Dissertations / Theses on the topic 'Centro Pompidou'

Tras analizar la construcción del proyecto en el movimiento moderno y su relación con la promesa arquitectónica en algunas obras de sus maestros, se realiza un estudio sistemático de la construcción de la Ópera de Sydney y del Centro Pompidou de París. De este análisis surge una constelación de circunstancias que motivan la transformación del proyecto arquitectónico durante su proceso constructivo. La existencia de puntos en común y el carácter estructural de algunos de ellos permiten sospechar una situación en la arquitectura -al menos de la segunda mitad del siglo XX- en la que se pueda cuestionar el proyecto entendido como anticipación fidedigna y completa de su realización. El proyecto recurre a la doble tarea de separar y agrupar tareas y conocimientos en los múltiples agentes que confluyen en obra. Su eficacia residirá en la medida en la que sepa preparar las condiciones para la convergencia de todos estos especialistas que concurren en una obra cada vez más compleja. En particular se hace indispensable la participación de la figura de un ingeniero comprometido con el proyecto y al que es capaz de incorporar la complejidad técnica de una forma no sólo compatible sino también activa en su definición. Desde el punto de vista del objeto arquitectónico, del continente, el proyecto entendido como un documento técnico congelado ya no es ni completo ni infalible.El proyecto adquiere otra condición que es la de moldear y formular determinadas hipótesis sobresu uso y su contenido. Se trata de propuestas pioneras en su formulación programática. El proyecto no se limita a organizar y asignar espacios a un programa, sino que en sí, también actúa sobre la organización del edificio. La dificultad que conlleva la determinación unilateral por parte del arquitecto del uso colectivo y social repercutirá en la evolución posterior de la obra. El contenido, por tanto, también se escabulle de las certezas del proyecto. Como fenómeno económico, ya los primeros modernos abandonaron la aspiración de taylorizar la construcción, apostando por una industria semi-prefabricada en la que la relación de la arquitectura con la construcción es de denegación: nace de ella y la necesita para violentarla o llevarla al límite.Se trata de un fenómeno económico de difícil predicción y que genera conflictos en la obra porque la industria de la construcción busca su rentabilidad en la optimización de las soluciones y acude al catálogo para resolver problemas conocidos. La flexibilidad de esta industria para abordar problemas nuevos es casi excepcional y está poco estimulada y así la obra difícilmente se inscribe en una economía de la prescripción, condicionada además por factores de beneficio y velocidad.En definitiva, el análisis comparativo de estos dos ejemplos muestra como, la progresiva complejidad tecnológica, la especialización -que cuenta con un protagonismo activo y renovado dela figura del ingeniero-, la implantación de nuevos programas, la dificultad de anticipar el fenómeno económico de la construcción y la variabilidad de los clientes son algunos de los vectores de incertidumbre que acompañaron el desarrollo de sus respectivos procesos de materialización, en un marco colectivo de la creación arquitectónica y en un contexto público de su trascendencia. Ante esta nueva situación que se genera a partir de la segunda mitad del siglo XX, la arquitectura y en definitiva los arquitectos, buscan nuevos respuestas. La ópera de Sydney y el Beaubourg de París anuncian caminos de distinto carácter. Ante esta realidad hemos podido adivinar algunos mecanismos al alcance del proyecto y del arquitecto en el estudio de los ejemplos de referencia. El proyecto se fragmenta, adopta geometrías deformables, adquiere un carácter estratégico, anima a la recuperación de espacios de colaboración transversales entre los distintos agentes y fundamentalmente entre arquitectos e ingenieros... Todo ello se hace imprescindible para la coherencia final del objeto arquitectónico. La arquitectura entendida como realidad ya no podrá ser sólo concebida. A partir de la segunda mitad del siglo XX deberá ser, además, construida, porque sólo así habrá sido capaz de transformarse, sortear o incorporar las dificultades y posibilidades que han surgido durante su proceso constructivo. El cómo haya sido capaz de atravesar ese tránsito será, al menos, igual de importante para el resultado final que el punto de partida. Si Le Corbusier afirmaba que "l'important c'est le choix", la pérdida de control del proyecto sobre el producto arquitectónico obliga a ampliar esa condición para una arquitectura posible.<br>After the analysis of the construction of the project by the moderns and its relation with the architectural promise in some of the works built by its masters, the thesis makes a sistematic study of the constuction of the Sydney Opera House and the Pompidou Centre in Paris. From this analysis, we emphasise a whole host of circumstances that give rise to the transformation of the architectural project during its building process. Nevertheless, the existence of points in common and the structural character of some of them allow us to suspect a situation in architecture¾at least in the second half of the 20th century¾in which we might question the project understood as a worthy and complete anticipation of its realisation. The project foregrounds the twin task of separating and grouping assignments and kinds of knowledge in the multiple agents who come together on the building site. Their effectiveness will reside in the extent to which it is known how to establish the right conditions for the convergence of all these specialists. The participation becomes indispensable of the figure of an engineer committed to the project and who is capable of incorporating in the latter the technical complexity of a form not only compatible with, but also active in, its definition. From the point of view of the architectural object, of the container, the project understood as a fixed technical document is no longer either complete or infallible. The project acquires another quality, which is that of shaping and formulating certain hypotheses on its use and its content.The project is not restricted to organising and assigning spaces to a programme but rather it also acts in itself on the organisation of the building. The difficulty that comes with the unilateral fixing on the part of the architect of the collective and social use of the building will have repercussions in its subsequent evolution. The content, then, slips away from the certainties of the project. As an economic phenomenon the first Moderns gave up on their aspiration to Taylorise building work, in backing a semi-prefabricated industry in which the relationship between architecture and building work is one of denial: it is born of it and needs it in order to subject it to violence or take it to the limit. Consequently, this is an economic phenomenon that is difficult to predict and which generates conflict on the building site because the construction industry is after cost-effectiveness in the optimisation of solutions and relies on the catalogue in order to resolve known problems. The flexibility of this industry is all but exceptional and is little encouraged. All this means that notwithstanding attempts at normative and dimensional unification, the building site is hardly inscribed in an economy of prescription.To sum up, comparative analysis of these two examples shows how progressive technological complexity, specialisation (which relies on the active and renewed role of the figure of the engineer), the implantation of new programmes, the difficulty of anticipating the economic phenomenon of the construction work and the variability of clients are some of the vectors of uncertainty which accompanied the evolution of their respective processes of materialisation, in a collective framework of architectural creation and in a governmental context of their importance. Faced with this new situation, which is generated during the second half of the 20th century, architecture and finally architects look for new responses. The Sydney Opera House and the Beaubourg in Paris announce paths of a different kind. In the presence of this reality we have been able to intuit some mechanisms within reach of the project and of the architect in the study of the reference materials. The project fragments, adopts deformable geometries, acquires a strategic quality and encourages the reclaiming of spaces of transversal collaboration between the different agents, chiefly between architects and engineers... All this turns out to be essential to the final coherence of the architectural object.The architecture as reality will no longer be able to be just conceived. From the second half of the 20th century onwards it will have to be, moreover, built, because only thus will it be capable of transforming itself, getting round or incorporating the difficulties and possibilities that have arisen during its building process. The reasons for it being capable of making that changeover will be at least as important for the final result as the point of departure. If Le Corbusier stated that "l'important c'est le choix," the loss of project control over the architectural product obliges that condition to be extended for a possible architecture.

