244 Résultats
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A leading activist museum director explains why museums are at the center of a political storm and how they can be reimagined. In an age of protest, cultural institutions have come under fire. Protestors have mobilized against sources of museum funding, as happened at the Metropolitan Museum, and against board appointments, forcing tear gas manufacturer Warren Kanders to(...)
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A leading activist museum director explains why museums are at the center of a political storm and how they can be reimagined. In an age of protest, cultural institutions have come under fire. Protestors have mobilized against sources of museum funding, as happened at the Metropolitan Museum, and against board appointments, forcing tear gas manufacturer Warren Kanders to(...)
Titre:
Culture strike: art and museums in an age of protest
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A leading activist museum director explains why museums are at the center of a political storm and how they can be reimagined. In an age of protest, cultural institutions have come under fire. Protestors have mobilized against sources of museum funding, as happened at the Metropolitan Museum, and against board appointments, forcing tear gas manufacturer Warren Kanders to resign at the Whitney. That is to say nothing of demonstrations against exhibitions and artworks. Protests have roiled institutions across the world, from the Abu Dhabi Guggenheim to the Akron Art Museum. A popular expectation has grown that galleries and museums should work for social change. As Director of the Queens Museum, Laura Raicovich helped turn that New York muni- cipal institution into a public commons for art and activism, organizing high-powered exhibitions that doubled as political protests. Then in January 2018, she resigned, after a dispute with the Queens Museum board and city officials. This public controversy followed the museum’s responses to Donald Trump’s election, including her objections to the Israeli government using the museum for an event featuring Vice President Mike Pence. In this lucid and accessible book, Raicovich examines some of the key museum flashpoints and provides historical context for the current controversies. She shows how art museums arose as colonial institutions bearing an ideology of neutrality that masks their role in upholding conservative, capitalist values. And she suggests ways museums can be reinvented to serve better, public ends.
Culture strike: art and museums in an age of protest
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A leading activist museum director explains why museums are at the center of a political storm and how they can be reimagined. In an age of protest, cultural institutions have come under fire. Protestors have mobilized against sources of museum funding, as happened at the Metropolitan Museum, and against board appointments, forcing tear gas manufacturer Warren Kanders to resign at the Whitney. That is to say nothing of demonstrations against exhibitions and artworks. Protests have roiled institutions across the world, from the Abu Dhabi Guggenheim to the Akron Art Museum. A popular expectation has grown that galleries and museums should work for social change. As Director of the Queens Museum, Laura Raicovich helped turn that New York muni- cipal institution into a public commons for art and activism, organizing high-powered exhibitions that doubled as political protests. Then in January 2018, she resigned, after a dispute with the Queens Museum board and city officials. This public controversy followed the museum’s responses to Donald Trump’s election, including her objections to the Israeli government using the museum for an event featuring Vice President Mike Pence. In this lucid and accessible book, Raicovich examines some of the key museum flashpoints and provides historical context for the current controversies. She shows how art museums arose as colonial institutions bearing an ideology of neutrality that masks their role in upholding conservative, capitalist values. And she suggests ways museums can be reinvented to serve better, public ends.
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livres
livres
Publication:
juin 2021
juin 2021
Sujet:
Muséologie
Muséologie
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livres
livres
Titre:
IN/Search RE/Search
IN/Search RE/Search
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$38.95
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Art-school students learn that research skills are essential if they are to contribute alternative ways of thinking, not least to counter the neoliberal forces influencing the globe. How can these research skills unique to art academies find wider application? The essays and projects presented here look at art-school research practices that can inform the worlds of(...)
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Art-school students learn that research skills are essential if they are to contribute alternative ways of thinking, not least to counter the neoliberal forces influencing the globe. How can these research skills unique to art academies find wider application? The essays and projects presented here look at art-school research practices that can inform the worlds of(...)
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IN/Search RE/Search
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$38.95
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Art-school students learn that research skills are essential if they are to contribute alternative ways of thinking, not least to counter the neoliberal forces influencing the globe. How can these research skills unique to art academies find wider application? The essays and projects presented here look at art-school research practices that can inform the worlds of culture, industry, housing, education, politics, public space, advertising and science. The projects are structured into 12 themes ranging from ''The climate crisis'' to ''Politics of public space.'' Each is embedded in a recent news story that positions how that topic is discussed in the press. Each chapter ends with a response from an academic.
