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title: Brunet, Claire
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name: Brunet, Claire
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biography: Ancienne élève de l’ENS, docteur en philosophie, maître de conférences au département design de l’ENS Paris-Saclay, elle a d’abord traduit Michael Fried ( « La place du spectateur » notamment ), Rosalind Krauss ( « Passages, pour une histoire de la sculpture » ) et Oskar Bätschman ( « Poussin, dialectiques de la peinture » ). Elle a édité le séminaire de Charles Melman, et travaille aujourd’hui à penser le design historiquement. Elle a récemment édité et publié un numéro de la revue Critique, aout septembre 2021 : Archi-design.
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biography: Historienne du design, commissaire, éditrice Professeur titulaire des écoles nationales supérieure d’art (France), membre du CRD Ens Paris-Saclay / Ensci-Les Ateliers. Elle enseigne à l'Ensad Nancy et Sciences po Paris. Ses textes, ouvrages ou entretiens ont été publiés aux éditions Galilée, aux Presses du réel, IFM/Regard, Archibooks, Éditions de la cité du Design, T&P Publishing etc.
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title: Bessy, Jeanne
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name: Bessy, Jeanne
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biography: Jeanne Bessy est née en 1994 à Paris. Elle commence ses études à L’ENSAAMA Olivier de Serres à Paris par du design produit, et poursuit par un DSAA design textile au sein de la même école. Après l'obtention de son diplôme, elle effectue une année de stage chez Marion Vidal. Elle reprend ensuite ses études et effectue une année de master de recherche en design puis un master de l’enseignement en design tous deux à l’ENS Paris-Saclay. Elle travaille actuellement en tant que professeur contractuelle en Dnmade au lycée Camille Claudel de Vauréal.
biography: Jeanne Bessy was born in 1994 in Paris. She began her studies at ENSAAMA Olivier de Serres in Paris with product design, and continued with a DSAA in textile design at the same school. After obtaining her diploma, she did an internship at Marion Vidal. She then resumed her studies and did a year of research master's degree in design, followed by a master's degree in design education, both at ENS Paris-Saclay. She is currently working as a contract teacher in Dnmade at the Camille Claudel high school in Vauréal. @en
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display title: Exposer l’industrie textile en 1984, la survie d’un secteur en crise
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title: Exposer l’industrie textile en 1984, la survie d’un secteur en crise
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description: L’exposition « Textile du Nord » soulève les questions alors récentes de conservation et de patrimoine industriels. Le commissaire construit un cheminement démonstratif, entre patrimoine technique et projets prometteurs qui font espérer un rebond apte à relancer l’activité et à circonvenir la crise du textile.
description: The exhibition “Textile du Nord“ raises the then recent questions of conservation and industrial heritage. The curator constructs a demonstrative path, between technical heritage and promising projects that give hope for a rebound capable of reviving the activity and circumventing the textile crisis. @en
abstract: La crise qui secoue l’industrie textile du Nord-Pas-de-Calais donne du fil à retordre à Jean-Paul Pigeat lorsqu’il est chargé de la création de l’exposition « Textile du Nord : Culture et industrie ». D’emblée, il part sur le terrain afin d’inscrire son discours dans un territoire, de recueillir les informations socio-économiques et de collecter les objets industriels (prêts de machines, d’échantillons textile…) qui seront montrés. Exposer l’industrie textile, c’est aussi montrer des femmes et des hommes, une culture qui, façonnée par l’activité, disparaîtra avec elle et ne laissera derrière elle qu’un patrimoine. À l’époque où l’exposition naît, les questions de conservation et de patrimoine ne sont interrogées que depuis peu ; le Nord-Pas-de-Calais témoigne l’ambition légitime de mettre le sien en valeur pour qu’il continue à vivifier la région. Dans cette optique, Jean-Paul Pigeat construit un cheminement démonstratif, quelque peu paradoxal, progressant entre patrimoine technique et projets prometteurs qui font espérer un rebond apte à relancer l’activité et à circonvenir la crise du textile.
abstract: Nord-Pas-de-Calais is hitten by the textile industry crisis, which gives Jean-Paul Pigeat serious difficulties when asked to curate the exhibition “Textile du Nord : Culture et industrie”. He has to go on the field to enquire on this textile industry crisis, and make his speech meaningful and legitimate. Also, Jean-Paul Pigeat has collected textile items, as well as industrial objects and socio-economic informations, with the aim of exposing the industrial textile crisis. In this view, Jean-Paul Pigeat intends to show the work of men and women, a culture, an art, a whole world which takes shape from industry but is unfortunately disappearing, for this rich cultural heritage is dying off. By the time of the exhibition’s opening, we are at the very beginning of a reflexion about patrimony and conservation, but the region is really willing to testify these artistic and technical knowledges and history, through new conservation policies. The intention of Jean-Paul Pigeat’s exhibition is to showcase technical patrimony and innovative materials and find new behaviours about textile industry in order to launch a dynamics and help circumvent the crisis. @en
table of contents: #La généalogie d’une exposition ## La filière textile, une crise ## « Stratégies pour un avenir » : un patrimoine industriel (1979, Lille) ##Projet d’exposition #La conception d’une exposition ## Un journaliste, Jean-Paul Pigeat ## La méthode Pigeat ## Des titres… pour une exposition # Une exposition de crise ## Retards et financements ## Dispositif scénographique ## Deux expositions concomitantes ## Conclusion
table of contents: #The genealogy of an exhibition ##The textile industry, a crisis ## "Strategies for a future: An industrial heritage (1979, Lille) ##Exhibition project #The conception of an exhibition ## A journalist, Jean-Paul Pigeat ## The Pigeat method ## Titles... for an exhibition # A crisis exhibition ## Delays and funding ## Scenographic device ## Two concomitant exhibitions ## Conclusion @en
subject: Technique
subject: Industrie
subject: Design textile
subject: Innovation
subject: industry @en
subject: Textile design @en
subject: innovation @en
subject: exposition
subject: filière
subject: patrimoine
subject: histoire
subject: exhibition @en
subject: sector @en
subject: heritage @en
references: Pigeat, Jean-Paul
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references: Daumas, Jean-Claude
references: Dupeux, Geneviève
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temporal: 1970/1980
spatial: http://www.geonames.org/2990119
language: fr
date submitted: 2021-03-24
created: 2019-01-20
type: Essai
type: Essay @en
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title: Vue de l'exposition "Textile du Nord : Culture et industrie", au Centre Pompidou (1984).
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title: Vue l'exposition "Ettore Sottsass Jr : de l'objet fini à la fin de l'objet" au Musée des Arts Décoratifs (1976-1977). Photographe non identifié.
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abstract: Photographie représentant une vue de salle de l’exposition Ettore Sottsass : De l’objet fini à la fin de l’objet dirigée par François Burkhardt, au musée des Arts décoratifs, 1976. Négatif NB 6 x 6 cm. Numérisation. Cote : CCI_025_0004_P. Photographe non identifié.
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title: Vue l'exposition "Ettore Sottsass Jr : de l'objet fini à la fin de l'objet" au Musée des Arts Décoratifs (1976-1977). Photographe non identifié.
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abstract: Vue de salle de l’exposition Ettore Sottsass : De l’objet fini à la fin de l’objet dirigée par François Burkhardt au musée des Arts décoratifs, 1976. L’image montre un ensemble d’objets produits par Olivetti dont la chaise Z9R, Sistema 45 datant de 1973. (cote : CCI_025_0009). Négatif NB 6 x 6 cm. Numérisation. Photographe non identifié.
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date: 1976
identifier: CCI 25 0009
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title: Vue l'exposition "Ettore Sottsass Jr : de l'objet fini à la fin de l'objet" au Musée des Arts Décoratifs (1976-1977). Photographe non identifié.
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title: Ettore Sottsass et François Burkhardt à Berlin (1976). Photographe: Fernanda Pivano
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date: 1976
identifier: SOT 528 031161
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title: Vue de l'exposition « Paris-Moscou » au Centre Pompidou, Grande Galerie (1979). Monument à la IIIe Internationale de Tatline.
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type: Photographie
abstract: Vue de l'exposition « Paris-Moscou » au Centre Pompidou, Grande Galerie (1979). Monument à la IIIe Internationale de Tatline. Ce dernier est mis en valeur par des spots lumineux et un socle qui le place en hauteur. diapositive coul. 24 x 36 mm. numérisation photographie J. Faujour et J-C. Planchet, 1979 © Archives MNAM-CCI, [CCI 78.1-105].
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date submitted: 2021-03-31
date: 1979
identifier: CCI 78 0089
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title: Vue de l'exposition « Paris-Moscou » au Centre Pompidou, Grande Galerie (1979). Vue de la fin de l'Allée centrale de l’exposition.
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type: Photographie
abstract: Vue de la fin de l’allée centrale de l’exposition. Le kiosque se situe près d’une cimaise, au même titre que les vitrines noires dans le prolongement de l’allée. diapositive coul. 24 x 36 mm. numérisation, photographie d’archive de l’exposition par J. Faujour et J-C. Planchet. 1979. © Archives MNAM-CCI, [CCI 78.1-105].
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date: 1979
identifier: CCI 78 0091
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access rights: Usage documentaire à des fins de recherches académiques dans le cadre de la plateforme Problemata.
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Expositions du CCI (1970 - 2001)
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abstract: Exhibition view from « L’Objet Industriel » picturing metal displays found in the thematic part of the exhibition at the Centre de Création Industrielle (CCI), Eustache Kossakowski, Paris, 1980, colour slide, 24 x 36 mm, Bibliothèque Kandinsky, MNAM/CCI, Centre Pompidou – Dist. RMN-Grand Palais, CCI 090 0019 @en
date submitted: 31-03-2021
date: 1980
created: 1980
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publisher: archivesetdocumentation.centrepompidou.fr
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rights: Photo E. Kossakowski©Bibliothèque Kandinsky, Mnam-CCI, Centre Pompidou/Dist. RMN-GP
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title: Vue de l'exposition "La Mesure du temps" au Centre Pompidou, salle de documentation du CCI (1979), Thierry Chaput.
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title: Vue de l'exposition "La Mesure du temps" au Centre Pompidou, salle de documentation du CCI (1979), Thierry Chaput.
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title: Vue de l'exposition " Sous le soleil, autrement" au Centre Pompidou, Terrasse Sud (1978).
