Criando arenas para interações sociais
“coleções de fronteira”
DOI :
https://doi.org/10.26512/museologia.v9i18.35275Mots-clés :
Arte Performativa. Coleção de Fronteira. Foudation du doute. Watermill Center. Musée de la danse.Résumé
Desde meados dos anos 2000, assistimos ao surgimento de novas formas de instituições dedicadas à produção, disseminação, preservação e conhecimento de práticas de arte performativa. Embora o desenvolvimento de coleções seja apenas uma atividade periférica nessas organizações, a coleção constitui um território propício à experimentação. Os atores envolvidos interagem com os objetos coletados, materiais ou imateriais, em suas ações artísticas, ou mesmo inventam novas formas de "fazer uma coleção". Propomos a noção de "coleção de fronteira", inspirada na sociologia interativa, a fim de mostrar que a coleção, em regime performático, prossegue e gera formas de cooperação entre diferentes mundos sociais e renova as interações entre seres humanos e objetos. Direcionando nossa atenção na Fondation du doute, no Watermill Center, no Musée de la danse, analisamos as formas de colaboração entre os atores que interagem com estas coleções, as habilidades e referências que são mobilizadas, as ferramentas que são construídas e as formas de conhecimento que são produzidas.
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Références
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AZIMI, Roxana. Les artistes, des collectionneurs qui s’exposent. Le Monde, February 9, 2018. Retrieve from: <https://www.lemonde.fr/m-actu/article/2018/02/09/les-artistes-des-collectionneurs-qui-s-exposent_5254397_4497186.html>.
BARBIER-MUELLER, Jean-Paul. Si Galegale. In: MACIÀN, José Enrique; STOKER, Sue Jane; WEISBRODT, Jörn (eds). The Watermill Center: A Laboratory for Performance. Robert Wilson’s Legacy. Stuttgart: Daco Verlag, p. 246-247, 2011.
BAUDRILLARD, Jean. The System of Objects [1968]. Translated by James Benedict. London, New York: Verso, 1996.
BECKER, Howard S. Art Worlds. Berkeley: University of California Press, 1982.
BENJAMIN, Walter. One-way Street and Other Writings. Translated by Edmund Jephcott and Kingsley Shorter. London: NLB, 1979.
BENJAMIN, Walter. The Collector. In: TIEDEMANN, Rolf (ed). The Arcades Project. Cambridge, MA: Belknap Press, Harvard University Press, p. 203-211, 1999.
BOLTANSKI, Luc; ESQUERRE, Arnaud. Enrichissement: une critique de la marchandise. Paris: Gallimard, 2017.
BRUN, Jeanne. Exposer Fluxus. Initiales, n°1, Lyon: ENSB-A Lyon, p. 99-101, 2013. Retrieve from: <http://www.revueinitiales.com/pdf/gm/INITIALES_22_brun.pdf>.
CALLON, Michel; LATOUR, Bruno (eds.). La science telle qu’elle se fait. Paris: La Découverte, 1991.
CECCONI, Massimo; DI MAGGIO, Gino. Sia lode ora a uomini di fama: Gino Di Maggio. Z3xMi, June 15, 2013. Retrieve from:< http://www.z3xmi.it/pagina.phtml?_id_articolo=4696-Sia-lode-ora-a-uomini-di-fama-Gino-Di-Maggio.html>.
CELEUX-LANVAL, Maïlys. À Toulouse, l’anti-collection vivante et bruyante de Gino Di Maggio. Beaux-Arts Magazine, March 9, 2020. Retrieve from :<https://www.beauxarts.com/expos/a-toulouse-lanti-collection-vivante-et-bruyante-de-gino-di-maggio>.
CHARMATZ, Boris. Manifesto for a Musée de la danse. Rennes: Centre chorégraphique national de Rennes et de Bretagne, 2009.
CLIFFORD, James. The Predicament of Culture: Twentieth-Century Ethnography, Literature, and Art. Cambridge, MA: Harvard University Press,1988.
COMETTI, Jean-Pierre. La nouvelle aura. Économies de l’art et de la culture. Paris: Questions théoriques, 2016.
