Aesthetics and collective creation. On architectureʼs role in the social space of contemporary art centres and museums

Publikation: KonferencebidragKonferenceabstrakt til konferenceForskningpeer review

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Resumé

When Lacaton & Vassal created the first phase of transforming the Palais de Tokyo in Paris into a center for centemporary creation (2001), they envisioned how activities and interactions could unfold in the already existing building. In the second phase of the project (2012), they created new possibilities for relations and differentiated movement patterns to further transform the potentials of visitorʼs interactions with each other and with works of art.
Lacaton & Vassalʼs relational, bottom-up architecture resonated well with the aesthetic thinking by one of the initial directors of the Palais de Tokyo, Nicolas Bourriaud (Bourriaud:1998) and now, the art centre stands as place where a cultural institution, an architectural mode of thinking and participatory artistic experiments work together. Recently, is has become of increasing interest to art museums to be relational and socially aware in order to reach new audiences (Louvre-Lens, 2012) or to develop the museum practice through participations (BMW Guggenheim, 2011-2013). The Louvre-Lens is built in a former coal mining area in Northern France with the aim of contributing to a different cultural identity and the architecture by SANAA relates to the site by adapting to the movement of the mining landscape and by being (explicitly) anti-monumental. Inside, the museum invites the visitors to co-create the exhibition experience by combining the use of digital guides with the affective tonings of the museum space in a setting that reactualises the experimental exhibition space designed by Lina Bo Bardi for Museu de Arte de Sao Paulo (1968). These aspects of the practice of museums and art centres, where social change, creation and exhibition experience affect each other raise the question of how (social) change is related to aesthetics. The paper will discuss how relational and interactive aspects of architecture can relate to the social practice of museums and art centres as being part of the ever transforming sensible fabric, termed ʼAisthesisʼ by Jacques Rancière (Rancière: 2013) and a politics of aesthetics (Rancière: 2004).
OriginalsprogEngelsk
Publikationsdato2013
StatusUdgivet - 2013
BegivenhedRETHINK PARTICIPATORY CULTURAL CITIZENSHIP - Aarhus University and Aarhus 2017, Aarhus, Danmark
Varighed: 14 nov. 201316 nov. 2013

Konference

KonferenceRETHINK PARTICIPATORY CULTURAL CITIZENSHIP
LokationAarhus University and Aarhus 2017
LandDanmark
ByAarhus
Periode14/11/201316/11/2013

Emneord

  • museumsarkitektur
  • participation
  • kultur

Kunstnerisk udviklingsvirksomhed (KUV)

  • Nej

Citer dette

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title = "Aesthetics and collective creation.: On architectureʼs role in the social space of contemporary art centres and museums",
abstract = "When Lacaton & Vassal created the first phase of transforming the Palais de Tokyo in Paris into a center for centemporary creation (2001), they envisioned how activities and interactions could unfold in the already existing building. In the second phase of the project (2012), they created new possibilities for relations and differentiated movement patterns to further transform the potentials of visitorʼs interactions with each other and with works of art.Lacaton & Vassalʼs relational, bottom-up architecture resonated well with the aesthetic thinking by one of the initial directors of the Palais de Tokyo, Nicolas Bourriaud (Bourriaud:1998) and now, the art centre stands as place where a cultural institution, an architectural mode of thinking and participatory artistic experiments work together. Recently, is has become of increasing interest to art museums to be relational and socially aware in order to reach new audiences (Louvre-Lens, 2012) or to develop the museum practice through participations (BMW Guggenheim, 2011-2013). The Louvre-Lens is built in a former coal mining area in Northern France with the aim of contributing to a different cultural identity and the architecture by SANAA relates to the site by adapting to the movement of the mining landscape and by being (explicitly) anti-monumental. Inside, the museum invites the visitors to co-create the exhibition experience by combining the use of digital guides with the affective tonings of the museum space in a setting that reactualises the experimental exhibition space designed by Lina Bo Bardi for Museu de Arte de Sao Paulo (1968). These aspects of the practice of museums and art centres, where social change, creation and exhibition experience affect each other raise the question of how (social) change is related to aesthetics. The paper will discuss how relational and interactive aspects of architecture can relate to the social practice of museums and art centres as being part of the ever transforming sensible fabric, termed ʼAisthesisʼ by Jacques Ranci{\`e}re (Ranci{\`e}re: 2013) and a politics of aesthetics (Ranci{\`e}re: 2004).",
keywords = "museumsarkitektur, participation, kultur",
author = "Jakobsen, {Annette Svaneklink}",
year = "2013",
language = "English",
note = "null ; Conference date: 14-11-2013 Through 16-11-2013",

}

Jakobsen, AS 2013, 'Aesthetics and collective creation. On architectureʼs role in the social space of contemporary art centres and museums', RETHINK PARTICIPATORY CULTURAL CITIZENSHIP, Aarhus, Danmark, 14/11/2013 - 16/11/2013.