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title: Carrel, Lola
created: 2021-03-24T17:58:08+00:00
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name: Carrel, Lola
family name: Carrel
givenname: Lola
biography: Historienne de l’art diplômée de l’école du Louvre et du Master de Recherche en Design, M2R ENS Paris-Saclay, ENSCI France Telecom, Lola Carrel a rédigé plusieurs travaux de recherches à propos d’Ettore Sottsass. En parallèle, elle a eu diverses expériences en documentation, archives et organisation d’événements ou de résidences artistiques pour des structures telles que l’Institut français du Design, l’Institut français à Rome ou le Pavillon français à la Triennale du design de Milan.
biography: Lola Carrel is an art historian with a degree from the École du Louvre and a Master’s degree in Design Research, M2R ENS Paris-Saclay, ENSCI France Telecom. She has written several research papers on Ettore Sottsass. In parallel, she has had various experiences in documentation, archives and organization of events or artistic residencies for structures such as the French Institute of Design, the French Institute in Rome or the French Pavilion at the Milan Design Triennial. @en
date: 1994-07-09
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display title: « De l’objet fini à la fin de l’objet » (1976 –1977) : les conceptions d’Ettore Sottsass au CCI
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title: « De l’objet fini à la fin de l’objet » (1976 –1977) : les conceptions d’Ettore Sottsass au CCI
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title: “From the finished object to the end of the object“ (1976 -1977): Ettore Sottsass' designs at the CCI @en
description: L’exposition d’E. Sottsass « De l’objet fini à la fin de l’objet », intervient à un moment charnière dans la pensée du designer. Au côté de F. Burkhardt, il va concevoir une exposition itinérante dont la sécheresse formelle interroge.
description: The exhibition of E. Sottsass “From the finished object to the end of the object”, happens at a turning point in the thought of the designer. With F. Burkhardt, he will conceive a travelling exhibition whose formal dryness questions. @en
abstract: L’exposition d’Ettore Sottsass, « De l’objet fini à la fin de l’objet », qui s’est tenue au musée des Arts décoratifs à Paris (21 octobre 1976 – 3 janvier 1977), intervient à un moment charnière dans la pensée du designer. Au côté de François Burkhardt, alors directeur de l’IDZ de Berlin, il va concevoir une exposition itinérante dont la sécheresse formelle interroge. À travers la comparaison visuelle de cette exposition dont des vues de salle sont conservées dans les archives de la Bibliothèque Kandinsky, mais aussi grâce à d’autres centres d’archives comme celui de la Triennale de Milan ou encore celui de la Biennale de Venise (ASAC), il est possible de questionner la singularité d’une telle scénographie et de faire apparaître la pertinence qui ressort finalement d’une telle aridité. À ces différentes sources s’ajoute un échange avec François Burkhardt qui fut l’occasion de comprendre plus justement l’ambition que s’étaient donnée les deux hommes. Parmi les principes questionnés, ce sont surtout la sobriété, l’usage du son et celui du discours biographique qui seront mis en avant. Ils permettent de faire émerger une pratique de l’exposition renouvelée qui tire parti des critiques et revendications des designers radicaux italiens – voire les dépassent. Ettore Sottsass met ainsi en scène des idées qu’il développe aussi dans sa production d’objets en créant une exposition plus proche du réel et indépendante de toutes contraintes extérieures. Cet article permet à travers l’étude approfondie d’une seule exposition d’interroger le vocabulaire formel du designer dans ses scénographies et d’en comprendre l’évolution au regard de la production matérielle qui lui est contemporaine.
abstract: Ettore Sottsass’ exhibition “From the finished object to the end of the object”, which took place at the musée des Arts décoratifs (Museum of Decorative Arts) in Paris from October 21, 1976 to January 3, 1977, was organized at a key moment in Sottsass’ career. With François Burkhardt, currently director of the IDZ Berlin, he designed a travelling exhibition in which formal neutrality is questioned. Amongst the issues they discuss, those emphasized are simplicity, the use of the sound and of biographical discourse. They reveal a renewed exhibition practice that employs and even surpasses Italian designers’ radical critiques and claims. Ettore Sottsass presents his ideas and material processes, creating an exhibition that remains close to reality, yet distinct from external limitations. This paper enables, though the study of a single exhibition, to question the designer’s formal vocabulary used in his exhibition displays. It also allows us to understand his development in the context of his contemporaries’ material production. @en
table of contents: #De la promotion de l’industrie italienne à la définition du créateur #De l’exposition de l’objet à l’exposition du projet #Des interrogations scénographiques pour une réflexion muséographique
subject: audiovisuel
subject: Radical
subject: Exposition itinérante
subject: Contre-Design
subject: Design
subject: Scénographie
subject: Exposition
subject: Projet
subject: Audiovisual @en
subject: exhibition @en
subject: Scenography @en
subject: Project @en
subject: Travelling Exhibition @en
subject: Counter-design @en
references: Burkhardt, François
temporal: 1976/1977
spatial: http://www.geonames.org/3175395
spatial: http://www.geonames.org/2988507
language: fr
date submitted: 2021-03-24
created: 2018-06-14
source: Catherine GEEL (dir.), Problemata, ENS Cachan, Cachan, 2018
type: Essai
type: Essay @en
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title: Bourcier, Anaïs
created: 2021-03-24T17:58:36+00:00
modified: 2024-01-12T08:51:41+00:00
name: Bourcier, Anaïs
family name: Bourcier
givenname: Anaïs
biography: Anaïs Bourcier est designer et enseignante. Formée au design industriel et à la recherche, elle est diplômée de l’École normale supérieure Paris-Saclay. Au cours de ces dernières années, elle a cherché du plastique au fablab de l’université de Moscou, trié des pulls au milieu de la ressourcerie des résilientes d’Emmaüs, fabriqué des sacs pour Louis Vuitton, soudé toutes les ampoules du curiosity cloud de mischer’traxler et dessiné des bouts de canapé pour MUT design et Iratzoki Lizaso.
biography: Anaïs Bourcier is a designer and teacher. Trained in industrial design and research, she is a graduate of the École normale supérieure Paris-Saclay. Over the last few years, she has been searching for plastic in the Moscow University fablab, sorting jumpers in the middle of the Emmaüs resilient recycling centre, making bags for Louis Vuitton, welding all the light bulbs in the curiosity cloud of mischer’traxler and designing sofas for MUT design and Iratzoki Lizaso. @en
date: 1994-08-11
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display title: Concevoir, exposer et vendre : un jeu d’enfant pour le musée ?
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title: Concevoir, exposer et vendre : un jeu d’enfant pour le musée ?
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alternative: Le CCI, PIKY et l’Atelier des enfants du Centre Pompidou (1988-2014)
description: En 1990, le Centre Pompidou réalise un atelier-exposition destiné aux enfants. Au cœur de ce projet, le ‘JEU D’ACIER PIK ET PLAK’ interroge le rapport entre le musée, l’industrie et le design et les passerelles parfois subtiles entre l’espace de vente et l’espace culturel.
description: In 1990, the Centre Pompidou created a workshop-exhibition for children. ‘JEU D'ACIER PIK ET PLAK’ (PIK AND PLAK STEEL GAME) questions the relationship between museums, industry and design and the sometimes subtle bridges between sales and cultural space. @en
abstract: En 1990, le Centre Georges-Pompidou réalise un atelier-exposition destiné aux enfants. Au cœur de ce projet se trouve la conception d’un jeu, construit autour de formes aimantées, produit par la société PIKY. L’exposition présente le travail réalisé par les cinq designers de la consultation organisée par le Centre de création industrielle. Un concept y sera plébiscité, puis produit et vendu lors de l’événement. Cette exposition est conduite conjointement et de façon inédite par l’Atelier des enfants du Centre Georges-Pompidou et le Centre de création industrielle. Le projet ‘JEU D’ACIER PIK ET PLAK’ interroge alors le rapport entre le musée, l’industrie et le design en devenant le théâtre d'une rencontre entre des acteurs privés et des acteurs publics. En 1990, l’aspect économique d’une telle rencontre n’est pas négligeable et nous verrons que le véritable enjeu de cet atelier-exposition n’est en définitive ni l’atelier, ni l’exposition. Au-delà de proposer une vitrine exceptionnelle pour la petite entreprise familiale PIKY, le partenariat réalisé avec le Centre Georges-Pompidou caractérise les passerelles parfois subtiles entre l’espace de vente et l’espace culturel. L’atelier-exposition rentre-t-il alors dans une logique de retail-tainment comme on peut la définir aujourd’hui ? En effet, le temps de cette exposition, le Centre Georges-Pompidou revêt tous les atours du grand magasin ou du centre commercial. Ce projet d’atelier-exposition apparaît bien plus complexe et riche que l’on pourrait le croire de prime abord et participe pleinement à l’histoire conjointe du design industriel au sein du Centre Georges-Pompidou.
abstract: In 1990, the Centre Georges-Pompidou organized a workshop-exhibition for children. At the heart of this project was the creation of a game, built around magnetic shapes produced by PIKY. The exhibition presents the work done by five designers during a consultation organized by the CCI (Centre de création industrielle, Center of Industrial Creation). A concept was acclaimed, then produced and sold at the event. This exhibition was conducted jointly and in a new way by the children’s workshop of the Centre Georges-Pompidou and the CCI. The project “JEU D'ACIER PIK ET PLAK” illustrates the meeting points between private and public actors. In 1990, the economic aspect of such a meeting is not negligible and we will see how it appears that the real interest of this workshop-exhibition is ultimately neither the workshop nor the exhibition. In addition to offering an exceptional showcase for the small family business PIKY, the partnership with the Centre Georges-Pompidou characterizes the subtle links between the sales and cultural spaces. Doesn’t the workshop-exhibition then fit into a retail-tainment logic as we can define it today? During this exhibition, the Centre Georges-Pompidou will present all the finery of what is then beginning to establish itself as the standard model of the department store and shopping centre. In short, this workshop-exhibition for children seems much more complex and rich than one might think at first glance. A project that has been able to participate fully in the joint history of industrial design within the Centre Georges-Pompidou and in particular between the designers and the children of the museum. @en
table of contents: # Industrie, design & médiation : un projet sans précédent pour le Centre Georges-Pompidou # Un exposition prétexte pour le musée ? Un jeu au cœur du partenariat
subject: Collaboration
subject: Design d’objet
subject: Fabrication
subject: Industrie
subject: atelier-exposition
subject: Product design @en
subject: production @en
subject: industry @en
references: Tartare, Adolphe
references: Costard, Philippe
references: Nielsen, Palle
temporal: 1988/2014
spatial: http://www.geonames.org/2988507
spatial: http://www.geonames.org/2990119
language: fr
date submitted: 2021-04-02
created: 2019
type: Essai
type: Essay @en
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title: Goutagny, Elise
created: 2021-03-24T17:58:49+00:00
modified: 2024-01-12T08:51:39+00:00
name: Goutagny, Elise
family name: Goutagny
givenname: Elise
biography: Diplômée de l’ENS Paris-Saclay et agrégée d’arts appliqués, Elise Goutagny est doctorante à l’université Paris 8, sous la direction de Catherine de Smet. Ses recherches portent sur les pratiques graphiques féministes contemporaines, entre microédition, collages urbains et réseaux sociaux.
biography: Elise Goutagny is a graduate of ENS Paris-Saclay and an Associate Professor of Applied Arts. She is a PhD student at the University of Paris 8, under the supervision of Catherine de Smet. Her research focuses on contemporary feminist graphic practices, between micro-editing, urban collages and social networks. @en
date: 1995-09-28
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display title: « Femmes d’un jour » (1977), des vertus du livre d’or
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title: « Femmes d’un jour » (1977), des vertus du livre d’or
created: 2021-03-24T19:25:58+00:00
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description: L’exposition « Femmes d’un jour » présentée au Centre Pompidou en 1977 traite de l'image des femmes dans la presse écrite. Des extraits de livres d’or servent de grille de lecture pour comprendre la relation de l'exposition avec ses publics, et mesurer l’écart entre l’intention des commissaires et les attentes des visiteurs et visiteuses.
description: The exhibition “Femmes d'un jour”, presented at the Centre Pompidou in 1977, addresses the issue of women in the written press. Excerpts from guest books are used as a grid to understand the relationship between the exhibition and its public, and to measure the discrepancy between the curators' intentions and the visitors' expectations. @en
abstract: « L’exposition Femmes » d’un jour inaugure en 1977 la Galerie d’actualités du Centre Georges-Pompidou et part ensuite en itinérance dans une vingtaine de MJC de France. Cet ensemble de 36 panneaux composés d’images de presse et de courts textes, mis en scène sur des mannequins de vitrine, dresse un constat visuel de l’image de la femme dans la presse écrite, montrant notamment l’omniprésence de la « femme-objet ». Le Centre Georges-Pompidou a conservé dans ses archives deux extraits de livres d’or, témoins des réactions du public lors de l’itinérance de l’exposition à Saint-Brieuc et Laval. Ces commentaires spontanés et inédits nous servent de filtre, de grille de lecture pour comprendre la relation de l’exposition « Femmes d’un jour » avec ses publics, et mesurer l’écart entre l’intention des commissaires et les attentes des visiteurs et visiteuses. Ils attirent notre attention sur deux types de remarques : les unes soulignent les manques et les superficialités de l’exposition, regrettant son aspect de constat, pourtant souhaité par les commissaires. Les autres offrent une perspective politique en relevant l’élitisme, le « parisianisme » de l’exposition, et son omission de thématiques chères au public de Saint-Brieuc : les luttes féministes et ouvrières. Il apparaît que l’exposition est bien souvent « en-dessous de la réalité vécue des femmes » comme le souligne une commentatrice. De ce fait, le public peine à s’identifier comme cible de ces collages de coupures de presse et se sent peu concerné par ces femmes des magazines illustrant une vie qui leur paraît lointaine et futile. L’espace du livre d’or devient alors un espace de débat et de suggestion, qui complète l’exposition, et crée le dialogue et la critique qui semblaient manquer aux panneaux muets.