IN/Search RE/Search
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Art-school students learn that research skills are essential if they are to contribute alternative ways of thinking, not least to counter the neoliberal forces influencing the globe. How can these research skills unique to art academies find wider application? The essays and projects presented here look at art-school research practices that can inform the worlds of culture, industry, housing, education, politics, public space, advertising and science. The projects are structured into 12 themes ranging from ''The climate crisis'' to ''Politics of public space.'' Each is embedded in a recent news story that positions how that topic is discussed in the press. Each chapter ends with a response from an academic.
Classification:
livres
livres
Publication:
février 2021
février 2021
Sujet:
Muséologie
Muséologie
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livres
livres
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$44.95
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Focusing on black Americans' participation in world's fairs, Emancipation expositions, and early black grassroots museums, ''Negro building'' traces the evolution of black public history from the Civil War through the civil rights movement of the 1960s. Mabel O. Wilson gives voice to the figures who conceived the curatorial content: Booker T. Washington, W.B. Du Bois, Ida(...)
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Focusing on black Americans' participation in world's fairs, Emancipation expositions, and early black grassroots museums, ''Negro building'' traces the evolution of black public history from the Civil War through the civil rights movement of the 1960s. Mabel O. Wilson gives voice to the figures who conceived the curatorial content: Booker T. Washington, W.B. Du Bois, Ida(...)
Titre:
Negro building: Black Americans in the world of fairs and museums
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Focusing on black Americans' participation in world's fairs, Emancipation expositions, and early black grassroots museums, ''Negro building'' traces the evolution of black public history from the Civil War through the civil rights movement of the 1960s. Mabel O. Wilson gives voice to the figures who conceived the curatorial content: Booker T. Washington, W.B. Du Bois, Ida B. Wells, A. Philip Randolph, Horace Cayton, and Margaret Burroughs. Originally published in 2012, the book reveals why the black cities of Chicago and Detroit became the sites of major black historical museums rather than the nation's capital, which would eventually become home for the Smithsonian's National Museum of African American History and Culture, which opened in 2016.
Negro building: Black Americans in the world of fairs and museums
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Focusing on black Americans' participation in world's fairs, Emancipation expositions, and early black grassroots museums, ''Negro building'' traces the evolution of black public history from the Civil War through the civil rights movement of the 1960s. Mabel O. Wilson gives voice to the figures who conceived the curatorial content: Booker T. Washington, W.B. Du Bois, Ida B. Wells, A. Philip Randolph, Horace Cayton, and Margaret Burroughs. Originally published in 2012, the book reveals why the black cities of Chicago and Detroit became the sites of major black historical museums rather than the nation's capital, which would eventually become home for the Smithsonian's National Museum of African American History and Culture, which opened in 2016.
Classification:
livres
livres
Publication:
février 2021
février 2021
Sujet:
Muséologie
Muséologie
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livres
livres
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$25.95
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If we ask where the curating of art occurs these days--in which places, which kinds of place, and how--apparent answers immediately appear: everywhere, expanding as if to ubiquity. Yet at the same time, we sense, with fragile purpose. In this, his newest book, Terry Smith explores the contemporary contexts of curating, looking for less apparent answers. It will map the(...)
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If we ask where the curating of art occurs these days--in which places, which kinds of place, and how--apparent answers immediately appear: everywhere, expanding as if to ubiquity. Yet at the same time, we sense, with fragile purpose. In this, his newest book, Terry Smith explores the contemporary contexts of curating, looking for less apparent answers. It will map the(...)
Titre:
Curating the complex and the open strike
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If we ask where the curating of art occurs these days--in which places, which kinds of place, and how--apparent answers immediately appear: everywhere, expanding as if to ubiquity. Yet at the same time, we sense, with fragile purpose. In this, his newest book, Terry Smith explores the contemporary contexts of curating, looking for less apparent answers. It will map the dimensions of the visual arts exhibitionary complex, including its dialectical dance between institutionalization and deinstitutionalization; the persistence of professional classifications of curatorship; the given and changing categories of art exhibitions; the increasing variety of curatorial styles; the underthinking about publics; and (undistracted by curationism) the changing roles of art making and exhibiting art within an exhibitory iconomy that is at once viral and consumptive. A mapping of this kind might help us towards some answers to the more important questions: why curate art these days and in the name of which interests?
