La thèse s’intéresse aux expositions de design graphique, à la fois en tant qu’événements constitutifs de l’histoire de la discipline et en tant qu’espaces (scénographiques et discursifs) où se manifestent ses liens plus ou moins assumés avec la création artistique. Elle s’appuie sur un corpus de quatre cents expositions, organisées entre 1895 et 1995, au sein de trois institutions muséales : le Stedelijk Museum d’Amsterdam, fondé en 1895, le Museum of Modern Art (MoMA) de New York, créé en 1929 et le Musée national d’art moderne-Centre de création industrielle (Mnam/Cci), né en 1993 de la fusion de deux départements du Centre Pompidou. L’étude des archives de ces manifestations met au jour ce que furent les choix de programmation des musées (quels objets, quelles époques, quels graphistes mettent-elles en avant ?) ; mais aussi les différents statuts qui sont conférés aux objets imprimés, par la scénographie ou par les discours qui les environnent. La thèse révèle, notamment, la préférence des musées d’art moderne pour l’affiche, pour le graphisme « d’utilité publique » et pour le travail des « graphistes-auteurs ». À ce graphisme « de musée » sont appliqués des cadres interprétatifs qui le rapproche de la création artistique : assimilation du graphiste à un artiste, omission des circonstances de la commande, description des styles, recherche des influences… Les expositions de « communications visuelles » organisées par le CCI offrent un singulier contrepoint à ce modèle, dans la mesure où elles consacrent moins les « œuvres » du graphisme qu’elles ne s’interrogent sur leur contexte social de production et d’utilisation. / This dissertation looks at graphic design exhibitions both as events that are part of the history of the discipline and as scenographic and academic forums for expressing, more or less consciously, its links with artistic creativity. It is based on the analysis of four hundred exhibitions, held between 1895 and 1995 at three modern art museums : the Stedelijk Museum in Amsterdam, founded in 1895, the MoMA in New York, inaugurated in 1929 and the Musée national d’art moderne-Centre de création industrielle (Mnam/Cci), created in 1993 after the fusion of two separate departments of the Centre Pompidou. The archives of these exhibitions highlights both the choices of programming (what objects, eras and graphic designers do they ?), and the various status confered to printed objects by scenography and surrounding texts and discourses. The dissertation reveals the preference of modern art museums for posters, for graphic design for the public domain, and for the work of ‘graphic designers-cum-authors’. This specific graphic design elected by museums is envisionned according to interpretative frames that likens it to artistic creation through the rapprochement between graphic designers and artists, the omission of circumstances pertaining to commissions, descriptions of styles, search for influences, etc. The ‘visual communication’ exhibitions organised by the CCI provide a striking contrast to this model in so far as they concentrated less on the actual ‘works’ of graphic design than on the social context of their production and use.

Submitted by Lea Larsen Volay (larsenvolay@gmail.com) on 2014-01-06T13:16:46Z No. of bitstreams: 1 Thesis_MPGI_Lea Larsen Volay_pdf.pdf: 47135669 bytes, checksum: c1d884a10cdfa74721eb5a450ff02250 (MD5) / Approved for entry into archive by Luana Rodrigues (luana.rodrigues@fgv.br) on 2014-01-06T14:22:27Z (GMT) No. of bitstreams: 1 Thesis_MPGI_Lea Larsen Volay_pdf.pdf: 47135669 bytes, checksum: c1d884a10cdfa74721eb5a450ff02250 (MD5) / Made available in DSpace on 2014-01-06T15:05:25Z (GMT). No. of bitstreams: 1 Thesis_MPGI_Lea Larsen Volay_pdf.pdf: 47135669 bytes, checksum: c1d884a10cdfa74721eb5a450ff02250 (MD5) Previous issue date: 2013-12-05 / The present research was conducted in the form of a multiple-case study of the two cultural institutions in the French and the Brazilian contexts. The Pompidou Center is a State-funded presidential museum project, with the mission to make modern art in all its expressions accessible to the wider public. The Sesc Pompeia is a multidisciplinary center for culture and sports financed by tax-money and managed by the Commerce Federation. The Sesc Pompeia is dedicated to the provision of informal education through the cultivation of the mind and the body. The study examines whether resource- and power-dependence theories can be used to conceptualize the relationship that the Pompidou Center & the Sesc Pompeia have with their financial stakeholders. More specifically it will be discussed to what extent the degree of power-dependence in the relationship influences the management strategy of the institution. The objective is to answer the question: what strategies do the institutions adopt to reduce their power-dependence on their main financial stakeholders? Finally some practical management implications will be drawn from the parallel between the strategies of the two institutions. / A presente pesquisa foi conduzida na forma de um estudo de caso de duas instituições culturais no contexto francês e brasileiro. O Centro