abstract: The “Femmes d’un jour“ (One-Day Women) takes part in the Centre Georges-Pompidou in 1977, before touring in several cultural centers and MJC (Youth Cultural Centers) in France. It is composed of 36 panels, placed on mannequins and displaying both short texts and press clipping collages. The exhibition depicts the way women are seen and stereotyped by the print press of the moment. The archive department of the Centre Georges-Pompidou preserved two guestbook extracts from the displays of the exhibition in Laval and Saint-Brieuc. The spontaneous and critical comments we can read from these guestbooks form the basis of the analysis. What is at stake here is the understanding of the discrepancy between the intentions of the curators and the reception of the exhibition by working-class visitors of small cities. The comments put the limelight on different types of feed-back. Some remarks regret the lack of politic and feminist perspectives; others point out an apparent superficiality of the exhibition, and show the limits of the curators’ display choices. “Femmes d’un jour” takes place in a peculiar context for the exhibition’s sponsor, the CCI, Centre de création industrielle, (Industrial Creation Center): In 1977, this institution was newly integrated to the Centre Georges-Pompidou and had to innovate new ways to display exhibitions, and travelling exhibitions in particular. Its aim was to educate people’s critical thinking regarding everyday items, consumption habits and communication campaigns. “Femmes d’un jour” is part of this approach, and faces both cultural mediation and issues and public concerns and resistance. This resistance coming from the visitors highlights the existing tensions within the Centre Georges-Pompidou. The Centre and its industrial creation department seem to oscillate between an intention of offering people a wider access to eclectic cultural content, and a need to constantly re-establish their power as cultural institutions through their exhi… @en
table of contents: #Introduction ##Note sur les documents étudiés #Femmes d’un jour, femmes riches de Paris ? ##« D’accord sur tout, mais la lutte ? Anne » ##« Cette naissance de la femme-objet vient de la capitale, et il me semble que cette expo aussi » #Une exposition qui constate : superficielle ou incitative ? ##« C’est une exposition qui expose, c’est tout. Une fille » ##« Il ne fallait pas trop en demander et compléter soi-même » ##Le Centre Georges-Pompidou en 1977, « un catalyseur pour la création artistique et la vie culturelle dans les régions19 » ? #Conclusion
subject: Livre d'or
subject: Public
subject: Exposition
subject: Activisme
subject: Critique
subject: Condition féminine
subject: Presse
subject: Itinérance
subject: Activism @en
subject: Criticism @en
subject: exhibition @en
subject: Guest Book @en
subject: Travelling Exhibition @en
subject: Women's condition @en
subject: Press @en
references: Rouard, Margo
references: Pinto, Louis
temporal: 1976/1980
spatial: http://www.geonames.org/3017382
language: fr
date submitted: 2021-03-24
created: 2019-02-01
type: Essai
type: Essay @en
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title: Chiriacopol, Marie-Lorraine
created: 2021-03-24T17:58:50+00:00
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name: Chiriacopol, Marie-Lorraine
family name: Chiriacopol
givenname: Marie-Lorraine
biography: Diplômée d’un Master de Recherche en Design à l’ENS Paris-Saclay, Marie-Lorraine Chiriacopol rejoint peu après l’équipe Innovation du service juridique d’Ubisoft. C’est un lieu d’expérimentation où elle sensibilise les acteurs du droit au design et y construit des produits, services et parcours. Elle privilégie dans son travail une approche centrée utilisateur pour créer des expériences et des espaces de médiation sur des sujets techniques et ainsi recréer du sens entre l’usager et son environnement.
biography: Marie-Lorraine Chiriacopol graduated from ENS Paris-Saclay with a Master’s degree in Design Research and soon after joined the Innovation team of Ubisoft’s legal department. This is a place of experimentation where she raises awareness of design among legal actors and builds products, services and paths. In her work, she favors a user-centred approach to create experiences and mediation spaces on technical subjects and thus recreate meaning between the user and his environment. @en
date: 1995-07-05
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display title: « Au temps de l’espace », une exposition du CCI pour célébrer l’année des télécommunications (1983)
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title: « Au temps de l’espace », une exposition du CCI pour célébrer l’année des télécommunications (1983)
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description: En 1983, « Au temps de l’espace » raconte la conquête spatiale et ses retombées dans notre quotidien. L’exposition est un véritable spectacle et les dispositifs scénographiques forment un outil pédagogique pour un public de masse tout autant que d’indiscutables outils de promotion.
description: In 1983, “Au temps de l'espace” tells the story of the conquest of space and its impact on our daily lives. The exhibition is a real show and the scenographic devices form an educational tool for a mass audience as well as an undeniable promotional tool. @en
abstract: De 1977 à 1992, le Centre de création industrielle organise dans les locaux du Centre Georges-Pompidou plusieurs expositions par an. Il y présente le design dans toutes ses formes (objet, graphisme, espace, urbanisme ou textile) sous un regard contemporain. Les thématiques se succèdent et rendent compte des réalités mais aussi des recherches et des tendances en design. D’autre part, le CCI souhaite rendre la connaissance accessible et s’adresse à un public large et diversifié pour qu’il puisse mieux comprendre son environnement. En 1983, Jean-Paul Pigeat, un des commissaires attitrés du CCI, et son équipe mettent en scène « Au temps de l’espace » dans le Forum du Centre Georges-Pompidou. Objets techniques, bandes dessinées, littérature, cinéma et produits de télécommunications nous racontent la conquête spatiale et ses retombées dans notre quotidien. On y remarque un nombre d’installations interactives, immersives et hors-normes qui font de cette exposition un véritable spectacle. Pendant près de quatre mois, 480 000 visiteurs affluent, c’est une réussite. L’article, au-delà de parcourir à nouveau les salles de cette exposition, propose d’en analyser les dispositifs scénographiques. Par leur aspect spectaculaire, nous remarquerons qu’ils forment un outil pédagogique pour un public de masse et répondent ainsi aux ambitions du CCI. L’expérience, la participation du corps et la technologie seront nos points d’entrée pour rendre compte de leur dimension éducative. Cependant, nous ne saurions négliger que leur aspect spectaculaire en fait d’indiscutables outils de promotion. Par les choix stratégiques du CCI, « Au temps de l’espace » est destiné à être un succès, et dans ce but, Pigeat et son équipe s’inspirent formellement des grandes expositions américaines. Ils s’y inscrivent même en termes d’idéologie : en faisant la démonstration d’un État français moderne et progressiste.
abstract: From 1977 to 1992, the Centre de création industrielle (Center of Industrial Creation) scheddules several exhibitions per year in the Centre Georges-Pompidou spaces. It introduces industrial design in all its shapes (product, graphism, space, urban planning or fabrics) under a contemporary look. The different topics report of realities and constraints in design but also of researches and trends. Besides, the CCI wants to expose an accessible knowledge for a large and wide public, for people to understand their living environment. In 1983, Jean-Paul Pigeat, one of the commissioners of the CCI, and his team set up in the Forum of the Centre Georges-Pompidou “Au temps de l’espace”. Technical objects, comic strips, literature, cinema, and telecommunication products present the conquest of space and its implications in our daily. Numerous interactive, immersive and outstanding devices are installed and form together a true show. During 4 months, 480,000 visitors flock, it’s a huge success. This article offers to browse again the rooms of the exhibition and to analyse the scenography. First, we will affirm that, thanks to their spectacular aspect, the scenographic devices are an educational tool for a mass audience. The experience, the body involvement and the technology will be our entry points. Nevertheless their spectacular aspect makes them tools of promotion too. Through the CCI strategic choices, “Au temps de l’espace” is thought to be a blockbuster. For that purpose, Pigeat and his team show a strong attachment to the American world’s fairs in its scenography but also in its ideologies and make the demonstration of a French modern and progressive government. @en
table of contents: # Introduction # Une exposition pour l’année des télécommunications ## La conquête de l’Espace et des télécommunications racontée ## La conquête de l’Espace à l’épreuve du design # Une exposition du spectacle ## Le théâtre de l’Espace ## Des dispositifs hors-normes ## Place à l’écran # Un spectacle pédagogique ## L’expérience et le souvenir ## L’intelligence du corps ## Une double vitesse de lecture # Le spectacle comme format de visibilité ## Une stratégie du CCI ## Dans la tradition des grandes expositions américaines ## Une excellence française à démontrer ? # Conclusion
subject: Exposition
subject: exhibition @en
subject: Scénographie
subject: Scenography @en
subject: Design
subject: Technologie
subject: Technology @en
subject: Espace
subject: Space @en
subject: Conquête spatiale
subject: Space conquest @en
subject: Télécommunications
subject: Telecommunications @en
subject: Interaction
references: Pigeat, Jean-Paul
references: Blanquart, Paul
references: Delilez, Ariane
temporal: 1982/1983
spatial: http://www.geonames.org/2988507
language: fr
date submitted: 2021-05-20
created: 2019
type: Essai
type: Essay @en
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title: Cochet, Anne-Cécile
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name: Cochet, Anne-Cécile
family name: Cochet
givenname: Anne-Cécile
biography: Née en 1993, Anne-Cécile Cochet est designer produit et chercheuse en design. Après une formation de gravure en modelé à l’école Boulle puis en design de produits à l’université de Montréal et à La Martinière-Diderot (Lyon) elle complète son cursus avec un Master 2 de Recherche en Design à l’ENS Paris-Saclay. En 2021, elle commence une thèse de doctorat sur le réemploi des matériaux de construction dits « acoustiques » avec Saint-Gobain Research Paris, au sein des laboratoires MAP-MAACC et du CRD.
biography: Born in 1993, Anne Cécile Cochet is a product designer and design researcher. After training in engraving and modelling at the Ecole Boulle and then in product design at the University of Montreal and at La Martinière-Diderot (Lyon), she completed her studies with a Master's degree in Design Research at the ENS Paris-Saclay. In 2021, she will start a doctoral thesis on the reuse of “acoustic” construction materials with Saint-Gobain Research Paris, within the MAP-MAACC and CRD laboratories. @en
date: 1993-10-28
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display title: Desseins institutionnels pour le design : « Dessins et modèles déposés » (11 mars – 8 juin 1981), une étrange exposition…
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title: Desseins institutionnels pour le design : « Dessins et modèles déposés » (11 mars – 8 juin 1981), une étrange exposition…
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description: Par le prisme de l’exposition « Dessins et modèles déposés », il s’agit de comprendre la manière dont le design est envisagé par les institutions en France, en analysant les politiques publiques de sa promotion et les évolutions juridictionnelles qui cadrent les activités de création.