Tras analizar la construcción del proyecto en el movimiento moderno y su relación con la promesa arquitectónica en algunas obras de sus maestros, se realiza un estudio sistemático de la construcción de la Ópera de Sydney y del Centro Pompidou de París. De este análisis surge una constelación de circunstancias que motivan la transformación del proyecto arquitectónico durante su proceso constructivo. La existencia de puntos en común y el carácter estructural de algunos de ellos permiten sospechar una situación en la arquitectura -al menos de la segunda mitad del siglo XX- en la que se pueda cuestionar el proyecto entendido como anticipación fidedigna y completa de su realización. El proyecto recurre a la doble tarea de separar y agrupar tareas y conocimientos en los múltiples agentes que confluyen en obra. Su eficacia residirá en la medida en la que sepa preparar las condiciones para la convergencia de todos estos especialistas que concurren en una obra cada vez más compleja. En particular se hace indispensable la participación de la figura de un ingeniero comprometido con el proyecto y al que es capaz de incorporar la complejidad técnica de una forma no sólo compatible sino también activa en su definición. Desde el punto de vista del objeto arquitectónico, del continente, el proyecto entendido como un documento técnico congelado ya no es ni completo ni infalible.<br/>El proyecto adquiere otra condición que es la de moldear y formular determinadas hipótesis sobre<br/>su uso y su contenido. Se trata de propuestas pioneras en su formulación programática. El proyecto no se limita a organizar y asignar espacios a un programa, sino que en sí, también actúa sobre la organización del edificio. La dificultad que conlleva la determinación unilateral por parte del arquitecto del uso colectivo y social repercutirá en la evolución posterior de la obra. El contenido, por tanto, también se escabulle de las certezas del proyecto. <br/>Como fenómeno económico, ya los primeros modernos abandonaron la aspiración de taylorizar la construcción, apostando por una industria semi-prefabricada en la que la relación de la arquitectura con la construcción es de denegación: nace de ella y la necesita para violentarla o llevarla al límite.<br/>Se trata de un fenómeno económico de difícil predicción y que genera conflictos en la obra porque la industria de la construcción busca su rentabilidad en la optimización de las soluciones y acude al catálogo para resolver problemas conocidos. La flexibilidad de esta industria para abordar problemas nuevos es casi excepcional y está poco estimulada y así la obra difícilmente se inscribe en una economía de la prescripción, condicionada además por factores de beneficio y velocidad.<br/>En definitiva, el análisis comparativo de estos dos ejemplos muestra como, la progresiva complejidad tecnológica, la especialización -que cuenta con un protagonismo activo y renovado de<br/>la figura del ingeniero-, la implantación de nuevos programas, la dificultad de anticipar el fenómeno económico de la construcción y la variabilidad de los clientes son algunos de los vectores de incertidumbre que acompañaron el desarrollo de sus respectivos procesos de materialización, en un marco colectivo de la creación arquitectónica y en un contexto público de su trascendencia. Ante esta nueva situación que se genera a partir de la segunda mitad del siglo XX, la arquitectura y en definitiva los arquitectos, buscan nuevos respuestas. La ópera de Sydney y el Beaubourg de París anuncian caminos de distinto carácter. <br/>Ante esta realidad hemos podido adivinar algunos mecanismos al alcance del proyecto y del arquitecto en el estudio de los ejemplos de referencia. El proyecto se fragmenta, adopta geometrías deformables, adquiere un carácter estratégico, anima a la recuperación de espacios de colaboración transversales entre los distintos agentes y fundamentalmente entre arquitectos e ingenieros... Todo ello se hace imprescindible para la coherencia final del objeto arquitectónico. <br/>La arquitectura entendida como realidad ya no podrá ser sólo concebida. A partir de la segunda mitad del siglo XX deberá ser, además, construida, porque sólo así habrá sido capaz de transformarse, sortear o incorporar las dificultades y posibilidades que han surgido durante su proceso constructivo. El cómo haya sido capaz de atravesar ese tránsito será, al menos, igual de importante para el resultado final que el punto de partida. Si Le Corbusier afirmaba que "l'important c'est le choix", la pérdida de control del proyecto sobre el producto arquitectónico obliga a ampliar esa condición para una arquitectura posible.<br>After the analysis of the construction of the project by the moderns and its relation with the architectural promise in some of the works built by its masters, the thesis makes a sistematic study of the constuction of the Sydney Opera House and the Pompidou Centre in Paris. From this analysis, we emphasise a whole host of circumstances that give rise to the transformation of the architectural project during its building process. Nevertheless, the existence of points in common and the structural character of some of them allow us to suspect a situation in architecture¾at least in the second half of the 20th century¾in which we might question the project understood as a worthy and complete anticipation of its realisation. The project foregrounds the twin task of separating and grouping assignments and kinds of knowledge in the multiple agents who come together on the building site. Their effectiveness will reside in the extent to which it is known how to establish the right conditions for the convergence of all these specialists. The participation becomes indispensable of the figure of an engineer committed to the project and who is capable of incorporating in the latter the technical complexity of a form not only compatible with, but also active in, its definition. From the point of view of the architectural object, of the container, the project understood as a fixed technical document is no longer either complete or infallible. <br/>The project acquires another quality, which is that of shaping and formulating certain hypotheses on its use and its content.<br/>The project is not restricted to organising and assigning spaces to a programme but rather it also acts in itself on the organisation of the building. The difficulty that comes with the unilateral fixing on the part of the architect of the collective and social use of the building will have repercussions in its subsequent evolution. The content, then, slips away from the certainties of the project. <br/>As an economic phenomenon the first Moderns gave up on their aspiration to Taylorise building work, in backing a semi-prefabricated industry in which the relationship between architecture and building work is one of denial: it is born of it and needs it in order to subject it to violence or take it to the limit. Consequently, this is an economic phenomenon that is difficult to predict and which generates conflict on the building site because the construction industry is after cost-effectiveness in the optimisation of solutions and relies on the catalogue in order to resolve known problems. The flexibility of this industry is all but exceptional and is little encouraged. All this means that notwithstanding attempts at normative and dimensional unification, the building site is hardly inscribed in an economy of prescription.<br/>To sum up, comparative analysis of these two examples shows how progressive technological complexity, specialisation (which relies on the active and renewed role of the figure of the engineer), the implantation of new programmes, the difficulty of anticipating the economic phenomenon of the construction work and the variability of clients are some of the vectors of uncertainty which accompanied the evolution of their respective processes of materialisation, in a collective framework of architectural creation and in a governmental context of their importance. <br/>Faced with this new situation, which is generated during the second half of the 20th century, architecture and finally architects look for new responses. The Sydney Opera House and the Beaubourg in Paris announce paths of a different kind. <br/>In the presence of this reality we have been able to intuit some mechanisms within reach of the project and of the architect in the study of the reference materials. The project fragments, adopts deformable geometries, acquires a strategic quality and encourages the reclaiming of spaces of transversal collaboration between the different agents, chiefly between architects and engineers... All this turns out to be essential to the final coherence of the architectural object.<br/>The architecture as reality will no longer be able to be just conceived. From the second half of the 20th century onwards it will have to be, moreover, built, because only thus will it be capable of transforming itself, getting round or incorporating the difficulties and possibilities that have arisen during its building process. The reasons for it being capable of making that changeover will be at least as important for the final result as the point of departure. If Le Corbusier stated that "l'important c'est le choix," the loss of project control over the architectural product obliges that condition to be extended for a possible architecture.

Made available in DSpace on 2016-04-27T19:31:02Z (GMT). No. of bitstreams: 1 Francis Marcio Alves Manzoni.pdf: 4650612 bytes, checksum: d280605200508f5454820784cdcdaacd (MD5) Previous issue date: 2015-02-27<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior<br>This thesis addresses some dimensions about the creation of the Sao Paulo Cultural Center, since it's idealization as the central library of the state capital, in the second half of the 1970, to a transformation of their original design to house a multidisciplinary cultural institution, opened in 1982 on land adjacent to the subway line, between Avenida 23 de Maio and Rua Vergueiro. Aims to highlight the importance of public spaces as places where culture converges part of relations between citizens and public administration, where they breed unrest within the city because of social inequality and cultural, color, gender and sexuality differences. In this work, the Cultural Center is considered in relation to the city that crosses and their influence on city life. This research sought to recognize the agents involved with the planning of the "new cultural institution", identifying their references and contributions, taking as its starting point the need to expand the Mário de Andrade Library, due to the overcrowding of books in his tower and insufficient space to meet readers and researchers at that institution. It was surveyed the socio-cultural landscape transformations of the city of Sao Paulo in the 1970s and 1980s, the emergence of demands of the population in relation to culture and leisure as well as the development of public policies for culture in this period. Focusing research on the concept of cultural center and its popularity since the late 1970s, this research seeks to contribute to reflection on the culture of public spaces as places of negotiation, of which participated managers related to municipal administration, artists, agencies culture and diverse publics, whose values, identities and interests influence the constitution and functioning of these institutions, much beyond the meanings of art-­&#8208; spectator<br>Esta tese aborda algumas dimensões do processo de criação do Centro Cultural São Paulo, desde a sua idealização como Biblioteca Central de São Paulo Vergueiro , na segunda metade dos anos 1970, até a sua transformação em Centro Cultural multidisciplinar, inaugurado em 1982. Tem por objetivo destacar a relevância dos espaços públicos de cultura na vida urbana, como lugares para onde converge parte das relações entre os cidadãos e a administração pública, onde se reproduzem as tensões vividas na cidade, em razão da desigualdade sócioeconômica, das diferenças culturais, de cor, gênero e sexualidade. Neste trabalho, o Centro Cultural é estudado em relação à cidade que o atravessa, ao mesmo tempo em que analisa a sua influência na vida da cidade. Foram analisados documentos produzidos pela administração municipal, como relatórios de planejamento da Biblioteca Central de São Paulo - Vergueiro e relatório de adaptação do edifício para seu funcionamento como Centro Cultural São Paulo; procuramos conhecer os agentes envolvidos no processo por meio de entrevistas de história oral e pesquisas em jornais e revistas que acompanharam de perto a construção e o funcionamento da instituição. Dentre os resultados, apresentamos um conjunto de referências e experiências de instituições culturais que fizeram parte da constituição do Centro Cultural São Paulo; estabelecemos relações entre as políticas culturais desenvolvidas na capital paulista e as transformações no perfil de sua população, entre 1975 e 1985, reconhecendo a emergência de demandas da população em relação à cultura e ao lazer; exploramos o significado e principais características vinculadas à ideia de Centro Cultural, ao mesmo tempo em que buscamos compreender o processo de criação do Centro Cultural São Paulo na administração dos prefeitos Olavo Setúbal (1975-1979) e Reynaldo de Barros (1979-1982), analisando as políticas culturais de seus respectivos secretários de cultura: Sábato Magaldi e Mário Chamie. Esta pesquisa procura contribuir para reflexão sobre os espaços públicos de cultura como lugares de negociação, dos quais participaram gestores ligados à administração municipal, artistas, órgãos de cultura e públicos diversos, cujos valores, identidades e interesses influenciam na constituição e no funcionamento dessas instituições, para além dos significados de arte espectador