Pompidou é um projeto presidencial de museu financiado pelo Estado, com a missão de tornar a arte moderna em todas as suas expressões acessíveis ao público em geral. O Sesc Pompeia é um centro multidisciplinar de cultura e esporte - financiado pelo dinheiro dos impostos e administrado pela Federação do Comércio. O Sesc Pompéia é dedicado à oferta de educação informal através do cultivo da mente e do corpo. O estudo examina se as teorias de dependência de recursos e de poder podem ser utilizadas para conceituar a relação que o Centro Pompidou e do Sesc Pompéia tem com seus stakeholders financeiros. Mais especificamente, será discutido em que medida o grau de dependência influencia a estratégia de gestão das instituições. O objetivo é de responder a pergunta seguinte: quais são as estratégias que as instituições adotam para reduzir sua dependência com relação a seus principais stakeholders financeiros? Finalmente algumas implicações práticas de gestão serão elaboradas a partir do paralelo entre as estratégias das duas instituições.

The main focus of this thesis is to analyze three architecture models, displayed at three major art museums. Using Roland Barthes concept of the mythology as a meta layer to the language of the exhibition, the study of the models is also a way of studying their visual and institutional environment – thus inquiring into how the display of architectural models, in the context of the modern art exhibition, activates and displaces the discourse of the exhibition. Taking into consideration the different kinds of objects on display (and those that are not), as well as their relation to the artist and the artworks, the discussion is largely affected by the notion of the representation, as well as the ideology of the modernistic narrative. Upon analyzing these aspects, it becomes clear that the models all convey narratives of their own, that in turn are activated and transformed in their dialogue with the rest of the exhibition. The models become part of the larger narrative that visualizes different ideas about modernism and modernity. But the analysis of the interplay between model and display also show how underlying narratives of nationalism and the relationship between art and architecture are a dominant pretext in the exhibitions.

Nombreux ont été les travaux réalisés sur le gaullisme et les gaullistes ces dernières années. Outre les nombreuses études sur le général de Gaulle, ces travaux ont notamment concerné le parti se réclamant de celui qui a lancé l’appel du 18 juin 1940, ainsi que les idées qui composent ce courant de pensée. Il s’agit pour nous de nous intéresser à la période allant du départ du général du pouvoir le 27 avril 1969 jusqu’à l’année 1992, qui voit au niveau national le référendum de Maastricht diviser les gaullistes sur la question européenne et au niveau local l’élection à la tête de la région de Antoine Rufenacht, qui succède à un autre gaulliste, Roger Fossé. Ici, nous prenons un point de vue original puisqu’il s’agit de faire une étude territoriale d’un parti politique, en prenant comme objet d’étude une région, la Haute-Normandie. C’est pourquoi notre analyse se situe sur plusieurs échelles, du national au municipal, en passant par l’échelle régionale, départementale ainsi que celle de la circonscription et du canton. Ainsi, un des objectifs est de s’interroger sur la question de savoir s’il y a une certaine singularité du territoire normand par rapport à l’échelon national. Une étude des structures partisanes territoriales nous permet également de voir comment s’organise un parti politique au niveau local, et de constater ou non qu’il y a une indépendance possible par rapport à la structure nationale. Enfin, nous nous posons la question de savoir ce qu’il reste du gaullisme une génération après le départ de son inspirateur, à travers l’étude des références au général de Gaulle, au gaullisme lui-même, mais également en nous attachant à voir l’évolution des références aux idées qui fondent le gaullisme. De même, l’apparition d’un nouvel acteur dans la vie politique au milieu des années 1980, le Front national, oblige ceux qui se réclament du gaullisme à s’adapter à ce nouvel état de fait. Pour mener cette étude, au-delà des sources classiques que sont les articles de presse, nous utilisons des sources jamais utilisées jusqu’ici. Il s’agit premièrement des rapports des Renseignements Généraux qui permettent d’avoir des éléments pour définir ce qu’est la vie politique dans un parti politique au niveau local, mais également des archives privées et orales qui permettent de donner un regard neuf sur le parti gaulliste et sur ceux qui le compose. / Over the past few years, many works have been done on “French Gaullism” as well as on “partisan gaullists”. Besides the numerous studies on French Général de Gaulle, these works focused mostly on the political party which claimed the political ideas of the man who called to resistance with the “Appeal of 18 June”. What will be primarly explored in this work is the era which followed the Général’s resignation from power on the 27 april 1969, up to the year 1992, which saw, at a national level, the French Maastricht