description: Through the prism of the exhibition “Dessins et modèles déposés”, the aim is to understand the way in which design is considered by institutions in France, by analysing the public policies for its promotion and the jurisdictional developments that frame creative activities. @en
abstract: Par le prisme de l’exposition « Dessins et modèles déposés », présentée au Centre Georges-Pompidou du 11 mars au 8 juin 1981, cet article tente de comprendre la manière dont le design est envisagé par les institutions en France, en analysant les politiques publiques mises en place pour en faire la promotion, mais aussi en se penchant sur les évolutions juridictionnelles qui cadrent les activités de création en France. Depuis les années 1950, la figure du designer est quelque peu malmenée, d’abord avec des querelles internes au métier, mais également par les tentatives de médiation de la discipline. Elles s’attachent davantage à faire la promotion des produits du design – et par ce biais, de la production industrielle française – plutôt que d’en expliquer les enjeux plus profonds qui sont ceux d’une discipline du projet. Les nombreuses tergiversations sur le choix des termes qui définiront cette discipline en France montrent les difficultés qui se posent à l’époque pour trouver un consensus. Les évolutions législatives des textes sur la propriété intellectuelle sont, elles aussi, l’expression de ces hésitations. L’articulation des notions d’art, de technique, d’invention, de nouveauté dans les textes de lois montre les difficultés que les institutions rencontrent pour envisager une discipline caractérisée par sa transversalité. La distinction puis la fusion de ce qui relève de l’invention technique et de l’invention artistique est symptomatique des modifications de perception du design. Si une politique vigoureuse, menée depuis les années 1970, cherche à promouvoir le design comme acteur indispensable de l’économie, notamment par le biais de l’innovation qu’il peut apporter à l’industrie, l’échec de bien des initiatives pose la question du retentissement actuel de ces choix politiques. On assiste peut-être, aujourd’hui, à une inversion des rapports entre le design et les institutions : à un design qui était auparavant sous tutelle institutionnelle s’oppose aujourd’hu…
abstract: Through the analysis of the exhibition “Dessins et modèles déposés”, exhibited at the Centre Georges-Pompidou from March 11 to June 8, 1981, one can attempt to understand the way design is thought up by French institutions. By looking at the public policies set to promote design, and by examining the jurisdictional evolutions that frame design in France, it is possible to examine the implications these decisions have in the evolution of design in France. Since the 1950’s, the figure of the designer has been somewhat mistreated, primarily by internal quarrels within the profession, but also by attempts to mediate the discipline, that were more focused on promoting the products of design—and through them, the French industrial production—than on explaining the deeper issues of the discipline. The many hesitations on the choice of terms that had to define design in France show the difficulties that were encountered in finding a consensus. The legislative changes in the laws governing intellectual property are also an expression of these hesitations. The combination of the notions of art, technique, invention and innovation in the French law shows the difficulties that institutions encountered in considering a discipline characterized by its transversality. The distinction and then the fusion of the technical and artistic inventions is symptomatic of the transformations in the perception of design. Although a vigorous policy pursued since the 1970s seeks to promote design as an essential actor of the economy, particularly through innovation, the failure of many initiatives raises the question of the current impact of these political choices. Today, we may be witnessing a inversion of the links between design and institutions: as opposed to a design that was previously under institutional supervision, there is now a design that aims to think about transformations, even public policies, and by extension, institutions. @en
table of contents: # Institutionnalisation du design ## Politiques de développement culturel et industriel en France ## Initiatives institutionnelles ## La construction de la figure du designer au niveau institutionnel ## Les tentatives pédagogiques sur la création industrielle #En fait, une politique de protection pour l’industrie française ##Adaptation législative à une injonction économique plus qu’à l’intérêt des designers ##Une spécificité française ##Design sous protection institutionnelle #Enjeux actuels des politiques publiques pour le design ##Le design est-il vraiment un enjeu pour les politiques publiques ?
subject: Design
subject: Design industriel
subject: Industrie
subject: Politique
subject: Institutions
subject: Législation
subject: Protection
subject: Promotion
subject: industry @en
subject: Industrial design @en
subject: Politics / policy @en
subject: French institutions @en
subject: Law @en
references: Malraux, André
references: Maldonado, Tomas
references: Mullender, Jacques
references: Boudeville, Georges
references: Bérard, Jean-Pierre
references: Tallon, Roger
references: Viénot, Jacques
temporal: 1950/1981
spatial: http://www.geonames.org/3017382
language: fr
date submitted: 2021-03-24
created: 2019
type: Essai
type: Essay @en
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title: Chataigner, Noémie
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name: Chataigner, Noémie
family name: Chataigner
givenname: Noémie
biography: Noémie Chataigner est agrégée d’arts appliqués et doctorante en design et en éthique au sein de l’université Paris-Saclay. Elle est diplômée en design textile (ESAA La Martinière Diderot) et ancienne élève du département design de l’ENS Paris-Saclay. Son doctorat est effectué au sein du laboratoire CESP, équipe de recherches en éthique et en épistémologie, et porte sur l’usage de dispositifs numériques en contexte médical. Elle étudie les relations entre médiations technologiques et vulnérabilités.
biography: Noémie Chataigner is an associate professor of applied arts and a doctoral student in design and ethics at the Université Paris-Saclay. She has a degree in textile design (ESAA La Martinière Diderot) and is an alumnus of the design department at ENS Paris-Saclay. Her doctorate is carried out within the CESP laboratory, a research team in ethics and epistemology, and focuses on the use of digital devices in a medical context. She considers the relationship between technological mediations and vulnerabilities. @en
date: 1996-07-01
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title: « Les Immatériaux » : sentiment postmoderne et espaces indéfinis
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alternative: La perte des métarécits modernes
description: L’exposition montre comment les technosciences ont perturbé le schéma communicationnel ainsi que la matérialité. L’article interroge l’intention du commissaire J.-F. Lyotard qui est de rendre manifeste un sentiment postmoderne, à travers la mise en espace et l’expérience suscitée par la visite.
description: The exhibition shows how technosciences have disrupted the fuctionning of communication and materiality. The article questions the intention of the curator J.-F. Lyotard to make manifest a postmodern feeling, through the setting in space and the experience aroused by the visit. @en
abstract: Le 28 mars 1985, débute l’exposition « Les Immatériaux » dans la Grande Galerie du cinquième étage du Centre Georges-Pompidou, c’est un espace d’exposition commun au Centre de création industrielle (CCI) et au musée national d’Art moderne. « Les Immatériaux » sont une réalisation interdisciplinaire qui résulte d’une collaboration entre le MNAM, le CCI et l’IRCAM. Elle fait suite à la demande du Centre au philosophe Jean-François Lyotard d’opérer au commissariat de l’exposition avec Thierry Chaput. Elle est dense, tant dans les dispositifs mis en place que dans les questionnements soulevés, elle montre comment les technosciences ont perturbé le schéma communicationnel ainsi que la matérialité. Dans cet article, nous questionnerons une des intentions du commissariat d’exposition qui est celle de rendre manifeste un sentiment postmoderne. Nous l’identifierons à travers la mise en espace et l’expérience que suscite sa visite. Aussi, la scénographie est un display qui nous paraît envisager la mise en espace comme une translation de la pensée conceptuelle de Lyotard. L’exposition est alors manifeste d’un certain chagrin, conséquent à la perte des métarécits moderne. Nous distinguerons dans la mise en espace des zones indéfinies et désertes par lesquels le sentiment postmoderne se réalise pleinement. Puisque ces zones se déploient par l’ellipse et le hors-champ, elles incarnent le caractère non total dont est marquée la postmodernité. Aussi elles ne paraissent que par une non-conception. Certains documents des archives du Centre Georges-Pompidou attestent une prise de conscience quant à la possibilité d’une mise en espace porteuse de sens. Simultanément aux « Immatériaux » et à leur suite, certains espaces de circulation du Centre furent repensés notamment par la modification des lourdes cimaises. Cela montre, à nos yeux, d’une part l’incidence des « Immatériaux » sur le Centre Georges-Pompidou mais aussi le fait que la conception de cette exposition soit en accord avec et…
abstract: On March 28, 1985, the exhibition “Les Immatériaux” started in the Grande Galerie on the fifth floor of the Centre Georges-Pompidou, an exhibition space shared by the Centre de Création Industrielle and the Musée National d’Art Moderne.“Les Immatériaux” was an interdisciplinary production organised in association with the MNAM, the CCI, and IRCAM. It resulted from the Centre’s request to the philosopher Jean-François Lyotard to curate the exhibition with Thierry Chaput. It was dense, due to the spatial apparatus as well as to the issues raised, and showed how techno-sciences were disrupting the functioning of communication and materiality. In this article, I will question one of the curators’ intentions, which was to make the postmodern feeling manifest. I will identify this through the spatial installation and the visit as an experience. The staging is a display which seems to consider the exhibition device as a translation of Lyotard’s conceptual thought. This thought makes obvious a certain grief, specific to the loss of modernism’s metanarratives. I will distinguish, in the spatial installation, undefined and desert spaces that fully concretize the postmodern feeling. Since their articulation involved ellipsis and the out-of-range, they embodied the non-totality characteristic of postmodernism. They only appear through a non-design. Certain documents in the Centre Georges-Pompidou archives demonstrate an understanding of the possibility of a meaningful exhibition apparatus. At the same time as “Les Immatériaux” and subsequently, some of the visitor spaces were redesigned and, in particular, the heavy picture walls were changed. In my view, this shows the impact of the exhibition design of “Les Immatériaux” on the whole Centre Georges-Pompidou, and also that the conception of the spatial installation matched the Centre Georges-Pompidou policy generally, and especially that of the CCI, where François Burkhardt had recently taken the helm. @en
table of contents: # Les Immatériaux, l’exposition par le display et l’évolution spatiale du CNAC ## Intention générale ## Une « surexposition », selon le concept développé par Paul Virilio, « la ville surexposée » ## Une exposition manifeste des volontés d’évolution du Centre national d’art et de culture Georges-Pompidou # Le chagrin et la mise en espace d’un discours conceptuel ## Deuil de la modernité ## La perte des métarécits et dramaturgie postmoderne ## L’incertitude # Les espaces indéfinis manifeste de la postmodernité en design ## À la marge ## Les espaces non définis de l’exposition ## Ce qui ne peut se concevoir ## Un manifeste de la crise du projet, et du design # Pour conclure
subject: Expérience
subject: Philosophie
subject: Scénographie
subject: Exposition
subject: Postmodernisme
subject: Espace indéfini
subject: Technoscience
subject: Chagrin
subject: Undefined Territory @en
subject: Grief @en
subject: experience @en
subject: exhibition @en
subject: Philosophy @en
subject: Scenography @en
references: Lyotard, Jean-François
references: Chaput, Thierry
references: Burkhardt, François
references: Délis, Philippe
references: Maheu, Jean
references: Guiheux, Alain
temporal: 1983/1985
spatial: http://www.geonames.org/2988507
language: fr
date submitted: 2021-03-24
created: 2019-02
type: Essai
type: Essay @en
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title: Sanitas, Valentin
created: 2021-03-24T18:00:15+00:00
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name: Sanitas, Valentin
family name: Sanitas
givenname: Valentin
biography: Normalien agrégé en design, Valentin Sanitas est titulaire du DSAA Alternatives Urbaines ainsi que d’un Master de recherche en design (ENS Paris-Saclay - ENSCI - Télécom Paris-Tech). Il mène actuellement une thèse de doctorat sur les relations entre le design et l’anthropologie de l’environnement sous la direction d’Antonella Tufano au Conservatoire national des Arts et Métiers, laboratoire MAP-MAACC UMR 3495 CNRS. Il est également enseignant de théories du design à l’Ensba-Lyon.
biography: Associate Professor in Design, Valentin Sanitas is a graduate of the DSAA Alternatives Urbaines and holds a Master’s degree in Design Research (ENS Paris-Saclay - ENSCI - Télécom Paris-Tech). He is currently working on a doctoral thesis on the relationship between design and environmental anthropology under the direction of Antonella Tufano at the Conservatoire National des Arts et Métiers, UMR 3495 CNRS laboratory MAP-MAACC. He is also a teacher of design theory at Ensba-Lyon. @en
date: 1995-07-25
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display title: « Bunker archéologie » (1976) : l’espace mis en page
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title: « Bunker archéologie » (1976) : l’espace mis en page
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description: « Bunker archéologie », exposition de Paul Virilio, semble occuper une place particulière dans la carrière de l’architecte et témoigner d’un glissement de sa pensée en 1975. L’exposition « Bunker archéologie » n’est pas l’une des plus manifestes traces de la pratique hybride d’architecte/penseur de Paul Virilio.
