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ArgumentaireLa grande capacit&#233; des artistes &#224; inventer leur propre &#233;conomie et &#224; produire du r&#233;seau dans un monde en r&#233;seau trouve une excellente illustration dans les collectifs artistiques tels les Artist run spaces qui ont &#233;merg&#233; un peu partout dans le monde. Il s&#8217;agit l&#224; de structures permettant aux artistes d&#8217;organiser et de contr&#244;ler, par des outils technologiques et des dispositifs collaboratifs, leur production, diffusion, commentaire, circulation internationale. Apparues au milieu des ann&#233;es 1960 en Europe, aux Etats-Unis, au Canada et en Australie, ces organisations collectives &#224; but non lucratif fond&#233;es par des artistes reposent sur une id&#233;e simple : cr&#233;er des espaces d&#8217;&#233;change et d&#8217;exp&#233;rimentation communs entre artistes d&#8217;avant-garde, situ&#233;s en marge des institutions et du march&#233; de l&#8217;art.Ainsi que le d&#233;clarent Gabriele Detterer et Maurizio Nannucci dans l&#8217;ouvrage qu&#8217;ils consacrent aux Artist run spaces, &#171; pour d&#233;finir ce mod&#232;le, on peut parler d&#8217;une &#171; culture de l&#8217;auto-organisation collective dans l&#8217;art contemporain[1] &#187;, bas&#233;e sur les relations sociales, l&#8217;interaction et la participation. L&#8217;enjeu de ces structures va donc au-del&#224; de l&#8217;acte individuel de cr&#233;ation, l&#8217;artiste s&#8217;inscrivant d&#232;s lors dans une organisation collaborative autog&#233;r&#233;e. Ma&#238;triser le discours, la forme et les modes de communication sont des points forts, de m&#234;me que la capacit&#233; &#224; cr&#233;er des r&#233;seaux internationaux ou &#224; red&#233;finir la relation entre l&#8217;art et le public. Chacun s&#8217;implique dans l&#8217;organisation d&#8217;un &#171; commun &#187; qui repose sur un mode de fonctionnement non hi&#233;rarchique et des positions collectives fortes, tant &#233;thiques qu&#8217;esth&#233;tiques, politiques ou artistiques.Ces structures se constituent donc comme formes sp&#233;cifiques de l&#8217;art et comme activit&#233; collective de production, promotion, aide et vente, dont les logiques de cr&#233;ation sont susceptibles de contribuer &#224; l&#8217;&#233;mergence de nouveaux environnements, de nouveaux outils et de nouvelles formes de citoyennet&#233;.Le moment est venu de prendre conscience que des forces de cr&#233;ation similaires sont aujourd'hui pr&#233;sentes aupr&#232;s des jeunes g&#233;n&#233;rations d&#8217;artistes, qui ne demandent qu'&#224; participer &#224; l'&#233;laboration d'un monde plus ouvert, dans lequel la cr&#233;ation, l'art et la culture seraient des valeurs partag&#233;es.Le nouveau programme de recherche de l&#8217;ESAD de Reims, intitul&#233; &#171; Artist run spaces : nouvelles formes de production pour l&#8217;art ? &#187; donnera son th&#232;me aux IVe Rencontres Internationales de l&#8217;Art et du Design, qui auront lieu le 24 octobre 2013 &#224; Reims. Cet &#233;v&#233;nement fait suite &#224; une journ&#233;e d&#8217;&#233;tude organis&#233;e en f&#233;vrier 2013 qui a permis de r&#233;unir les membres du comit&#233; scientifique. Par ailleurs, deux s&#233;jours d&#8217;&#233;tude ont inscrit la dynamique de cette recherche &#224; l&#8217;&#233;chelle internationale. Le premier en 2011 en partenariat avec The School of the Art Institute of Chicago et Michelle Grabner, fondatrice des Artist run spaces The Suburban &#224; Chicago et Poor Farm Experiment, Wisconsin, USA. Le second en 2013 &#224; Buenos Aires, en partenariat avec l&#8217;Universit&#233; Torcuato Di Tella.Fort de ces exp&#233;riences, le programme de recherche &#171; Artist run spaces : nouvelles formes de production pour l&#8217;art ? &#187; pose l&#8217;hypoth&#232;se de l&#8217;&#233;conomie particuli&#232;re des Artist run spaces comme matrice possible d&#8217;une