Treaty referendum divide gaullists on the European issue, as well as, at a local level, the election of Antoine Rufenacht as head of region, following another gaullist, Roger Fossé. Our approach here is therefore quite original as it is a territorial study of a political party, and it explores the regional example of Haute-Normandie. As a result, our analysis will combine different scales of observation, from national to municipal, as well as regional, local and district scales. Thus, one of our main goal is to question ourselves on the singularity of the Normandy region, compared to the national standard. A close examination of the regional adherent structures will allow us to illuminate the organisation of a local political party, and to evaluate the possible independence from the national structure. Finally, we will discuss the state of “French Gaullism”, one generation after the retirement of its leader, through the exploration of references to the Général de Gaulle, of the “gaullist” movement itself, as well as of the evolution of its fondamental principles. Furthermore, the emerging of a new french political actor in the mid-1980s, the far-right party “Front National”, forces those who refer as “gaullists” to adapt to this new political polarisation. In order to conduct this study beyond the usual sources, that is to say press articles, rare sources, that have never been used before, will be put under scrutiny. As a result, we will benefit from reports by the « Renseignements Généraux », which are decisive to clearly define what political life means inside a political party, at a local scale. Moreover, privates archives and oral files will allow us to provide a fresh look on the “gaullist” party and its members.

Made available in DSpace on 2016-04-27T19:31:02Z (GMT). No. of bitstreams: 1 Francis Marcio Alves Manzoni.pdf: 4650612 bytes, checksum: d280605200508f5454820784cdcdaacd (MD5) Previous issue date: 2015-02-27 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This thesis addresses some dimensions about the creation of the Sao Paulo Cultural Center, since it's idealization as the central library of the state capital, in the second half of the 1970, to a transformation of their original design to house a multidisciplinary cultural institution, opened in 1982 on land adjacent to the subway line, between Avenida 23 de Maio and Rua Vergueiro. Aims to highlight the importance of public spaces as places where culture converges part of relations between citizens and public administration, where they breed unrest within the city because of social inequality and cultural, color, gender and sexuality differences. In this work, the Cultural Center is considered in relation to the city that crosses and their influence on city life. This research sought to recognize the agents involved with the planning of the "new cultural institution", identifying their references and contributions, taking as its starting point the need to expand the Mário de Andrade Library, due to the overcrowding of books in his tower and insufficient space to meet readers and researchers at that institution. It was surveyed the socio-cultural landscape transformations of the city of Sao Paulo in the 1970s and 1980s, the emergence of demands of the population in relation to culture and leisure as well as the development of public policies for culture in this period. Focusing research on the concept of cultural center and its popularity since the late 1970s, this research seeks to contribute to reflection on the culture of public spaces as places of negotiation, of which participated managers related to municipal administration, artists, agencies culture and diverse publics, whose values, identities and interests influence the constitution and functioning of these institutions, much beyond the meanings of art-­‐ spectator / Esta tese aborda algumas dimensões do processo de criação do Centro Cultural São Paulo, desde a sua idealização como Biblioteca Central de São Paulo Vergueiro , na segunda metade dos anos 1970, até a sua transformação em Centro Cultural multidisciplinar, inaugurado em 1982. Tem por objetivo destacar a relevância dos espaços públicos de cultura na vida urbana, como lugares para onde converge parte das relações entre os cidadãos e a administração pública, onde se reproduzem as tensões vividas na cidade, em razão da desigualdade sócioeconômica, das diferenças culturais, de cor, gênero e sexualidade. Neste trabalho, o Centro Cultural é estudado em relação à cidade que o atravessa, ao mesmo tempo em que analisa a sua influência na vida da cidade. Foram analisados documentos produzidos pela administração municipal, como relatórios de planejamento da Biblioteca Central de São Paulo - Vergueiro e relatório de adaptação do edifício para seu funcionamento como Centro Cultural São Paulo; procuramos conhecer os agentes envolvidos no processo por meio de entrevistas de história oral e pesquisas em jornais e revistas que acompanharam de perto a construção e o funcionamento da instituição. Dentre os resultados, apresentamos um conjunto de referências e experiências de instituições culturais que fizeram parte da