Submitted by Lea Larsen Volay (larsenvolay@gmail.com) on 2014-01-06T13:16:46Z No. of bitstreams: 1 Thesis_MPGI_Lea Larsen Volay_pdf.pdf: 47135669 bytes, checksum: c1d884a10cdfa74721eb5a450ff02250 (MD5)<br>Approved for entry into archive by Luana Rodrigues (luana.rodrigues@fgv.br) on 2014-01-06T14:22:27Z (GMT) No. of bitstreams: 1 Thesis_MPGI_Lea Larsen Volay_pdf.pdf: 47135669 bytes, checksum: c1d884a10cdfa74721eb5a450ff02250 (MD5)<br>Made available in DSpace on 2014-01-06T15:05:25Z (GMT). No. of bitstreams: 1 Thesis_MPGI_Lea Larsen Volay_pdf.pdf: 47135669 bytes, checksum: c1d884a10cdfa74721eb5a450ff02250 (MD5) Previous issue date: 2013-12-05<br>The present research was conducted in the form of a multiple-case study of the two cultural institutions in the French and the Brazilian contexts. The Pompidou Center is a State-funded presidential museum project, with the mission to make modern art in all its expressions accessible to the wider public. The Sesc Pompeia is a multidisciplinary center for culture and sports financed by tax-money and managed by the Commerce Federation. The Sesc Pompeia is dedicated to the provision of informal education through the cultivation of the mind and the body. The study examines whether resource- and power-dependence theories can be used to conceptualize the relationship that the Pompidou Center & the Sesc Pompeia have with their financial stakeholders. More specifically it will be discussed to what extent the degree of power-dependence in the relationship influences the management strategy of the institution. The objective is to answer the question: what strategies do the institutions adopt to reduce their power-dependence on their main financial stakeholders? Finally some practical management implications will be drawn from the parallel between the strategies of the two institutions.<br>A presente pesquisa foi conduzida na forma de um estudo de caso de duas instituições culturais no contexto francês e brasileiro. O Centro Pompidou é um projeto presidencial de museu financiado pelo Estado, com a missão de tornar a arte moderna em todas as suas expressões acessíveis ao público em geral. O Sesc Pompeia é um centro multidisciplinar de cultura e esporte - financiado pelo dinheiro dos impostos e administrado pela Federação do Comércio. O Sesc Pompéia é dedicado à oferta de educação informal através do cultivo da mente e do corpo. O estudo examina se as teorias de dependência de recursos e de poder podem ser utilizadas para conceituar a relação que o Centro Pompidou e do Sesc Pompéia tem com seus stakeholders financeiros. Mais especificamente, será discutido em que medida o grau de dependência influencia a estratégia de gestão das instituições. O objetivo é de responder a pergunta seguinte: quais são as estratégias que as instituições adotam para reduzir sua dependência com relação a seus principais stakeholders financeiros? Finalmente algumas implicações práticas de gestão serão elaboradas a partir do paralelo entre as estratégias das duas instituições.

1- En primer lugar se ha elaborado sucintamente la perspectiva histórica del museo de arte moderno, es decir desde que nace la ayuda institucional al artista con la celebración de los Salones y la creación del primer museo de artistas vivos del mundo en el palacio Luxemburgo de París. 2- Posteriormente, nos centramos en el nacimiento del Museum of Modern Art de Nueva York, Moma, creado en 1929 con apenas 13 obras, el cual se convirtió en referencia obligada desde el punto de vista museológico para la creación de los futuros museos de arte moderno en el mundo durante casi seis décadas. Termina el trabajo con el modelo creado en los años setenta, la factoría beaubourg, el museo de la época postindustrial, y el museo postmoderno de los ochenta y sus repercusiones en la nueva museología. Si el Moma de Nueva York, creó una colección enciclopédica del arte del siglo XX, el Musée National d'art Moderne, consiguió implicar a la ciudadanía en el arte moderno. Tan importantes eran las colecciones que se mostraban en su interior como el flujo de visitantes y curiosos que se agolpan en el exterior. Finaliza con una aproximación a los Fonds Regionaux d'art Contemporain y el nacimiento de los Centros de Cultura Contemporánea.<br>1- In the first place, a historic perspective of the modern art museum has been concisely elaborated, that is to say, since institutional grants to artists are created with the celebration of the Halls and the creation of the first museum of living world artists at the Luxembourg Palace of Paris.2- Subsequently, we focus on the birth of the Museum of Modern Art in New York, MOMA, created in 1929 with only thirteen pieces of art. This museum became an obliged reference from a museological point of view for the creation of the future modern art museums all over the world for almost six decades. The work concludes with the model created in the 1960s, the factory "Beaubourg", the postindustrial period museum, and the postmodern museum of the 1880s and its repercussions in the new museology. If the MOMA in New York created an encyclopedic collection of the art of the 20th Century, the "Musée National d'art Moderne", achieved to involve the citizens with the modern art. The collections showed inside were as important as the flow of visitors and curious that crowded outside. It ends with approximation to the "Fonds Regionaux d'art Contemporain" and the birth of the Centres of Contemporary Culture.

L'obiettivo di questa tesi è proporre la traduzione di un testo per l'infanzia, Mon petit centre Pompidou, del quale non è stata ancora pubblicata una versione italiana. Il testo è una guida museale per bambini; l'autrice ha raccolto alcune delle opere che si trovano al centre Pompidou sotto forma di albo illustrato. Nell’elaborato, ci si propone di presentare qualche nozione di base sulla letteratura per l’infanzia e sulla sua traduzione, prima di passare direttamente alla proposta di traduzione vera e propria. A seguire un commento alla traduzione, in cui si esporranno le difficoltà incontrate e si darà spiegazione delle scelte effettuate. Le difficoltà principali della proposta di traduzione sono dovute allo specifico lettore target, per cui bisognerà adattare il testo di partenza in maniera da renderlo completamente fruibile e godibile per il bambino. A tal fine, sarà necessario operare certe modifiche al testo di partenza, simile ad una prosa poetica, per adattarlo alle particolarità fonetiche e espressive della lingua italiana.

Thesis (B.A.)--Boston University. University Professors Program Senior theses.<br>PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.<br>2031-01-02

Les marques muséales françaises s'exportent dans le monde par, notamment, la création de musées portant leurs noms. C'est le cas du Centre Pompidou à Málaga en Espagne. Cette recherche doctorale propose une réflexion sur, d’une part, la cause de cette mondialisation des marques de musées publics français et, d’autre part, à partir de l’étude du processus de création du Centre Pompidou Málaga, sur comment la diplomatie d’influence peut se révéler déterminante dans cette internationalisation<br>Le résumé en anglais n'a pas été communiqué par l'auteur

