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A Paris, au lendemain de l'exposition universelle de 1878, un musée de Sculpture comparée - le plus grand du monde - investit le palais du Trocadéro. Ce musée, dont Viollet-le-Duc rêvait depuis 1848, ne cessera d'accroître ses collections pendant un demi-siècle. En 1937, dans l'aile Paris du palais Chaillot construit sur le même emplacement, il cède la place au musée des(...)
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A Paris, au lendemain de l'exposition universelle de 1878, un musée de Sculpture comparée - le plus grand du monde - investit le palais du Trocadéro. Ce musée, dont Viollet-le-Duc rêvait depuis 1848, ne cessera d'accroître ses collections pendant un demi-siècle. En 1937, dans l'aile Paris du palais Chaillot construit sur le même emplacement, il cède la place au musée des(...)
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Le musée des monuments francais
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A Paris, au lendemain de l'exposition universelle de 1878, un musée de Sculpture comparée - le plus grand du monde - investit le palais du Trocadéro. Ce musée, dont Viollet-le-Duc rêvait depuis 1848, ne cessera d'accroître ses collections pendant un demi-siècle. En 1937, dans l'aile Paris du palais Chaillot construit sur le même emplacement, il cède la place au musée des Monuments français dont l'ambition, héritée de la Révolution française, est de proposer une anthologie de l'art national. En 2007, la dernière métamorphose du musée des Monuments français le place au cœur du dispositif de la Cité de l'architecture et du patrimoine, pour en faire l'instrument d'une politique culturelle novatrice, associant mémoire et projet.
Le musée des monuments francais
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A Paris, au lendemain de l'exposition universelle de 1878, un musée de Sculpture comparée - le plus grand du monde - investit le palais du Trocadéro. Ce musée, dont Viollet-le-Duc rêvait depuis 1848, ne cessera d'accroître ses collections pendant un demi-siècle. En 1937, dans l'aile Paris du palais Chaillot construit sur le même emplacement, il cède la place au musée des Monuments français dont l'ambition, héritée de la Révolution française, est de proposer une anthologie de l'art national. En 2007, la dernière métamorphose du musée des Monuments français le place au cœur du dispositif de la Cité de l'architecture et du patrimoine, pour en faire l'instrument d'une politique culturelle novatrice, associant mémoire et projet.
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books
books
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November 2007, Paris
November 2007, Paris
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Museology
Museology
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books
books
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Contested Histories in Public Space brings multiple perspectives to bear on historical narratives presented to the public in museums, monuments, texts, and festivals around the world, from Paris to Kathmandu, from the Mexican state of Oaxaca to the waterfront of Wellington, New Zealand. Paying particular attention to how race and empire are implicated in the creation and(...)
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Contested Histories in Public Space brings multiple perspectives to bear on historical narratives presented to the public in museums, monuments, texts, and festivals around the world, from Paris to Kathmandu, from the Mexican state of Oaxaca to the waterfront of Wellington, New Zealand. Paying particular attention to how race and empire are implicated in the creation and(...)
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Museology
Museology
Publication:
February 2009, Durham & London
February 2009, Durham & London
Title:
Contested histories in public space: memory, race and nation
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Contested Histories in Public Space brings multiple perspectives to bear on historical narratives presented to the public in museums, monuments, texts, and festivals around the world, from Paris to Kathmandu, from the Mexican state of Oaxaca to the waterfront of Wellington, New Zealand. Paying particular attention to how race and empire are implicated in the creation and display of national narratives, the contributing historians, anthropologists, and other scholars delve into representations of contested histories at such “sites” as a British Library exhibition on the East India Company, a Rio de Janeiro shantytown known as “the cradle of samba,” the Ellis Island immigration museum, and high-school history textbooks in Ecuador.
Contested histories in public space: memory, race and nation
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Contested Histories in Public Space brings multiple perspectives to bear on historical narratives presented to the public in museums, monuments, texts, and festivals around the world, from Paris to Kathmandu, from the Mexican state of Oaxaca to the waterfront of Wellington, New Zealand. Paying particular attention to how race and empire are implicated in the creation and display of national narratives, the contributing historians, anthropologists, and other scholars delve into representations of contested histories at such “sites” as a British Library exhibition on the East India Company, a Rio de Janeiro shantytown known as “the cradle of samba,” the Ellis Island immigration museum, and high-school history textbooks in Ecuador.
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books
books
Publication:
February 2009, Durham & London
February 2009, Durham & London
Subject:
Museology
Museology
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books
books
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$115.00
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The German architect and theorist Gottfried Semper was a founder of Modernism. Forced to leave Dresden in 1849, he composed this important manifesto on the phenomenology of materials and the systematization of the ideal museum while in exile. Published in transcription for the first time, with original line breaks, this volume includes all drawings and some manuscript(...)