constituição do Centro Cultural São Paulo; estabelecemos relações entre as políticas culturais desenvolvidas na capital paulista e as transformações no perfil de sua população, entre 1975 e 1985, reconhecendo a emergência de demandas da população em relação à cultura e ao lazer; exploramos o significado e principais características vinculadas à ideia de Centro Cultural, ao mesmo tempo em que buscamos compreender o processo de criação do Centro Cultural São Paulo na administração dos prefeitos Olavo Setúbal (1975-1979) e Reynaldo de Barros (1979-1982), analisando as políticas culturais de seus respectivos secretários de cultura: Sábato Magaldi e Mário Chamie. Esta pesquisa procura contribuir para reflexão sobre os espaços públicos de cultura como lugares de negociação, dos quais participaram gestores ligados à administração municipal, artistas, órgãos de cultura e públicos diversos, cujos valores, identidades e interesses influenciam na constituição e no funcionamento dessas instituições, para além dos significados de arte espectador

This dissertation traces the history of a diagram. The diagram shows four circles of gradually diminishing sizes, lodged one inside the other, like the layers of a circular or spherical body. For a group of artists, curators, architects, and activists centered around Moderna Museet in Stockholm between the mid-1960s and the mid-1970s, the diagram represented a new type of museum: a museological Information Center modeled on the computer, operating as a site for radically democratic social experiments. The four layers stood for different functions: information capture, processing, interface, storage; or, put differently: social spaces and media resources, workshop floors, exhibition facilities, collection. Through close readings of a series of exhibitions and institutional projects in Sweden, the US, and France, this dissertation follows the development of this diagram: its prehistory and formulation, its different implementations, and its direct and indirect effects. It studies Moderna Museet’s original, unrealized project for Kulturhuset in Stockholm, according to which the museum should project its dynamic energies across the city center, serving as a “catalyst for the active forces in society”. It discusses the museum’s confrontation with digital technologies in the late 1960s, through pioneering museological organizations such as the Museum Computer Network in New York. It analyzes the exhibition formats developed in correspondence with the notion of the museum as a “vast experimental laboratory” and a “broadcasting station”: the exhibition as critical information pattern, as tele-commune. And it studies the diagram’s afterlife as one of the models informing the Centre Pompidou in Paris, during that project’s early phases. The Exhibitionary Complex reads these endeavors and visions as attempts to devise a critical understanding of the exhibitionary apparatus in relation to new information environments and media systems. It sheds light on a largely forgotten aspect of the exhibitionary, museological, and cultural history of the late twentieth century, in Sweden and internationally. But it also seeks to establish new models for grasping the exhibition’s singularity and potentials as a cultural and media technological form, in relation to the emergence of new information networks, as they exert increasing control over social, cultural, and political existence. / Space, Power, Ideology

Le musée contemporain ne se caractérise plus seulement comme un lieu voué à préservation, conservation et présentation des collections mais comme un lieu inscrit dans des réseaux, comme le montre l'étude de la politique de diffusion : celle-ci est l'objet de ma thèse en sciences de l'information et de la communication intitulée " La diffusion culturelle à l'échelle internationale : les enjeux de la politique du prêt des œuvres et des expositions du Mnam-Cci (Centre Georges Pompidou) pendant la période 2000-2007 ".Le Mnam-Cci est l'un des plus importants musées au monde grâce à sa collection d'art moderne et contemporain. Il offre non seulement des expositions temporaires mais aussi de nombreuses activités culturelles : cinémas, conférences, concerts, spectacles. Sa collection se compose de 60 000 œuvres, est empruntée auprès des musées du monde entier.Compte tenu de la richesse de la collection, la politique du prêt des œuvres est l'une des stratégies importantes du musée. Dans la perspective d'une étude muséologique, l'analyse de la politique du prêt des œuvres nous paraît des plus pertinentes.La première partie de la thèse met en évidence les mécanismes de la circulation des œuvres et celles des expositions dans un contexte des territoires à l'échelle internationale. La deuxième partie de la thèse décirt la circulation des biens culturels à l'heure de la mondialisation. La dernière partie de la thèse montre le développement de la stratégie communicationnelle à l'échelle internationale à travers la politique de diffusion.C'est ainsi que ce travail montre la diffusion culturelle à l'échelle internationale par l'intermédiaire de la politique du prêt des œuvres et des expositions du Mnam-Cci.

