Este projeto busca analisar o Cavalete de Cristal, aparato expositivo criado no fim da década de 1950 pela arquiteta ítalo-brasileira Lina Bo Bardi para ser a peça central da composição da expografia do Museu de Arte de São Paulo, o MASP. A pesquisa evidenciará que o design dessa peça - a partir da solução espacial para a qual foi planejada e do discurso curatorial nela embutido - criou uma gramática expográfica singular que, mesmo após sua extinção em 1996, ainda reverbera de maneira potente em discussões internacionais sobre os desafios da apresentação da arte em museus na atualidade. Esta pesquisa reflete a necessidade de se voltar o olhar para a proposta de Lina Bo Bardi, evidenciando a validade de uma retomada do projeto original desse museu como forma de recuperar um espaço de vivência cultural fundamental da cidade de São Paulo - que, como poucos, nasceu de um profundo entendimento das especificidades da cultura brasileira. / This project undertakes an analysis of the Crystal Easel, exhibition apparatus created in the late 1950s by the Italian-Brazilian architect Lina Bo Bardi as the central element in the expographic composition of the Museu de Arte de São Paulo, MASP. Taking the spatial solution for which the apparatus was planned and the curatorial discourse embedded in it as starting point, the study will show that the design of this object created a singular expographic grammar that, even after its extinction in 1996, continues to reverberate forcefully in international discussions about the challenges of displaying art in museums today. This research relects the need to turn our attention to Lina Bo Bardi\'s proposal, evidencing the validity of resuming the museum\'s original proposal as a way to recover a fundamental space for cultural experience in the city of São Paulo - a museum which, like few others, was born of a deep understanding of the particularities of Brazilian culture.

Made available in DSpace on 2016-04-26T18:13:08Z (GMT). No. of bitstreams: 1 Fabiano D Alessio Ferrara.pdf: 37054426 bytes, checksum: 9573cba425c4e18992f4282b49b5f6f3 (MD5) Previous issue date: 2013-06-14 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The object of the present research is the museum in the transformation processes which mark its cultural function and transcend its character of keeper of memory. The main objective is to study the multiple and paradoxal functions of the museum that range from exhibition to contemplation and entertainment, through images combined, in convergence, with other mediatic codes. Under this light, the basis of this research is the following question: In the present day, how is the cultural function of museums redefined, transforming them in recurring mediatic agents, with multiple actions in the contemporary city? The hypothesis under examination considers the following: 1) the museum as a communication device which constitutes a multimedia space that demands a review of the role of images and visibility in cultural exhibitions and scientific dissemination; 2) under this mulitmediatic paradigm, exhibition projects are contaminated by display models dominated by digital media in order to guarantee the necessary and/or desired interactivity with the public, regardless of the theme of the exhibition; 3) such paradigm makes the social system behave as a medium that models preferences, tastes and social, economic and cultural patterns; 4) the transformation of contemporary museums into communication devices explains and justifies their constant insertion in the cultural redefinition of urban spaces. The corpus of the present research encompasses national museums located in the city of São Paulo (Museu da Língua Portuguesa, Masp, Catavento, Pinacoteca, Do Futebol) as well as notable international examples such as, the Louvre, Gare D´Orsay, Quai Branly, Pompidou, and Guggenheim/Bilbao. The research methodology consists in the discrimination of visuality characteristics of museums, comparison among the several manifestations, observation of their respective contexts or themes, as well as an attempt to define the cultural roles such museums play in the cities where they are located. In order to do this, the research relies on fundamental concepts such as: iconofagia , technical reproducibility of the images, image cult, zero-dimensionality of the image, social taste, codification of look and space, developed by scholars in the field of semiotics of culture, image, and