This dissertation traces the history of a diagram. The diagram shows four circles of gradually diminishing sizes, lodged one inside the other, like the layers of a circular or spherical body. For a group of artists, curators, architects, and activists centered around Moderna Museet in Stockholm between the mid-1960s and the mid-1970s, the diagram represented a new type of museum: a museological Information Center modeled on the computer, operating as a site for radically democratic social experiments. The four layers stood for different functions: information capture, processing, interface, storage; or, put differently: social spaces and media resources, workshop floors, exhibition facilities, collection. Through close readings of a series of exhibitions and institutional projects in Sweden, the US, and France, this dissertation follows the development of this diagram: its prehistory and formulation, its different implementations, and its direct and indirect effects. It studies Moderna Museet’s original, unrealized project for Kulturhuset in Stockholm, according to which the museum should project its dynamic energies across the city center, serving as a “catalyst for the active forces in society”. It discusses the museum’s confrontation with digital technologies in the late 1960s, through pioneering museological organizations such as the Museum Computer Network in New York. It analyzes the exhibition formats developed in correspondence with the notion of the museum as a “vast experimental laboratory” and a “broadcasting station”: the exhibition as critical information pattern, as tele-commune. And it studies the diagram’s afterlife as one of the models informing the Centre Pompidou in Paris, during that project’s early phases. The Exhibitionary Complex reads these endeavors and visions as attempts to devise a critical understanding of the exhibitionary apparatus in relation to new information environments and media systems. It sheds light on a largely forgotten aspect of the exhibitionary, museological, and cultural history of the late twentieth century, in Sweden and internationally. But it also seeks to establish new models for grasping the exhibition’s singularity and potentials as a cultural and media technological form, in relation to the emergence of new information networks, as they exert increasing control over social, cultural, and political existence.<br>Space, Power, Ideology

Cette these traite de la mediatisation de l'art a travers le cas des expositions inaugurales du centre g. Pompidou : paris-new york, paris-berlin, paris-moscou. Elle envisage d'abord l'entree de l'exposition dans l'ere des medias a travers l'examen de l'evolution du concept d'exposition jusqu'aux expositions inaugurales de beaubourg : exposition-ostentation, exposition-vente, exposition-forum, exposition + elargie ; des institutionspilotes que sont le moma de new york et le stedelijk museum d'amsterdam. Dans le cadre des sciences de l'information et de la communication, elle s'interroge sur les conditions auxquelles une exposition peut etre consideree comme une mediatisation de l'art. L'etude de la mise en place d'un dispositf mediatique est l'objet de notre deuxieme partie. Elle commence par l'analyse des elements favorables a l'institutionnalisation du type de mediation que constitue la culture dont les expositions inaugurales sont le manifeste. Elle degage ensuite les deux caracteres principaux du dispositif mediatique comme configuration combinant logique de l'offre, de l'usage, logique technique, logique sociale : le role joue par la programmation et le type de museographie en jeu dans les expositions inaugurales pour forger tant l'identite du centre georges pompidou que la competence du public. La mise en place d'un dispositif mediatique entraine une reorganisation des fonctions du musee autour de l'activite d'exposition : developpement de la fonction de recherche, reglage du dispositif sur le public, instauration d'une dialectique entre deux formes de territorialites, locale et circulatoire. Elle envisage pour finir l'exportation du modele beaubourg et son adaptation tant en france qu'a l'etranger, dans des institutions publiques ou privees.

Dans les dernières décennies du XXe siècle, les musées et centres d'art contemporain ont connu un grand dynamisme - redéfinition, expansion, modernisation - en réponse aux attentes de transformation des sociétés contemporaines. La pluridisciplinarité est considérée comme l'un des innovations les plus marquantes de cette évolution. Elle a contribué au renouveau du concept muséal et a participé à l'invention de véritables complexes culturels. Notre thèse vise à montrer l'émergence et la diffusion de la pluridisciplinarité dans la société au sens large, qui se retrouve dans les institutions culturelles, notamment, celles dédiées à l'art contemporain. L'étude du Centre Pompidou souligne que l'idée de la pluridisciplinarité est inscrite dans la conception, l'organisation et les programmes de cette institution. L'analyse de ses structure internes permet de voir comme le Centre a fédéré l'ensemble de ses départements, largement centrés sur eux-mêmes, et leur a donné cohérence et visibilité par la mise en oeuvre d'expositions pluridisciplinaires. De plus, la question de l'exportation, la transposition ou le rejet d'un modèle expérimenté par le Centre Pompidou est traitée à la lumière de l'expérience de la Tate Modem et du Centre Pompidou-Metz. La thèse apporte ainsi des éléments de réflexion sur la pérennité de l'idée de la pluridisciplinarité. Enfin, elle met en évidence que ces institutions, vouées à la promotion d'une démarche globale des disciplines artistiques, contribuent également à la diffusion de la pluridisciplinarité dans l'art, la culture et la société<br>In the last decades of the twentieth century, contemporary museums and art centers have been very dynamic : redefinition, expansion and modernization. They transform to meet the needs of contemporary societies. In this evolution multidisciplinarity is considered as one of the most significant innovation. It contributes to the renewal of the museum concept and participates in the invention of cultural complexes. Our thesis aims to elucidate the emergence and dissemination of multidisciplinarity in society, art and culture. More specifically, the study focuses on the organizational, professional and cultural implications of multidisciplinarity in contemporary art institutions. ln the light of the experience of the Pompidou Center, it takes into consideration structures and operations, changes and evolution and the management of cultural programs. The study of internal features and their impact on multidisciplinary exhibition shows how the Center has brought together all of its departrnents, naturally centered on themselves, giving them coherence and visibilitv Furthermore, the analysis of export, transposition or rejection of the Pompidou Center model is undertaken by examining the Tate Modem and the Pompidou Center-Metz, which raises the question of the sustainability of the idea of multidisciplinarity as a social value. Finally, the thesis shows that cultural institutions dedicated to a comprehensive approach of artistics disciplines tend to promo te a multidisciplinary approach to art and culture in society

Cette thèse comporte trois parties, à travers lesquelles apparaît l'ambition de ce grand centre culturel et artistique d'apporter l'art moderne et contemporain non pas seulement à une élite, mais bien à tous les publics. La première partie a pour objectif d'explorer la création et la mise en place du Centre Pompidou, du point de vue politique, historique, ainsi que du point de vue architectural, à la fois original et pensé en fonction d tous les visiteurs. Dès son ouverture en 1977, deux séries d'expositions géo-culturelles répondent au au désir du Président Georges Pompidou, grand amateur d'art moderne et contemporain, de remettre Paris à la place culturelle que la capitale occupait avant la deuxième guerre mondiale. Toutes ces expositions géo-culturelles faisaient de Paris un initiateur et un novateur en matière d'art. La deuxième partie s’attache à une analyse portant sur trois expositions thématiques, qui présentent une nouvelle étape dans le développement du Centre, par leur façon d'aborder un sujet précis, de l'accompagner d'une trame et de renouveler la scénographie qui joue maintenant avec l'espace, la luminosité, les confrontations, les rapprochements de couleurs et de formes, afin d'éveiller la sensibilité de chaque visiteur. Big Bang soulignant deux aspects antagonistes de l'art moderne, la destruction et la création, et apparaissant comme une initiation à l'art moderne et contemporain et à ses nouvelles normes ; l'exposition elles tissant les liens entre l'art et un problème de société ( la place des femmes dans l'art ) ; Danser sa vie montrant l'enrichissement que la chorégraphie peut apporter au musée et faisant découvrir au public comment la danse et l'art plastique et visuel ont pu s'influencer réciproquement. La troisième partie aborde le renouveau de la transmission culturelle, grâce à tous les outils d'accompagnement de chaque exposition, ainsi que grâce aux conférences, spectacles, projections cinématographiques et aussi aux ateliers pédagogiques qui permettent d'éveiller la sensibilité des jeunes et de former le public de demain<br>This thesis has three sections, in which we present the ambition of a great cultural and artistic center to bring modern and contemporary art not only to an elite, but to all audiences. In the first section, we examine the political, historical and architectural elements which show that the Pompidou Center was designed to be accessible to a broad range of visitors. Since its opening in 1977, two series of cultural geography exhibitions have responded to the wish of President Georges Pompidou, a great lover of modern and contemporary art, to restore Paris to its pre-World War Two status of world cultural capital. All these geo-cultural exhibitions contributed to Paris’s status as an initiator and innovator in the arts. The second part of our study consists of an analysis of three thematic exhibitions. These exhibitions mark a new stage in the development of the Cnter. They are concerned with a specific subject, include a narrative and feature renewed scenography that now plays with space, luminosity, confrontations, reconciliations of colors and forms, in order to awaken the sensitivity of each visitor. Big Bang highlights two antagonistic aspects of modern art, destruction and creation, and is presented as an introduction to modern and contemporary art with its new standards. Elles@centrepompidou draws links between art and a social issue of the day--the place of women in art. Dancing one’s life shows the enrichment that choreography can bring to the museum by enhancing the experience of visual arts. The third part of this study thanks to all the tools which accompany each exhibition, and the conferences, shows, cinematographic projections and the pedagogical workshops. These workshops aim to stimulate the sensitivity of young people and educate the public of tomorrow

La bibliotheque publique d'information du centre georges pompidou a ouvert ses portes enh 1977. Sa conception fut guidee par plusieurs grands principes: acces libre, ouverture a tous. Encyclopedisme, multimedia, consultation sur place. Les enquetes sociologiques presentees dans cette these cherchent a cerner les reponses des publics a cette proposition culturelle. Les enquetes precisent qui sont ces publics, quels sont leurs comportement, quelles sont leurs pratiques de lecture et les modalites de leurs appropriations des diverses ressources documentaires, considerees comme autant de biens symboliques. Ces enquetes et analyses montrent que les comportement des publics sont multiples et ne sont jamais qu'un simple decalque de ce que l'institution aurait voulu qu'ils soient. Toute appropriation d'une bibliotheque, comme toute lecture, est le lieu d'une negociation, donc d'un compromis entre des offres, diverses, et des publics, inegaux, dans leur savoir-faire comme dans leurs attentes.