description: “Bunker Archeology”, an exhibition by Paul Virilio, seems to occupy a special place in the architect's career and to testify to a shift in his thinking in 1975. The exhibition “Bunker archéologie” is not one of the most obvious traces of Paul Virilio's hybrid practice as architect/thinker. @en
abstract: « Bunker archéologie » est une exposition de Paul Virilio, réalisée au musée des Arts décoratifs de Paris du 10 décembre 1975 au 29 février 1976. Paul Virilio est invité par François Mathey, directeur du Centre de création industrielle, à présenter l’enquête photographique sur le Mur de l’Atlantique qu’il a menée dans le cadre de sa thèse en architecture. Cet article tente de montrer la place particulière de cette exposition dans la carrière de Paul Virilio. La réalisation de « Bunker archéologie » et sa démission de la direction de l’École spéciale d’architecture ne témoigne-t-il pas d’un glissement de sa pensée en 1975 ? Si Virilio est aujourd’hui connu pour ses écrits sur la technique, l’accident ou la vitesse, « Bunker archéologie » apparaît comme l’exposition d’un philosophe/architecte, à la fois théoricien et praticien. D’un penseur qui a dessiné, construit et collaboré avec des architectes. Au fil de détours dans ses textes, conversations et d’un passage par Sainte-Bernadette du Banlay, cet article tentera de savoir si « Bunker archéologie » n’est pas l’une des plus manifestes traces de la pratique hybride d’architecte/penseur de Paul Virilio, dont les photographies, dessins et constructions semblent avoir petit à petit disparu.
abstract: “Bunker Archeology ” is an exhibition conceived and realised by Paul Virilio at the musée des Arts décoratifs of Paris, between the 10th of December 1975 and the 29th of February 1976. Paul Virilio is invited by François Mathey, director of the Centre de création industrielle (Industrial Creation Center), to present the photographic inquiry about the Atlantic Wall that he lead for his architectural thesis. This article tries to show the unique place of this exhibition in Paul Virilio’s career. Do the conception of “Bunker Archeology” and his demission of the head of the École spéciale d’architecture (Architecture Special School) testify a slip in his thought in 1975? When Virilio is now known for his writings on technique, accident and speed, “Bunker Archeology” appears as an exhibition realised by an architect/philosopher, both theoretician and practician. The exhibition of a thinker that has drawn, built, and collaborated with architects. Through some detours in his texts, conversations and a path by Sainte-Bernadette du Banlay, this article intends to know if “Bunker Archeology” is not one of his more manifest traces of Paul Virilio’s hybrid work of architect/philosopher, whose photographs, drawings and buildings seem to have progressively disappeared. @en
table of contents: # Récit d’Histoire(s) ## Histoire d’une enquête ## Archéologie d’une exposition ## Histoire d’une enquête # Espace repoussoir ## Musée de la guerre ## Sainte-Bernadette du Banlay ## Exposition/Manifeste # Montrer l’écriture ## Actualisation ## Le dessin graphique et le dessin littéraire ## Un art révélationnaire
subject: Bunker @en
subject: Bunker
subject: Architecture
subject: Critique
subject: Histoire
subject: Criticism @en
subject: History @en
subject: exhibition @en
subject: Architecture Principe @en
subject: Manifesto @en
subject: Inquiry @en
subject: architecture principe
subject: manifeste
subject: enquête
references: Virilio, Paul
references: Parent,Claude
references: Mathey, François
temporal: 1958/1991
spatial: http://www.geonames.org/3017382
language: fr
date submitted: 2021-03-24
created: 2018
date: 2018-06
source: GEEL, Catherine (dir.), Problemata, ENS Cachan, Cachan, 2018
is format of: GEEL, Catherine (dir.), Problemata, ENS Cachan, Cachan, 2018
type: Essai
type: Essay @en
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title: Faugeron, Léonard
created: 2021-03-24T18:03:33+00:00
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name: Faugeron, Léonard
family name: Faugeron
givenname: Léonard
biography: Léonard Faugeron est designer scénographe. Il conçoit des expositions, des installations, des parcours de visite, et s’interroge sur le rôle du design et des technologies dans l’espace d’exposition. Il a étudié ces questions en Master de Recherche en Design à l’ENS Paris Saclay et à l’école Boulle en diplôme supérieur d’arts appliqués. Il a travaillé dans plusieurs agences de scénographie et exerce en tant qu’indépendant à Paris.
biography: Léonard Faugeron is a set designer. He designs exhibitions, installations, and tours, and examines the role of design and technology in the exhibition space. He studied these questions in the Master of Design Research at ENS Paris Saclay and at the École Boulle in the Higher Diploma of Applied Arts. He has worked in several scenography agencies and is a freelance designer in Paris. @en
date: 1996-01-14
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display title: « Les Immatériaux », dans le labyrinthe des trames suspendues
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title: « Les Immatériaux », dans le labyrinthe des trames suspendues
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title: « Les Immatériaux », in the labyrinth of suspended frames @en
description: L’exposition « Les Immatériaux »est un cas inédit en matière de circulation en raison du dispositif matériel déployé. En quoi cette scénographie singulière s’articule-t-elle avec des parcours de visite non linéaires, davantage que ne le feraient des cimaises classiques ?
description: The exhibition “Les Immatériaux” is a novel case in terms of circulation because of the material device deployed. In what way does this singular scenography articulate with non-linear visit routes, more than classical picture rails would do? @en
abstract: L’exposition « Les Immatériaux » cherchait à rendre compte du sentiment postmoderne à travers l’espace, et notamment grâce à la liberté de parcours offerte à ses visiteurs. Cependant, ils se perdaient, certains ressortaient par l’entrée, d’autres revenaient sur leurs pas plusieurs fois. Impossible de faire le tour complet de l’exposition. Ce cas inédit en matière de circulation s’explique par le dispositif matériel d’exposition, et notamment par « […] une disposition de semi-écrans suspendus [qui] permettent au visiteur de choisir semi librement son parcours ». Des trames grillagées suspendues découpaient l’espace, remplaçant les traditionnelles cimaises d’exposition. Le philosophe et commissaire Jean-François Lyotard explique ce choix : « […] le visiteur a à se déplacer de façon aléatoire, faisant lui-même son parcours. Pour cette raison, on a évité les cimaises et on a pris ces fameuses trames dont on peut faire varier les éclairages ». On peut alors se demander en quoi cet aspect de la scénographie s’articule avec des parcours de visite non linéaires, davantage que ne le feraient des cimaises classiques. Pour tenter de répondre à cette question, nous nous appuierons sur les documents d’archive du Centre Georges-Pompidou et de la Bibliothèque Kandinsky. Dans un premier temps nous contextualiserons l’exposition par rapport à son institution initiatrice, le Centre de création industrielle, ainsi qu’à l’œuvre philosophique de son commissaire, Jean-François Lyotard. Nous chercherons ensuite à saisir l’importance des trames grillagées par rapport aux parcours, à la circulation, et leur articulation avec le concept d’exposition. En conclusion de ce travail, nous aborderons l’héritage laissé par cet événement en matière de création d’expositions.
abstract: The freedom of movement in “Les Immatériaux” aimed to reflect a postmodern feeling in space. Visitors got lost, some came out through the entrance, others turned around several times. It was impossible to make a complete tour of the exhibition. This unprecedented case in terms of crowd circulation is due to the material exhibition system, and in particular to “[...] a layout of suspended semi-screens [which] allow the visitor to choose his route semi-freely.” Suspended wire mesh frames were cutting out the space, replacing the traditional exhibition picture walls. The philosopher and curator Jean-François Lyotard explains this choice: “[...] the visitor has to move randomly, making his own way. For this reason, we avoided the exhibition walls and took these famous frames whose lighting can be modified.” We can wonder how this aspect of scenography is linked to the non-linear visitor tracks, more than traditional exhibition walls would be. In an attempt to answer this question, we will rely on the archival documents of the Centre Georges-Pompidou and the Kandinsky Library. First, we will contextualize the exhibition in relation to its institution, the Centre de création industrielle (CCI), and to the philosophical work of its curator, Jean-François Lyotard. We will then try to understand the role of the metal frames in relation to the visitors tracks and the exhibition concept. At the end of this work, we will discuss the legacy of this event in terms of exhibition design. @en
table of contents: #Une manifestation expérimentale #Se déplacer dans Les Immatériaux #Les toiles métalliques de la Manufacture de Rougemont #L’accrochage des trames #Conduites de visite et opacités de trames #Une fracture avec le public #Conclusion
subject: Trames
subject: Scénographie
subject: Musée
subject: Exposition
subject: Parcours
subject: Design d’espace
subject: Grillage
subject: visitor’s tracks @en
subject: Space design @en
subject: Scenography @en
subject: Museum @en
subject: exhibition @en
subject: circulation @en
subject: metal frame @en
subject: transparency @en
temporal: 1985-2018
spatial: France
language: fr
date submitted: 2021-03-24
created: 2019
type: Essai
type: Essay @en
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title: Le Menes, Marie
created: 2021-03-24T18:03:54+00:00
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name: Le Menes, Marie
family name: Le Menes
givenname: Marie
biography: Marie Le Menes est professeur, agrégée d’arts appliqués en 2017, en poste au lycée Mézeray Gabriel d’Argentan (14) auprès d’élèves en DNMADE Objet et en Bac STD2A. Issue d’une formation initiale en design de produit et riche de ses années de formation à l’ENS Paris-Saclay, les thématiques centrales de son travail sont les relations entre design, designers, usagers, société et politique.
biography: Marie Le Menes is a teacher, Associate Professor in Applied Arts in 2017, working at the Lycée Mézeray Gabriel in Argentan (14) with students in DNMADE Objet and Bac STD2A. With an initial training in product design and a wealth of years of training at ENS Paris Saclay, the central themes of her work are the relationships between design, designers, users, society and politics. @en
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display title: « Archéologie de la ville » (1977) et l’ouverture du Centre national d’art et de culture Georges Pompidou
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title: « Archéologie de la ville » (1977) et l’ouverture du Centre national d’art et de culture Georges Pompidou
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alternative: collaboration spectaculaire et péripéties scénographiques pour une ambition inaugurale
description: « Archéologie de la ville », une des expositions inaugurales du Centre Pompidou imaginée par le collectif Haus-Rucker-Co est une suite de turbulences ou de hasards au sein du collectif qui font évoluer le processus créatif et nourrissent l’exposition.
description: One of Centre Pompidou's inaugural exhibition “Archéologie de la ville” is a series of turbulence or fortunate event which led Haus-Rucker-Co collective to conceptualize it. @en
abstract: « Archéologie de la ville », présentée le 2 février 1977 dans le forum du Centre Pompidou, est l’une des expositions inaugurales. La scénographie et le projet sont imaginés par un collectif d’architectes, d’urbanistes et d’écrivains basé à New York : Haus-Rucker-Co. Constituée d’une spectaculaire ossature de métal, servant à la fois de structure et d’instrument, l’exposition présente des objets du quotidien des années 1970. L’ambition est de transporter les spectateurs dans les années 3000 et de leur proposer une réflexion sur leurs objets quotidiens comme témoins du « passé ». Dans cet article, nous tenterons d’étudier les raisons qui poussent François Barré et François Mathey, officiant au CCI, à choisir précisément ce collectif pour inaugurer le nouveau Centre d’art et de culture. Par ailleurs, cette exposition, des prémices du projet jusqu’à sa finalité, est une suite de turbulences ou de hasards au sein du collectif qui font évoluer le processus créatif et nourrissent l’exposition. Ces processus se trouvent-ils retranscrit et les volontés communes du Centre et du groupe Haus-Rucker-Co de produire, au-delà d’une exposition, un événement spectaculaire et innovant sont-elles confirmées ? Le témoignage de François Confino, membre du collectif Haus-Rucker-Co à l’époque, permet d’éclairer cette exposition par le récit des étapes en amont. La concordance entre son témoignage et les archives du Centre Pompidou nous permettra d’étudier alors plus particulièrement les étapes qui ont permis l’arrivée de dispositifs sonores dans le projet, six mois avant l’inauguration, transformant considérablement le projet et les relations des acteurs.
