Cette thèse comporte trois parties, à travers lesquelles apparaît l'ambition de ce grand centre culturel et artistique d'apporter l'art moderne et contemporain non pas seulement à une élite, mais bien à tous les publics. La première partie a pour objectif d'explorer la création et la mise en place du Centre Pompidou, du point de vue politique, historique, ainsi que du point de vue architectural, à la fois original et pensé en fonction d tous les visiteurs. Dès son ouverture en 1977, deux séries d'expositions géo-culturelles répondent au au désir du Président Georges Pompidou, grand amateur d'art moderne et contemporain, de remettre Paris à la place culturelle que la capitale occupait avant la deuxième guerre mondiale. Toutes ces expositions géo-culturelles faisaient de Paris un initiateur et un novateur en matière d'art. La deuxième partie s’attache à une analyse portant sur trois expositions thématiques, qui présentent une nouvelle étape dans le développement du Centre, par leur façon d'aborder un sujet précis, de l'accompagner d'une trame et de renouveler la scénographie qui joue maintenant avec l'espace, la luminosité, les confrontations, les rapprochements de couleurs et de formes, afin d'éveiller la sensibilité de chaque visiteur. Big Bang soulignant deux aspects antagonistes de l'art moderne, la destruction et la création, et apparaissant comme une initiation à l'art moderne et contemporain et à ses nouvelles normes ; l'exposition elles tissant les liens entre l'art et un problème de société ( la place des femmes dans l'art ) ; Danser sa vie montrant l'enrichissement que la chorégraphie peut apporter au musée et faisant découvrir au public comment la danse et l'art plastique et visuel ont pu s'influencer réciproquement. La troisième partie aborde le renouveau de la transmission culturelle, grâce à tous les outils d'accompagnement de chaque exposition, ainsi que grâce aux conférences, spectacles, projections cinématographiques et aussi aux ateliers pédagogiques qui permettent d'éveiller la sensibilité des jeunes et de former le public de demain / This thesis has three sections, in which we present the ambition of a great cultural and artistic center to bring modern and contemporary art not only to an elite, but to all audiences. In the first section, we examine the political, historical and architectural elements which show that the Pompidou Center was designed to be accessible to a broad range of visitors. Since its opening in 1977, two series of cultural geography exhibitions have responded to the wish of President Georges Pompidou, a great lover of modern and contemporary art, to restore Paris to its pre-World War Two status of world cultural capital. All these geo-cultural exhibitions contributed to Paris’s status as an initiator and innovator in the arts. The second part of our study consists of an analysis of three thematic exhibitions. These exhibitions mark a new stage in the development of the Cnter. They are concerned with a specific subject, include a narrative and feature renewed scenography that now plays with space, luminosity, confrontations, reconciliations of colors and forms, in order to awaken the sensitivity of each visitor. Big Bang highlights two antagonistic aspects of modern art, destruction and creation, and is presented as an introduction to modern and contemporary art with its new standards. Elles@centrepompidou draws links between art and a social issue of the day--the place of women in art. Dancing one’s life shows the enrichment that choreography can bring to the museum by enhancing the experience of visual arts. The third part of this study thanks to all the tools which accompany each exhibition, and the conferences, shows, cinematographic projections and the pedagogical workshops. These workshops aim to stimulate the sensitivity of young people and educate the public of tomorrow

[Zugl.: Berlin, Freie Univ., Habil.-Schr.]

Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-10-21T14:27:07Z No. of bitstreams: 1 paulosergiodesouzaesilva.pdf: 1090684 bytes, checksum: d15ed66c04972a6e95368718a4466112 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-10-25T12:36:16Z (GMT) No. of bitstreams: 1 paulosergiodesouzaesilva.pdf: 1090684 bytes, checksum: d15ed66c04972a6e95368718a4466112 (MD5) / Made available in DSpace on 2016-10-25T12:36:16Z (GMT). No. of bitstreams: 1 paulosergiodesouzaesilva.pdf: 1090684 bytes, checksum: d15ed66c04972a6e95368718a4466112 (MD5) Previous issue date: 2008-05-27 / O estudo ora apresentado resulta de uma pesquisa que teve como propósito analisar as Políticas Culturais na década de 1995-2005, no estado de Minas Gerais, a partir das políticas públicas de preservação do patrimônio cultural, em especial, aquelas voltadas para os conjuntos documentais custodiados pelas instituições arquivísticas. A hipótese central do tema proposto é de que, apesar de os Arquivos públicos contarem com estruturas de apoio jurídico-financeiro, estas entidades serviram exclusivamente para a adequação deste equipamento cultural (no caso, os Arquivos) às novas exigências do mercado cultural, especialmente regulado pelas Leis de Incentivo à Cultura, não se prestando, portanto, a impulsionar novos espaços de interlocução entre o Estado e a Sociedade Civil. Contudo, facultaram em alguma medida o “acesso à cultura e à informação arquivística a públicos pouco familiarizados” com o universo dos arquivos. Partimos do pressuposto de que um aumento da visibilidade dos Arquivos configurou-se, sobretudo em razão das ações previstas no novo ordenamento jurídico brasileiro, a partir da Constituição de 1988, que “garantiu ao cidadão o direito constitucional de acesso à informação, assegurando tal prática como dever do Estado; a publicidade de suas ações, caracterizando um processo de transparência administrativa e; ao considerar os Arquivos como importante suporte da memória”. É também foco de investigação nesta pesquisa compreender os limites e a efetiva participação da sociedade civil, qualificada aqui como Associações Culturais e Sociedade de Amigos do Arquivo, uma vez que essas entidades se prestam como estruturas de apoio à gestão das instituições culturais, especialmente no que se refere à parceria entre estas entidades e os Arquivos Públicos, que se multiplicando a partir da década de 1990, promoveram certa dinamização na ação cultural dessas instituições. / The actual study is the result of a research which aims at analyzing the Cultural Politics of the last decade of the twentieth Century, more precisely 1995-2005 in Minas Gerais State focusing the Public Politics for the Preservation of Cultural Heritage, espacially those related to the collection of documents preserved in archival institutions. The main hypothesis is that although Public Archives count with juridical-financial support those entities have served exclusively for its adapting to the new demanding of the cultural market. That market is regulated, in special by the “Laws of Cultural Support” and therefore they do not serve as a stimulator to new interlocution between the State and the Civil Society. Nevertheless those laws allow in some measure the access to culture and archival information to publics that are not very familiarized with the archival universe. Our thesis is that an increase in the visibility of the Archives was the result of the actions previewed in the new Brazilian Juridical Ordinances starting on the 1988 Constitution. It has guaranteed to the Citizens the Constitutional Right of access to information assuring this practice as a duty of the State; as well as the publicity of its actions, administrative transparency and; on considering the Archives as an important support of memory. It is also an investigation focus of this research to understand the limits and the effective participation of Civil Society, characterized here as Cultural Associations and the Society of Friends of the Archives, as far as those entities work as structures of support in the management of Cultural Institutions. In particular considering them in reference to the partnership between those entities and the Archives. Its multiplying since the decade of 1990 have promoted certain dynamism in those institutions.