Curating the complex and the open strike
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If we ask where the curating of art occurs these days--in which places, which kinds of place, and how--apparent answers immediately appear: everywhere, expanding as if to ubiquity. Yet at the same time, we sense, with fragile purpose. In this, his newest book, Terry Smith explores the contemporary contexts of curating, looking for less apparent answers. It will map the dimensions of the visual arts exhibitionary complex, including its dialectical dance between institutionalization and deinstitutionalization; the persistence of professional classifications of curatorship; the given and changing categories of art exhibitions; the increasing variety of curatorial styles; the underthinking about publics; and (undistracted by curationism) the changing roles of art making and exhibiting art within an exhibitory iconomy that is at once viral and consumptive. A mapping of this kind might help us towards some answers to the more important questions: why curate art these days and in the name of which interests?
Classification:
livres
livres
Publication:
mai 2021
mai 2021
Sujet:
Muséologie
Muséologie
Classification:
livres
livres
Titre:
Logic of the collection
Logic of the collection
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In modernity, the museum was the institution that made art accessible to the broader public. An artwork was collected if it was considered beautiful, passionate, engaged, or critical—and primarily if it was deemed historically relevant. But today, with the total availability and saturation of images, the museum has lost its privileged status as the exclusive place for the(...)
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In modernity, the museum was the institution that made art accessible to the broader public. An artwork was collected if it was considered beautiful, passionate, engaged, or critical—and primarily if it was deemed historically relevant. But today, with the total availability and saturation of images, the museum has lost its privileged status as the exclusive place for the(...)
Titre:
Logic of the collection
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$39.00
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In modernity, the museum was the institution that made art accessible to the broader public. An artwork was collected if it was considered beautiful, passionate, engaged, or critical—and primarily if it was deemed historically relevant. But today, with the total availability and saturation of images, the museum has lost its privileged status as the exclusive place for the display of art. In our age of digital media, how does a particular artwork get selected for a museum collection? Which symbolic criteria must this artwork satisfy for it to obtain value? And in what ways does the institution of the museum remain relevant? 'Logic of the Collection' is framed by Boris Groys’s original and provocative proposition: an artwork is considered historically relevant if it fits the logic of the museum collection. In these critical essays, the philosopher and theorist of art and media analyzes the relationship between the logic of the collection and various modern ideologies. He reflects on the explosion of art production and distribution through the ascendency of digital media as well as the ways in which the accumulated artworks will be collected and preserved in the future, as the potential limits of public and private collections are reached.
Logic of the collection
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In modernity, the museum was the institution that made art accessible to the broader public. An artwork was collected if it was considered beautiful, passionate, engaged, or critical—and primarily if it was deemed historically relevant. But today, with the total availability and saturation of images, the museum has lost its privileged status as the exclusive place for the display of art. In our age of digital media, how does a particular artwork get selected for a museum collection? Which symbolic criteria must this artwork satisfy for it to obtain value? And in what ways does the institution of the museum remain relevant? 'Logic of the Collection' is framed by Boris Groys’s original and provocative proposition: an artwork is considered historically relevant if it fits the logic of the museum collection. In these critical essays, the philosopher and theorist of art and media analyzes the relationship between the logic of the collection and various modern ideologies. He reflects on the explosion of art production and distribution through the ascendency of digital media as well as the ways in which the accumulated artworks will be collected and preserved in the future, as the potential limits of public and private collections are reached.
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livres
livres
Publication:
août 2021
août 2021
Sujet:
Muséologie
Muséologie
Classification:
livres
livres
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$32.95
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How does material culture become data? Why does this matter, and for whom? As the cultures of Indigenous peoples in North America were mined for scientific knowledge, years of organizing, classifying, and cataloguing hardened into accepted categories, naming conventions, and tribal affiliations – much of it wrong. 'Cataloguing Culture' examines how colonialism operates(...)
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How does material culture become data? Why does this matter, and for whom? As the cultures of Indigenous peoples in North America were mined for scientific knowledge, years of organizing, classifying, and cataloguing hardened into accepted categories, naming conventions, and tribal affiliations – much of it wrong. 'Cataloguing Culture' examines how colonialism operates(...)