abstract: “Archéologie de la ville” is presented on February 2, 1977 in the forum of the Centre Pompidou as one of the inaugural exhibitions for the Centre’s opening. Curatorial work and display, imagined by the New York based radical collective of architects, urbanists and writers Haus-Rucker-Co, ambition to project the audience in the 3000’s in order to create a reflection about their everyday objects and consumption’s habits as witnesses of a so-called past. The main element of this exhibition was a big iron skeleton which was both a structure and a music instrument. We are going to examine the stakes of such a choice for the opening and speculate the reasons why François Barré and François Mathey, directors of the CCI, programmed it. Did their ambition finally coincide with the different and strange steps of its conception? Did the result of all these stages favor wishes of the Centre and did Haus-Rucker-Co finally produce, beyond the exhibition itself, a spectacular and innovative event? The testimony of François Confino, one of the member of the collective, allows us to document the different steps of the creative process and thus put in perspective a collective work in such circumstances. Consistency between François Confino testimony and the Centre Pompidou archives then permits to shed light on one specific and decisive moment: the arrival of a sound project in an exhibition six months before its opening. @en
table of contents: # 8 avril 1976 : la commande ## # Mi-avril 1976 – mi-août 1976 : chacun dans son coin ou la création en groupe. New York, Paris et Die Ecke. ## # 19 août 1976 : un frère percussionniste ? ## # 20 août – 1er février : du son dans la ville ## # 2 février 1977 : on inaugure… ## # 18 février 1977 : on conclut. ##
subject: architecture radicale
subject: Architecture
subject: Collectif
subject: Dispositif
subject: Expérimentation
subject: Agency @en
subject: Collective @en
subject: experimentation @en
subject: fiction @en
subject: radical architecture @en
subject: inauguration @en
subject: archeology @en
subject: soundscape exhibition @en
subject: inauguration
subject: archéologie
subject: exposition sonore
references: Confino, François
references: Ricou, Eric
references: CCI
temporal: 1976
temporal: 1977
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spatial: http://www.geonames.org/6252001
language: fr
date submitted: 2021-04-02
created: 2018-06-14
type: Essai
type: Essay @en
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name: Jaguin, Emilie
family name: Jaguin
givenname: Emilie
biography: Émilie Jaguin est une designer diplômée en création et conception en design du lycée d’arts appliqués de Bretagne et du Master 2 de Recherche en Design de l’ENS Paris-Saclay. Forte d’un parcours pluridisciplinaire mêlant approche plastique, design produit, graphisme et recherche en design, elle s’intéresse particulièrement au processus de création en territoire. Depuis 2018 elle collabore avec le studio Marginal à Palerme autour de plusieurs projets d’innovation sociale. Elle enseigne également au sein du pôle Arts appliqués du lycée Diderot en graphisme et médiation.
biography: Émilie Jaguin is a designer with a degree in creation and design from the Lycée d’arts appliqués de Bretagne and a Master 2 in Design Research of ENS Paris-Saclay. With a multidisciplinary background combining plastic approach, product design, graphic design and design research, she is particularly interested in the process of creation in territory. Since 2018 she has been collaborating with the Marginal studio in Palermo on several social innovation projects. She also teaches graphic design and mediation at the Applied Arts department of the Diderot high school. @en
date: 1994-09-09
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title: Un journaliste au musée (1978–1986), Jean-Paul Pigeat et le Centre de création industrielle : exposer la société
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title: A journalist at the museum (1978-1986), Jean-Paul Pigeat and the Center for Industrial Creation: exposing society @en
description: Jean-Paul Pigeat, figure oubliée dans l’histoire des expositions en France, réalise pourtant une trentaine d’expositions pour le CCI. L’actualité et les problèmes sociaux y tiennent une place centrale, et définissent un « genre » social et ethnographique de ces expositions.
description: Jean-Paul Pigeat, a forgotten figure in the history of exhibitions in France, nevertheless produced some thirty exhibitions for the CCI. Current events and social problems are central to these exhibitions, and define a social and ethnographic “genre” of these exhibitions @en
abstract: Jean-Paul Pigeat n’est pas une figure majeure dans l’histoire des expositions en France. Principalement connu pour son travail au Festival international des jardins de Chaumont-sur-Loire, il réalise pourtant une trentaine d’expositions pour le Centre de création industrielle du Centre Pompidou de 1978 à 1986. Les multiples questions abordées par ce personnage polymorphe, dont les expositions « Errants, nomades et voyageurs » de 1980 et « Alternances urbaines » de 1979 sont les deux principaux cas traités dans cet article, permettent de sonder un « genre » social et ethnographique des expositions du Centre de création industrielle (CCI), où l’actualité et les problèmes sociaux font le cœur de sujets d’exposition. En questionnant dans un premier temps ses missions en dehors du Centre Pompidou, à Collioure et Chaumont, ainsi que ses collaborateurs dont Éric Rohmer, nous tenterons de comprendre la nature de ce personnage polymorphe, ses réflexions et passions, pour mieux cerner son intervention au CCI pendant quinze ans. C’est avant tout l’homme et la société que Jean-Paul Pigeat interroge. Ses expositions fonctionnent comme des formes de mise en abyme de la société où les objets font le discours. Il s’adresse ainsi à un public populaire, qu’il cherche à « passionner ». Enfin, si cette collaboration semble étonnante pour une section qui tend à promouvoir le design, Jean-Paul Pigeat apporte aussi des informations et détails sur la politique d’une institution culturelle et ses « parties-pilotes » dont le CCI. Cet article est construit sous forme d’enquête, menée à partir des archives du CCI et des ouvrages qui évoquent la démarche de Jean-Paul Pigeat. Pour comprendre et saisir sa démarche d’« intermédiaire », naviguer au-delà du cadre institutionnel a été nécessaire, car c’est bien sa capacité à se déplacer d’un domaine à l’autre qui caractérise sa démarche.
abstract: Jean-Paul Pigeat is not a relevant figure in exhibitions history in France. Although he mainly owes his reputation from his work at the Festival international des jardins de Chaumont-sur-Loire, he realised about thirty exhibitions for the Centre de création industrielle-CCI (Industrial Creation Center) of the Centre Pompidou between 1978 and 1986. Through his exhibits, such as “Errants, nomades et voyageurs” (Wanderers, Nomads and Travelers) of 1980 and “Alternances urbaines” (Urban Alternations) of 1979, which are the main related cases of the article, this polymorphic character raises different issues. Therefore the problems he tackles allow us to explore the social and ethnographic axis of CCI exhibitions, in which current events and social issues are the heart of exhibit topics. By looking at his missions beside the Centre Pompidou, at Collioure and Chaumont, and at his collaboration with Eric Rohmer, we have observed the nature of this polymorphic character, his thoughts and passions, and how this enlightened the work he did during fifteen years at the CCI. Above all, Jean-Paul Pigeat questions the humankind and the society. His exhibitions lead a reflexion about society, in which common objects are defining the speech. These are addressed to a popular audience whom Jean-Paul Pigeat tries to “passionate” by involving the public in the exhibition. Finally, this amazing CCI phenomenon also gives some informations and details about the policy of a cultural institution and its parts. This article is built as an investigation lead within the CCI archives and publications about Jean-Paul Pigeat. In order to understand his way of thinking, I had to look beyond the institutional framework, which illustrates Jean-Paul Pigeat’s approach and his capacity to move from one domain to another. @en
table of contents: #Introduction ##Jean-Paul Pigeat, figure polymorphe : des missions au service de passions ? ## Exposer l’homme et la société au CCI ## Rendre le musée et ses informations accessibles : méthodes et moyens ## Évoluer hors des codes : la place prédéterminée de Jean-Paul Pigeat au CCI et la politique d’une institution culturelle en marges
subject: expositions sociales
subject: Architecture
subject: Urbanisme
subject: Social
subject: Urbanism @en
subject: exhibition @en
subject: Exposition
subject: social exhibitions @en
subject: ethnomuséographie
subject: ethnomuseography @en
references: Pigeat, Jean-Paul
references: CCI
references: Rohmer, Eric
references: Schaeffer, Pierre
references: ORTF
references: Desvallées, André
references: Rivière, Georges-Henri
references: Atelier d’Architecture et d’Urbanisme
temporal: 1960/1990
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spatial: http://www.geonames.org/2659496
spatial: http://www.geonames.org/3716089
spatial: http://www.geonames.org/8555643
language: fr
date submitted: 2021-03-24
created: 2018
date: 2018-06
source: GEEL, Catherine (dir.), Problemata, ENS Cachan, Cachan, 2018
is format of: GEEL, Catherine (dir.), Problemata, ENS Cachan, Cachan, 2018
type: Essai
type: Essay @en
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title: Vue de l’exposition "Au temps de l’espace", Centre Georges-Pompidou, Forum, Vue de salle.
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givenname: Clément
biography: À la suite d'un baccalauréat arts appliqués en 2014 Clément étudie le design de produit en BTS à Olivier de Serres puis en DSAA à l'école Boulle où il écrit un mémoire sur le design horloger jusqu'en 2018. Après quoi, il rejoint le master de recherche en design de l'ENS Cachan où il continue un travail de recherche sur les modes de représentation du temps et l'histoire de sa mesure pendant un an.
biography: Following a baccalaureate in applied arts in 2014, Clément studied product design in BTS at Olivier de Serres and then in DSAA at the École Boulle where he wrote a thesis on watch design until 2018. After that, he joins the Master of Design Research at ENS Cachan. He continues there a research work on the modes of representation of time and the history of its measurement during one year. @en
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title: Document préparatoire pour l'exposition « Au temps de l’Espace », Centre Georges-Pompidou, Forum.
created: 2021-03-28T11:15:28+00:00
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type: Dessin / Illustration
type: Drawing/illustration @en
title: Preparatory document for the exhibition “Au temps de l’Espace”, Centre Georges-Pompidou, Forum. @en
abstract: Dessin, numérisation.
abstract: Sketch, scan. @en
date submitted: 2020-03-24
date: 1983
created: 1983
identifier: 1995W052_16
provenance: archivesetdocumentation.centrepompidou.fr
publisher: www.centrepompidou.fr
locator: fig05_M5050_ACP_1995W052_16
rights: Mnam-CCI, Centre Pompidou/Dist. RMN-GP
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identifier: http://problemata.org/resources/253

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display title: Vue du Pavillon General Motors, exposition "Futurama", New York World’s Fair, New York,1939.
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title: Vue du Pavillon General Motors, exposition "Futurama", New York World’s Fair, New York,1939.
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type: Photographie
type: Photography @en
title: View of General Motors Pavilion, exhibition "Futurama", New York World’s Fair, New York, 1939. @en
abstract: Pavillon General Motors, exposition "Futurama", visiteurs dans des fauteuils motorisés regardant l'exposition, photographie noir et blanc.
abstract: General Motors pavilion, exhibition "Futurama", visitors in moving chairs viewing exhibit, black and white photography. @en
date submitted: 2020_03_24
date: 1939-1940
created: 1939-1940
publisher: www.nypl.org
locator: fig06.jpg
identifier: http://problemata.org/resources/262

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display title: Vue de Democracity, New York World’s Fair, New York, 1939.
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title: Vue de Democracity, New York World’s Fair, New York, 1939.
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type: Photographie
type: Photography @en
abstract: View of Democracity, New York World’s Fair, New York, 1939.
date submitted: 2020-03-24
date: 1939
created: 1939
provenance: New York Public Library
provenance: www.nypl.org
publisher: New York Public Library
publisher: www.nypl.org
locator: fig07.jpg
rights: New York Public Library
rights: www.nypl.org
identifier: http://problemata.org/resources/270

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display title: Vue du National Cash Register Building, New York World’s Fair, New York, 1939.
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title: Vue du National Cash Register Building, New York World’s Fair, New York, 1939.
created: 2021-03-28T12:49:59+00:00
modified: 2024-01-12T10:12:32+00:00
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type: Photographie
type: Photography @en
title: View of National Cash Register Building, New York World’s Fair, New York, 1939. @en
abstract: Photographie couleur.
abstract: Colour photography. @en
date submitted: 2020-03-24
date: 1939
created: 1939
identifier: IM 524775818
provenance: Corbis Historical
publisher: www.gettyimages.fr
locator: fig08.jpg
rights: Peter Campbell/CORBIS/Corbis via Getty Images
rights: www.gettyimages.fr
identifier: http://problemata.org/resources/267
name: Auteur : Peter Campbell
name: Author : Peter Campbell @en

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display title: Vue du Musée national de l'air et de l'espace, Washington, États-Unis, Vue de salle.