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The German architect and theorist Gottfried Semper was a founder of Modernism. Forced to leave Dresden in 1849, he composed this important manifesto on the phenomenology of materials and the systematization of the ideal museum while in exile. Published in transcription for the first time, with original line breaks, this volume includes all drawings and some manuscript(...)
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December 2008, Vienna, Los Angeles
December 2008, Vienna, Los Angeles
Title:
The ideal museum ; practical art in metals and hard materials
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The German architect and theorist Gottfried Semper was a founder of Modernism. Forced to leave Dresden in 1849, he composed this important manifesto on the phenomenology of materials and the systematization of the ideal museum while in exile. Published in transcription for the first time, with original line breaks, this volume includes all drawings and some manuscript pages in facsimile.
The ideal museum ; practical art in metals and hard materials
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The German architect and theorist Gottfried Semper was a founder of Modernism. Forced to leave Dresden in 1849, he composed this important manifesto on the phenomenology of materials and the systematization of the ideal museum while in exile. Published in transcription for the first time, with original line breaks, this volume includes all drawings and some manuscript pages in facsimile.
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books
books
Publication:
December 2008, Vienna, Los Angeles
December 2008, Vienna, Los Angeles
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books
books
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$32.99
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Première traduction française d'un ouvrage incontournable de la théorie de l'art. Ici est rassemblé les quatre essais initialement publiés entre 1976 et 1981, une postface véhémente publiée en 1986 et un cinquième essai qui en constitue la conclusion. L'auteur identifie dans ces essais le cube blanc de la galerie comme pôle complémentaire du tableau moderniste, il(...)
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Première traduction française d'un ouvrage incontournable de la théorie de l'art. Ici est rassemblé les quatre essais initialement publiés entre 1976 et 1981, une postface véhémente publiée en 1986 et un cinquième essai qui en constitue la conclusion. L'auteur identifie dans ces essais le cube blanc de la galerie comme pôle complémentaire du tableau moderniste, il(...)
Title:
White cube, l'espace de la galerie et son idéologie
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Première traduction française d'un ouvrage incontournable de la théorie de l'art. Ici est rassemblé les quatre essais initialement publiés entre 1976 et 1981, une postface véhémente publiée en 1986 et un cinquième essai qui en constitue la conclusion. L'auteur identifie dans ces essais le cube blanc de la galerie comme pôle complémentaire du tableau moderniste, il développe également une véritable dramaturgie de la perception, où l'espace d'exposition est le laboratoire d'un art qui ne se conçoit plus sans sa relation au spectateur.
White cube, l'espace de la galerie et son idéologie
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Première traduction française d'un ouvrage incontournable de la théorie de l'art. Ici est rassemblé les quatre essais initialement publiés entre 1976 et 1981, une postface véhémente publiée en 1986 et un cinquième essai qui en constitue la conclusion. L'auteur identifie dans ces essais le cube blanc de la galerie comme pôle complémentaire du tableau moderniste, il développe également une véritable dramaturgie de la perception, où l'espace d'exposition est le laboratoire d'un art qui ne se conçoit plus sans sa relation au spectateur.
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books
books
Publication:
December 2008, Zürich
December 2008, Zürich
Subject:
Museology
Museology
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books
books
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This book explores an attitude in and toward design education that is socially engaged, politically aware, generous in approach, lyrical in tone, experimental in form and collaborative in practice. How can we talk about and draw out the political aspect inherent in the work of design students? What are the underlying values of such a pedagogy? What kind of practices are(...)
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This book explores an attitude in and toward design education that is socially engaged, politically aware, generous in approach, lyrical in tone, experimental in form and collaborative in practice. How can we talk about and draw out the political aspect inherent in the work of design students? What are the underlying values of such a pedagogy? What kind of practices are(...)
Title:
Design dedication: adaptive mentalities in design education
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This book explores an attitude in and toward design education that is socially engaged, politically aware, generous in approach, lyrical in tone, experimental in form and collaborative in practice. How can we talk about and draw out the political aspect inherent in the work of design students? What are the underlying values of such a pedagogy? What kind of practices are developed in this context? How can an institute support and safeguard this?
Design dedication: adaptive mentalities in design education
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This book explores an attitude in and toward design education that is socially engaged, politically aware, generous in approach, lyrical in tone, experimental in form and collaborative in practice. How can we talk about and draw out the political aspect inherent in the work of design students? What are the underlying values of such a pedagogy? What kind of practices are developed in this context? How can an institute support and safeguard this?
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books
books
Publication:
May 2020
May 2020
Subject:
Museology
Museology
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books
books
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''Utopian display, geopolitical curating'' brings together curatorial experiences that have matured over the past 30 years in various geopolitical contexts – from Africa to China, India to Latin America, and the Middle East to the post-Soviet regions. Featuring experimental voices in contemporary curatorial research, more than a dozen authors from different generations(...)