media, such as Norval Baitello Jr., Walter Benjamim, Vilém Flusser, Hans Belting, Didi Hubermann, Jacques Rancière, Pierre Bourdieu and Lucrécia Ferrara / O objeto da pesquisa é o museu nos processos de transformação que assinalam sua função cultural e ultrapassam seu caráter de guarda da memória. O objetivo central é estudar as múltiplas e paradoxais funções do museu que vão da exposição, à contemplação e ao entretenimento, através da imagem combinada com outros códigos midiáticos em convergência. Nesse cenário, considera-se como base da pesquisa a seguinte questão: como a atualidade requalifica a função cultural do museu, transformando-o em agente midiático recorrente em múltiplas atuações da cidade contemporânea? As hipóteses em estudo consideram que: 1) o museu como dispositivo de comunicação constitui espaço multimídia que exige uma revisão do papel da imagem e da visualidade na exposição da cultura e da divulgação científica; 2) nesse paradigma multimidiático, os projetos de exposições são contaminados por modelos expositivos liderados pelos meios digitais como garantia da necessária e/ou desejada interatividade com o público, independentemente das temáticas em exposição; 3) esse paradigma faz com que tal sistema cultural se processe como mídia modeladora de preferências, gostos e padrões sociais, econômicos e culturais; 4) o museu contemporâneo transformouse em dispositivo de comunicação que justifica e explica sua constante inserção na requalificação cultural de espaços urbanos. O corpus da pesquisa contemplará museus nacionais localizados na cidade de São Paulo ( Museu da Língua Portuguesa, Masp, Catavento, Pinacoteca, Do Futebol) e exemplos notáveis internacionais como Louvre, Gare D´Orsay, Quai Branly, Pompidou, Guggenheim/Bilbao. A metodologia da pesquisa consiste na discriminação das características da visualidade dos museus, comparação entre as diversas manifestações, observando os respectivos contextos em que se situam ou tematizam, além da tentativa de definir os papeis culturais que os museus desempenham nas cidades em que se inserem. Para realizar tal percurso, a pesquisa se apoiará em conceitos fundamentais como: iconofagia, reprodutibilidade técnica das imagens, culto da imagem, nulo-dimensionalidade da imagem, gosto social, codificação do olhar e espacialidade, desenvolvidos por estudiosos da semiótica da cultura, da imagem e da mídia como Norval Baitello Jr., Walter Benjamim, Vilém Flusser, Hans Belting, Didi Hubermann, Jacques Rancière, Pierre Bourdieu e Lucrécia Ferrara

Este projeto busca analisar o Cavalete de Cristal, aparato expositivo criado no fim da década de 1950 pela arquiteta ítalo-brasileira Lina Bo Bardi para ser a peça central da composição da expografia do Museu de Arte de São Paulo, o MASP. A pesquisa evidenciará que o design dessa peça - a partir da solução espacial para a qual foi planejada e do discurso curatorial nela embutido - criou uma gramática expográfica singular que, mesmo após sua extinção em 1996, ainda reverbera de maneira potente em discussões internacionais sobre os desafios da apresentação da arte em museus na atualidade. Esta pesquisa reflete a necessidade de se voltar o olhar para a proposta de Lina Bo Bardi, evidenciando a validade de uma retomada do projeto original desse museu como forma de recuperar um espaço de vivência cultural fundamental da cidade de São Paulo - que, como poucos, nasceu de um profundo entendimento das especificidades da cultura brasileira. / This project undertakes an analysis of the Crystal Easel, exhibition apparatus created in the late 1950s by the Italian-Brazilian architect Lina Bo Bardi as the central element in the expographic composition of the Museu de Arte de São Paulo, MASP. Taking the spatial solution for which the apparatus was planned and the curatorial discourse embedded in it as starting point, the study will show that the design of this object created a singular expographic grammar that, even after its extinction in 1996, continues to reverberate forcefully in international discussions about the challenges of displaying art in museums today. This research relects the need to turn our attention to Lina Bo Bardi\'s proposal, evidencing the validity of resuming the museum\'s original proposal as a way to recover a fundamental space for cultural experience in the city of São Paulo - a museum which, like few others, was born of a deep understanding of the particularities of Brazilian culture.