Titre:
Cataloguing culture: legacies of colonialism in museum documentation
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How does material culture become data? Why does this matter, and for whom? As the cultures of Indigenous peoples in North America were mined for scientific knowledge, years of organizing, classifying, and cataloguing hardened into accepted categories, naming conventions, and tribal affiliations – much of it wrong. 'Cataloguing Culture' examines how colonialism operates in museum bureaucracies. Using the Smithsonian’s National Museum of Natural History as her reference, Hannah Turner organizes her study by the technologies framing museum work over two hundred years: field records, the ledger, the card catalogue, the punch card, and eventually the database. She examines how categories were applied to ethnographic material culture and became routine throughout federal collecting institutions. As Indigenous communities encounter the documentary traces of imperialism while attempting to reclaim what is theirs, this publication shines a light on access to and return of cultural heritage.
Cataloguing culture: legacies of colonialism in museum documentation
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$32.95
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Résumé:
How does material culture become data? Why does this matter, and for whom? As the cultures of Indigenous peoples in North America were mined for scientific knowledge, years of organizing, classifying, and cataloguing hardened into accepted categories, naming conventions, and tribal affiliations – much of it wrong. 'Cataloguing Culture' examines how colonialism operates in museum bureaucracies. Using the Smithsonian’s National Museum of Natural History as her reference, Hannah Turner organizes her study by the technologies framing museum work over two hundred years: field records, the ledger, the card catalogue, the punch card, and eventually the database. She examines how categories were applied to ethnographic material culture and became routine throughout federal collecting institutions. As Indigenous communities encounter the documentary traces of imperialism while attempting to reclaim what is theirs, this publication shines a light on access to and return of cultural heritage.
Classification:
livres
livres
Publication:
décembre 2020
décembre 2020
Sujet:
Muséologie
Muséologie
Classification:
livres
livres
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$53.50
(disponible en magasin)
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"The new curator: exhibiting architecture and design" examines the challenges inherent in exhibiting design ideas. Traditionally, exhibitions of architecture and design have predominantly focused on displaying finished outcomes or communicating a work through representation. In this ground-breaking new book, Fleur Watson unveils the emergence of the 'new curator'. Instead(...)
$53.50
(disponible en magasin)
Résumé:
"The new curator: exhibiting architecture and design" examines the challenges inherent in exhibiting design ideas. Traditionally, exhibitions of architecture and design have predominantly focused on displaying finished outcomes or communicating a work through representation. In this ground-breaking new book, Fleur Watson unveils the emergence of the 'new curator'. Instead(...)
Titre:
The new curator: exhibition architecture and design
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$53.50
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"The new curator: exhibiting architecture and design" examines the challenges inherent in exhibiting design ideas. Traditionally, exhibitions of architecture and design have predominantly focused on displaying finished outcomes or communicating a work through representation. In this ground-breaking new book, Fleur Watson unveils the emergence of the 'new curator'. Instead of exhibiting finished works or artefacts, the rise of 'performative curation' provides a space where experimental methods for encountering design ideas are being tested. Here, the role of the curator is not that of 'custodian' or 'expert' but with the intent to create a shared space of encounter with audiences. To illustrate this phenomenon, the book explores a diverse, international range of exhibitions. Divided into six themes, a series of project profiles are contextualized through conversations with influential curators and cultural producers such as Paola Antonelli, Kayoko Ota, Mimi Zeiger, Catherine Ince, Aric Chen, Zoë Ryan, Beatrice Leanza, Prem Krishnamurthy, Marina Otero Verzier, Brook Andrew, Carroll Go-Sam, Rory Hyde, Eva Franch i Gilabert, Patti Anahory and Paula Nascimento.
The new curator: exhibition architecture and design
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$53.50
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Résumé:
"The new curator: exhibiting architecture and design" examines the challenges inherent in exhibiting design ideas. Traditionally, exhibitions of architecture and design have predominantly focused on displaying finished outcomes or communicating a work through representation. In this ground-breaking new book, Fleur Watson unveils the emergence of the 'new curator'. Instead of exhibiting finished works or artefacts, the rise of 'performative curation' provides a space where experimental methods for encountering design ideas are being tested. Here, the role of the curator is not that of 'custodian' or 'expert' but with the intent to create a shared space of encounter with audiences. To illustrate this phenomenon, the book explores a diverse, international range of exhibitions. Divided into six themes, a series of project profiles are contextualized through conversations with influential curators and cultural producers such as Paola Antonelli, Kayoko Ota, Mimi Zeiger, Catherine Ince, Aric Chen, Zoë Ryan, Beatrice Leanza, Prem Krishnamurthy, Marina Otero Verzier, Brook Andrew, Carroll Go-Sam, Rory Hyde, Eva Franch i Gilabert, Patti Anahory and Paula Nascimento.