A dissertação apresenta um estudo de Beaubourg, Centre d\'art et culture Georges Pompidou (1977), último filme dirigido por Roberto Rossellini. A produção registra o início das atividades da instituição cultural parisiense cuja concepção arquitetônica e conceitual é abordada no primeiro capítulo. Desse contexto, o estudo avança para uma análise detalhada que identifica a variação dos registros adotados pelo filme diante dos espaços e situações apresentados no museu. A mobilidade do ponto de vista se sobressai como uma das características do filme, o que leva, nos próximos capítulos, ao estudo do movimento e da mobilidade de câmera no cinema rosselliniano. Atenção especial é concedida à Viagem à Itália (1954) no segundo capítulo e O Renascimento (1973), no capítulo final. Também são tratados alguns conceitos empregados pelo diretor, como \"microscópio\". No desenvolvimento, observamos como a mobilidade do plano abandona o contato direto com a realidade para se dirigir a um passado histórico reconstituído na artificialidade dos cenários e da encenação. O zoom emerge como recurso de mobilização da visão que explora a informação histórica para extrair dela a abstração do pensamento e da ideia. A conclusão retoma, em tom mais livre e interpretativo, a discussão de Beaubourg.<br>Beaubourg, Centre d\'art et culture Georges Pompidou (1977), the last film directed by Roberto Rossellini, is the main subject of this master thesis. In the first chapter, I discuss the architectural and institutional concept of the Pompidou Centre. From this context, the study advances towards a detailed analysis of the filmitself, considering whole range of different strategies employed during the filming. Camera mobility is one of its major characteristics, which leads, in the following chapters, to a broader understanding of movement and point of view in relation to filmic image. This discussion is subsidized by a detailed and somewhat auteurist study of two sequences from Journey to Italy (1954), in Chapter 2, and The Age of the Medici (1973) in the final chapter. I also describe some of the director´s unique concepts, such as the \"microscope\" and elaborate on the relations between historical representation and Rossellini\'s employment of zoom and tracking shots. Aiming to encounter the essential image, the director found means of approaching the abstractness of ideas. In the conclusion, an interpretative analysis of Beaubourg is resumed taking into account themes developed in previous chapters.

La thèse analyse la formation des politiques publiques de la culture du point de vue des institutions culturelles en France depuis 1945. Le théâtre national populaire (TNP) et le centre Pompidou constituent les deux terrains empiriques de cette recherche. L'introduction pose les dimensions théoriques et méthodologiques qui expliquent le choix de partir de ces deux institutions culturelles pour analyser la place et le rôle des institutions culturelles dans une politique de la culture. Le premier livre comprend une enquête sur l'histoire de deux décisions, celle de la nomination de Jean Vilar au TNP par Jeanne Laurent et celle de Georges Pompidou de créer un centre d'art et de culture sur le plateau Beaubourg (première partie) et une étude de la genèse politique et artistique de ces deux institutions (deuxième partie). Le second livre s'intéresse aux modes de relation des institutions et de leur(s) public(s), en analysant d'une part l'invention des politiques de public, avec notamment l'élaboration du modèle de service public, l'invention du public comme catégorie d'action et celle de dispositifs de mise en relation (troisième partie) et, d'autre part, l'efficacité sociale et politique de ces mêmes politiques en procédant à une sociologie des usages (quatrième partie), en soulevant une discussion sur la réalisation de l'idéal de démocratisation de la culture telle qu'il fut mis en œuvre par le TNP puis par le centre Pompidou. La conclusion élargit cette interrogation à la question du lien entre relation avec le public et relation avec l'Etat : les institutions culturelles, instituées par le politique, forment des lieux privilégiés pour la mise en œuvre mais aussi la définition même des politiques publiques de la culture. Formes banales de l'intervention politique, elles contribuent puissamment aux politiques de la culture et participent au renouvellement des formes de pratiques culturelles et à la structuration d'espaces d'identifications collectives<br>The thesis analyses the formulation of French cultural policy since 1945 from the institutional viewpoint. The empirical work focuses on two cultural institutions : the Théâtre National Populaire (TNP) and the Centre Pompidou. The introduction formulates theoretical and methodological foudations and demonstrates the centrality of these two institutions in cultural policy. The first book is comprised of two parts. The first part focuses on the history of two decisions - Jean Vilar's nomination at the head of the TNP by Jeanne Laurent, and the decision to build the Center for Art and Culture (future Centre Pompidou) by Georges Pompidou. The second part studies in detail the political and artistic origins of these institutions. The second book places the emphasis on the different types of relations between the institutions and their publics. The third part focuses on the emergence of policies centered on the public, most notably the model of "public service", the invention of the audience as a category, and the creation of technologies defining the relationship between the institution and the public. In part four, a sociological analysis of cultural practices is used to evaluate the social and political impact of policies implemented by the TNP and the Centre Pompidou destined to promote a democratic access to culture. The Conclusion opens perspectives to study linkages between the public and the State trough an institutional prism. Created by a political initiative, these institutions represent privileged places to observe not only policy implementation but also policy formulation. The institutional dynamics of State intervention contribue powerfully to the definition of cultural policies, are at the forefront of the renewal of cultural practices and structure spaces of collective identity

La thèse s’intéresse aux expositions de design graphique, à la fois en tant qu’événements constitutifs de l’histoire de la discipline et en tant qu’espaces (scénographiques et discursifs) où se manifestent ses liens plus ou moins assumés avec la création artistique. Elle s’appuie sur un corpus de quatre cents expositions, organisées entre 1895 et 1995, au sein de trois institutions muséales : le Stedelijk Museum d’Amsterdam, fondé en 1895, le Museum of Modern Art (MoMA) de New York, créé en 1929 et le Musée national d’art moderne-Centre de création industrielle (Mnam/Cci), né en 1993 de la fusion de deux départements du Centre Pompidou. L’étude des archives de ces manifestations met au jour ce que furent les choix de programmation des musées (quels objets, quelles époques, quels graphistes mettent-elles en avant ?) ; mais aussi les différents statuts qui sont conférés aux objets imprimés, par la scénographie ou par les discours qui les environnent. La thèse révèle, notamment, la préférence des musées d’art moderne pour l’affiche, pour le graphisme « d’utilité publique » et pour le travail des « graphistes-auteurs ». À ce graphisme « de musée » sont appliqués des cadres interprétatifs qui le rapproche de la création artistique : assimilation du graphiste à un artiste, omission des circonstances de la commande, description des styles, recherche des influences… Les expositions de « communications visuelles » organisées par le CCI offrent un singulier contrepoint à ce modèle, dans la mesure où elles consacrent moins les « œuvres » du graphisme qu’elles ne s’interrogent sur leur contexte social de production et d’utilisation<br>This dissertation looks at graphic design exhibitions both as events that are part of the history of the discipline and as scenographic and academic forums for expressing, more or less consciously, its links with artistic creativity. It is based on the analysis of four hundred exhibitions, held between 1895 and 1995 at three modern art museums : the Stedelijk Museum in Amsterdam, founded in 1895, the MoMA in New York, inaugurated in 1929 and the Musée national d’art moderne-Centre de création industrielle (Mnam/Cci), created in 1993 after the fusion of two separate departments of the Centre Pompidou. The archives of these exhibitions highlights both the choices of programming (what objects, eras and graphic designers do they ?), and the various status confered to printed objects by scenography and surrounding texts and discourses. The dissertation reveals the preference of modern art museums for posters, for graphic design for the public domain, and for the work of ‘graphic designers-cum-authors’. This specific graphic design elected by museums is envisionned according to interpretative frames that likens it to artistic creation through the rapprochement between graphic designers and artists, the omission of circumstances pertaining to commissions, descriptions of styles, search for influences, etc. The ‘visual communication’ exhibitions organised by the CCI provide a striking contrast to this model in so far as they concentrated less on the actual ‘works’ of graphic design than on the social context of their production and use

