Quels en sont les effets médiatiques particuliers ?</li> <li>Quels rôles jouent les revues d’art en termes de traduction, de diffusion et de réception des nouvelles pratiques muséales ?</li> </ul> <h1>Participation</h1> <p style="text-align: left;">Les propositions de communication doivent inclure une présentation de 1500 caractères (espaces inclus), une bibliographie succincte et une biographie de l’auteur de 500 caractères. Veuillez les envoyer à l’adresse suivante : <strong>je.critiquemusee@gmail.com</strong></p> <h3>avant la date limite du 23 octobre 2024.</h3> <p style="text-align: left;">Les propositions seront examinées par le comité de scientifique et une réponse vous sera communiquée dans la semaine du 11 novembre.La journée d’études aura lieu au printemps 2025 (fin mars-courant avril) à l’Université Rennes 2.L’évènement sera retransmis en visioconférence.</p> <h1>Comité scientifique</h1> <ul> <li>Antje Kramer-Mallordy, maîtresse de conférences en histoire de l’art contemporain, EA 1279 : Histoire et critique des arts, Université Rennes 2.</li> <li>Marie Tchernia-Blanchard, maîtresse de conférences en histoire de l’art contemporain, EA 1279 : Histoire et critique des arts, Université Rennes 2, directrice des Archives de la critique d’art, (GIS) Université Rennes 2, INHA Paris, Rennes.</li> <li>Marie Gispert, professeure en histoire de l’art contemporain, UMR5190 : Laboratoire de Recherche Historique Rhône-Alpes (moderne et contemporaine), Université Grenoble Alpes. </li> <li>Nicolas Heimendinger, enseignant vacataire à l’Université Paris Cité, membre associé du laboratoire Art des images et art contemporain (AIAC), Université Paris 8 Vincennes Saint-Denis</li> </ul> <h1>Références bibliographiques</h1> <ul> <li>BOURDIEU, Pierre et Alain Darbel. <em>L’Amour de l’art : Les musées d’art européens et leur public</em>, Paris : Les éditions de minuits, coll. Le sens commun, 1966.</li> <li>DESVALLÉES, André et François Mairesse. <em>Concepts clés de muséologie</em>. Paris : Armand Colin, 2010. DRESDNER, Albert. Die Entstehung der Kunstkritik im, München : Bruckmann, 1915.</li> <li>FRANGNE, Pierre-Henry et Jean-Marc Poinsot, éd. <em>L’invention de la critique d’art : actes du colloque international tenu à l’Université Rennes 2 les 24 et 25 juin 1999</em>. Rennes : Presses universitaires de Rennes, 2002, p. 11.</li> <li>RESTANY, Pierre. “Une autre Bastille à abattre : le musée d’Art moderne”, <em>Combat</em>, samedi 18 et dimanche 19 mai 1968, p. 16</li> </ul> </div> </div> <div id="categories" class="cat"> <p class="intitule">Cat茅gories</p> <ul> <li><a href="search?primary=fsubject&fsubject=276">Repr茅sentations</a> (Cat茅gorie principale)</li> <li><a href="search?primary=fsubject&fsubject=259">Esprit et Langage</a> > <a href="search?primary=fsubject&fsubject=276">Repr茅sentations</a> > <a href="search?primary=fsubject&fsubject=277">Histoire culturelle</a></li> <li><a href="search?primary=fsubject&fsubject=259">Esprit et Langage</a> > <a href="search?primary=fsubject&fsubject=276">Repr茅sentations</a> > <a href="search?primary=fsubject&fsubject=278">Histoire de l'art</a></li> <li><a href="search?primary=fsubject&fsubject=302">P茅riodes</a> > <a href="search?primary=fsubject&fsubject=317">脡poque contemporaine</a> > <a href="search?primary=fsubject&fsubject=319">XXe si猫cle</a></li> <li><a href="search?primary=fsubject&fsubject=259">Esprit et Langage</a> > <a href="search?primary=fsubject&fsubject=276">Repr茅sentations</a> > <a href="search?primary=fsubject&fsubject=279">Patrimoine</a></li> <li><a href="search?primary=fsubject&fsubject=259">Esprit et Langage</a> > <a href="search?primary=fsubject&fsubject=276">Repr茅sentations</a> > <a href="search?primary=fsubject&fsubject=281">Identit茅s culturelles</a></li> </ul> </div> <div id="eventformats"> <h2 class="intitule">Format de l'茅v茅nement</h2> <p>脡v茅nement hybride sur site et en ligne</p><br></div> <div id="dates"> <p class="intitule">Dates</p> <ul> <li>mercredi 23 octobre 2024</li> </ul> </div> <div id="motscles"> <p class="intitule">Mots-cl茅s</p> <ul> <li>critique d'art, mus茅e, histoire de l'art, histoire culturelle, m茅dia, circulation, transfert</li> </ul> </div> <div id="contacts"> <p class="intitule">Contacts</p> <ul> <li>Truc Alice<br/><em>courriel :</em> je [dot] critiquemusee [at] gmail [dot] com<br/></li> <li>Ruault Pierre<br/><em>courriel :</em> je [dot] critiquemusee [at] gmail [dot] com<br/></li> </ul> </div> <div id="refurl"> <p class="intitule">URLS de r茅f茅rence</p> <ul> <li><a href="https://ed-all.doctorat-bretagne.fr/fr/actualites/appel-communications">Ecole doctorale Arts Lettres Langues (Bretagne)</a></li> </ul> </div> <div id="source"> <p class="intitule">Source de l'information</p> <ul> <li>Truc Alice<br/><em>courriel :</em> je [dot] critiquemusee [at] gmail [dot] com</li> </ul> </div> <div id="license"> <p class="intitule">Licence</p> <p><a rel="license" href="https://creativecommons.org/publicdomain/zero/1.0/"><img alt="CC0-1.0" class="cc" src="images/cc0-88x31.png" /></a> Cette annonce est mise 脿 disposition selon les termes de la <a rel="license" href="https://creativecommons.org/publicdomain/zero/1.0/">Creative Commons CC0 1.0 Universel</a>.</p> </div> <div id="citation"> <p class="intitule">Pour citer cette annonce</p> <p>芦 La critique d鈥檃rt et le mus茅e : dynamiques et enjeux d鈥檜ne relation au XXe si猫cle 禄, <span class="category">Appel 脿 contribution</span>, <em>Calenda</em>, Publi茅 le mercredi 04 septembre 2024, <a class="url" href="https://doi.org/10.58079/128u4">https://doi.org/10.58079/128u4</a></p> </div> </div> </div> </div> <div id="news" class="column last"> <div id="imprimable"> <a id="impression" onclick="javascript:window.open('1186496?formatage=print', '', 'menubar=yes,toolbar=no,scrollbars=yes,width=800,height=600');return false;" href="1186496?formatage=print">Imprimer</a> <a id="signaler" 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