#42-43 EXHIBITION AND COMMUNICATION

Under the direction of Eleni Mitropoulou and Nanta Novello Paglianti

This issue combines different semiotics and communications approaches to offer a new angle on the challenges of contemporary exhibition strategy. From museum institutions to individual shows and addressing exhibition spaces, exhibits, media and target publics, the reader is invited to embark on a textual tour that explores the many and various concerns facing exhibitions today.

Éditorial

Eleni MITROPOULOU - Nanta NOVELLO PAGLIANTIEXPOSITION & COMMUNICATION Les contributions de ce numéro interrogent l’Exposition du point de vue de sa production et/ou de sa réception et en fonction de sa valeur de communication. Fortement orientées ou librement inspirées par une problématique...

Entretien

JOËLLE LE MARECEleni Mitropoulou & Nanta Novello Paglianti : Vous avez parlé dans votre livre « Publics et musées » (2007), du rôle des sciences de l’information et de la communication dans les rapports entre les institutions et leurs publics. 16 ans après, ces...

La médiation des œuvres sur le net, entre exposition et publication. L’exemple de la collection Wish You Where Here!

Clarisse BARDIOT - Annick BUREAUDABSTRACT : The different projects presented as exhibitions or digital publications show an increasingly grey area between the two. This phenomenon goes hand in hand with the increasing role of the «delegated curator», thus entrusting the reader-spectator...

Préfigurer le sens d’une visite familiale interactive au musée. Analyse des enjeux épistémiques à partir du cas du Musée de la Bande Dessinée

Valérie-Inès DE LA VILLE - Cristina BADULESCUABSTRACT : If museums adapt their exhibitions to school audiences by designing guided or interactive tours, as well as organising creation and expression workshops, welcoming families, in the context of a normal visit, still raises many questions, as very few...

Saut immersif et interactif dans l’exposition et notre interprétation

Louise BOISCLAIRABSTRACT : This article theorizes on the paradigm shift resulting from the immersive and interactive trend when designing an exhibition, as well as providing my own interpretation. Not only does the implementation require the negotiation of an interactive...

La critique journalistique des expositions et des musées en France

Annick BATARDABSTRACT : This article examines the criticism of exhibitions and museums in the contemporary French generalist press and its affiliations to the genre of cultural and/or multimedia journalistic criticism. Communication characteristics such as journalistic...

Des représentations du temps et du savoir en milieu muséal : le cas de l’Histopad, dispositif de réalité augmentée au musée de Falaise

Pascal BUÉABSTRACT : The Musée de Falaise is a renovated castle free of any expôt. Through the mediation of a digital device using augmented reality, it creates a simulated collection and renews the bond between the public and the museum, while “heritagizing” a...

Figurations auctoriales et dispositifs muséaux : l’exposition comme espace de médiation de la littérature

Carole BISENIUS-PENINABSTRACT : As a medium, the exhibition is a place of mediation that links the existing relationships between the exhibits, the public and corresponding knowledge. The exhibition thus proves to be a means of communication, which offers the public a museum...

Du displaying à la spectacularisation. Une contribution sémiotique aux enjeux de la pratique d’exposition

Giacomo FESTIABSTRACT : The exhibition is considered here as a practice that exalts the mediating dimension of the meaning, as long as it provides an environment that is either material (sensible) or immaterial (discursive) for the artwork. In the theoretical framework I...

« On apprend à regarder la peinture » Des textes de médiation didactiques au musée d’art

Samuel COAVOUXABSTRACT : This article focuses on the mediation devices set up, in an exhibition organised by an art museum around a newly acquired painting. It highlights two dimensions in the mediation information: their educational nature and their role as advocates of...

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)

Rime FETNANABSTRACT : Through the analysis of the exhibition catalogue Partage d’Exotismes from the Lyon Biennale (2000), this article will highlight both the content of the social representations conveyed by the exhibition catalogue and the means by which they are...

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

Gaëlle CRENNABSTRACT : 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...

En quête d’un présent composé, l’architecture patrimoniale comme lieu d’exposition. Déplacements des pratiques artistiques

Cyrielle LÉVÊQUEABSTRACT : Works of art, especially contemporary art, are now often exhibited in historic buildings and monuments, that are the symbols of an architectural and cultural heritage. In relation with current artistic practices, this paper presents the evolution...

L’Hiver de l’amour orphelin des Immatériaux?

Stéphanie JAMETABSTRACT : My initial hypothesis is that L’Hiver de l’amour held at the ARC-MAMV in Paris in 1994 is a kind of response by orphans born within the postmodern condition as described and questioned by philosopher Jean-François Lyotard in Les Immatériaux...

Les expositions sur un site de stockage : entre dispositifs de visualisation et savoirs techniques

Nanta NOVELLO PAGLIANTIABSTRACT : This article examines the exhibitions held on an ANDRA radioactive waste disposal site in Bure (Haute-Marne). A place for environmental research but also for industrial activities (excluding production) for the conservation of nuclear waste, the...

De la scène au musée : l’exposition du défilé de mode. Pour une mise en culture des objets marchands

Rym KIRECHE-GERWIGABSTRACT : This article proposes to analyze the exhibition or setting in patrimony—designated by the term of “patrimonialisation” by Jean Davallon—of a fashion show within a museum. This study will allow us to reflect on the communication issues...

Le rôle de l’espace dans l’exposition. Ara Pacis et Maxxi à Rome : le musée s’expose

Isabella PEZZINIABSTRACT : In contemporary museums, architecture often plays a major role: often designed by so-called star architects, their buildings have acquired a very strong symbolic value in relation to the places where they have been built. From the outside, they...

Stratégies et enjeux communicationnels des expositions muséales des marques de luxe : Chanel, Dior & Louis Vuitton

Eleni MOURATIDOUABSTRACT : From an axiological point of view, luxury objects are organised around values such as quality, exclusivity and rarity. From a commercial point of view, they have been the subject of mass industrialization and dissemination for several decades,...

De l’esthétique d’expositions

Marie RENOUEABSTRACT : Based on specific examples and after examining various approaches on exhibition aesthetics, I will analyse spatial mediation devices and their related attentional modalities.

Des choses dans les musées : mutations et permutations sémiotiques

Catherine SAOUTERABSTRACT : The contemporary museum, which is the guardian of a society’s heritage, is now also a cultural business dedicated to the promotion of their collections, their activities and its image. As such, museums often develop very subtle strategies for...

Apprendre l’histoire à Auschwitz : l’expérience d’une histoire écrite avec des objets

Nathanaël WADBLEDABSTRACT : When students, who went on a school trip to the Auschwitz-Birkenau Memorial Museum talk about their visit, they first claim that they have “learned something.” This assertion may seem paradoxical as they also admit, to not having had any...

Énonciation(s), réénonciation(s) et redistribution(s) dans l’exposition

Céline SCHALLABSTRACT : Revamping a previous exhibition is a relatively common practice for museums. It usually gives rise to an analysis highlighting the constants and differences with the “original” exhibition. What I try to understand here, is, its enunciative...