Exposer un maitre ancien

At first glimpse, when curators set up an exhibition on the Old masters, they give to their audience an occasion to go back in time. Mediators are supposed to put the curators’ knowledge and understanding of the artists and their time within reach of the public. However, these actors rely on a plura...

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Main Author: Pascal Ughetto
Format: Article
Language:fra
Published: ADR Temporalités
Series:Temporalités
Subjects:
Online Access:https://journals.openedition.org/temporalites/1891
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author Pascal Ughetto
author_facet Pascal Ughetto
author_sort Pascal Ughetto
collection DOAJ
description At first glimpse, when curators set up an exhibition on the Old masters, they give to their audience an occasion to go back in time. Mediators are supposed to put the curators’ knowledge and understanding of the artists and their time within reach of the public. However, these actors rely on a plurality of representations and practices that fit together only because they are not completely explicit nor closely negotiated. This paper starts from an exhibition on Fouquet, a painter and illuminator from the XVth century in order to consider an exhibition, and time itself, as « boundary objects », around which curators, mediators and audience gather. The exhibition illustrates a specific conception and a professional practice of the history of art, that are both all about piecing together a past we don’t know anymore. Curators are preoccupied with rebuilding the temporalities of the works of art ; but that’s not necessarily what the audience is concerned with, nor what the mediator should be working on. Indeed, they might concentrate on bringing back to life a story that revolves « around » the work, for example the history of lifestyles.
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spelling doaj.art-c1727b5ace844a76ab1bf7f49c0badf02024-02-13T14:02:50ZfraADR TemporalitésTemporalités1777-90062102-58781410.4000/temporalites.1891Exposer un maitre ancienPascal UghettoAt first glimpse, when curators set up an exhibition on the Old masters, they give to their audience an occasion to go back in time. Mediators are supposed to put the curators’ knowledge and understanding of the artists and their time within reach of the public. However, these actors rely on a plurality of representations and practices that fit together only because they are not completely explicit nor closely negotiated. This paper starts from an exhibition on Fouquet, a painter and illuminator from the XVth century in order to consider an exhibition, and time itself, as « boundary objects », around which curators, mediators and audience gather. The exhibition illustrates a specific conception and a professional practice of the history of art, that are both all about piecing together a past we don’t know anymore. Curators are preoccupied with rebuilding the temporalities of the works of art ; but that’s not necessarily what the audience is concerned with, nor what the mediator should be working on. Indeed, they might concentrate on bringing back to life a story that revolves « around » the work, for example the history of lifestyles.https://journals.openedition.org/temporalites/1891exhibitionshistory of artcuratorsmediatorsscientific workboundary objects
spellingShingle Pascal Ughetto
Exposer un maitre ancien
Temporalités
exhibitions
history of art
curators
mediators
scientific work
boundary objects
title Exposer un maitre ancien
title_full Exposer un maitre ancien
title_fullStr Exposer un maitre ancien
title_full_unstemmed Exposer un maitre ancien
title_short Exposer un maitre ancien
title_sort exposer un maitre ancien
topic exhibitions
history of art
curators
mediators
scientific work
boundary objects
url https://journals.openedition.org/temporalites/1891
work_keys_str_mv AT pascalughetto exposerunmaitreancien