Scénographier (par) l’immatériel. Sémiotisation de l’espace et stratégies communicationnelles dans l’exposition Arctiques. Upside down (Musée du Quai Branly)

Gaëlle CRENN

KEYWORDS : immersion, device, intangible, space, media

ABSTRACT : Following Jean Davallon’s approach and considering the exhibition as a medium within a social and semiotic approach, I will explore how and why scenographic strategies create new interactions between an exhibition and its visitors. The exhibition « Arctiques. Upside Down », presented at the Musée du Quai Branly in 2008, aimed at bringing visitors into contact with the material productions and cultural representations of Arctic people. By identifying the processes used for the semiotization of space, mainly based on immaterial elements (space, light and sound), I will explain how scenography creates rich and open meanings in a synthetic space. The exhibition produces a dualphenomenon: the dematerialization of the visitors’ spatial and symbolic references on one hand, and on the other, the materialization of intangible phenomena. It offers visitors a space for intense experiences and guidance that challenges the usual reception categories of Arctic cultures, thus highlighting the functioning, as well as social and symbolic effects of exhibition devices.

To read the abstract of the article in French, click on the link below :
Scénographier (par) l’immatériel. Sémiotisation de l’espace et stratégies communicationnelles dans l’exposition Arctiques. Upside down (Musée du Quai Branly)

Gaëlle CRENN

Université de Lorraine,
Centre de recherche sur les Médiations (CREM)
gaelle.crenn[at]gmail.com

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« La construction des représentations des arts et artistes « non occidentaux » au sein d’un catalogue d’exposition : le cas de Partage d’Exotismes (Biennale de Lyon, 2000) »
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