L'histoire de l'art ne saurait se réduire à celle de quelques grands noms. De nombreux intervenants méconnus ont joué un rôle décisif dans la diffusion et la réception de la production artistique de leur époque. Parmi ces acteurs discrets, les deux photographes français Pierre Joly (1925-1992) et Véra Cardot (1920-2003), associés en 1959, ont accompagné, durant plus de trente ans, les œuvres d'environ cinq-cents architectes et artistes plasticiens contemporains. Acquis en 1997 par le Centre Pompidou, le fonds réunissant l'ensemble de leurs archives offre un témoignage exceptionnel sur l'art et l'architecture du XXe siècle. Cette thèse se propose d'étudier cet ensemble, en grande partie inédit, à travers une approche historique et poïétique, en mettant au jour moins un style qu'une méthode. Elle aborde l'itinéraire des deux photographes en le replaçant dans son contexte artistique, culturel et politique, puis met en évidence les principales caractéristiques de cette méthode (travail en duo, compagnonnage artistique, technique du reportage, stratégie du retrait, pratique séquentielle) par l'analyse détaillée du corpus. La portée critique et engagée de ces photographies est ensuite analysée, à travers l'étude de leur exploitation éditoriale, en particulier dans les publications consacrées au mouvement de l'« architecture-sculpture ». C'est finalement leurs photographies « abstraites et expérimentales » qui révèlent un aspect essentiel de la méthode : une utilisation autonome et personnelle du médium, située dès le départ entre l'art et le document. De simples archives, leurs photographies se font œuvres, d'allographe, le regard se fait autographe<br>Art history is not only the fact of famous artists, but largely relies on a lot of discrete actors who contribute to art diffusion and reception. Among them, the two french photographers Pierre Joly (1925-1992) and Véra Cardot (1920-2003), who associated themselves in 1959, have accompanied the work of more than five hundred architects and artists of the twentieth century. Far from being simple archives, their snapshots, acquired by the Centre Pompidou in 1997, offer a precious lighting as well as an unique contribution to the study of contemporary art. This dissertation studies the whole collection from a historical and poietical point of vue, and show that this work must be seen as the result of a method. Firstly, the cultural, artistic and political influences of this atypical duo are detailled, and the main characteristics of their method (collective work, friendship with artists, journalistic format, sequential work) are precised with the study of the corpus. Then, the critical potential of their work is evidenced by the study of the publications, particularly those talking about the artists related to the « architecture-sculpture » movement. Last but not least, the examination of the « experimental and abstract » part of the Fonds Cardot-Joly demonstrates the creative part of their work, oscillating from the beginning between art and document. Being initially seen as allographic, their look becomes autographic

Le musée contemporain ne se caractérise plus seulement comme un lieu voué à préservation, conservation et présentation des collections mais comme un lieu inscrit dans des réseaux, comme le montre l'étude de la politique de diffusion : celle-ci est l'objet de ma thèse en sciences de l'information et de la communication intitulée " La diffusion culturelle à l'échelle internationale : les enjeux de la politique du prêt des œuvres et des expositions du Mnam-Cci (Centre Georges Pompidou) pendant la période 2000-2007 ".Le Mnam-Cci est l'un des plus importants musées au monde grâce à sa collection d'art moderne et contemporain. Il offre non seulement des expositions temporaires mais aussi de nombreuses activités culturelles : cinémas, conférences, concerts, spectacles. Sa collection se compose de 60 000 œuvres, est empruntée auprès des musées du monde entier.Compte tenu de la richesse de la collection, la politique du prêt des œuvres est l'une des stratégies importantes du musée. Dans la perspective d'une étude muséologique, l'analyse de la politique du prêt des œuvres nous paraît des plus pertinentes.La première partie de la thèse met en évidence les mécanismes de la circulation des œuvres et celles des expositions dans un contexte des territoires à l'échelle internationale. La deuxième partie de la thèse décirt la circulation des biens culturels à l'heure de la mondialisation. La dernière partie de la thèse montre le développement de la stratégie communicationnelle à l'échelle internationale à travers la politique de diffusion.C'est ainsi que ce travail montre la diffusion culturelle à l'échelle internationale par l'intermédiaire de la politique du prêt des œuvres et des expositions du Mnam-Cci.

Une histoire culturelle partielle des modernités artistiques africaines permet de dresser une facette non iconoclaste de leur caractère. Les spécificités qui se dégagent de l’histoire des objets (chronotope du territoire, frontières spatio-temporelles, décontextualisation, aura, etc. ) indiquent les latitudes d’une géopolitique de l’iconographie. Cependant, la densité historique des années 1990 témoigne d’un changement de paradigme introduit par l’exposition Magiciens de la Terre (1989), les politiques culturelles et par l’histoire intense des biennales et festivals. Les rapports artistiques entre un Centre et une Périphérie (modèle de Samir Amin) glissent d’un internationalisme asymétrique vers un cosmopolitisme traduit par l’exposition Africa Remix (2005). La corrélation entre aires culturelles et limites géographiques perd toute pertinence, elle est progressivement remplacée par les réseaux dans une hétérogénéité spatiale. Au sein de cette nouvelle géopolitique culturelle, l’importance et la démultiplication des rôles du commissaire d’exposition sont concomitantes à la traversée des frontières par l’oeuvre d’art et par l’artiste contemporain. Il en résulte que le commissaire est un agent de transfert et de transmutation dont l’action semble de plus en plus oeuvrer entre les cultures plutôt qu’entre les canons, comme en témoigne la pratique curatoriale d’Okwui Enwezor. C’est à ce niveau qu’il importe de marquer la rupture et l’affinité qui existent entre cette génération d’acteurs culturels de la diaspora africaine, où le militantisme critique passe essentiellement par une écriture avec l’objet, et la génération senghorienne où il passait par une écriture sur l’objet. Les changements constatés au sein des cartographies artistiques et discursives permettent alors de mieux cerner l’écologie de l’oeuvre d’art dans les jeux du display. En partant de l’iconographie, cette évolution autorise l’appréhension des différents rapports entre modernité, « nationalisme » et épistémologie, tout en s’accordant avec Georges Matoré sur le fait que « l’image se souvient. Elle est à la fois potentialité et nostalgie»<br>A partial cultural history of African artistic modernities allows to show that they are not iconoclastic. The specificities engendered by an history which is object-based to define the hierarchy established between the images produced within and without the Western cultural space. The history of art of the 1990s saw a paradigmatic change taking place with the groundbreaking exhibition Magiciens de la Terre (1989), developments in cultural politics and the intense sequence of biennales and other mega-events. The artistic relationship between Center and Periphery shifted from an asymmetric internationalism towards the cosmopolitanism represented by the exhibition Africa Remix (2005). The relationship between cultural spaces and geographic borders progressively lost its significance, and was replaced by networks of artists from different geographic backgrounds. At the center of these new cultural geopolitics, the importance and the possible roles of the curator are paralleled by the border-crossing process of artists and artworks, resulting in the figure of a curator who is an agent of transfer and transmutation, and whose actions operate within cultures more than within canons, as demonstrated by the practice of Okwui Enwezor. At this moment it is important to mark both the break and the affinity created between a generation of cultural actors of the African diaspora, for whom critical militancy is embodied by curatorial practice, and the senghorian generation for whom this critical militancy is embodied by art criticism. The changes taking place within the artistic and discursive geopolitics allow to reveal the artwork’s evolution through the variations of its display. From an iconographical standpoint, it is important to explore the relationships created between modernity, nationalism and knowledge which, as suggested by Georges Matoré, will allow to emphasize the role of the image as an agent of memory and nostalgia

The main focus of this thesis is to analyze three architecture models, displayed at three major art museums. Using Roland Barthes concept of the mythology as a meta layer to the language of the exhibition, the study of the models is also a way of studying their visual and institutional environment – thus inquiring into how the display of architectural models, in the context of the modern art exhibition, activates and displaces the discourse of the exhibition. Taking into consideration the different kinds of objects on display (and those that are not), as well as their relation to the artist and the artworks, the discussion is largely affected by the notion of the representation, as well as the ideology of the modernistic narrative. Upon analyzing these aspects, it becomes clear that the models all convey narratives of their own, that in turn are activated and transformed in their dialogue with the rest of the exhibition. The models become part of the larger narrative that visualizes different ideas about modernism and modernity. But the analysis of the interplay between model and display also show how underlying narratives of nationalism and the relationship between art and architecture are a dominant pretext in the exhibitions.

