%0 Journal Article
%T Exposer un maitre ancien How to display an old master. Time and the history of art in an exhibition
%A Pascal Ughetto
%J Temporalit¨¦s
%D 2011
%I Laboratoire Printemps
%X ¨¤ premi¨¨re vue, dans une exposition de ma tres anciens, des conservateurs offrent ¨¤ un public de remonter le temps, avec l¡¯aide de m¨¦diateurs charg¨¦s de rendre accessibles le savoir et la familiarit¨¦ des conservateurs avec les artistes et leur ¨¦poque. Cependant, ces acteurs s¡¯appuient sur des repr¨¦sentations et des pratiques plurielles qui ne tiennent ensemble que parce qu¡¯elles ne sont pas compl¨¨tement explicit¨¦es ni d¨¦fendues. ¨¤ partir de l¡¯exposition Fouquet, peintre et enlumineur du XVe si¨¨cle, l¡¯article aborde l¡¯exposition et le temps lui-m¨ºme comme des   objets-fronti¨¨res   autour desquels un conservateur, des m¨¦diateurs et des publics se rencontrent. L¡¯exposition illustre une conception et une pratique professionnelle de l¡¯histoire de l¡¯art qui impliquent de reconstituer scientifiquement un pass¨¦ dont la connaissance a ¨¦t¨¦ perdue. Reconstituer les temporalit¨¦s des  uvres est ce qui pr¨¦occupe le conservateur. Mais ce n¡¯est pas forc¨¦ment pr¨¦cis¨¦ment ce que viendra chercher le public ni ce sur quoi portera le travail du m¨¦diateur, plus soucieux de faire la m¨¦diation vers une histoire   autour   de l¡¯ uvre, par exemple celle des modes de vie. At first glimpse, when curators set up an exhibition on the Old masters, they give to their audience an occasion to go back in time. Mediators are supposed to put the curators¡¯ knowledge and understanding of the artists and their time within reach of the public. However, these actors rely on a plurality of representations and practices that fit together only because they are not completely explicit nor closely negotiated. This paper starts from an exhibition on Fouquet, a painter and illuminator from the XVth century in order to consider an exhibition, and time itself, as   boundary objects  , around which curators, mediators and audience gather. The exhibition illustrates a specific conception and a professional practice of the history of art, that are both all about piecing together a past we don¡¯t know anymore. Curators are preoccupied with rebuilding the temporalities of the works of art ; but that¡¯s not necessarily what the audience is concerned with, nor what the mediator should be working on. Indeed, they might concentrate on bringing back to life a story that revolves   around   the work, for example the history of lifestyles.
%K exhibitions
%K history of art
%K curators
%K mediators
%K scientific work
%K boundary objects
%K exposition
%K histoire de l¡¯art
%K conservateurs
%K m¨¦diateurs
%K travail scientifique
%K objet-fronti¨¨re
%U http://temporalites.revues.org/1891