GAÎTÉ, Florian. L’invitation aux musées. Six lieux d’art transforment le CND en musée éphémère et vivant. Exhibition notice. Pantin: Centre National de la Danse, 2018. Retrieve from:<https://www.cnd.fr/fr/program/group/947-l-invitation-aux-musees>.
GELL, Alfred. Art and Agency: An Anthropological Theory. Oxford: Clarendon Press, 1998.
INGOLD, Tim. Making: Anthropology, Archaeology, Art and Architecture. London, New York: Routledge, 2013.
JONES, Amelia. ‘Presence’ in Absentia: Experiencing Performance as Documentation. Art Journal, vol. 56, n°4, p. 11-18, 1997.
KHOSHBIN, Noah. The Unique Nature of the Watermill Collection. In: MACIÀN, José Enrique; STOKER, Sue Jane; WEISBRODT, Jörn (eds). The Watermill Center: A Laboratory for Performance. Robert Wilson’s Legacy. Stuttgart: Daco Verlag, p. 232-239, 2011.
KRAEMER, Gilles. Une vie pour l’art selon Gino Di Maggio. Le Curieux des arts, March 21, 2020. Retrieve from:<http://www.lecurieuxdesarts.fr/2020/03/une-vie-pour-l-art-selon-gino-di-maggio.html>.
KRAMER, Antje. L’artiste comme pédagogue. Des mythes égalitaires de l’enseignement artistique après 1968. Arts & sociétés, no 37, 2020. Retrieve from:<https://www.sciencespo.fr/artsetsocietes/fr/archives/1778>.
LAUNAY, Isabelle. Poétiques et politiques des répertoires ”“ Les danses d’après, I. Pantin: Centre national de la danse, 2018.
LAUNAY, Isabelle. Cultures de l’oubli et citation ”“ Les danses d’après, II. Pantin: Centre national de la danse, 2019.
LEHMANN, Hans-Thies. Postdramatic Theatre [1999]. Translated by Karen Jürs-Munby. London: Routledge, 2006.
LEPECKI, André. The Body as Archive: Will to Re-Enact and the Afterlives of Dances. Dance Research Journal, vol. 42, no 2, p. 28-48, 2010.
MUSÉE DE LA DANSE. Brouillon. Exhibition notice, 2010. Retrieve from:<http://www.museedeladanse.org/fr/articles/brouillon-rennes-2010.html>.
OBRIST, Hans Ulrich. do it. New York: Independent Curators International, D.A.P., 1995.
OSTENDE, Florence. The Dance Museum and its Fantasies. Art Press, n°18, p.70-80, 2010.
PHELAN, Peggy. Unmarked: The Politics of Performance. London, New York: Routledge, 1993.
PIODA, Stéphanie. Gino Di Maggio, militant et collectionneur malgré lui. La Gazette Drouot, June 4, 2020. Retrieve from :<https://www.gazette-drouot.com/article/gino-di-maggio-militant-et-collectionneur-malgre-lui/14623>.
POMIAN, Krzysztof. Collectors and curiosities: Paris and Venice 1590-1800 [1987]. Translated by Elizabeth Wiles-Portier. Cambridge, UK: Polity Press, 1990.
POUILLAUDE, Frédéric. Unworking Choreography: The Notion of the Work in Dance [2009]. Translated by Anna Pakes. Oxford: Oxford University Press, 2017.
QUÉRÉ, Louis. Retour sur l’agentivité des objets. Occasional Paper 25. Paris: Institut Marcel Mauss ”“ CEMS, April 2015. Retrieve from:<http://cems.ehess.fr/docannexe/file/3537/objets_04_2015.pdf>.
RAUNIG, Gerald; RAY, Gene (eds.). Art and Contemporary Critical Practice: Reinventing Institutional Critique. London: MayFlyBooks, 2009.
ROUX, Céline. Pratiques performatives / Corps critique no 10. Le Musée de la danse : l’archive comme principe(s) actif(s) et critique(s) de création. In: BENICHOU, Anne (ed.). Recréer/Scripter. Mémoires et transmissions des œuvres performatives et chorégraphiques contemporaines. Dijon: Les presses du réel, 2015, p. 215-234.