Aesthetics and collective creation. On architectureʼs role in the social space of contemporary art centres and museums. / Jakobsen, Annette Svaneklink.

2013. Abstract fra RETHINK PARTICIPATORY CULTURAL CITIZENSHIP, Aarhus, Danmark.

Publikation: KonferencebidragKonferenceabstrakt til konferenceForskningpeer review

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N2 - When Lacaton & Vassal created the first phase of transforming the Palais de Tokyo in Paris into a center for centemporary creation (2001), they envisioned how activities and interactions could unfold in the already existing building. In the second phase of the project (2012), they created new possibilities for relations and differentiated movement patterns to further transform the potentials of visitorʼs interactions with each other and with works of art.Lacaton & Vassalʼs relational, bottom-up architecture resonated well with the aesthetic thinking by one of the initial directors of the Palais de Tokyo, Nicolas Bourriaud (Bourriaud:1998) and now, the art centre stands as place where a cultural institution, an architectural mode of thinking and participatory artistic experiments work together. Recently, is has become of increasing interest to art museums to be relational and socially aware in order to reach new audiences (Louvre-Lens, 2012) or to develop the museum practice through participations (BMW Guggenheim, 2011-2013). The Louvre-Lens is built in a former coal mining area in Northern France with the aim of contributing to a different cultural identity and the architecture by SANAA relates to the site by adapting to the movement of the mining landscape and by being (explicitly) anti-monumental. Inside, the museum invites the visitors to co-create the exhibition experience by combining the use of digital guides with the affective tonings of the museum space in a setting that reactualises the experimental exhibition space designed by Lina Bo Bardi for Museu de Arte de Sao Paulo (1968). These aspects of the practice of museums and art centres, where social change, creation and exhibition experience affect each other raise the question of how (social) change is related to aesthetics. The paper will discuss how relational and interactive aspects of architecture can relate to the social practice of museums and art centres as being part of the ever transforming sensible fabric, termed ʼAisthesisʼ by Jacques Rancière (Rancière: 2013) and a politics of aesthetics (Rancière: 2004).

AB - When Lacaton & Vassal created the first phase of transforming the Palais de Tokyo in Paris into a center for centemporary creation (2001), they envisioned how activities and interactions could unfold in the already existing building. In the second phase of the project (2012), they created new possibilities for relations and differentiated movement patterns to further transform the potentials of visitorʼs interactions with each other and with works of art.Lacaton & Vassalʼs relational, bottom-up architecture resonated well with the aesthetic thinking by one of the initial directors of the Palais de Tokyo, Nicolas Bourriaud (Bourriaud:1998) and now, the art centre stands as place where a cultural institution, an architectural mode of thinking and participatory artistic experiments work together. Recently, is has become of increasing interest to art museums to be relational and socially aware in order to reach new audiences (Louvre-Lens, 2012) or to develop the museum practice through participations (BMW Guggenheim, 2011-2013). The Louvre-Lens is built in a former coal mining area in Northern France with the aim of contributing to a different cultural identity and the architecture by SANAA relates to the site by adapting to the movement of the mining landscape and by being (explicitly) anti-monumental. Inside, the museum invites the visitors to co-create the exhibition experience by combining the use of digital guides with the affective tonings of the museum space in a setting that reactualises the experimental exhibition space designed by Lina Bo Bardi for Museu de Arte de Sao Paulo (1968). These aspects of the practice of museums and art centres, where social change, creation and exhibition experience affect each other raise the question of how (social) change is related to aesthetics. The paper will discuss how relational and interactive aspects of architecture can relate to the social practice of museums and art centres as being part of the ever transforming sensible fabric, termed ʼAisthesisʼ by Jacques Rancière (Rancière: 2013) and a politics of aesthetics (Rancière: 2004).

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