La cultura está inmersa en la identidad de un conjunto de personas, sus creencias y tradiciones. Tales principios que propagan la herencia de nuestros antepasados de generación en generación combinan ciertas definiciones que involucran el consumo y difusión cultural de bienes por medio de instituciones que las preservan y conservan. Perú posee una vasta diversidad que acorde a su expansión territorial, historia y contexto geográfico, cuenta con sitios arqueológicos y museos que despierta el interés nacional e internacional, por conocer mucho más de ella. El objetivo del trabajo de investigación es identificar los nuevos usos de la tecnología en museos, por medio de un análisis cuantitativo y documental de su adaptación y uso para la difusión cultural. Además de un breve análisis cualitativo de dos casos de estudio en el Perú para conocer el estado actual de su implementación. El principal reto que deberán asumir estas instituciones es la incorporación de nuevas herramientas y tecnologías de la información y comunicación (TIC) para enriquecer el aprendizaje y la visita de los usuarios. De esta manera, adaptarse a los intereses de una audiencia contemporánea y más diversa, fortalecer el aprendizaje experiencial e investigativo, originar una conexión entre la institución y sus visitantes, además de obtener mayor beneficio en el desarrollo cultural, turístico y económico. / Culture is immersed in the identity of a group of people, their beliefs, and traditions. Such elements, that propagate the inheritance of our ancestors from generation to generation, combine a certain of definitions that involves consumption and cultural diffusion of goods through institutions that preserve and conserve them. Peru possesses a vast cultural diversity that regarding its territorial expansion, history, and geographical context, owns archeological sites and museums that arouse national and international interest, to learn and discover much more about it. The aim of this research work is to identify new uses of technology, given through a quantity and bibliographic analysis of its adaptation and use for cultural diffusion. In addition, a brief qualitative analysis of two cases studies in Peru to perceive the status of its implementation. The main challenge, institutions must need to assume, are the incorporation of new tools of information and communications technology (ICT) to enhance the learning and the visit of the audience. In this wise, adapt to the interest of a contemporary and more diverse audience, strengthen experiential and investigative learning, create a connection between the institution and its users, in addition to obtain greater profits in cultural, tourist and economic development. / Trabajo de investigación

[pt] Esta tese tem como objeto o cavalete de vidro, um mobiliário desenhado pela arquiteta Lina Bo Bardi para compor a museografia da segunda sede do Masp, inaugurada em 1968. A pesquisa se desenvolve a partir da cronologia do próprio objeto, o qual foi usado para exibir as pinturas do acervo permanente até 1996, substituído em seguida por paredes de gesso, e retomado em 2015. Realiza-se uma gênese da museografia do cavalete pautada na cultura visual – constituída no seu entorno – também a partir de seu croqui e suas materialidades, especialmente o concreto e o vidro. Essa análise histórica do cavalete de vidro apresenta dois movimentos: observa o objeto de fora para dentro e de dentro para fora. A proposta de trazer o cavalete de vidro ao status de imagem, deslocando-o de uma leitura plástica no campo da arquitetura, viabiliza a compreensão em torno de sua recepção e da construção da estética da simultaneidade e da sobreposição. Percorre-se os caminhos do cavalete após 1996, sua remontagem em exposições nacionais e internacionais, e os debates e polêmicas sobre sua retirada da pinacoteca, tendo como base a quadragésima reunião do IPHAN de 2003 e artigos publicados em jornais. Por fim, analisa-se a presença do cavalete como elemento estético apropriado em obras e instalações artísticas mobilizada pelo Masp, entendendo essa mobilização como reforço da arquiteta Lina Bo Bardi como figura central da identidade desse museu. Para fundamentar as reflexões da tese são utilizados textos e imagens de Lina Bo Bardi, de Pietro Maria Bardi, catálogos e obras do acervo do Masp e reportagens sobre a recepção dos cavaletes, além dos textos da crítica sobre o mobiliário e as atas das reuniões do IPHAN. Nesta tese, por fim, identifica-se a representação contemporânea do Masp e como o cavalete cumpre um papel importante ao servir de suporte para a afirmação da atualidade da museografia de Lina, associando o cavalete à crítica decolonial e à crítica da historiografia da arte de raízes europeias. Argumenta-se que o Masp se baseia na condição de transparência de sua arquitetura e museografia, para se apresentar em outras frentes como um museu democrático e coletivo. / [en] The main object of study from this