SCHECHNER, Richard. Performance Studies: An Introduction. London: Routledge, 2002.
SCHNEIDER, Rebecca. Performance Remains. Performance Research, vol. 6, no. 2, p. 100-108, 2001. Retrieve from: <doi:10.1080/13528165.2001.10871792>.
STAR, Susan Leigh. This Is Not a Boundary Object: Reflections on the Origin of a Concept. Science, Technology & Human Values, vol. 35, no 5, p. 601-617, 2010.
STAR, Susan Leigh; GRIESEMER, James R. Institutional Ecology, ‘Translations’, and Boundary Objects: Amateurs and Professionals on Berkeley’s Museum of Vertebrate Zoology. Social Studies of Science, vol. 19, no 3. p. 387-420, 1989.
SUSSMAN, Elisabeth. ‘Our work goes together’: Paul Thek’s Legacy at The Watermill Center. In: MACIÀN, José Enrique; STOKER, Sue Jane; WEISBRODT, Jörn (eds). The Watermill Center: A Laboratory for Performance. Robert Wilson’s Legacy. Stuttgart: Daco Verlag, p. 260-262, 2011.
TAYLOR, Diana. The Archive and the Repertoire: Performing Cultural Memory in the Americas. Durham, NC: Duke University Press, 2003.
TROMPETTE, Pascale; VINCK, Dominique. Revisiting the Notion of Boundary Object. Translated by Neil Draper, Revue d’Anthropologie des connaissances, vol. 3, no 1, 2009, p. 3-25. Retrieve from:<https://www.cairn.info/revue-anthropologie-des-connaissances-2009-1-page-3.htm>.
UNESCO. Text of the Convention for the Safeguarding of the Intangible Cultural Heritage. 2003. Retrieve from:<https://ich.unesco.org/en/convention>.
VERHOFF, Deborah. The Watermill Center’s Library of Inspiration. New York: New York University, Faculty Digital Archive, 2014. Retrieve from:<https://archive.nyu.edu/bitstream/2451/42306/2/AKMBnews-Verhoff-English.pdf>.
VINCK, Dominique. De l’objet intermédiaire à l’objet-frontière: Vers la prise en compte du travail d’équipement. Revue d’anthropologie des connaissances, vol. 3, no 1. p. 51-72, 2009. Retrieve from :<https://doi.org/10.3917/rac.006.0051>.
AZIMI, Roxana. Les artistes, des collectionneurs qui s’exposent. Le Monde, February 9, 2018. Retrieve from: <https://www.lemonde.fr/m-actu/article/2018/02/09/les-artistes-des-collectionneurs-qui-s-exposent_5254397_4497186.html>.
BARBIER-MUELLER, Jean-Paul. Si Galegale. In: MACIÀN, José Enrique; STOKER, Sue Jane; WEISBRODT, Jörn (eds). The Watermill Center: A Laboratory for Performance. Robert Wilson’s Legacy. Stuttgart: Daco Verlag, p. 246-247, 2011.
BAUDRILLARD, Jean. The System of Objects [1968]. Translated by James Benedict. London, New York: Verso, 1996.
BECKER, Howard S. Art Worlds. Berkeley: University of California Press, 1982.
BENJAMIN, Walter. One-way Street and Other Writings. Translated by Edmund Jephcott and Kingsley Shorter. London: NLB, 1979.
BENJAMIN, Walter. The Collector. In: TIEDEMANN, Rolf (ed). The Arcades Project. Cambridge, MA: Belknap Press, Harvard University Press, p. 203-211, 1999.
BOLTANSKI, Luc; ESQUERRE, Arnaud. Enrichissement: une critique de la marchandise. Paris: Gallimard, 2017.
BRUN, Jeanne. Exposer Fluxus. Initiales, n°1, Lyon: ENSB-A Lyon, p. 99-101, 2013. Retrieve from: <http://www.revueinitiales.com/pdf/gm/INITIALES_22_brun.pdf>.
CALLON, Michel; LATOUR, Bruno (eds.). La science telle qu’elle se fait. Paris: La Découverte, 1991.