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''Utopian display, geopolitical curating'' brings together curatorial experiences that have matured over the past 30 years in various geopolitical contexts – from Africa to China, India to Latin America, and the Middle East to the post-Soviet regions. Featuring experimental voices in contemporary curatorial research, more than a dozen authors from different generations(...)
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Utopian display, geopolitical curating
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''Utopian display, geopolitical curating'' brings together curatorial experiences that have matured over the past 30 years in various geopolitical contexts – from Africa to China, India to Latin America, and the Middle East to the post-Soviet regions. Featuring experimental voices in contemporary curatorial research, more than a dozen authors from different generations look with scepticism at both the effects of globalisation within today’s artistic scene and the latest premises of so-called de-globalisation. Because, despite everything, the current model of art continues to be very similar to that of an institution capable of determining the integration or exclusion of minorities as a majoritarian measure.
Utopian display, geopolitical curating
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''Utopian display, geopolitical curating'' brings together curatorial experiences that have matured over the past 30 years in various geopolitical contexts – from Africa to China, India to Latin America, and the Middle East to the post-Soviet regions. Featuring experimental voices in contemporary curatorial research, more than a dozen authors from different generations look with scepticism at both the effects of globalisation within today’s artistic scene and the latest premises of so-called de-globalisation. Because, despite everything, the current model of art continues to be very similar to that of an institution capable of determining the integration or exclusion of minorities as a majoritarian measure.
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books
books
Publication:
March 2020
March 2020
Subject:
Museology
Museology
Form:
books
books
Title:
Curating as ethics
Curating as ethics
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Today, everyone is a curator. What was once considered a hallowed expertise is now a commonplace and global activity. Can this new worldwide activity be ethical and, if yes, how? This book argues that curating can be more than just selecting, organizing, and presenting information in galleries or online. Curating can also constitute an ethics, one of acquiring, arranging,(...)
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Today, everyone is a curator. What was once considered a hallowed expertise is now a commonplace and global activity. Can this new worldwide activity be ethical and, if yes, how? This book argues that curating can be more than just selecting, organizing, and presenting information in galleries or online. Curating can also constitute an ethics, one of acquiring, arranging,(...)
Title:
Curating as ethics
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Today, everyone is a curator. What was once considered a hallowed expertise is now a commonplace and global activity. Can this new worldwide activity be ethical and, if yes, how? This book argues that curating can be more than just selecting, organizing, and presenting information in galleries or online. Curating can also constitute an ethics, one of acquiring, arranging, and distributing an always conjectural knowledge about the world. 'Curating as Ethics' is primarily philosophical in scope, evading normative approaches to ethics in favor of an intuitive ethics that operates at the threshold of thought and action. It explores the work of authors as diverse as Heidegger, Spinoza, Meillassoux, Mudimbe, Chalier, and Kofman. Jean-Paul Martinon begins with the fabric of these ethics: how it stems from matter, how it addresses death, how it apprehends interhuman relationships. In the second part he establishes the ground on which the ethics is based, the things that make up the curatorial—for example, the textual and visual evidence or the digital medium. The final part focuses on the activity of curating as such—sharing, caring, preparing, dispensing, and so on.
Curating as ethics
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$39.95
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Summary:
Today, everyone is a curator. What was once considered a hallowed expertise is now a commonplace and global activity. Can this new worldwide activity be ethical and, if yes, how? This book argues that curating can be more than just selecting, organizing, and presenting information in galleries or online. Curating can also constitute an ethics, one of acquiring, arranging, and distributing an always conjectural knowledge about the world. 'Curating as Ethics' is primarily philosophical in scope, evading normative approaches to ethics in favor of an intuitive ethics that operates at the threshold of thought and action. It explores the work of authors as diverse as Heidegger, Spinoza, Meillassoux, Mudimbe, Chalier, and Kofman. Jean-Paul Martinon begins with the fabric of these ethics: how it stems from matter, how it addresses death, how it apprehends interhuman relationships. In the second part he establishes the ground on which the ethics is based, the things that make up the curatorial—for example, the textual and visual evidence or the digital medium. The final part focuses on the activity of curating as such—sharing, caring, preparing, dispensing, and so on.
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books
books
Publication:
March 2020
March 2020
Subject:
Museology
Museology
Form:
books
books
Title:
The Curatorial Condition
The Curatorial Condition
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In spite of the heightened interest in the curatorial since the late twentieth century, the structural conditions and potentials underpinning its special sociocultural status have yet to be defined. Taking this as a starting point, Beatrice von Bismarck’s book outlines the curatorial—that field of cultural activity and knowledge that relates to the becoming-public of art(...)