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title: Vue du Musée national de l'air et de l'espace, Washington, États-Unis, Vue de salle.
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type: Photographie
type: Photography @en
title: View of the Smithsonian National Air and Space Museum, Washington, USA, View of a room. @en
abstract: Photographie couleur.
abstract: Colour photography. @en
date submitted: 2020-03-24
date: 2017-07-15
created: 2017-07-15
provenance: https://www.flickr.com/photos/pedrosz/36085958805
publisher: www.flickr.com
locator: fig09.jpg
rights: Flickr - photographies de Pedro Szekely
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identifier: http://problemata.org/resources/265
name: Auteur : Pedro Szekely
name: Author : Pedro Szekely @en

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display title: Vue de salle de l’Esposizione Internazionale dell’industrial design dirigée par Ettore Sottsass avec la collaboration d’Andrea Branzi, Triennale de Milan, 1973.
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title: Vue de salle de l’Esposizione Internazionale dell’industrial design dirigée par Ettore Sottsass avec la collaboration d’Andrea Branzi, Triennale de Milan, 1973.
created: 2021-03-25T09:45:21+00:00
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mediator: Geel, Catherine
type: Photographie
type: Photography @en
abstract: Photographie d’une salle de l’Esposizione Internazionale dell’industrial design dirigée par Ettore Sottsass avec la collaboration d’Andrea Branzi, Triennale de Milan, 1973. Tirage NB, 24 x 30 cm. Archives de la Triennale,TRN_XV_01_0033. Photographe : Publifoto.
abstract: Photograph of a room at the Esposizione Internazionale dell'industrial design directed by Ettore Sottsass with the collaboration of Andrea Branzi, Milan Triennale, 1973. NB Print, 24 x 30cm. Triennale archive, TRN_XV_01_0033. Photographer: Publifoto. @en
date submitted: 2021-03-25
date: 1976
identifier: TRN_XV_01_0033
provenance: 23091-15trn
publisher: archivio.triennale.org
locator: fig05_TRN_XV_01_0033
rights: Publifoto © Archivio Triennale
rights: archivio.triennale.org
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title: Vue de salle de l’Esposizione Internazionale dell’industrial design dirigée par Ettore Sottsass avec la collaboration d’Andrea Branzi, Triennale de Milan, 1973. Photographe: Publifoto
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mediator: Geel, Catherine
type: Photographie
type: Photography @en
abstract: Photographie d’une salle de l’Esposizione Internazionale dell’industrial design dirigée par Ettore Sottsass avec la collaboration d’Andrea Branzi, Triennale de Milan, 1973. Tirage NB 24 x 6cm. Archives de la Triennale, TRN_XV_01_0031. Photographe : Publifoto.
abstract: View of the Esposizione Internazionale dell'industrial design directed by Ettore Sottsass with the collaboration of Andrea Branzi, Milan Triennale, 1973. NB print 24 x 6cm. Triennale archive, TRN_XV_01_0031. Photograph: Publifoto. @en
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date: 1973
identifier: TRN_XV_01_0031
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display title: Pages 10 et 11 de l’agenda d’Ettore Sottsass de l’année 1976.
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display title: Double page de l’article de Tommaso TRINI. « Ettore Sottsass Jr.: Katalogo Mobili 1966 ». Domus, 1967.
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display title: Vue de salle de la Sezione del vetro de l’exposition des productions d’art à la Xe Triennale de Milan, 1957.
thumbnail title: fig06_TRN_XI_04_0189
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display title: “Les Immatériaux” : Postmodern Feelings and Undefined Spaces
type: resource
lang: en
type: Item
type: Text
id: 240
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title: “Les Immatériaux” : Postmodern Feelings and Undefined Spaces
created: 2021-03-24T21:08:36+00:00
modified: 2024-01-12T08:45:33+00:00
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translator: Penwarden, Charles
alternative: The loss of Modern Metanarratives
description: The exhibition shows how technosciences have disrupted the fuctionning of communication and materiality. The article questions the intention of the curator J.-F. Lyotard to make manifest a postmodern feeling, through the setting in space and the experience aroused by the visit. @en
abstract: On March 28, 1985, the exhibition “Les Immatériaux” started in the Grande Galerie on the fifth floor of the Centre Georges-Pompidou, an exhibition space shared by the Centre de Création Industrielle and the Musée National d’Art Moderne. “Les Immatériaux” was an interdisciplinary production organised in association with the MNAM, the CCI, and IRCAM. It resulted from the Centre’s request to the philosopher Jean-François Lyotard to curate the exhibition with Thierry Chaput. It was dense, due to the spatial apparatus as well as to the issues raised, and showed how techno-sciences were disrupting the functioning of communication and materiality. In this article, I will question one of the curators’ intentions, which was to make the postmodern feeling manifest. I will identify this through the spatial installation and the visit as an experience. The staging is a display which seems to consider the exhibition device as a translation of Lyotard’s conceptual thought. This thought makes obvious a certain grief, specific to the loss of modernism’s metanarratives. I will distinguish, in the spatial installation, undefined and desert spaces that fully concretize the postmodern feeling. Since their articulation involved ellipsis and the out-of-range, they embodied the non-totality characteristic of postmodernism. They only appear through a non-design. Certain documents in the Centre Georges-Pompidou archives demonstrate an understanding of the possibility of a meaningful exhibition apparatus. At the same time as “Les Immatériaux” and subsequently, some of the visitor spaces were redesigned and, in particular, the heavy picture walls were changed. In my view, this shows the impact of the exhibition design of “Les Immatériaux” on the whole Centre Georges-Pompidou, and also that the conception of the spatial installation matched the Centre Georges-Pompidou policy generally, and especially that of the CCI, where François Burkhardt had recently taken the helm. @en
table of contents: # Les Immatériaux: the exhibition as display and the spatial development of the CNAC ## General intention ## An “over-exhibition,” as per Paul Virilio’s concept of “the over-exposed city” ## An exhibition and manifesto for the future development of the Centre National d’Art et de Culture Georges-Pompidou # Grief and the spatial installation of a conceptual discourse ## Grieving for modernity ## The loss of metanarratives and postmodern dramaturgy ## Uncertainty # Undefined area. Manifesto of postmodernity in design ## On the margins ## The exhibition and its undefined areas ## What cannot be conceived ## A manifesto for the crisis of the project, and design # In conclusion
subject: exhibition @en
subject: Philosophy @en
subject: Scenography @en
subject: experience @en
subject: Postmodernism @en
subject: Grief @en
subject: Undefined territory @en
subject: Technosciences @en
references: Lyotard, Jean-François
references: Chaput, Thierry
references: Délis, Philippe
references: Burkhardt, François
references: Guiheux, Alain
temporal: 1983/1985
spatial: http://www.geonames.org/2988507
language: en
date submitted: 2021-03-24
created: 2019-02
type: Essay @en
type: Essai
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display title: Document préparatoire de l’exposition "Les Immatériaux", croquis du Site « Pré-cuisine ».
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type: Item
type: Document
id: 257
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title: Document préparatoire de l’exposition "Les Immatériaux", croquis du Site « Pré-cuisine ».
created: 2021-03-28T11:40:44+00:00
modified: 2024-01-12T10:12:36+00:00
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type: Document écrit
type: Written document @en
title: Preparatory document for the exhibition "Les Immatériaux", sketch of the « Pré-cuisine » Site. @en
abstract: Croquis de recherche de la mise en espace du site "Pré-cuisine", 21x29,7cm.
abstract: Research sketch of the scenography of the site "Pré-cuisine", 21x29,7cm. @en
date submitted: 2021-03-24
date: 2019
created: 1983/1985
identifier: M5050 ACP 94033 224
provenance: archivesetdocumentation.centrepompidou.fr
publisher: archivesetdocumentation.centrepompidou.fr
locator: fig09_M5050_ACP_94033_224_3
rights: @Mnam-CCI, Centre Pompidou/Dist. RMN-GP
rights: ead2-search-form.html
access rights: Droits réservés. Usage documentaire à des fins de recherches académiques dans le cadre de la plateforme Problemata.
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display title: Document préparatoire de l’exposition "Les Immatériaux", croquis du Site « Nu Vain ».
thumbnail title: Immatériaux
thumbnail type: image/jpeg
type: Item
type: Document
id: 249
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title: Document préparatoire de l’exposition "Les Immatériaux", croquis du Site « Nu Vain ».
created: 2021-03-28T10:47:15+00:00
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type: Document écrit
type: Written document @en
title: Preparatory document for the exhibition "Les Immatériaux", sketch of the « Nu Vain » Site. @en
abstract: Croquis de recherche de la mise en espace du site "Nu vain", 21x29,7cm.
abstract: Research sketch of the scenography of the site "Nu vain", 21x29,7cm. @en
date submitted: 2021-03-24
date: 2019
created: 1983/1985
identifier: M5050 ACP 94033 224
provenance: https://archivesetdocumentation.centrepompidou.fr/
publisher: https://www.centrepompidou.fr/
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title: Document préparatoire de l’exposition "Les Immatériaux", croquis du Site « Nu Vain ».
created: 2021-03-28T10:39:44+00:00
modified: 2024-01-12T10:12:42+00:00
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type: Document écrit
type: Written document @en
title: Preparatory document for the exhibition "Les Immatériaux", sketch of the « Nu Vain » Site. @en
abstract: Croquis de recherche de la mise en espace du "site Nu vain", 21x29,7cm.
abstract: Research sketch of the scenography of the site "Nu vain", 21x29,7cm. @en
date submitted: 2021-03-24
date: 2019
created: 1983/1985
identifier: M5050 ACP 94033 224
provenance: https://archivesetdocumentation.centrepompidou.fr/
publisher: https://www.centrepompidou.fr/
locator: fig07_M5050_ACP_94033_224_1
rights: @Mnam-CCI, Centre Pompidou/Dist. RMN-GP
rights: ead2-search-form.html
identifier: http://problemata.org/resources/247

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display title: Document préparatoire de l’exposition Les Immatériaux, plan des sites de l'exposition.
thumbnail title: fig06_M5050_ACP_94033_223.jpg
thumbnail type: image/jpeg
type: Item
type: Document
id: 259
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title: Document préparatoire de l’exposition Les Immatériaux, plan des sites de l'exposition.
created: 2021-03-28T11:47:45+00:00
modified: 2024-01-12T10:12:34+00:00
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media: http://problemata.org/omeka_beta/api/media/261
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type: Représentation graphique
type: Visual representation @en
title: Preparatory document for the exhibition "Les Immatériaux", floor plan of all exhibition's sites. @en
abstract: Disposition des sites de l'exposition, plan au sol.
abstract: Layout of the exhibition's sites, floor plan. @en
date submitted: 2021-03-24
date: 2019
created: 1983/1985
identifier: M5050 ACP 94033 223
provenance: archivesetdocumentation.centrepompidou.fr
publisher: www.centrepompidou.fr
locator: fig06_M5050_ACP_94033_223
rights: @Mnam-CCI, Centre Pompidou/Dist. RMN-GP
rights: ead2-search-form.html
access rights: Droits réservés. Usage documentaire à des fins de recherches académiques dans le cadre de la plateforme Problemata.
identifier: http://problemata.org/resources/259

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title: « vu », document préparatoire pour l’exposition Femmes d’un jour, ca 1976. Collage de fragments de magazines en couleur sur papier machine (A4)
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biography: Léonie Thiroux est une historienne du design et de l’architecture basée à Paris. Ses recherches en architecture se concentrent principalement sur la période de la Reconstruction (1945-1962). Dans le champ du design elle s’intéresse principalement à l’histoire des expositions, avec un intérêt particulier concernant le lien entre politique industrielle et politique culturelle. Lors de son dernier projet à la Fondation du Bauhaus Dessau, elle a travaillé sur la création et l’emploi du béton de soufre.