CECCONI, Massimo; DI MAGGIO, Gino. Sia lode ora a uomini di fama: Gino Di Maggio. Z3xMi, June 15, 2013. Retrieve from:< http://www.z3xmi.it/pagina.phtml?_id_articolo=4696-Sia-lode-ora-a-uomini-di-fama-Gino-Di-Maggio.html>.
CELEUX-LANVAL, Maïlys. À Toulouse, l’anti-collection vivante et bruyante de Gino Di Maggio. Beaux-Arts Magazine, March 9, 2020. Retrieve from :<https://www.beauxarts.com/expos/a-toulouse-lanti-collection-vivante-et-bruyante-de-gino-di-maggio>.
CHARMATZ, Boris. Manifesto for a Musée de la danse. Rennes: Centre chorégraphique national de Rennes et de Bretagne, 2009.
CLIFFORD, James. The Predicament of Culture: Twentieth-Century Ethnography, Literature, and Art. Cambridge, MA: Harvard University Press,1988.
COMETTI, Jean-Pierre. La nouvelle aura. Économies de l’art et de la culture. Paris: Questions théoriques, 2016.
GAÎTÉ, Florian. L’invitation aux musées. Six lieux d’art transforment le CND en musée éphémère et vivant. Exhibition notice. Pantin: Centre National de la Danse, 2018. Retrieve from:<https://www.cnd.fr/fr/program/group/947-l-invitation-aux-musees>.
GELL, Alfred. Art and Agency: An Anthropological Theory. Oxford: Clarendon Press, 1998.
INGOLD, Tim. Making: Anthropology, Archaeology, Art and Architecture. London, New York: Routledge, 2013.
JONES, Amelia. ‘Presence’ in Absentia: Experiencing Performance as Documentation. Art Journal, vol. 56, n°4, p. 11-18, 1997.
KHOSHBIN, Noah. The Unique Nature of the Watermill Collection. In: MACIÀN, José Enrique; STOKER, Sue Jane; WEISBRODT, Jörn (eds). The Watermill Center: A Laboratory for Performance. Robert Wilson’s Legacy. Stuttgart: Daco Verlag, p. 232-239, 2011.
KRAEMER, Gilles. Une vie pour l’art selon Gino Di Maggio. Le Curieux des arts, March 21, 2020. Retrieve from:<http://www.lecurieuxdesarts.fr/2020/03/une-vie-pour-l-art-selon-gino-di-maggio.html>.
KRAMER, Antje. L’artiste comme pédagogue. Des mythes égalitaires de l’enseignement artistique après 1968. Arts & sociétés, no 37, 2020. Retrieve from:<https://www.sciencespo.fr/artsetsocietes/fr/archives/1778>.
LAUNAY, Isabelle. Poétiques et politiques des répertoires ”“ Les danses d’après, I. Pantin: Centre national de la danse, 2018.
LAUNAY, Isabelle. Cultures de l’oubli et citation ”“ Les danses d’après, II. Pantin: Centre national de la danse, 2019.
LEHMANN, Hans-Thies. Postdramatic Theatre [1999]. Translated by Karen Jürs-Munby. London: Routledge, 2006.
LEPECKI, André. The Body as Archive: Will to Re-Enact and the Afterlives of Dances. Dance Research Journal, vol. 42, no 2, p. 28-48, 2010.
MUSÉE DE LA DANSE. Brouillon. Exhibition notice, 2010. Retrieve from:<http://www.museedeladanse.org/fr/articles/brouillon-rennes-2010.html>.
OBRIST, Hans Ulrich. do it. New York: Independent Curators International, D.A.P., 1995.
OSTENDE, Florence. The Dance Museum and its Fantasies. Art Press, n°18, p.70-80, 2010.
PHELAN, Peggy. Unmarked: The Politics of Performance. London, New York: Routledge, 1993.
PIODA, Stéphanie. Gino Di Maggio, militant et collectionneur malgré lui. La Gazette Drouot, June 4, 2020. Retrieve from :<https://www.gazette-drouot.com/article/gino-di-maggio-militant-et-collectionneur-malgre-lui/14623>.