Institutions culturelles centrales, les musées sont actuellement confrontés à de fortes transformations de leur activité : leur croissance s'accompagne d'un renouvellement de leurs missions et de la conquête de champs nouveaux. Face à ces mutations, les recherches existantes suggèrent que les musées sont traversés par une vague de managérialisation sans précédent (la progression de discours de performance, la diffusion d'outils et de savoirs gestionnaires, portés par des acteurs nouveaux) et caractérisent une forme d'administration culturelle portant sur le pilotage et le contrôle des fonctions de mise en œuvre de politique publique, de démocratisation et de création de valeur économique. À partir d'une recherche approfondie au sein du Centre Pompidou et du musée du Louvre, la thèse met en évidence le fait que la managérialisation des musées traduit aussi des enjeux d'activation de la signification des œuvres, notamment par la conception d'accrochages et d'expositions. La vague de managérialisation est ainsi interprétée au prisme d'une évolution du « régime de signification ». Par ces études de cas, nous montrons que l'organisation des activités au sein du musée structure les compétences pour permettre l'élaboration d'expositions dans un régime de signification donné. Cependant, dans certains projets, comme le Louvre-Lens, le musée régénère l'ordre même de sa collection, en brisant les frontières disciplinaires et les modes d'organisation classiques. Ces projets sont définis comme des explorations d'un nouveau régime de signification. Nous modélisons leur gestion comme un processus de management de l'innovation sur la signification<br>Key cultural institutions, museums currently face important transformations of their activity: an unprecedented growth, a renewal of missions and the permanent quest for new fields. Existing research suggests that, to cope with these changes, museums are going through an unforeseen managerialisation wave, i. E. The rise of performance discourses and diffusion of managerial instruments and knowledge, prompted by new actors within the organization. Scholars characterize a form of cultural administration focusing on the efficient management of functions such as public policy implementation, democratization and economic value creation. Based on empirical research at the Centre Pompidou and the Musée du Louvre, the thesis highlights how this managerialisation is also linked to the symbolic activation of art (what art works mean) and the design of exhibitions and displays. The managerialisation wave is analyzed as an evolution in “regimes of meaning”. Through the case studies, we show that the organization of activities within museums structure competences to allow the design of exhibitions in a given regime of meaning. However, in specific projects (such as the Louvre-Lens project), the museum regenerates the way its collection is ordered, and break in this process existing boundaries in art history as well as usual organization principles. These projects are defined as explorations of a new regime of meaning. We model their management as a process of management of innovation of meaning

Projeté pour des musées nationaux et municipaux d’art moderne à l’occasion de l’exposition universelle de 1937, le Palais de Tokyo à Paris est aujourd’hui un centre d’art contemporain international, connu aussi en lien à l’esthétique relationnelle proposée par son cofondateur (avec Jérôme Sans) Nicolas Bourriaud. Une étude de sa genèse jusqu'au site contemporain manquait jusqu’alors. En se fondant sur des expositions centrales et des vastes matériaux d’archives de la politique et administration des Beaux-Arts, cette étude traite dans un premier temps des pensées et institutions l’occupant dès sa conception : MNAM (1937-1977), conception du Centre Pom-pidou, Musée d’Art et d’Essai (1977-1986), Institut des Hautes Études en Arts Plastiques (IHE-AP, 1988-1990) préfiguration d’Orsay, Maison de la Photographie (1984-1993), projet du Palais des Images/Palais du Cinéma (1984-1998, avec Cinémathèque, FÉMIS, BIFI), puis Site de créa-tion contemporaine (2002-). Dans un deuxième temps nous présentons son rôle en tant que mo-nument de la pensée du rôle de l’art dans la société: Dès sa genèse dans le contexte d’un échan-ge international sur les musées modernes des années trente, jusqu’au débats contemporains d’une esthétique politique, notamment de l’art relationnel, du discours de l’art participatif, du « New Institutionalism » et l’esthétique philosophique. L'étude se propose aussi d'apporter une compréhension générale de la genèse de l’esthétique relationnelle et ses critiques principales. Le Palais de Tokyo est conçu comme monument, espace d’une mémoire sociale de l’art selon Aby Warburg et un cadre théorique s’appuyant sur Walter Benjamin, qui informe de son rôle décisif dans le développement de critères formels de la théorie sociale de l’art au 20ème et 21ème siècle<br>Projected for national and municipal museums of modern art on the occasion of the 1937 world fair, the Palais de Tokyo in Paris today is an international centre of contemporary art, known, too, by virtue of relational aesthetics brought forward by its co-founder (with Jérôme Sans) Nicolas Bourriaud. A monographic study of its genesis up to the contemporary site was yet mis-sing. This study examines the thought and projects that occupied it, based on central exhibitions and vast materials from the archives of cultural politics and arts administration: National Muse-um of Modern Art (1937-1977), the conception of the Centre Pompidou, Musée d’Art et d’Essai (1977-1986), Institut des Hautes Études en Arts Plastiques (IHEAP, 1988-1990), préfiguration d’Orsay, Maison de la Photographie (1984-1993), a project for Palais des Images/Palais du Ci-néma (1984-1998, with Cinémathèque, FÉMIS, BIFI), Site de création contemporaine (2002-). The study also focuses on its role as monument of the thinking of art’s function in society, from the context of an international exchange on modern museums in the thirties, up to contemporary debates of political aesthetics, particularly of relational art, the discourse of participatory art, ‘New Institutionalism’ and philosophical aesthetics. The study also provides a global view on the genesis of relational aesthetics and its principal critiques. Thus, the Palais de Tokyo is consi-dered as monument, a space of social memory of art following Aby Warburg and a theoretical frame based on Walter Benjamin, informing on its crucial role in the development of formal criteria of theories of art’s social role in the 20th and 21st centuries

La vague actuelle de construction de nouveaux musées tend vers une utilisation spectaculaire de l'architecture. À l'image du Guggenheim de Bilbao, le musée est devenu une œuvre en soi. En 1977, trente ans avant l'émergence de ce courant nommé « effet Bilbao », le Centre Georges Pompidou s'érigeait au cœur de Paris, suscitant une véritable commotion dans le monde des musées et de l'architecture, soulevant au passage les passions dans l'opinion publique. L'ampleur de la polémique est symptomatique de l'audace de la proposition architecturale. Force est de constater que l'architecture est porteuse de discours. Cela dit, les tentatives d'analyse de ce discours se concentrent généralement sur la valeur esthétique du message et restent dans la sphère affective. À l'aide de théories issues du champ des communications, le présent mémoire vise donc à proposer une méthode alternative de lecture du discours de l'architecture, par l'étude d'un cas particulier : celui du Centre Pompidou de Paris. Appuyée sur la conception de la rhétorique de Michel Meyer et Olivier Reboul, ainsi que sur la sémiotique de Jean-Marie Klinkenberg, l'analyse entend faire ressortir les différents arguments encodés dans l'architecture. À ces théories s'ajoute celle des relations transtextuelles, telle que définie par Gérard Genette, qui permet d'observer des rapports dynamiques entre le discours du Centre Pompidou et celui d'autres monuments. Ce mémoire aborde le discours de l'architecture du Centre à travers ses dimensions spatiales et temporelles. En se présentant sous un angle d'approche pragmatique, l'analyse établit des liens entre le contexte de l'élocution et le sens du discours de l'architecture afin de comprendre la dynamique discursive de telles constructions. Nous soutenons la thèse selon laquelle les méthodes d'analyse du discours conventionnel sont applicables à l'objet en trois dimensions. En ce qu'elles permettent de dépasser le discours affectif, elles offrent la possibilité d'une compréhension plus objective et explicite du message exprimé par l'architecture et de ses effets sur les observateurs. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : architecture, rhétorique, sémiotique, transtextualité, musées, Centre Georges Pompidou, discours

碩士<br>國立臺北藝術大學<br>藝術行政與管理研究所<br>98<br>Reliance on technology to create artworks is a growing trend on the development of contemporary art. The rise of new media art to create artworks is considered one of the reference indicators that signal that trend. Consequently, a response mechanism set up in art museums on addressing the demand in digital techniques hence emerges. Given that the built mechanism of new media art in Taiwan is relatively young compared with its foreign counterparts, this study will therefore use the New Media Department of Centre Georges Pompidou in France as the base of extended thinking. The New Media Department of Centre Georges Pompidou was founded on rich art resources as France was both socially and historically tumultuous. With the Centre as the thinking basis, this study may bring forth a more comprehensive research precondition than a view generated from a pure art museum in new media art. In other words, this study does not directly verify or inspect the model of new media art mechanism and on how it currently works, however, it aims to sort out the tangled aspects involved in new media art mechanism, and invite renewed debate and critical thinking over the mechanism of art museums and the production of artworks. This study is centered on the development positioning of the New Media Department of Centre Georges Pompidou and supported by the following three issues: (1) The logical nature of production mechanism; (2) The Alienation of production mechanism; (3) Strategic analysis of production mechanism. Each issue extends itself towards related aspects for further discussions. Contents are summarized as follows: On the issue of the “logical nature of production mechanism,” the study gradually clarifies that an art museum functions to display the interpretations of artworks. Through contradicting controversies often found in new media artworks and the concept of classic traditional collections, this study shall on the one hand shed light to how the New Media Department of Centre Georges Pompidou practices multi-track collections, and on the other, stress the equal importance rooted in both productions and classic collections. On the issue of the “alienation of production mechanism,” the context of how the art ecology or environment grows institutionalized incrementally is studied. It also traces back on the transitional sphere of influence created by salon-styled exhibitions and modernism. Going forward, it brings us to heart-searching and self-criticism which may be critical at a time when faced with the development of new media art. On “strategic analysis of production mechanism,” the model of commission-based productions employed by the New Media Department of Centre Georges Pompidou is analyzed strategically on hypothesis basis and how this model has brought forth the anticipated benefits for Centre Georges Pompidou in terms of its operations as a whole. In the end, research findings under each chapter are integrated and concluded into a reference package as a feedback to Taiwan’s production mechanism.