plateforme p&#233;dagogique et collaborative qui se distingue par la libert&#233; de ses formes et formats et dont la probl&#233;matique se d&#233;termine de la fa&#231;on suivante :Comment, par l&#8217;analyse des moyens dont il dispose comme des moyens qu&#8217;il met en &#339;uvre, le fonctionnement des Artist run spaces peut-il d&#233;gager de nouvelles formes de production en art ? Comment et pourquoi ces modes d&#8217;(auto-)production peuvent-il g&#233;n&#233;rer des formes artistiques collaboratives ? Quelles sont ces formes artistiques ? En quoi se diff&#233;rencient-elles des formes institutionnelles ? Comment l&#8217;observation d&#8217;une structure particuli&#232;re, dans une Ecole Sup&#233;rieure d&#8217;Art &#8211; dont l&#8217;origine serait &#224; rechercher du c&#244;t&#233; des Artist run spaces, peut-elle faire l&#8217;objet d&#8217;une recherche productrice, constructrice voire p&#233;dagogique ?L&#8217;analyse pourra s&#8217;engager en trois voies : sur la temporalit&#233; de ce genre de structures, sur leur &#233;conomie et enfin sur les formes de production qu&#8217;elles induisent.Modalit&#233;s de soumissionL&#8217;appel &#224; contribution s&#8217;adresse aussi bien &#224; des plasticiens qu&#8217;&#224; des th&#233;oriciens.Les propositions pourront porter sur l&#8217;un ou l&#8217;autre des axes &#233;voqu&#233;s ci-dessus.Date limite d&#8217;envoi des propositions (300 mots maximum, accompagn&#233;es d&#8217;unecourte biographie)30 juin 2013&#224; :patricia.ribault@esad-reims.frDates : 30 juin 2013 (appel &#224; contribution) 24 octobre 2013 (colloque)Comit&#233; scientifiqueJulien Amicel, co-directeur de la r&#233;sidence d&#8217;artistes Dar Al-Ma&#8217;M&#251;n au Maroc,Tania Bruguera, artiste, professeur &#224; l&#8217;&#201;cole nationale sup&#233;rieure des beaux arts de Paris, fondatrice du Immigrant Movement International et du projet C&#225;tedra Arte de Conducta (Behavior Art School),Rozenn Canevet, docteur en Esth&#233;tique, Sciences et Technologie de l&#8217;art, enseignante en histoire de l&#8217;art et co-coordinatrice en Art / ESAD de Reims,Jason Hwang, artiste et commissaire d&#8217;exposition, co-fondateur de l&#8217;espace d&#8217;exposition ind&#233;pendant Shanaynay (Paris),Guillaume Leblon, artiste plasticien, membre de l&#8217;Artist run space Castillo Corrales (Paris) et co-coordinateur en Art / ESAD de Reims,Massimiliano Mallona, &#171; senior lecturer &#187; au d&#233;partement d&#8217;Anthropologie du Goldsmiths, Universit&#233; de Londres,Claire Peillod, directrice / ESAD de ReimsPatricia Ribault, docteur en arts et sciences de l&#8217;art, responsable de la recherche / ESAD de Reims.[1] Gabriele Detterer &#38; Maurizio Nannucci, Artist-Run Spaces, JRP/Ringier &#38; les Presses du R&#233;el, 2012, p. 8.ArgumentArtists&#8217; collectives such as the artist-run spaces that have sprung up around the world are an excellent example of artists&#8217; amazing ability to invent their own economy and establish networks in an interconnected world. These spaces are structures that allow artists to use technology and collaborative arrangements to organise and control how their works are produced, distributed, reviewed and sold internationally. These collective non-profit organisations first appeared in the 1960s in Europe, the United States, Canada and Australia and were set up by artists with a simple objective of establishing spaces where avant-garde artists could meet and experiment together outside mainstream institutions and the art market.As Gabriele Detterer and Maurizio Nannucci put it in their book about artist-run spaces: &#8220;This model can be defined as a &#8216;culture of collective self-organisation within contemporary art[1]&#8217;&#8221; based on social relations, interaction and participation. Hence the aim of these structures is more than just to promote individual creativity; the artist is part of a self-managed, collaborative