POMIAN, Krzysztof. Collectors and curiosities: Paris and Venice 1590-1800 [1987]. Translated by Elizabeth Wiles-Portier. Cambridge, UK: Polity Press, 1990.
POUILLAUDE, Frédéric. Unworking Choreography: The Notion of the Work in Dance [2009]. Translated by Anna Pakes. Oxford: Oxford University Press, 2017.
QUÉRÉ, Louis. Retour sur l’agentivité des objets. Occasional Paper 25. Paris: Institut Marcel Mauss ”“ CEMS, April 2015. Retrieve from:<http://cems.ehess.fr/docannexe/file/3537/objets_04_2015.pdf>.
RAUNIG, Gerald; RAY, Gene (eds.). Art and Contemporary Critical Practice: Reinventing Institutional Critique. London: MayFlyBooks, 2009.
ROUX, Céline. Pratiques performatives / Corps critique no 10. Le Musée de la danse : l’archive comme principe(s) actif(s) et critique(s) de création. In: BENICHOU, Anne (ed.). Recréer/Scripter. Mémoires et transmissions des œuvres performatives et chorégraphiques contemporaines. Dijon: Les presses du réel, 2015, p. 215-234.
SCHECHNER, Richard. Performance Studies: An Introduction. London: Routledge, 2002.
SCHNEIDER, Rebecca. Performance Remains. Performance Research, vol. 6, no. 2, p. 100-108, 2001. Retrieve from: <doi:10.1080/13528165.2001.10871792>.
STAR, Susan Leigh. This Is Not a Boundary Object: Reflections on the Origin of a Concept. Science, Technology & Human Values, vol. 35, no 5, p. 601-617, 2010.
STAR, Susan Leigh; GRIESEMER, James R. Institutional Ecology, ‘Translations’, and Boundary Objects: Amateurs and Professionals on Berkeley’s Museum of Vertebrate Zoology. Social Studies of Science, vol. 19, no 3. p. 387-420, 1989.
SUSSMAN, Elisabeth. ‘Our work goes together’: Paul Thek’s Legacy at The Watermill Center. In: MACIÀN, José Enrique; STOKER, Sue Jane; WEISBRODT, Jörn (eds). The Watermill Center: A Laboratory for Performance. Robert Wilson’s Legacy. Stuttgart: Daco Verlag, p. 260-262, 2011.
TAYLOR, Diana. The Archive and the Repertoire: Performing Cultural Memory in the Americas. Durham, NC: Duke University Press, 2003.
TROMPETTE, Pascale; VINCK, Dominique. Revisiting the Notion of Boundary Object. Translated by Neil Draper, Revue d’Anthropologie des connaissances, vol. 3, no 1, 2009, p. 3-25. Retrieve from:<https://www.cairn.info/revue-anthropologie-des-connaissances-2009-1-page-3.htm>.
UNESCO. Text of the Convention for the Safeguarding of the Intangible Cultural Heritage. 2003. Retrieve from:<https://ich.unesco.org/en/convention>.
VERHOFF, Deborah. The Watermill Center’s Library of Inspiration. New York: New York University, Faculty Digital Archive, 2014. Retrieve from:<https://archive.nyu.edu/bitstream/2451/42306/2/AKMBnews-Verhoff-English.pdf>.
VINCK, Dominique. De l’objet intermédiaire à l’objet-frontière: Vers la prise en compte du travail d’équipement. Revue d’anthropologie des connaissances, vol. 3, no 1. p. 51-72, 2009. Retrieve from :<https://doi.org/10.3917/rac.006.0051>.
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Publié-e
2020-11-21 — Mis(e) à jour 2020-11-25
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- 2020-11-25 (2)
- 2020-11-21 (1)
Comment citer
Bénichou, A., & Tissot, M. (2020). Criando arenas para interações sociais: “coleções de fronteira”. Museologia & Interdisciplinaridade, 9(18), 301–339. https://doi.org/10.26512/museologia.v9i18.35275 (Original work published 21 novembre 2020)
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Dossiê Musealização da Performatividade em Coleções Públicas e Privadas
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(c) Tous droits réservés Museologia & Interdisciplinaridade 2020
Cette œuvre est sous licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International.