research is the glass easel, a furniture designed by the architect Lina Bo Bardi, to integrate the museography of the second headquarters of MASP, inaugurated in 1968. This work goes through the timeline of the object itself, which was used to exhibit paintings from the permanent collection up to 1996, being replaced by plaster walls, and restored in 2015. The genesis of the easel s museography is marked by visual culture – based on its surroundings – and also by sketches and its materiality. This historical analysis of glass easels presents two movements: it analyses the object from the outside in and from the inside out. The purpose is to give the glass easel the status of image, displacing it from a plastic reading in the field of architecture, and making it possible to understand its reception and the construction of the aesthetics of simultaneity and overlapping. This work will cover the paths after 1996, so will be its appearance in national and international exhibitions, controversial debates about its removal from the art gallery, based on the 40th meeting of IPHAN in 2003 and articles published in newspapers. Finally, the easel is analyzed as an aesthetic element in artistic pieces and installations mobilized by MASP, understanding this mobilization as a reinforcement of the figure of the architect Lina Bo Bardi as a main portrait of the musem s identity. In order to support the reflections of the dissertation, this research will present texts and images taken by Lina Bo Bardi and Pietro Maria Bardi, works from MASP s collection and news reports on the reception of easels, in addition to critical texts about the furniture and the minutes of the MASP IPHAN meetings. In this dissertation, without further ado, one can identify a contemporary representation of MASP and the important role of the easel by serving as a support for the assumption of how modern Lina s museography is, associating the object in question with decolonial criticism and critics about the historiography of art from European roots. One can argue that MASP relies on the transparent condition of its architecture and museography to present itself in other fronts as a democratic and collective museum.

La thèse intitulée « Tempus edax rerum » (« Le temps rongeur dévore tout », Ovide). Le voyage sur ses propres pas dans les écrits du prince Henryk Lubomirski aborde la question d’un second voyage et les incidences du retour dans les mêmes endroits sur la perception de l’auteur. Cette problématique est étudiée à partir de documents manuscrits méconnus jusqu’à présent : le journal de voyage du prince Henryk Lubomirski, la correspondance avec sa mère adoptive la princesse Izabela Lubomirska, et d’autres témoignages conservés dans des archives en Pologne et en Ukraine. Pour entamer nos études, il a fallu définir le phénomène du second voyage qui, pour nous, relève de l’expérience réelle du déjà-parcouru. Cette répétition de l’itinéraire permet de constater les divergences dans la perception des mêmes paysages, sites, monuments dues à divers facteurs, entre autres le vécu et l’histoire personnels qui forment, modifient, varient la sensibilité et la susceptibilité du voyageur. Nous cherchons donc à déterminer la spécificité du regard redoublé, voire renouvelé indépendamment des motifs du déplacement, de sa destination et de la biographie du voyageur. Dans la première partie de la thèse, nous présentons l’histoire du second voyage à partir du Moyen Âge, l’époque où le phénomène est très rare, jusqu’à la Révolution qui marque une rupture, qui met un terme à un certain type de périple et donne naissance à une pratique viatique liée à la nouvelle sensibilité issue de ce grand bouleversement. Nous essayons de démontrer ce qui est particulier et ce qui est universel dans cette expérience. Le second voyage est analysé à partir des pérégrinations de Goethe à travers l’Italie et des retours de Chateaubriand à Londres et à Rome. Chez ces grands écrivains la répétition évoque des émotions différentes. Goethe est déçu, les nouvelles impressions chassent les anciennes, la valeur associée au second voyage se fonde sur l’effacement. Chateaubriand, par contre, tente un rapprochement entre différentes périodes de sa vie et il constate une accumulation des sensations. Les deux exemples des voyageurs polonais qui ont effectué un second voyage complètent ce parcours historique. Dans la deuxième partie, nous exposons la biographie du prince Henryk Lubomirski et les circonstances de son second voyage. Nous parlerons de sa formation et de l’influence décisive de sa mère adoptive qui sera la compagnonne de son Grand Tour dans les années 1789-1790, ainsi que de son activité à l’âge mûr, à savoir la protection du patrimoine culturel polonais. En 1811, le prince et sa famille quittent Genève à cause de problèmes de santé de son épouse. Le séjour dans le Midi devait l’aider à se remettre et à retrouver l’équilibre mental. Cette pérégrination se déroule à travers