Spéculations financières et trafic culturel. Quand l’art nous éveille sur la condition du monde global (original) (raw)

Mise en perspective chiasmique des histoires de l’art global au Canada

Muséologies: Les cahiers d'études supérieures

This article offers a critical perspective on the pedagogical direction of what I call “global art histories” in Canada by addressing the apparent impasse posed by the notion of what is euphemistically called “ethnocultural art” in this country. It examines different interpretations of the latter chiefly through a survey of course titles from art history programs in Canada and a course on the subject that I teach at Concordia University in Montreal. Generally speaking, the term “ethnocultural art” refers to what is more commonly understood as “ethnic minority arts” in the ostensibly more derisive discourses on Canadian multiculturalism and cultural diversity. The addition of the term “culture” emphasizes the voluntary self-definition involved in ethnic identification and makes the distinction with “racial minorities.” “Ethnocultural communities,” along with the moniker “cultural communities” (or “culturally diverse” communities), however, is still often understood to refer to immigr...

Le triangle des circulations artistiques transnationales

2016

The ARTL@S BULLETIN is a peer-reviewed, transdisciplinary journal devoted to spatial and transnational questions in the history of the arts and literature. The journal promises to never separate methodology and history, and to support innovative research and new methodologies. Its ambition is twofold: 1. a focus on the "transnational" as constituted by exchange between the local and the global or between the national and the international, and 2. an openness to innovation in research methods, particularly the quantitative possibilities offered by digital mapping and data visualization. By encouraging scholars to continuously shift the scope of their analysis from the national to the transnational, ARTL@S BULLETIN intends to contribute to the collective project of a global history of the arts.

Autour du « monde de l'art »

Cahiers philosophiques, 2012

Dans Cahiers philosophiques Cahiers philosophiques 2012/4 (n° 131) 2012/4 (n° 131), pages 108 à 128 Éditions Réseau Canopé Réseau Canopé

L'art comme réappropriation du monde

Cahiers Sens public, 2009

Dans Cahiers Sens public Cahiers Sens public 2009/2 (n° 10) 2009/2 (n° 10), pages 157 à 167 Éditions Association Sens-Public Association Sens-Public

Livrer le monde : illettrisme esthétique et mantique de l'art actuel

2021

To question the way art is « delivering the world » - in all the polysemy of the expression - is an invitation to take an interest in two emblematic figures of the current artistic production: the book and the library. Taken in their plastic and empirical, aesthetic and metaphysical occurrences - but also as full concepts - books and libraries are understood both as a theoretical model and as a practical access to a reading experience of art (Marielle Macé). While studies on the tyranny of readability multiply (Georges Didi-Huberman, Emmanuel Alloa, Muriel Pic, Maud Hagelstein, etc.), current art continues to undermine the reader paradigm that seemed to govern our perceptual habits. Iconological theories and the metaphor of the book of nature have given rise to a paradigm of classic readability that artists refute in a plastic critique of readability, in order to read the artwork at the risk of illegibility. Reading, if it crosses the historical and aesthetic vocabulary of art, rema...