organisation. They offer the advantage of controlling the message, the form and the means of communication, as well as forging international networks and redefining the relationship between art and the audience. Every artist plays his or her part in organising a &#8220;common space&#8221; in line with a non-hierarchical way of working and clearly affirmed ethical, aesthetic, political and artistic positions.These structures are therefore intended as specific art forms and as a collective production, promotions, mutual assistance and sales operation. Their creative models seek to foster the emergence of new environments, new tools and new forms of citizenship.We must now acknowledge that the current generation of young artists have similar creative powers and long for nothing more than to contribute to shaping a more open world in which creativity, art and culture are common values.ESAD Reims&#8217; new research programme &#8220;Artist-run spaces: new forms of artistic production?&#8221; will be the focus of the 4th International Encounters of Art and Design, which will be held in Reims on 24 October 2013. This event follows a study day involving the members of the scientific committee in February 2013. The international dimension of this research programme was also underscored by two study trips, the first in 2011 in partnership with the School of the Art Institute of Chicago and Michelle Grabner, the founder of artist-run spaces &#8220;The Suburban&#8221; in Chicago and the Poor Farm Experiment in Wisconsin, USA; and the second in Buenos Aires in 2013 in partnership with Torcuato di Tella University.On the back of these experiences, our &#8220;Artist-run spaces: new forms of artistic production?&#8221; research programme sets out the hypothesis that the special economy of artist-run spaces is a possible blueprint for a collaborative educational platform that is free in its forms and formats.The research questions are as follows:How should we analyse the workings of artist-run spaces, in terms of the means at their disposal as well as the means they employ, to show that they could inspire new forms of artistic production? How and why might these modes of (self-)production generate new forms of artistic collaboration? What are these art forms? How do they differ from institutional forms? How can we conduct productive, constructive and even educational research by observing a particular structure in an art school, which is said to have grown out of the artist-run spaces?There could be three lines of inquiry examining 1) the temporality of this kind of structure, 2) its economy, and 3) the forms of production to which it gives rise.Submission guidelinesThe call for papers is aimed at visual artists as well as theorists.Proposals may involve any of the abovementioned research areas.Closing date for the sending of proposals (maximum 300 words, accompanied with a short biography) :30th June 2013.Proposals should be sent to: patricia.ribault@esad-reims.frAcademic committeeTania Bruguera, artist, professor at Ecole nationale sup&#233;rieure des beaux arts de Paris, founder of Immigrant Movement International and C&#224;tedra Arte de Conducta (Behavior Art School),Rozenn Canevet, doctor of Aesthetics, Sciences et Technology of Art, professor in History of Art and co-coordinator in Art / ESAD de Reims,Jason Hwang, artist and curator, co-founder of Shanaynay (Paris),Guillaume Leblon, artist, member of the Artist Run Space Castillo Corrales (Paris) and co-coordinator in Art / ESAD de Reims,Mao Mollona, senior lecturer of Anthropology at Goldsmiths, University of London,Julien Amicel, co-director of the Dar Al-Ma'm&#251;n Foundation (Marocco),Claire Peillod, Director / ESAD de Reims,Patricia Ribault, doctor of Arts and Art studies and Head of Research / ESAD de Reims.&#160;[1] Gabriele Detterer &#38; Maurizio Nannucci, Artist-Run Spaces, JRP/Ringier &#38; les Presses du R&#233;el, 2012, p. 8.