la France postrévolutionnaire, partout les traces des bouleversements historiques se laissent percevoir. Le prince Lubomirski décrit minutieusement leur itinéraire, le logement, les moyens de transport et les manifestations culturelles auxquelles il assiste. Il note aussi les prix et donne d’autres renseignements pratiques. Ce qui l’intéresse, c’est le paysage qu’il perçoit avec une nouvelle sensibilité si caractéristique pour cette époque charnière. La recherche du sublime et les réflexions sur la relation entre la nature et l’état de l’âme ainsi que sur la fragilité du destin humain se multiplient dans le récit. La troisième partie est consacrée à la question de la mémoire et à ses différentes apparitions : individuelle, collective, nationale. Nous observons qu’aucun regard n’est « innocent », il est toujours chargé de l’histoire personnelle du sujet. La mémoire permet d’opérer une relecture des endroits déjà visités et déclenche des souvenirs. Grâce à son activité affective, elle transforme des lieux neutres en emblèmes de l’agréable, le voyageur récupère le monde disparu et se retrouve soi-même. / The purpose of the thesis « Tempus edax rerum » (« Le temps rongeur dévore tout », Ovide). Le voyage sur ses propres pas dans les écrits du prince Henryk Lubomirski is to approach the question of the second journey and the repercussions of the comeback to the same places on the author's perception. These problems are undertaken through the careful lecture of a number of up-to-date unknown manuscripts: that is, prince Henryk Lubomirski's travel diary and the correspondence with his adoptive mother Izabella Lubomirska, as well as others testimonies.In the preliminary part of the research, it was necessary to define the second journey, which for the purposes of this study, is a real experience of the already-visited. The very repetition of the itinerary allowed to discern the differences in the perception of landscapes, places of interest and historic monuments, all due to different factors; among which are someone's real life experience which form, modify and vary the traveller's sensibility. This in turn made possible an attempt to investigate the specificity of the doubled or renewed look apart from the underlying reasons, such as journey destination, motivation of the traveller, and the biography of the latter.The first part presents the history of the second journey, tracing it back to the Middle Ages, when it was a very uncommon phenomenon, and concluding with the French Revolution which is the moment of a sudden change, putting an end to one kind of travelling and giving way to another experience related to new sensibility, deriving from revolutionary upheaval. Thus, the study attempts to reveal particularity and universality of the second journey in the post-revolutionary era.This in itself is looked at through the lens of Goethe's peregrination across Italy and Chateaubriand's comebacks to Rome and London. In their texts the repetition evokes different emotions. Goethe being disappointed, in his account the new impressions drive away the old ones. Thus, for him the value of the second journey is based on erasing. Chateaubriand, on the other hand, draws a parallel between different times of his life as he observes the accumulation of sensations. The accounts of two Polish travellers from the period complete this historical section.In the second part are approached prince Henryk Lubomirski's biography and the circumstances of his second journey. In particular, his cultural background is taken into account as well as his adoptive mother's influence on his upbringing. She accompanied him in his Grand Tour in 1789-1780 and later on, in his maturity, assisting him in the task of the Polish cultural heritage protection.In 1811 he and his family leave Geneva because of his wife health problems. The stay in the South of France was planned to help her in her recovery and finding mental equilibrium. The journey takes place across post-revolutionary France where traces of atrocities are still clearly visible. The prince describes meticulously itinerary, means of transport, accommodation and events he attends. He writes down prices and practical information. He is particularly fond of landscapes he looks at with new sensibility, characteristic for the period. The sublime search, reflexions on the relation between nature and the states of soul and the fragility of the human fate multiply in the relation.The third part is related to memory and its different dimensions: individual, collective and national. We note that there is no innocent perception, it is always tinged with author's personal history. The memory lets the traveller read again places already visited and triggers memories. Thanks to its affective activity it converts neutral places into symbols of the pleasant, allowing the traveller to succeed in his perennial quest of recovering the world that no longer exists and finding himself back.