碩士<br>國立臺北藝術大學<br>博物館研究所碩士班<br>103<br>This thesis takes Contemporary Collections : From the 1960’s to Today, a permanent collection exhibition of the Musée National d’Art Moderne in Centre Pompidou, as object of study. We aim to explore how this art institution embodied the contemporary art turn through its institution positioning, art history constructing and its exhibition thinking. The Centre Pompidou is not a museum dedicated exclusively to fine arts. It combines various fields including Musée National d’Art Moderne, Centre de Création Industielle, Département du Dévéloppement Culturel, Institut de Recherche et de Coordination Acoustique/Musique and Bibliothèque Publique d’Information. It has been a cultural complex that had redefined the boundaries of the museum walls. The Centre Pompidou has collected a considerable number of modern and contemporary art works. It parallels with the Musée du Louvre (collecting artworks from ancient art to 1850) and the Musée d''Orsay (collecting artworks from 1848 to 1914) as the top three typical national art museums bearing distinguished tasks in constructing art history. The Musée National d’Art Moderne conceived the year 1960 as the watershed from which the arts had turned from modern toward contemporary and declared the contemporary implication of interdisciplinary art through collecting not only the plastics arts but also works of creative and multi-dimensional categories and carriers, such as photography, experimental films, videos, new media, industrial creative works, designs and architectures. This thesis tries to demonstrate that the permanent exhibition of contemporary art collection proves its museum task shifting toward contemporary art. In interpreting this permanent collection exhibitions, we explore three perspectives: its definition of temporality, its composition of spaces, and its historical narratives of contemporary arts. And we’ll see there exists continuing contradictions between modern art museum and contemporary art exhibition. By this study, we propose a further discussion of the neccecity of an art institution for contemporary art.

Dissertação de mestrado integrado em Arquitectura, Universidade Lusíada de Lisboa, 2012<br>Exame público realizado em 6 de Fevereiro de 2013<br>A seguinte dissertação pretende explorar as possibilidades e capacidades do ferro como material de arquitectura. Durante a Revolução Industrial no século XIX, engenheiros e arquitectos tomaram conhecimento do mesmo, alterando o modo tradicional de fazer arquitectura. Este material ganha um forte impacto devido às suas particularidades, sendo por isso um material utilizado até os dias de hoje. Deste modo é pretendido ao longo deste trabalho contextualizar o ferro na história da arquitectura, analisando as suas possibilidades e capacidades, onde é aplicado e o porquê de ser ainda um material essencial para os arquitectos actualmente. Foi elaborada uma análise de várias obras de diferentes autores, em diferentes épocas, as quais serviram como referência conceptual para o projecto elaborado ao longo do 5.º ano da Faculdade, também apresentado nesta dissertação.

A presente dissertação procura analisar, através do estudo das exposições “Paris-New York” (1977) e “Monte Verità” (1978), as motivações da reemergência da história no campo da curadoria no final da década de 1970. A primeira destas exposições, comissariada por Pontus Hultén para a inauguração do Centre Georges Pompidou traçava os intercâmbios culturais entre Paris e Nova Iorque, e a segunda, com curadoria de Harald Szeemann, apresentava uma história das ideias utópicas no local onde estas haviam sido exploradas: a região do Ticino (sul da Suíça). Estas mostras, centradas sensivelmente no mesmo período histórico, apresentavam diferentes abordagens sobre a História da Cultura do século XX. Dividido em três partes, este trabalho inicia-se com um olhar panorâmico sobre as transformações sociais e culturais que ocorreram na Europa e nos Estados Unidos entre 1957, ano aqui definido como início dos long sixties, e o final da década de 1970, momento em que estas exposições são apresentadas ao público. Deste período são eleitos alguns movimentos, problemáticas e acontecimentos que o caracterizam, e que servem igualmente para contextualizar o posicionamento e actuação dos respectivos curadores. A segunda parte centra-se nos percursos de Hultén e Szee mann, analisados em paralelo, detectando-se inovações, continuidades e rupturas entre as mostras em estudo e ideias e estratégias expositivas anteriores. A terceira, e última parte, é dedicada à análise crítica das exposições “Paris-New York” e “Monte Verità”, enquadrando-as nos respectivos projectos de museu – o Musée National d’Art Moderne du Centre Georges Pompidou e o contra-museu “Museum der Obsessionen”. Nesta são aprofundadas as estratégias expositivas, as formas de construção do discurso e suportes de comunicação adoptados, bem como as reacções do público e da crítica, culminando numa análise comparativa, que clarifica os contributos de ambas as mostras para uma visão mais alargada da história da arte e das ideias do século XX e para a prática curatorial contemporânea.<br>This dissertation seeks to analyse the motivations behind the re-emergence of history within the field of curatorial discourse in the late 1970s, through the study of the exhibitions “Paris-New York” (1977) and “Monte Verità” (1978). The former, curated by Pontus Hultén for the opening of the Centre Georges Pompidou explored the cultural exchanges between Paris and New York, while the latter presented a history of utopian ideas, and it was held by Harald Szeemann in the region of Ticino in southern Switzerland where those ideas where explored. Both exhibitions covered almost the same historic period but presented different approaches to the History of 20th-century Culture. This work is divided into three parts. The first one provides a historical overview of the social and cultural transformations that took place in Europe and in the United States between 1957, the year that one defined as the beginning of the long sixties, and the end of the 1970s, when “Paris-New York” and “Monte Verità” opened to the public. Some movements, issues, and events that characterized that period are addressed. This historical overview also serves to contextualize the curators’ stances and actions. The second part focuses on the parallel careers of the two contemporaries Hultén and Szeemann, detecting innovations, continuities and ruptures between the exhibitions under study and previous ideas and displaying strategies. The third, and last part is devoted to the critical analysis of the exhibitions “Paris-New York” and “Monte Verità”, taking into account the museum projects in which they were included – the Musée National d’Art Moderne du Centre Georges Pompidou and the counter-museum “Museum der Obsessionen”, respectively. In this part one reflects on the displaying strategies, the forms of discourse, the interpretive and communicative media, as well as the exhibition reviews and public reactions. Finally, a comparative analysis clarifies the contributions of both exhibitions to a broader perspective on the History of 20th-century Art and Ideas and to the contemporary curatorial practice.

The central theme of this dissertation encompasses the importance of space, particularly the exhibition space, and how it has become part of the subject matter, as well as a medium in art. Some artistic practices of the 20th century, mainly in the 20s and 60s, both in Europe and the United States of America have provided the contextual foundation. The close relation between the architectural and exhibition spaces has become an intrinsic link to establish the existence of the three-dimensional work of art. The overarching importance of space in the contemporary artistic practice is visible through the creative and exhibition installation process, most notably in the artistic movements of Installation art and Site-specific. By carrying over the transformative contemporary art scene concepts to an institutional and museological context, paired with the inherent evolution of its practices, these have allowed for a convergence of the museological fields. With the intention of providing audiences a unique experience, curators and museologists have relied on site-specific practices. By inviting artists (typically featured in the current artistic scene) to develop projects specially thought for a specific museum space, this simultaneously allows for a dialogue between the work of art and the space. These temporary exhibitions have garnered the attention a more diverse audience. As a result sustainability and independence of the museums are a constant source of debate. The result of which has allowed for the broadening of the notions of how museums function and have integrated the audience as a main element of the strategies of the museum programming. The principles of the cultural marketing provide museums a clearer vision of the understanding of the different audience and their needs. Thus, the main goal of this study is to perceive the importance of the museum space in the relation to the artistic practice. While existing as a strategic resource of the museological program, insofar as having the ability to lure new audiences. It also matters to notice, if the fact of the artist working directly inside the museum, contribute to a narrowing of the artist/audience relationship, being the museum the mediation element