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Summary:
In spite of the heightened interest in the curatorial since the late twentieth century, the structural conditions and potentials underpinning its special sociocultural status have yet to be defined. Taking this as a starting point, Beatrice von Bismarck’s book outlines the curatorial—that field of cultural activity and knowledge that relates to the becoming-public of art(...)
Title:
The Curatorial Condition
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$34.95
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In spite of the heightened interest in the curatorial since the late twentieth century, the structural conditions and potentials underpinning its special sociocultural status have yet to be defined. Taking this as a starting point, Beatrice von Bismarck’s book outlines the curatorial—that field of cultural activity and knowledge that relates to the becoming-public of art and culture—as a domain of practice and meaning with its own structures, conditions, rules, and procedures. Von Bismarck focuses on the relations created by the curatorial—relations between human and nonhuman participants. Rather than foregrounding partial definitions of the activity of curating, the subjectivization of the curator, and the presentation format of the exhibition, she emphasizes the interplay of all these factors.
The Curatorial Condition
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Summary:
In spite of the heightened interest in the curatorial since the late twentieth century, the structural conditions and potentials underpinning its special sociocultural status have yet to be defined. Taking this as a starting point, Beatrice von Bismarck’s book outlines the curatorial—that field of cultural activity and knowledge that relates to the becoming-public of art and culture—as a domain of practice and meaning with its own structures, conditions, rules, and procedures. Von Bismarck focuses on the relations created by the curatorial—relations between human and nonhuman participants. Rather than foregrounding partial definitions of the activity of curating, the subjectivization of the curator, and the presentation format of the exhibition, she emphasizes the interplay of all these factors.
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books
books
Publication:
June 2022
June 2022
Subject:
Museology
Museology
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books
books
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''Institution as praxis: new curatorial directions for collaborative research'' explores new curatorial and artistic practices that contribute to the expansion of institutional, practice-based, and collaborative research methods. Offering an overview of how creative practices are modifying the ways we think about both knowledge production and research in the cultural(...)
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''Institution as praxis: new curatorial directions for collaborative research'' explores new curatorial and artistic practices that contribute to the expansion of institutional, practice-based, and collaborative research methods. Offering an overview of how creative practices are modifying the ways we think about both knowledge production and research in the cultural(...)
Title:
Institution as Praxis: new curatorial directions for collaborative research
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''Institution as praxis: new curatorial directions for collaborative research'' explores new curatorial and artistic practices that contribute to the expansion of institutional, practice-based, and collaborative research methods. Offering an overview of how creative practices are modifying the ways we think about both knowledge production and research in the cultural sector and in academia, this publication outlines new research methodologies and strategies for de-universalizing and de-neutralizing the rigid epistemic schemata of inherited disciplines.
Institution as Praxis: new curatorial directions for collaborative research
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''Institution as praxis: new curatorial directions for collaborative research'' explores new curatorial and artistic practices that contribute to the expansion of institutional, practice-based, and collaborative research methods. Offering an overview of how creative practices are modifying the ways we think about both knowledge production and research in the cultural sector and in academia, this publication outlines new research methodologies and strategies for de-universalizing and de-neutralizing the rigid epistemic schemata of inherited disciplines.
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books
books
Publication:
January 2021
January 2021
Subject:
Museology
Museology
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books
books
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The unschooling movement questions traditional education through creativity. Curiosity, experimentation, unrestricted thinking, making and developing are basic elements of all forms of learning and living together. In the current educational system these values are frequently overshadowed by rules, bureaucracy and little attention to the intrinsic inquisitiveness of both(...)
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The unschooling movement questions traditional education through creativity. Curiosity, experimentation, unrestricted thinking, making and developing are basic elements of all forms of learning and living together. In the current educational system these values are frequently overshadowed by rules, bureaucracy and little attention to the intrinsic inquisitiveness of both(...)
Title:
No school manifesto: a movement of creative learning
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The unschooling movement questions traditional education through creativity. Curiosity, experimentation, unrestricted thinking, making and developing are basic elements of all forms of learning and living together. In the current educational system these values are frequently overshadowed by rules, bureaucracy and little attention to the intrinsic inquisitiveness of both the student and the teacher. 'No School Manifesto' enumerates key concepts, values and attitudes such as Curiosity, Magnetism and Zigzag through an A-Z lexicon, complemented by examples of students’ work.
No school manifesto: a movement of creative learning
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The unschooling movement questions traditional education through creativity. Curiosity, experimentation, unrestricted thinking, making and developing are basic elements of all forms of learning and living together. In the current educational system these values are frequently overshadowed by rules, bureaucracy and little attention to the intrinsic inquisitiveness of both the student and the teacher. 'No School Manifesto' enumerates key concepts, values and attitudes such as Curiosity, Magnetism and Zigzag through an A-Z lexicon, complemented by examples of students’ work.
Form:
books
books
Publication:
November 2020
November 2020
Subject:
Museology
Museology