[ES] La presente tesis doctoral propone un acercamiento metodológico para conceptualizar y diseñar proyectos de comunicación gráfica en exposiciones bajo criterios de sostenibilidad, accesibilidad e inclusión, teniendo en cuenta a las personas usuarias en todas las fases de desarrollo del proyecto. En primer lugar, se analiza la evolución del museo y sus funciones, atendiendo a los cambios sociales y tecnológicos acontecidos en las últimas décadas, que suponen un nuevo paradigma en la relación entre estos espacios culturales y sus audiencias, especialmente por la irrupción de las redes sociales y las técnicas de participación, que ofrecen interesantes posibilidades a nivel didáctico. Posteriormente, la investigación aborda la importancia de tener en cuenta la diversidad humana para promover instalaciones y discursos adaptados a todo tipo de audiencias, independientemente de sus características físicas, cognitivas, edad, formación o cualquier otro condicionante. Teniendo en cuenta estas premisas, se aborda la materialización del diseño museográfico bajo criterios de diseño para todas las personas, que se combina con los principios teóricos de la interpretación gráfica para asegurar una comunicación efectiva de los discursos. Finalmente, y ante la actual crisis climática, se ahonda en el diseño y producción sostenible de exposiciones, realizando un profundo estudio teórico aplicado a este ámbito. A partir de casos de estudio innovadores y un exhaustivo análisis de materiales, se proponen alternativas a la producción tradicional y diversas soluciones creativas a partir de la reutilización y circularidad de los materiales. La aportación se completa con entrevistas a profesionales de reconocido prestigio para ahondar en los retos a los que se enfrenta la museografía del futuro. Desde estas tres ópticas o líneas teóricas, lejos de concebir un método de forma estanca, la investigación sugiere concebir el diseño museográfico como un proceso de mejora continua para promover proyectos de comunicación significantes, inclusivos y sostenibles. / [CAT] La present tesi doctoral proposa un apropament metodològic per a conceptualitzar i dissenyar projectes de comunicació gràfica en exposicions sota criteris de sostenibilitat, accessibilitat i inclusió, tenint en compte a les persones usuàries en totes les fases de desenvolupament del projecte. En primer lloc, s'analitza l'evolució del museu i les seues funcions, atesos els canvis socials i tecnològics esdevinguts en les últimes dècades, que suposen un nou paradigma en la relació entre aquests espais culturals i les seues audiències, especialment per la irrupció de les xarxes socials i les tècniques de participació, que ofereixen interessants possibilitats en l'àmbit didàctic. Posteriorment, la investigació aborda la importància de tindre en compte la diversitat humana per a promoure instal·lacions i discursos adaptats a tota mena d'audiències, independentment de les seues característiques físiques, cognitives, edat, formació o qualsevol altre condicionant. Tenint en compte aquestes premisses, s'aborda la materialització del disseny museogràfic sota criteris de disseny per a totes les persones, que es combina amb els principis teòrics de la interpretació gràfica per a assegurar una comunicació efectiva dels discursos. Finalment, i davant l'actual crisi climàtica, s'aprofundeix en el disseny i producció sostenible d'exposicions, realitzant un profund estudi teòric aplicat a aquest àmbit. A partir de casos d'estudi innovadors i una exhaustiva anàlisi de materials, es proposen alternatives a la producció tradicional i diverses solucions creatives a partir de la reutilització i circularitat dels materials. L'aportació es completa amb entrevistes a professionals de reconegut prestigi per a aprofundir en els reptes als quals s'enfronta la museografia del futur. Des d'aquestes tres òptiques o línies teòriques, lluny de concebre un mètode de manera estanca, la investigació suggereix concebre el disseny museogràfic com un procés de millora contínua per a promoure projectes de comunicació significants, inclusius i sostenibles. / [EN] This doctoral thesis proposes a methodological approach to conceptualise and design graphic communication projects in exhibitions under the criteria of sustainability, accessibility, and inclusion, while considering users in all phases of project development. Firstly, the evolution of the museum and its functions is analysed, taking into consideration the social and technological changes that have taken place in recent decades. This represents a new paradigm in the relationship