Classification:
livres
livres
Publication:
mai 2021
mai 2021
Sujet:
Muséologie
Muséologie
Classification:
livres
livres
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$40.50
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Résumé:
In recent years, the specific formats and challenges of exhibiting architecture and design, both built and speculative, have often been used as critical devices for identifying, communicating, and convening the public around shared matters of concern. These have increasingly included urgent questions of equity and justice, labor, gender, race, class, community, and(...)
$40.50
(disponible en magasin)
Résumé:
In recent years, the specific formats and challenges of exhibiting architecture and design, both built and speculative, have often been used as critical devices for identifying, communicating, and convening the public around shared matters of concern. These have increasingly included urgent questions of equity and justice, labor, gender, race, class, community, and(...)
Titre:
Futures of the architectural exhibition: Five conversations on the display of space
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In recent years, the specific formats and challenges of exhibiting architecture and design, both built and speculative, have often been used as critical devices for identifying, communicating, and convening the public around shared matters of concern. These have increasingly included urgent questions of equity and justice, labor, gender, race, class, community, and lifestyle in relation to spatial issues of density, economy, policy, infrastructure, climate, and sustainability. This book records a discussion of critical approaches to the representation of architecture through conversations with seven contemporary curators working inside and outside of the museum. Mario Ballesteros (Archivo Diseño y Arquitectura), Giovanna Borasi (Canadian Center for Architecture), Ann Lui (Future Firm), Ana Miljacki (Critical Broadcasting Lab, MIT), Zoë Ryan (ICA, University of Pennsylvania), Martino Stierli (Museum of Modern Art), and Shirley Surya (M+, Hong Kong) speculate on the specific challenges and potentials of exhibiting space.
Futures of the architectural exhibition: Five conversations on the display of space
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In recent years, the specific formats and challenges of exhibiting architecture and design, both built and speculative, have often been used as critical devices for identifying, communicating, and convening the public around shared matters of concern. These have increasingly included urgent questions of equity and justice, labor, gender, race, class, community, and lifestyle in relation to spatial issues of density, economy, policy, infrastructure, climate, and sustainability. This book records a discussion of critical approaches to the representation of architecture through conversations with seven contemporary curators working inside and outside of the museum. Mario Ballesteros (Archivo Diseño y Arquitectura), Giovanna Borasi (Canadian Center for Architecture), Ann Lui (Future Firm), Ana Miljacki (Critical Broadcasting Lab, MIT), Zoë Ryan (ICA, University of Pennsylvania), Martino Stierli (Museum of Modern Art), and Shirley Surya (M+, Hong Kong) speculate on the specific challenges and potentials of exhibiting space.
Classification:
livres
livres
Publication:
septembre 2022
septembre 2022
Sujet:
Muséologie
Muséologie
Classification:
livres
livres
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$46.99
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Résumé:
"Biennials: The exhibitions we love to hate" examines one of the most significant recent transitions in the contemporary art world: the proliferation of large-scale international recurrent survey shows of contemporary art, commonly referred to as contemporary biennials. Since the mid-1980s biennials have been instrumental in shaping curating as an autonomous practice.(...)
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"Biennials: The exhibitions we love to hate" examines one of the most significant recent transitions in the contemporary art world: the proliferation of large-scale international recurrent survey shows of contemporary art, commonly referred to as contemporary biennials. Since the mid-1980s biennials have been instrumental in shaping curating as an autonomous practice.(...)
Titre:
Biennials: The exhibitions we love to hate
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"Biennials: The exhibitions we love to hate" examines one of the most significant recent transitions in the contemporary art world: the proliferation of large-scale international recurrent survey shows of contemporary art, commonly referred to as contemporary biennials. Since the mid-1980s biennials have been instrumental in shaping curating as an autonomous practice. These exhibitions are also said to have provided increased visibility for certain types of new art practices, notably those that are socially and politically committed, research-based and site-specific, and to have undermined some of the more traditional art media, such as painting, drawing or sculpture. They have been responsible for substantially reshaping the contemporary art world and disrupting the existing value chain of the art market, which now relies on biennials as much as it does on major museums’ acquisitions and exhibitions. Rafal Niemojewski, Director of the Biennial Foundation, deftly unpicks the critical discussion and controversy surrounding contemporary biennials. Branded by some critics as showcases of neo-liberalism run amok, in which culture has become synonymous with the dollar-generating leisure industry, biennials have also been associated with the production of monumental artworks which are both highly consumable and photogenic (Instagrammable). The exhibitions we love to hate? This engaging publication makes an essential contribution to a fascinating cultural debate.
