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Création artistique et patrimoine

Les relations entre création artistique et patrimoine culturel peuvent être de plusieurs types: L’exposition d’oeuvres (pré-)existantes dans des sites ou des monuments historiques, à l’image des expositions de Jeff Koons ou Takashi Murakami au Château de Versailles (avec leur cortège de polémiques); La création et l’exposition d’oeuvres réalisées in situ, à l’image, pour ne citer [...]

Les relations entre création artistique et patrimoine culturel peuvent être de plusieurs types:

L’exposition d’oeuvres (pré-)existantes dans des sites ou des monuments historiques, à l’image des expositions de Jeff Koons ou Takashi Murakami au Château de Versailles (avec leur cortège de polémiques);

La création et l’exposition d’oeuvres réalisées in situ, à l’image, pour ne citer ici qu’un exemple, de la manifestation Château de Tokyo/Palais de Fontainebleau en 2006 qui vitle Palais de Tokyo, tout entier, se déplacer et s’installer au Château de Fontainebleau.

De nombreuses autres manifestations s’inscrivent dans cette même veine. Dans ce type, la relation entre art et patrimoine ne considère pas le patrimoine comme un simple support, mais demande aux artistes par leurs oeuvres de mettre en discussion (ou en résonance) un environnement spécifique. Exemples voisins géographiquement de la Suisse et du Valais: le Parcours d’art du Centre d’art contemporain de Lacoux dans l’Ain; la Chartreuse de Mélan en Haute-Savoie, etc. .

« La relation au patrimoine peut quelquefois confiner au passéisme ou à la nostalgie. L’introduction, apparemment paradoxale au sein du patrimoine, d’artistes pleinement engagés dans les problématiques actuelles est pourtant susceptible de retisser un lien vivant entre le  passé et notre époque contemporaine » (Dominique Puthod, Conseil général de Haute-Savoie)

L’idée qui est au coeur de notre projet de recherche est d’aller plus loin encore dans cette direction, si cela est possible, en considérant le patrimoine culturel et naturel de la commune de Leytron à la fois comme un processus dynamique, porté par des acteurs en chair et en os, en même temps qu’un matériau évolutif, comme le contenu d’une banque de données scripturales, visuelles et sonores, continuellement alimentée.

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Museology as Medium

Critical thinking-that is the ability to approach a subject or situation from a position of doubt and critic-has become essential within institutional and historical practices. A movement in museology has developed with a tendency towards a self-critical approach. This tendency can be characterized by its systematic questioning of long held and fundamental assumptions. Marked by [...]

Critical thinking-that is the ability to approach a subject or situation from a position of doubt and critic-has become essential within institutional and historical practices. A movement in museology has developed with a tendency towards a self-critical approach. This tendency can be characterized by its systematic questioning of long held and fundamental assumptions. Marked by a general push away from the understanding of knowledge and truth as objective and homogeneous, and towards an expansion and inclusion of subjective and heterogeneous perspectives; questions of power and agency became fundamental to a museum’s self-cretic.

This is a museology that looks to assume responsibility or at least publicly question and render transparent its role in the establishment of historical perspectives, power, and value through its practices of collection, display, conservation, mediation, education and research.

Critical theory within contemporary art has also found a vital role. In fact, critical thinking could be considered a contemporary artist’s most important skill or tool. Generally speaking, a celebrated contemporary artist is revered for their ability to question, analyze, deconstruct and “problematize” within and through their artistic practice. It is not necessarily the artist’s masterful display of  material “know how” that determines a contemporary art work’s pertinence.

Instead, works of contemporary art are characterized by the medium and method properly chosen for the artwork in correlation to its critical message.  This “expanded field” of artistic medium, has cleared the way for innovation and interdisciplinary collaborations between artistic and museum practices.

Since the 1980’s, the artist Frank Wilson has developed a practice that is marked by his strength of critical discourse within the context of both contemporary art and museology. Most notably, Wilson’s exhibition Mining the Museum, (1991) at the Maryland Historical Society exemplifies the potential for display of an artistic research lead by critical theory.

Mining the Museum began with Wilson’s yearlong artistic residency working directly « in-situ » with the Maryland Historical Society’s museum collection. During this time, Wilson focused on  excavating the museum’s current exhibits and storage vaults. Looking to find a way of translating the subjective experience of his hands-on exploration of the objects which comprised the Historical Society’s collection into a broader discourse; Wilson subtly selected and redistributed different items he selected during his research as a newly curated exhibition in the entire third floor of the museum.

Mining the Museum (re)contextualized the Maryland Historical Society’s collection and display methods that were outdated and reflected a narrow perspective, which lacked a complete representation of the local history, specifically in terms of important civil rights and racial events.

In the detail “silver shackles,” is a single example of one of the many of Wilson’s artistic interventions within the museum space and collection. The silver serving set (objects of luxury and wealth) are placed next to a pair of slave shackles (excavated by Wilson from the museum collection’s storage) as a means of juxtaposing their similar and different qualities in order to tell a larger story about how the object relate. By (under)mining the museum’s collection, codes, history and language, Mining the Museum culminated in a significant presentation of a contextualized critical questioning.

Fred Wilson detail: "silver shackles" Fred Wilson from "Mining the Museum" 1991
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Artists on museums

Liste de références d’artistes ayant travaillé sur le thème du musée.

ULTIMAS-12 Andrea Fraser, Museum Highlights: A Gallery Talk, Philadelphia Museum of Art, Philadelphia 1989 boltanski Boltanski, Les Suisses Morts kabakov_1 Ilya Kabakov, "School no. 6"