{"id":3299,"date":"2025-06-02T14:31:15","date_gmt":"2025-06-02T13:31:15","guid":{"rendered":"https:\/\/www.revue-exposition.com\/?p=3299"},"modified":"2025-06-23T19:34:59","modified_gmt":"2025-06-23T18:34:59","slug":"matar-introduction","status":"publish","type":"post","link":"https:\/\/www.revue-exposition.com\/index.php\/articles10\/matar-introduction\/%20","title":{"rendered":"Introduction"},"content":{"rendered":"

par Roula Matar<\/h3>\n

 <\/p>\n

— Roula Matar<\/strong>,<\/em> architecte et docteure en histoire de l\u2019art, est ma\u00eetresse de conf\u00e9rences en Histoire et Cultures Architecturales \u00e0 l\u2019\u00e9cole nationale sup\u00e9rieure d\u2019Architecture de Versailles. Ses recherches et publications se consacrent aux croisements des disciplines, notamment aux rapports de l\u2019\u0153uvre d\u2019art \u00e0 l\u2019architecture, aux xxe<\/sup>\u00a0et\u00a0xxie<\/sup>\u00a0si\u00e8cles. Sur ce sujet, elle a publi\u00e9\u00a0<\/em>L\u2019Architecture selon Gordon Matta-Clark, aux Presses du r\u00e9el (2022). Ses recherches r\u00e9centes portent sur l\u2019histoire des espaces de l\u2019exposition et sur l\u2019histoire de l\u2019architecture du mus\u00e9e. —<\/em><\/p>\n

Peut-on se servir des vues d\u2019expositions comme sources documentaires pour construire une histoire des espaces de l\u2019exposition ? Cette question a \u00e9t\u00e9 propos\u00e9e \u00e0 la discussion lors de journ\u00e9es d\u2019\u00e9tudes et de s\u00e9ances de s\u00e9minaire organis\u00e9es \u00e0 l\u2019\u00e9cole nationale sup\u00e9rieure d\u2019Architecture de Versailles en 2021-2022[1]<\/a>. Nous avons examin\u00e9 ces images-archives, en tenant compte de leur statut complexe, pour saisir ce qu\u2019elles peuvent nous dire de l\u2019espace de l\u2019exposition, de sa construction et de son \u00e9volution. Nous avons interrog\u00e9 les vues d\u2019expositions en les consid\u00e9rant notamment comme r\u00e9v\u00e9latrices de dispositifs<\/em>, dans le sens foucaldien, c\u2019est-\u00e0-dire comme mettant au jour un \u00ab ensemble r\u00e9solument h\u00e9t\u00e9rog\u00e8ne, comportant des discours, des institutions, des am\u00e9nagements architecturaux, des d\u00e9cisions r\u00e9glementaires, des lois, des mesures administratives, des \u00e9nonc\u00e9s scientifiques, des propositions philosophiques, morales, philanthropiques, bref : du dit aussi bien que du non-dit[2]<\/a> \u00bb. Les vues d\u2019expositions ont ainsi \u00e9t\u00e9 mobilis\u00e9es pour saisir ce qui nous int\u00e9resse, non pas tant l\u2019objet premier de la photographie mais le rapport de l\u2019objet \u00e0 l\u2019espace, et plus pr\u00e9cis\u00e9ment le cadre de ce rapport et ce qui se r\u00e9v\u00e8le sur ces bords.<\/p>\n

Les diff\u00e9rents temps de r\u00e9flexions ont choisi de multiplier les points de vue en r\u00e9unissant diverses positions, de l\u2019historien de l\u2019art \u00e0 l\u2019archiviste, du commissaire \u00e0 l\u2019artiste. Quelques r\u00e9ponses \u00e0 cette large probl\u00e9matique sont r\u00e9unies dans ce pr\u00e9sent num\u00e9ro volontairement centr\u00e9 sur la critique institutionnelle et ses d\u00e9placements depuis son \u00e9mergence dans les ann\u00e9es 1960. Une large place est donn\u00e9e \u00e0 la voix des artistes, \u00e0 leurs recours aux vues d\u2019expositions \u00e0 diff\u00e9rents moments de leur processus de travail ou dans leurs approches critiques et spatiales : elles sont des images d\u2019archives de dispositifs de monstration qui fondent le travail de Wesley Meuris<\/a> sur les politiques de pr\u00e9sentation et infrastructures des institutions ; elles irriguent et construisent un large corpus de travaux de Simon Starling<\/a> qui, au gr\u00e9 des r\u00e9pliques et reconstructions, interrogent les m\u00e9canismes du mus\u00e9e et de l\u2019exposition ; elles constituent un inventaire exhaustif de la pr\u00e9sence v\u00e9g\u00e9tale m\u00e9ticuleusement relev\u00e9e par Inge Meijer<\/a> dans les archives du Stedelijk Museum d\u2019Amsterdam ou du MoMA \u00e0 New York. \u00c0 ces usages r\u00e9pondent ceux du ou de la commissaire qui, comme Marie Fraser<\/a>, \u00e0 l\u2019occasion de la reconstitution de l\u2019exposition The Responsive Eye<\/em> tenue au MoMA en 1965, se penche sur les archives visuelles de cet \u00e9v\u00e9nement, tandis que l\u2019archiviste Pascal Riviale<\/a> expose ce que montrent les archives visuelles des innovations men\u00e9es par le MNATP, tant dans ses \u00e9tudes que dans son approche mus\u00e9ographique. Enfin, parall\u00e8lement au s\u00e9minaire, s\u2019est tenue l\u2019exposition Le Grand atlas de la d\u00e9sorientation<\/em> de Tatiana Trouv\u00e9<\/a> dans la Galerie 3 du Centre George Pompidou \u00e0 Paris. Dans le prolongement de notre r\u00e9flexion, je me suis entretenue avec l’artiste sur le sujet des espaces de l\u2019exposition puisque celui-ci fait partie int\u00e9grante de la d\u00e9finition de son travail.<\/p>\n