between these cultural spaces and their audiences, mainly due to the irruption of social networks and participation techniques, which offer interesting possibilities at a didactic level. Furthermore, the research addresses the importance of considering human diversity: promoting facilities and discourses which are adapted to all audiences, regardless of their physicality, cognitive function as well as age, education or other conditioning factors. Considering these premises, the materialisation of museum design is addressed under the criteria of Design For All. This is then combined with the theoretical principles of graphic interpretation to ensure effective communication of discourse. Finally, due to the current climate crisis, the sustainable design and production of exhibitions is explored in depth by carrying out a rigorous theoretical study applied to this field. Based on innovative case studies and an exhaustive analysis of materials, the thesis proposes alternatives to traditional production and various creative solutions based on the reuse and circularity of materials. The academic contribution is completed with interviews with renowned professionals to delve into the challenges facing the future of Museography. From these three points of view or theoretical lines, far from conceiving a watertight method, the research suggests conceiving Museography Design as a continuous improvement process to promote significant, inclusive, and sustainable communication projects. / Lleonart García, M. (2023). Diseño y producción de exposiciones. Un acercamiento a la comunicación efectiva en museografía bajo parámetros de accesibilidad, inclusión y sostenibilidad [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/196014

Cette thèse présente les modalités d’expérience muséale proposées aux visiteurs déficients visuels et auditifs. Elle expose pour cela à la fois les dispositifs d’accueil et de médiation culturelle des musées, leurs discours sur l’accessibilité et la différence, mais aussi la réception et l’expérience vécue par ces visiteurs. À partir d’un travail de terrain mené dans des établissements muséaux d’Île-de-France et auprès d’individus en situation de handicap, il s’agit d’abord de montrer comment ces institutions structurent et révèlent le traitement social du handicap. Les processus sociaux assignant une place et une identité sociale y étant fortement perceptibles, le musée est pris comme cadre d’analyse et de compréhension des trajectoires identitaires des personnes en situation de handicap. Plus encore, le dispositif muséal conditionne aussi le rapport sensible à l’environnement, notamment par le biais des outils de médiation culturelle. Il contribue en conséquence à imposer une image de soi, et à structurer la carrière de visiteur. En outre, cette recherche souligne la capacité des individus à s’emparer de ces éléments pour élaborer leurs propres trajectoires identitaires. Ainsi, la responsabilité portée par l’institution muséale est mise en évidence, puisqu’elle participe à la construction des identités sociales et des modalités d’être au monde des visiteurs en situation de handicap. / This PhD dissertation focuses on the ways and means of the museum experience for visitors with visual or hearing deficiencies. For that matter, the aim is to grasp both the cultural mediation systems, the welcoming apparatus proposed by museums but also the experience lived by the visitors. This allows to touch upon the discourses then carried out regarding accessibility and difference. A field work was carried out in the museums of the region Île-de-France and through interviews with people with disabilities. The main objective was to bring out the way in which museums, through the devices they propose and by the discourses they carry and relay on accessibility, organize and reveal at the same time the social treatment of disability. Museums can be considered frameworks for analysis and for understanding identity trajectories, since the social processes giving a place and an identity to people are strongly perceptible in this institution. Moreover, the sensitive connection to environment and, in this case to the exhibits, is also conditioned by the museum. It therefore contributes to establish a self-image for the visitor, and thus to structure the visitor's journey. In addition, by also highlighting the ability of individuals to seize these elements to develop their identity trajectories, this work highlights the responsibility of the museum as an institution, which participates in the construction of social and personal identities.