Projeté pour des musées nationaux et municipaux d’art moderne à l’occasion de l’exposition universelle de 1937, le Palais de Tokyo à Paris est aujourd’hui un centre d’art contemporain international, connu aussi en lien à l’esthétique relationnelle proposée par son cofondateur (avec Jérôme Sans) Nicolas Bourriaud. Une étude de sa genèse jusqu'au site contemporain manquait jusqu’alors. En se fondant sur des expositions centrales et des vastes matériaux d’archives de la politique et administration des Beaux-Arts, cette étude traite dans un premier temps des pensées et institutions l’occupant dès sa conception : MNAM (1937-1977), conception du Centre Pom-pidou, Musée d’Art et d’Essai (1977-1986), Institut des Hautes Études en Arts Plastiques (IHE-AP, 1988-1990) préfiguration d’Orsay, Maison de la Photographie (1984-1993), projet du Palais des Images/Palais du Cinéma (1984-1998, avec Cinémathèque, FÉMIS, BIFI), puis Site de créa-tion contemporaine (2002-). Dans un deuxième temps nous présentons son rôle en tant que mo-nument de la pensée du rôle de l’art dans la société: Dès sa genèse dans le contexte d’un échan-ge international sur les musées modernes des années trente, jusqu’au débats contemporains d’une esthétique politique, notamment de l’art relationnel, du discours de l’art participatif, du « New Institutionalism » et l’esthétique philosophique. L'étude se propose aussi d'apporter une compréhension générale de la genèse de l’esthétique relationnelle et ses critiques principales. Le Palais de Tokyo est conçu comme monument, espace d’une mémoire sociale de l’art selon Aby Warburg et un cadre théorique s’appuyant sur Walter Benjamin, qui informe de son rôle décisif dans le développement de critères formels de la théorie sociale de l’art au 20ème et 21ème siècle. / Projected for national and municipal museums of modern art on the occasion of the 1937 world fair, the Palais de Tokyo in Paris today is an international centre of contemporary art, known, too, by virtue of relational aesthetics brought forward by its co-founder (with Jérôme Sans) Nicolas Bourriaud. A monographic study of its genesis up to the contemporary site was yet mis-sing. This study examines the thought and projects that occupied it, based on central exhibitions and vast materials from the archives of cultural politics and arts administration: National Muse-um of Modern Art (1937-1977), the conception of the Centre Pompidou, Musée d’Art et d’Essai (1977-1986), Institut des Hautes Études en Arts Plastiques (IHEAP, 1988-1990), préfiguration d’Orsay, Maison de la Photographie (1984-1993), a project for Palais des Images/Palais du Ci-néma (1984-1998, with Cinémathèque, FÉMIS, BIFI), Site de création contemporaine (2002-). The study also focuses on its role as monument of the thinking of art’s function in society, from the context of an international exchange on modern museums in the thirties, up to contemporary debates of political aesthetics, particularly of relational art, the discourse of participatory art, ‘New Institutionalism’ and philosophical aesthetics. The study also provides a global view on the genesis of relational aesthetics and its principal critiques. Thus, the Palais de Tokyo is consi-dered as monument, a space of social memory of art following Aby Warburg and a theoretical frame based on Walter Benjamin, informing on its crucial role in the development of formal criteria of theories of art’s social role in the 20th and 21st centuries.

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