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LABEX Arts-H2HUniversit&#233; Paris 8 &#8211; Centre PompidouCentre Pompidou / Universit&#233; Paris 8 / INHA&#160;6, 7, 8 f&#233;vrier 2014ArgumentaireIniti&#233; en 2011, le projet &#171; Histoire des expositions au 20e si&#232;cle &#187;, d&#233;velopp&#233; dans le cadre du Labex Arts-H2H, vise &#224; produire une r&#233;flexion critique et interdisciplinaire sur le ph&#233;nom&#232;ne des expositions &#224; notre &#233;poque.Ce projet pilot&#233; par deux laboratoires de recherche de l&#8217;Universit&#233; Paris 8 et par le Centre Pompidou a consist&#233; dans un premier temps &#224; mettre en &#339;uvre diff&#233;rents principes de collecte et d&#8217;archivage dans le but de cr&#233;er un catalogue raisonn&#233; des&#160; expositions du Centre Pompidou. Cette&#160; premi&#232;re phase a permis de remarquer que le fait de traiter des expositions est une op&#233;ration complexe : &#224; chaque fois se posent des questions de choix d'objets, d'acc&#232;s &#224; l'information, d'agencement et de modes de restitution de ces informations. &#201;crire au sujet des expositions &#8212; chercher &#224; en restituer l'histoire notamment &#8212; c'est ainsi prendre en compte la pluralit&#233; de leurs d&#233;terminations. En d&#233;cembre 2012, une journ&#233;e d&#8217;&#233;tude a permis de faire le point sur les enjeux de la constitution d'une archive ouverte de l'exposition &#224; la fois pour une institution telle que le Centre Pompidou et pour le monde des mus&#233;es ou de la recherche.La deuxi&#232;me phase du projet prolonge les m&#234;mes questions et les &#233;tend &#224; des domaines et m&#233;thodes d&#8217;investigation plus larges &#8212; histoire de l'art, esth&#233;tique, mus&#233;ologie, histoire des politiques culturelles... Le catalogue raisonn&#233; avait permis de faire &#233;merger des questions touchant &#224; l&#8217;archivage des expositions, &#224; l&#8217;acc&#232;s aux informations les concernant, &#224; leurs acteurs. Le colloque de d&#233;cembre 2013 propose, quant &#224; lui, des perspectives &#224; la fois plus &#233;troites et plus &#233;tendues. Plus &#233;troites, en ce que des exemples concrets d&#8217;expositions seront pr&#233;sent&#233;s dans leur singularit&#233; propre ; plus &#233;tendues, en ce qu&#8217;il ne s&#8217;agira pas de se contenter de l&#8217;exemple des expositions du Centre Pompidou mais de rendre compte de ce qu&#8217;est l&#8217;exposition &#224; la fois &#224; notre &#233;poque &#8212; ici ou ailleurs &#8212; et dans une historicit&#233; qu&#8217;il s&#8217;agira de questionner &#8212; notamment au travers de l'&#233;mergence de ce que l'on pourrait nommer un syst&#232;me de l'exposition (expo-syst&#232;me) .Les axes propos&#233;s sont les suivants :Axe 1 : Histoire des formes de l&#8217;expositionLe premier axe s&#8217;attache aux genres de l&#8217;exposition. Il s&#8217;agit &#224; la fois de rendre compte de ce que sont les formes d&#8217;exposition et de rattacher ceux-ci &#224; d&#8217;autres ph&#233;nom&#232;nes plus larges (d&#233;terminations sociales et politiques notamment). Des &#233;tudes de cas permettront d&#8217;enrichir ces questions.Expositions artistiques et non artistiquesMonographies (l&#8217;exposition au service des artistes)Exposition th&#233;matiques (expositions de commissaires-auteurs)Expositions discursives ou participatives (l&#8217;exposition comme forum)Biennales (expositions comme rendez-vous r&#233;currents)&#160;Axe 2 : L&#8217;exposition et ses pratiquesLe deuxi&#232;me axe aborde plus pr&#233;cis&#233;ment les diff&#233;rents aspects de la pratique des expositions. Il est question &#224; la fois d&#8217;en dessiner les sp&#233;cificit&#233;s et les interactions multiples. Des &#233;tudes de cas sont l&#224; aussi envisageables.Accrochages et parcours (expositions permanentes ou temporaires)Gestion des &#339;uvres et d&#8217;objets en tout genreProduction (questions techniques et/ou &#233;conomiques)R&#233;ception et &#233;valuation de la r&#233;ceptionDocumentation (catalogue, outils de communication)Axe 3 : Les acteurs de l&#8217;expositionLe troisi&#232;me axe concerne les &#171; acteurs &#187; de l&#8217;exposition : commissaires, conservateurs, artistes, sc&#233;nographes&#8230;) et la mani&#232;re dont ces acteurs participent &#224; la cr&#233;ation d&#8217;un objet complexe et composite.ConservateursCommissaires ind&#233;pendantsSc&#233;nographesM&#233;diateursCritiquesPublicsAxe 4 : Expositions et institutionsLe dernier axe s&#8217;int&#233;resse &#224; des questions plus g&#233;n&#233;rales de politique culturelle. Il s&#8217;agit notamment de s&#8217;interroger sur la mani&#232;re dont diff&#233;rentes structures et institutions &#8212; mus&#233;es, centres d&#8217;art, galeries&#8230; &#8212;, int&#232;grent la question de l&#8217;exposition et lui donnent sens.Mus&#233;es / FRACCentres d'art / KunsthalleGaleries commerciales ou associativesExpositions hors institutions (ex situ)Relations entre artistes, acteurs culturels et institutionsModalit&#233; de soumissionLes propositions devront parvenir sous forme d'une probl&#233;matique r&#233;sum&#233;e (3 000 signes maximum, espaces compris) par courriel &#224; Nathalie Desmet (nathalie.gm.desmet@gmail.com)avant le 15 septembre 2013.Formats de fichier accept&#233;s : Word 2003-2007 (.doc ou .docx) ou rich text format (.rtf).Responsables scientifiquesJ&#233;r&#244;me Glicenstein, Universit&#233; Paris 8 (EA 4010 AIAC)Bernadette Dufr&#234;ne, Universit&#233; Paris 8 (Paragraphe)Catherine Grenier, Centre Pompidou (MNAM/CCI)Comite d'organisationNathalie DesmetGwena&#235;lle de KerretBenjamin BarbierComit&#233; scientifiqueBruce Altshuler (New York University)Carles Guerra (MACBA, Barcelone)Laurent Le Bon (Centre Pompidou Metz)Mark Nash (Royal College of Art, Londres)Jean-Marc Poinsot (Universit&#233; Rennes 2)Ang&#233;line Scherf (ARC, Mus&#233;e d'Art Moderne Ville de Paris)Didier Schulmann (Biblioth&#232;que Kandinsky MNAM/CCI)Mary Anne Staniszewski (Rensselaer Polytechnic, New York)Les lieuxCentre Pompidou, ParisUniversit&#233; Paris 8, Saint-DenisINHA (Institut national d&#8217;histoire de l&#8217;art), ParisLABEX Arts-H2HUniversity of Paris 8 &#8211; Centre PompidouCentre Pompidou / University of Paris 8 / INHA,&#160;February, 6th, 7th, 8th, 2014ArgumentThe project &#8220;History of Exhibitions in 20th Century&#8221;, initiated in 2011, seeks to provide a critical and interdisciplinary reflection on the phenomenon of exhibitions in our time.This project, led by two research teams of the University of Paris 8 and by the Centre Pompidou, consisted initially in the elaboration of various principles regarding the collecting and archiving of information about exhibitions, in order to produce a catalogue raisonn&#233; of Centre Pompidou&#8217;s exhibitions. This first phase was mostly about the complexity of exhibition processes. Among other things, questions were raised about the choice of objects, access to information, selection and display of information... Writing about exhibitions &#8212;trying to tell their (hi)story&#8212; means indeed taking into account the plurality of their determinations. In December 2012, a symposium gave the opportunity to discuss the goals of the constitution of an open archive of exhibitions &#8212;for the Centre Pompidou as well as for other museums or the academic world.The second phase of this project takes further the same questions and extends them along wider fields of research &#8212;art