Cette thèse traite de l’exposition du patrimoine d’origine catholique dans l’Espagne contemporaine. Elle a pour ambition d’étudier et de circonscrire les différents modes d’exposition de ce patrimoine — musée public, collection privée, musée d’art religieux, musée de confrérie, exposition temporaire etc. — et leur histoire. Les objets d’origine catholique semblent être dans les pays de tradition latine à la racine de la conception de patrimoine culturel. Pourtant, en Espagne, leur intégration dans l’héritage culturel national ne s’est pas déroulé sans heurts. Il est alors question dans cette thèse de retracer les deux trajectoires parallèles de patrimonialisation et de muséification et d’étudier dans quelle mesure elles se nourrissent et contribuent à définir l’objet religieux en patrimoine culturel national. Il est ainsi question de revenir sur les conditions de création des institutions par leurs différents acteurs : les pouvoirs publics, le clergé, ou encore les associations religieuses de laïcs. Enfin, il est question de voir comment politiques culturelle, d’évangélisation et touristique s’entremêlent, dans un pays où aujourd’hui encore les célébrations religieuses rythment le temps. Cette thèse s’articule autour de trois périodes chronologiques qui permettent de retracer les évolutions majeures de ces projets : une première période caractérisée par la confrontation entre le clergé et une classe intellectuelle et politique, à l’origine d’une politique sécularisatrice ; les années 1939-1970, temps de l’alliance entre l’Église et le régime franquiste ; et enfin la période 1970-2007, pendant laquelle on assiste à une politique conjointe de mise en valeur culturelle et touristique. / This thesis deals with the exhibition of catholic heritage in contemporary Spain. Its goal is to study and delineate the different ways in which this patrimony is exposed – public museum, private collections, religious art museums, guilds museums, temporary exhibition, etc. – and their history. Artifacts of catholic origin seem to be, in countries of Latin tradition, at the root of the conception of cultural heritage. Yet, in Spain, their integration into the national culturalheritage has not been entirely smooth. Therefore this thesis aims to chart the two parallel trajectories of patrimonialization and museumization and to study how they both take form and contribute to the definition of religious artifacts as part of the national cultural heritage. This thesis also tracks the conditions of creation of the institutions by their stakeholders: public authorities, clergy, as well as religious and secular associations. Finally, this thesis explores how cultural, evangelization and touristic policies intertwine in a country where religious celebrations still rhythm daily life. This study is based on three chronological periods to trace the main changes of these projects: the first period characterized by the confrontation between the clergy and the intellectual and political classes; the period between 1939 and 1970 when the Church and Franco’s regime allied; finally the period between 1970 and 2007 during which there is a joint policy to emphasize the cultural and touristic value of the religious heritage.

Construite sur une analyse approfondie des archives de Robert Smithson, cette thèse réévalue la série des Nonsites (1967-1969) dans sa relation d'inspiration avec les Géosciences. Elle rappelle le contexte culturel des années soixante comme toile de fond pour l’inspiration de l’artiste et détermine l’envergure de son expertise dans le domaine des sciences. Des documents préparatoires inédits viennent éclairer son processus de création et la manière dont il formule ses œuvres complexes, à partir des sources géologiques, de l'information scientifique et de la muséographie. La relation entre arts et sciences apparaît centrale dans l’élaboration des Nonsites. Chaque œuvre de la série est ainsi rattachée à ses sources artistiques et scientifiques et révèle le moment historique de l’émergence de la sculpture post-minimale. Le jeu de l’espace muséal avec la tridimensionnalité est alors enrichi par le déploiement de strates d’informations contextuelles et crée les prémices d’une interaction nouvelle entre œuvre et spectateur.De plus, deux perspectives ouvertes sur un choix d'œuvres de Giuseppe Penone et Olafur Eliasson démontrent comment leurs démarches artistiques sont en résonance avec les préoccupations créatives de Smithson. Il est ainsi possible de problématiser l’expédition scientifique de terrain (et la manière de penser le territoire qui lui préexiste), ainsi que les agencements muséographiques en art comme en sciences comme sources déterminantes dans la confluence de l’art et des sciences. / Based on a thorough analysis of Robert Smithson's archives, this dissertation re-evaluates the Nonsites series (1967-1969) in its inspirational relationship with the Geosciences. It recalls the cultural context of the sixties as a backdrop for the artist's inspiration and determines the scope of his expertise in the field of science. Unpublished preparatory documents enlighten his creative process and the way he formulates his complex works from geological sources, scientific information and museography. The relationship between arts and sciences is central to the development of the Nonsites. Each work in the series is thus linked to its artistic and scientific sources and reveals the spectacular historical moment of the emergence of post-minimalist sculpture. The play between the museum space and three-dimensionality is then enriched by the deployment of layers of contextual information and provides the basis for a new interaction between viewer and artwork.In addition, two perspectives are drawn towards the work of Giuseppe Penone and Olafur Eliasson and demonstrate how their artistic approaches resonate with Smithson's creative concerns. It is thus possible to problematize the scientific field expedition (and the analysis of the territory, its prerequisite), as well as the museographic arrangements, as determining sources in the confluence of art and science.