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display title: « L’Objet industriel » (1980–1985) : une exposition au long court

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title: Chaillat, Estelle
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name: Chaillat, Estelle
family name: Chaillat
givenname: Estelle
biography: Diplômée 2017 du Master 2 de Recherche en Design de l’ENS, Estelle Chaillat s’est spécialisée en design graphique à l’école Duperré, puis au lycée Jacques Prévert. Sa thèse, porte sur la mobilisation de formats visuels par des biologistes chercheurs. Son travail interroge les notions de médiation, de représentation, le concept de données et leur construction sémantique.
biography: Estelle Chaillat is graduated of the Master 2 in Design Research at ENS, in 2017. She specialized in graphic design at Duperré school, then at Jacques Prévert high school. Her PhD essay focuses on the practical use of visual formats by research biologists. Her work questions the notions of mediation and representation, as well as the concept of data and their semantic construction. @en
date: 1995-01-11
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display title: 1979 - Le mystère des kiosques à affiches de « Paris-Moscou ».
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title: 1979 - Le mystère des kiosques à affiches de « Paris-Moscou ».
created: 2021-03-31T19:16:46+00:00
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alternative: Dispositifs de présentation et esprit Agitprop soviétique
description: Au cœur de l’exposition « Paris-Moscou », au Centre Pompidou en 1979, se trouvent de drôles de kiosques. S’ils ne sont pas de simples dispositifs de présentations, quel est leur rôle au sein de l’exposition ?
description: Inside “Paris-Moscou” exhibition, hold at Centre Pompidou in 1979, are to be found uncanny kiosks. If they are not conventional displays dispositives, what is their status inside “Paris-Moscou” ? @en
abstract: Au cœur de « Paris-Moscou », qui présente au Centre Pompidou en 1979 un large lot d’objet restituant les échanges artistiques et culturels entre la France et la Russie des années 1900 à 1930, de drôles de kiosques sont utilisés pour accrocher des affiches. Tant leur apparence que leur mode d’utilisation suggère qu’ils n’ont pas été réalisé dans le même esprit qu’une vitrine neutre : leur allure géométrique rappelle les compositions des artistes russes constructivistes, et les visiteurs semblent avoir la possibilité de manipuler leurs panneaux rotatifs à affiches. S’ils ne sont pas de simples dispositifs de présentations, quel est leur rôle au sein de l’exposition? Cet article élucide le mystère de la fabrication de ces kiosques et de leur inscription au sein de « Paris-Moscou » en se basant sur un riche corpus de sources primaires, issues des archives du Centre Pompidou et du catalogue original de l’exposition, ainsi que de sa réédition. Grâce à cet ensemble de documents et à des interviews menées avec des acteurs contemporains de l’exposition, l’histoire de ces kiosques révèle peu à peu certains des mécanismes du processus créatif permettant de construire une exposition discursive telle que « Paris-Moscou ».
abstract: In the heart of “Paris-Moscou” exhibition, held at the Centre Pompidou in 1979 is presented a large number of objects representing the artistic and cultural exchanges between France and Russia from 1900 to 1930. Along this corpus, strange kiosks are used to hang posters. Both their appearance and their mode of use suggest that they were not made with the same intention as a neutral display case: their geometric appearance recalls the compositions of Russian constructivist, and visitors seem to have the possibility of manipulating their rotating poster panels. If they are not simple display devices, what is their role in the exhibition? This article unravels the mystery of how these kiosks were made and how they were included in “Paris-Moscou” by drawing on a rich body of primary sources from the Centre Pompidou's archives and the original exhibition catalog and its reprint. Thanks to this set of documents and to interviews conducted with contemporary actors of the exhibition, the history of these kiosks reveals little by little some of the mechanisms of the creative process allowing the construction of a discursive exhibition such as “Paris-Moscou”. @en
table of contents: #LE DISCOURS PORTÉ PAR PARIS-MOSCOU #DONNER CORPS AU CONTEXTE #UN STATUT PRÊTÉ À L’OBJET #STRUCTURER UNE TEMPORALITÉ #FONCTION AGITPROPIENNE ? #POLYSÉMIE, PLURIFONCTIONNALITÉ, TRANSFORMATION #UN NOUVEAU REGARD PORTÉ SUR CES OBJETS
subject: Paris-Moscou
subject: Exposition
subject: Dispositif
subject: Scénographie
subject: Usage
subject: Discours
subject: Agitprop
subject: Affichage
subject: exhibition @en
subject: device @en
subject: Scenography @en
subject: Use @en
subject: discourse @en
subject: Display @en
references: GUIDOT, Raymond
references: KLUTSIS, Gustav
temporal: 1900/1979
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language: fr
date submitted: 2021-03-31
created: 2017
date: 2017-06
source: GEEL, Catherine (dir.), PROBLEMATA II, ENS-Paris-Saclay, Cachan, 2017
type: Essai
type: Essay @en
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identifier: http://problemata.org/articles/301

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title: Frappier, Tallulah
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name: Frappier, Tallulah
family name: Frappier
givenname: Tallulah
biography: Formée au design graphique numérique, Tallulah Frappier est doctorante en Design et Science politique à l’université Paris 1 Panthéon Sorbonne. Agrégée d’arts appliqués et ancienne élève du département design de l’ENS Paris-Saclay, sa recherche porte sur le design des plateformes numériques de délibérations et tente à travers une réflexion sur les modalités de mise en technologie du débat de saisir comment le design des plateformes cadre nos discussions en ligne et en influence notre pratique.
biography: Tallulah Frappier is a PhD student in Design and Political Science at the University of Paris 1 Panthéon Sorbonne. She is an associate professor of applied arts and an alumnus of the design department at ENS Paris-Saclay. Her research focuses on the design of digital deliberation platforms and attempts to understand how the design of these platforms frames our online discussions and influences our practice through a reflection on the modalities of putting debate into technology. @en
date: 1993-05-23
state: FR
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display title: « Ne coupez pas ! » (29 juin – 26 septembre 1983) : Imbroglio au CCI sur les nouvelles technologies.

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title: Maréchal, Caroll
created: 2021-03-31T19:02:57+00:00
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name: Maréchal, Caroll
family name: Maréchal
givenname: Caroll
biography: Caroll Maréchal est graphiste, enseignante, et chercheuse en sciences sociales. Elle est diplômée de la Haute École des arts du Rhin (HEAR) de Strasbourg et de l’École des Hautes Études en Sciences sociales (EHESS). Entre janvier 2018 et novembre 2019, elle a été chargée de recherche, au Centre national des arts plastiques (Cnap), dans le cadre d’une Convention industrielle de formation par la recherche (Cifre). Elle enseigne et encadre des projets de recherche depuis septembre 2016.
biography: Caroll Maréchal is a graphic designer, teacher, and researcher in social sciences. She graduated from the Haute École des Arts du Rhin (HEAR) in Strasbourg and the École des Hautes Études en Sciences Sociales (EHESS). Between January 2018 and November 2019, she was a research fellow at the Centre national des arts plastique (Cnap), as part of her PhD. She has been teaching and supervising research projects since September 2016. @en
date: 1984-04-03
state: FR
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display title: Le Centre de création industrielle, de sa création à son annihilation (1968 – 1992). Retour sur les aventures d’un lieu singulier.

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title: Imbert, Clémence
created: 2021-03-31T19:03:53+00:00
modified: 2024-01-12T08:51:19+00:00
name: Imbert, Clémence
family name: Imbert
givenname: Clémence
biography: Clémence Imbert est ancienne élève de l’École normale supérieure de Lyon, agrégée de lettres modernes. Son doctorat, soutenu en 2017 à l’université Paris 8, portait sur l’histoire des expositions de graphisme dans les musées d’art moderne. Elle enseigne dans le secondaire, et intervient régulièrement à l’université et en école d’art.
biography: Clémence Imbert is a former student of the École Normale Supérieure de Lyon, agrégée in French Literature. Her PhD, defended in 2017 at the Université Paris 8, dealt with the history of graphic design exhibitions in modern art museums. She teaches in high school, and is regularly invited to teach and lecture in art history and design for more advanced student. @en
date: 1989-09-16
state: FR
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display title: De la ville à l’objet. Les aventures du graphisme dans les expositions du CCI

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display title: Kiosques à affiches au sein de l’exposition Paris-Moscou (1979), Paris, Centre Georges-Pompidou.
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id: 302
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title: Kiosques à affiches au sein de l’exposition Paris-Moscou (1979), Paris, Centre Georges-Pompidou.
created: 2021-03-31T19:38:56+00:00
modified: 2024-01-12T10:12:16+00:00
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type: Photographie
abstract: Un exemple de la structure des kiosques qui présentent des affiches d’Alexandre Rodchenko (Resinotrest) et de Vladimir Maïakovski avec Varvara Stepanova (L’Éducation fera l’exploitation agricole plus prospère). Exposition Paris-Moscou, vue des salles couleur, ARCHIVES MNAM, [MUS 197912.1-558]
abstract: An example of kiosks structure displaying posters in Paris-Moscou exhibition. The posters in this case are Alexandre Rodchenko’s Resinotrest, and Vladimir Maïakovski’s and Varvara Stepanova’s L’Education fera l’exploitation agricole plus prospère. Paris-Moscou Exhibition, ARCHIVES MNAM, [MUS 197912.1-558] @en
date submitted: 2021-03-31
date: 1979
created: 1979
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rights: Photo J. Faujour © Mnam-CCI, Centre Pompidou
rights: archivesetdocumentation.centrepompidou.fr
access rights: Droits réservés. Usage documentaire à des fins de recherches académiques dans le cadre de la plateforme Problemata.
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display title: Plan de l’exposition «Paris-Moscou», extrait du «Petit Journal», « Paris-Moscou 1900-1930 », Centre Pompidou, (1979)
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display title: Localisation des cinq kiosques sur le plan annoté de l’exposition Paris-Moscou, Centre Georges-Pompidou, Paris, 1979
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display title: Extrait du catalogue Paris-Moscou, 1900-1930. Éditions Gallimard, 1991.
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title: Croquis du système de présentoirs métalliques utilisés dans la partie thématique de l’exposition « L’Objet industriel »
created: 2021-03-31T19:42:54+00:00
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type: Dessin / Illustration
type: Drawing/illustration @en
abstract: Croquis du système de présentoirs métalliques utilisés dans la partie thématique de l’exposition « L’Objet industriel », non signé, non daté, papier, 21 x 29,7 cm, Archives du Centre Pompidou, 1994W033/652
abstract: Sketch explaining the mechanisms of the metal displays used in the thematic part of the exhibition "L’Objet Industriel", unsigned, undated, paper, 21 x 29,7 cm, Archives du Centre Pompidou, 1994W033/652 @en
date submitted: 2021-03-31
date: 2018
created: circa 1980
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identifier: http://problemata.org/resources/303

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title: Lettre d’Eugène Claudius-Petit à Georges Combet, 22 décembre 1967, p. 1/2.
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title: Letter from Eugène Claudius-Petit to Georges Combet, December 22, 1967, p. 1/2. @en
abstract: Eugène Claudius-Petit, Président de l’Union centrale des arts décoratifs (Ucad) fait part à Georges Combet, Président de l’Union pour le centre national d’esthétique industrielle, de sa décision de ne pas adhérer au regroupement proposé par ce dernier. Il précise également que l’Ucad souhaite accueillir elle-même le futur Centre d’esthétique industrielle. Deux feuilles A4 dactylographiées.
abstract: Eugène Claudius-Petit, President of the Union centrale des arts décoratifs (Ucad) informs Georges Combet, President of the Union pour le centre national d’esthétique industrielle, of his decision not to join the grouping proposed by the latter. He also specifies that the Ucad wishes to welcome itself the future Center of industrial aesthetics. Two typed A4 sheets. @en
date submitted: 2021-03-31
date: 2016
created: 1967
identifier: AFM_G25
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