Biennials: The exhibitions we love to hate
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$46.99
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Résumé:
"Biennials: The exhibitions we love to hate" examines one of the most significant recent transitions in the contemporary art world: the proliferation of large-scale international recurrent survey shows of contemporary art, commonly referred to as contemporary biennials. Since the mid-1980s biennials have been instrumental in shaping curating as an autonomous practice. These exhibitions are also said to have provided increased visibility for certain types of new art practices, notably those that are socially and politically committed, research-based and site-specific, and to have undermined some of the more traditional art media, such as painting, drawing or sculpture. They have been responsible for substantially reshaping the contemporary art world and disrupting the existing value chain of the art market, which now relies on biennials as much as it does on major museums’ acquisitions and exhibitions. Rafal Niemojewski, Director of the Biennial Foundation, deftly unpicks the critical discussion and controversy surrounding contemporary biennials. Branded by some critics as showcases of neo-liberalism run amok, in which culture has become synonymous with the dollar-generating leisure industry, biennials have also been associated with the production of monumental artworks which are both highly consumable and photogenic (Instagrammable). The exhibitions we love to hate? This engaging publication makes an essential contribution to a fascinating cultural debate.
Classification:
livres
livres
Publication:
mai 2021
mai 2021
Sujet:
Muséologie
Muséologie
Classification:
livres
livres
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$34.50
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Résumé:
As museums worldwide shuttered in 2020 because of the coronavirus, New York-based cultural strategist András Szántó conducted a series of interviews with an international group of museum leaders. In a moment when economic, political, and cultural shifts are signaling the start of a new era, the directors speak candidly about the historical limitations and untapped(...)
$34.50
(disponible sur commande)
Résumé:
As museums worldwide shuttered in 2020 because of the coronavirus, New York-based cultural strategist András Szántó conducted a series of interviews with an international group of museum leaders. In a moment when economic, political, and cultural shifts are signaling the start of a new era, the directors speak candidly about the historical limitations and untapped(...)
Titre:
The future of the museum: 28 Dialogues
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$34.50
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As museums worldwide shuttered in 2020 because of the coronavirus, New York-based cultural strategist András Szántó conducted a series of interviews with an international group of museum leaders. In a moment when economic, political, and cultural shifts are signaling the start of a new era, the directors speak candidly about the historical limitations and untapped potential of art museums. Each of the twenty-eight conversations in this book explores a particular topic of relevance to art institutions today and tomorrow. What emerges from the series of in-depth conversations is a composite portrait of a generation of museum leaders working to make institutions more open, democratic, inclusive, experimental and experiential, technologically savvy, culturally polyphonic, attuned to the needs of their visitors and communities, and concerned with addressing the defining issues of the societies around them. The dialogues offer glimpses of how museums around the globe are undergoing an accelerated phase of reappraisal and reinvention.
The future of the museum: 28 Dialogues
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$34.50
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Résumé:
As museums worldwide shuttered in 2020 because of the coronavirus, New York-based cultural strategist András Szántó conducted a series of interviews with an international group of museum leaders. In a moment when economic, political, and cultural shifts are signaling the start of a new era, the directors speak candidly about the historical limitations and untapped potential of art museums. Each of the twenty-eight conversations in this book explores a particular topic of relevance to art institutions today and tomorrow. What emerges from the series of in-depth conversations is a composite portrait of a generation of museum leaders working to make institutions more open, democratic, inclusive, experimental and experiential, technologically savvy, culturally polyphonic, attuned to the needs of their visitors and communities, and concerned with addressing the defining issues of the societies around them. The dialogues offer glimpses of how museums around the globe are undergoing an accelerated phase of reappraisal and reinvention.
Classification:
livres
livres
Publication:
janvier 2021
janvier 2021
Sujet:
Muséologie
Muséologie
