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Maurice Benayoun >
»Architecture scénographies interactives«, 2000 - 2000
http://www.benayoun.com/projet.php?id=155
Technology
Descriptions & Essays
Dans les projets de conception d’exposition, je m’efforce de considérer la scénographie comme une composante significative du message véhiculé par le projet muséographique. Nous sommes en effet passés d’une époque où le muséographe avait essentiellement un rôle d’architecte d’intérieur s’évertuant, aux côtés du commissaire d’exposition/conservateur, à faire entrer l’ensemble des objets, éléments, documents à présenter dans l’espace d’accueil de l’exposition. On sait que le rôle du commissaire a changé dans le contexte de l’art contemporain glissant selon certains du conservateur à l’auteur (Nathalie Heinich), selon d’autres du médiateur à l’artiste (et je penche plus pour cette lecture de l’histoire). Les artistes, convoqués par le commissaire, fonctionnent de plus en plus souvent comme matériau dynamique au service d’un projet global. On perçoit moins comment ce rôle a évolué dans le champ des expositions thématiques allant de l’exposition scientifique à la mise en scène du patrimoine. Je me suis ainsi trouvé au cours de ces quinze dernières années, invité en tant qu’artiste à concevoir soit des dispositifs muséographiques soit la scénographie complète d’expositions. Il me paraissait clair alors qu’il importait de dépasser le stade du fonctionnalisme et encore plus celui de l’illustration dans la construction de l’espace pour assumer totalement, comme le fait l’architecture au-delà de l’ornement, la dimension symbolique et organique du projet muséographique. Organiser des volumes et des objets dans ces volumes, bien entendu, mais aussi déterminer des circulations, des articulations, des transitions, bref moduler des comportements, faciliter des échange, créer de l’expérience. Autant de décisions prises par le scénographe qui rapprochent son métier de celui du concepteur d’univers virtuels, travaillant la situation comme sous-texte dynamique dans la production du sens. (…) La muséographie, appliquée au patrimoine pose des problèmes spécifiques. Le lieu en est souvent le sujet et le dispositif muséographique peut aller jusqu’à s’effacer comme à l’abbaye de Fontevraud où le parcours multimédia (2001) surgissait de la pierre du réfectoire comme une apparition mémorielle à la manière d’une fresque dynamique (Alain Escalle) ou des buis du cloître (Jean-Baptiste Barrière) comme si les sons en suspends nous murmurait des bribes de ce que furent ces lieux. L’immatérialité voulue de l’approche à probablement facilité sa disparition prématurée et il faudra s’interroger sur la préservation et la protection du patrimoine immatériel en tant que prolongement de l’architecture.
DA Editor 04-02-2016
In the exhibition design projects, I try to consider scenography as a significant component of the message of the museum project. We are indeed moved from a time when museographer was essentially an interior designer role striving alongside the exhibition / Conservative commissioner, to bring all the objects, items, documents to be presented in the host of the exhibition space. We know that the commissioner's role has changed in the context of contemporary art by sliding some Conservative to author (Nathalie Heinich), according to other mediator to the artist (and I lean more to this reading history). The artists invited by the Commissioner, operate increasingly as a dynamic material in the service of a global project. We perceive less how that role has evolved in the field of thematic exhibitions from the scientific exhibition at the Heritage staging. I thus found over the past fifteen years, invited as an artist to design the museum or devices is complete staging exhibitions. It seemed clear then that it was important to go beyond functionalism and more than the figure in the construction of space to fully assume, as does the architecture beyond ornament, dimension organic and symbolic of the museum project. Organize volumes and objects in these volumes, of course, but also determine circulations, joints, transitions, short modulate behavior, facilitate trade, create the experience. So many decisions taken by the designer that bring his art to that of the virtual universe designer, working situation as dynamic subtext in the production of meaning. (...) The museum, applied to heritage poses specific problems. The place is often the subject and the museum arrangement up to fade as the Abbey of Fontevraud where multimedia course (2001) arose from the stone refectory as a memorial appearance in the manner of a fresco dynamic (Alain Escalle) or boxwood cloister (Jean-Baptiste Barrière) as if the sounds we suspend murmured fragments of what were these places. The desired immateriality of the approach probably facilitated his untimely death and it will question the preservation and protection of intangible heritage as an extension of the architecture.
DA Editor: Architecture scénographies interactives, 04-02-2016, in: Archive of Digital Art In the exhibition design projects, I try to consider scenography as a significant component of the message of the museum project. We are indeed moved from a time when museographer was essentially an interior designer role striving alongside the exhibition / Conservative commissioner, to bring all the objects, items, documents to be presented in the host of the exhibition space. We know that the commissioner's role has changed in the context of contemporary art by sliding some Conservative to author (Nathalie Heinich), according to other mediator to the artist (and I lean more to this reading history). The artists invited by the Commissioner, operate increasingly as a dynamic material in the service of a global project. We perceive less how that role has evolved in the field of thematic exhibitions from the scientific exhibition at the Heritage staging. I thus found over the past fifteen years, invited as an artist to design the museum or devices is complete staging exhibitions. It seemed clear then that it was important to go beyond functionalism and more than the figure in the construction of space to fully assume, as does the architecture beyond ornament, dimension organic and symbolic of the museum project. Organize volumes and objects in these volumes, of course, but also determine circulations, joints, transitions, short modulate behavior, facilitate trade, create the experience. So many decisions taken by the designer that bring his art to that of the virtual universe designer, working situation as dynamic subtext in the production of meaning. (...) The museum, applied to heritage poses specific problems. The place is often the subject and the museum arrangement up to fade as the Abbey of Fontevraud where multimedia course (2001) arose from the stone refectory as a memorial appearance in the manner of a fresco dynamic (Alain Escalle) or boxwood cloister (Jean-Baptiste Barrière) as if the sounds we suspend murmured fragments of what were these places. The desired immateriality of the approach probably facilitated his untimely death and it will question the preservation and protection of intangible heritage as an extension of the architecture.
Literature
Exhibitions & Events