Je tiens \u00e0 remercier les membres du comit\u00e9 scientifique du s\u00e9minaire, l\u2019ensemble des intervenant\u00b7es aux journ\u00e9es d\u2019\u00e9tudes et au s\u00e9minaire pour leurs contributions[3] <\/a>et les moments de partage \u2013 Yvonne Bialek, Marie Fraser, Giulia Gabellini, Audrey Ilouz, Wesley Meuris, Constance Nouvel, Yusuke Offhause, R\u00e9mi Parcollet[4]<\/a>, Jean-Marc Poinsot, Pascal Riviale, Nathalie Simonnot, Simon Starling, Tatiana Trouv\u00e9 et Richard Venlet. Pour leur soutien, je remercie \u00e9galement l\u2019\u00e9quipe de La Mar\u00e9chalerie, Val\u00e9rie Knochel sa directrice ainsi que Sophie Peltier et Simon Poulain, le L\u00e9aV laboratoire \u00e0 l\u2019ENSA Versailles, ainsi que le bureau de l\u2019Enseignement et de la Recherche (BER) du minist\u00e8re de la Culture.<\/p>\n

 <\/p>\n

Notes<\/strong><\/p>\n

[1]<\/a> Ce projet de recherche s\u2019est d\u00e9roul\u00e9 sous la forme d\u2019un cycle de trois demi-journ\u00e9es d\u2019\u00e9tudes, des d\u00e9bats Man\u00e8ges organis\u00e9s \u00e0 l\u2019automne 2021 en partenariat avec le centre d\u2019art La Mar\u00e9chalerie (cf https:\/\/tram-idf.fr\/maneges-2021-la-marechalerie\/), et s\u2019est poursuivi par un s\u00e9minaire au printemps 2022.<\/p>\n

[2]<\/a> Foucault M., \u00ab Le Jeu de Michel Foucault\u202f\u00bb, Dits et \u00e9crits.<\/em> Vol.\u202fII : 1976-1988<\/em>, Paris, Gallimard, 2001 (1994), p.\u202f299.<\/p>\n

<\/a>[3]<\/a> Pour diverses raisons, l\u2019intervention de Jean-Marc Poinsot, initialement pr\u00e9vue dans ce num\u00e9ro, et consacr\u00e9e \u00e0 la reconstruction de l\u2019Atelier londonien de Francis Bacon \u00e0 la Dublin City Gallery n\u2019a pu \u00eatre int\u00e9gr\u00e9e au sommaire. Elle peut \u00eatre lue dans son dernier ouvrage Notes sur l\u2019exposition et ses acteurs<\/em> (\u00c9ditions Hermann, 2023), dans le chapitre 5 intitul\u00e9 \u00ab L\u2019exposition comme machine interpr\u00e9tative \u00bb, aux pages 99-103.<\/p>\n

[4]<\/a> Les recherches men\u00e9es par R\u00e9mi Parcollet sur les vues d\u2019expositions ont nourri notre s\u00e9minaire. Voir notamment l\u2019ouvrage qu\u2019il a dirig\u00e9 sur ce sujet, Photog\u00e9nie de l\u2019exposition<\/em>, Manuella \u00e9ditions, Paris, 2018.<\/p>\n

Pour citer cet article : Roula Matar, \"Introduction\", exPosition<\/em>, 2 juin 2025, https:\/\/www.revue-exposition.com\/index.php\/articles10\/matar-introduction\/%20<\/a>. Consult\u00e9 le 29 avril 2026.<\/div><\/p>\n","protected":false},"excerpt":{"rendered":"

par Roula Matar   — Roula Matar, architecte et docteure en histoire de l\u2019art, est ma\u00eetresse de conf\u00e9rences en Histoire et Cultures Architecturales \u00e0 l\u2019\u00e9cole nationale sup\u00e9rieure d\u2019Architecture de Versailles. Ses recherches et publications se consacrent aux croisements des disciplines, notamment aux rapports de l\u2019\u0153uvre d\u2019art \u00e0 l\u2019architecture, aux xxe\u00a0et\u00a0xxie\u00a0si\u00e8cles. Sur ce sujet, elle a … Continuer la lecture de « Introduction »<\/span><\/a><\/p>\n","protected":false},"author":74,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[448],"tags":[444,451,33,231,354,211,450],"class_list":["post-3299","post","type-post","status-publish","format-standard","hentry","category-articles10","tag-archives","tag-espaces-dexpositions","tag-exposition","tag-histoire-des-expositions","tag-photographie","tag-sommaire","tag-vues-dexpositions"],"yoast_head":"\nIntroduction - exPosition<\/title>\n<meta name=\"description\" content=\"par Roula Matar. 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