Wednesday, June 28, 2017, at 10.30 AM, Free admission
One day workshop proposed by Patrick Javault: listen to all the lectures on France Culture Plus
The political character of contemporary art has long been labelled a reconsideration of formal definitions and an open critic of cultural institutions. Whereas the United States had taken over the writing of art history through its artists and theorists, the study of the past seemed to be a specificity assigned to Germany. Since the end of an art history understood as the history of shapes and the worldwide expansion of contemporary art, many artists and curators have addressed the grave accent of History as a way of echoing the acute accent of what is contemporary, to use Paul Celan’s image. Documenta 13, the 2015 Venice Biennale or the recent attribution of the Marcel Duchamp prize to Kader Attia are just a few examples, amongst hundreds more, of a stronger presence of Art History.
At the same time, art historians are undertaking to rewrite art history by placing the view point off-center or by opening it to parallel histories. As for the art market, it would not be an exaggeration to say that (mainly due to auction results) it also speculates on history. Faced with these challenges, the leaders of major institutions must redefine their tasks and their missions, be it through their purchases and donations as well as through the presentation of their collections. In principle, art history is finished but the tendency to historicize exhibitions or the appearance of works means that without needing to push the imagination too far, we will soon remember that 1917 was the year of the non-exhibition of “Fountain”. This intermingling of history and art history is what we would like to examine today using the experiences of artists, art historians, museum directors and researchers.
Free admission, from 11 am to 7 pm
12 rue Boissy d'Anglas, 75008 PARIS. First floor.
Subway : Concorde or Madeleine
Park : Concorde or Madeleine