history, esthetics, museology, history of cultural policies&#8230; The catalogue raisonn&#233; led to questions regarding the archival of exhibitions, their actors, the access to information... December 2013 conference will seek to open new perspectives, both narrower and wider. They are narrower as far as some very specific exhibitions will be examined in their own singularity. They are also wider, to the extent that one won&#8217;t be limited to the exhibitions of Centre Pompidou. Other questions will be taken into account: about what an exhibition is nowadays &#8212;here and elsewhere&#8212; in relation to a history that should also be questioned &#8212;and through the emergence of what one could call an exhibition-system.The following themes will be proposed:1st theme: History of exhibition formsThe first theme is concerned with exhibition&#8217;s &#8220;genres&#8221;. It is both about what are the forms of exhibitions and what are their relations to other wider phenomena (including their social and political determinations). Some case studies could enrich these questions.Artistic and non artistic exhibitionsMonographic exhibitions (dedicated to the promotion of artists)Thematic exhibitions (exhibitions by curators as authors)Discursive or participatory exhibitions (the exhibition as a forum)Biennales (recurring exhibitions)&#160;2nd theme: Exhibition and its practicesThe second theme is more precisely about the various aspects of exhibition practice. It aims at delineating its specificities and multiple possible interactions. Case studies could also be of some interest here.Display and displacement (permanent or temporary exhibitions).Supervision of artworks and/or objects of all kindProduction (technical and/or economic questions)Reception (and evaluation of reception)Documentation (catalogues, means of communication)3rd theme: Actors of the exhibitionThe third theme is concerned with the &#8220;actors&#8221; of the exhibition: exhibition and museum curators, artists, exhibition designers&#8230;) and with the ways these actors participate in the creation of a complex and composite object.Museum curatorsIndependent curatorsExhibition designersMediatorsArt criticsPublics4th theme: Exhibitions and institutionsThe last theme is directed towards more general cultural policy questions. The concerns are more about the way various structures and institutions &#8212;museums, art centers, commercial galleries&#8230;&#8212; make use of the exhibition in a meaningful way.Museums/FRACArt centers/KunsthalleArt galleriesNon profit exhibitions (outside of institutions)Relations between artists, cultural institutions and their personnelSubmission rulesThose interested in presenting a paper at the conference should send an abstract proposal of less than 500 words to nathalie.gm.desmet@gmail.com&#160;by September 15th, 2013. Proposals may be written in English or French. Allowed file types are Word 2003 or 2007 (.doc or .docx) or rich text format (.rtf).Conference supervisionJ&#233;r&#244;me Glicenstein, University of Paris 8 (EA 4010 AIAC)Bernadette Dufr&#234;ne, University of Paris 8 (Paragraphe)Catherine Grenier, Centre Pompidou (MNAM/CCI)Organizing committeeNathalie DesmetGwena&#235;lle de KerretBenjamin BarbierScientific committeeBruce Altshuler (New York University)Carles Guerra (MACBA, Barcelone)Laurent Le Bon (Centre Pompidou Metz)Mark Nash (Royal College of Art, Londres)Jean-Marc Poinsot (Universit&#233; Rennes 2)Ang&#233;line Scherf (ARC, Mus&#233;e d'Art Moderne Ville de Paris)Didier Schulmann (Biblioth&#232;que Kandinsky MNAM/CCI)Mary Anne Staniszewski (Rensselaer Polytechnic, New York)SitesCentre Pompidou, ParisUniversit&#233; Paris 8, Saint-DenisINHA (Institut national d&#8217;histoire de l&#8217;art), Paris