15 Yves Jeanneret and Emmanuel Souchier, “L’énonciation éditoriale dans les écrits d’écran,” Communica (.)Ĩ I selected these exhibitions for my research group based on specific criteria: location (the RMN – Grand Palais), the presence of at least one “participatory” photographic device (mobile application, photo booth, etc.), and several types of museology.
Figures de la lecture, anticipations de pratiques (.) 14 Alexandra Saemmer, Rhétorique du texte numérique.13 Emmanuel Souchier, “L’image du texte pour une théorie de l’énonciation éditoriale,” Les Cahiers de (.).11 Jean Davallon, “Le pouvoir sémiotique de l’espace,” Hermès, n o. 61.3, 2011, p.Art et utopie au pays des Soviets (2019), featuring specific art forms produced in tandem with Russia’s communist society project. Mexique (2016-2017), dedicated to Mexican avant-garde artists from the first half of the twentieth century L’exposition du centenaire (2017), a centenary retrospective on French sculptor Auguste Rodin and his heirs A Century of Light and Motion in Art (2013), a selection of modern and contemporary artworks exploring concepts of space, light, motion, and vision Įmpires (Monumenta 2016), an unusual installation by Huang Yong Ping in the nave of the Grand Palais on themes of trade, globalization, and power struggles An ethnographic study, based on participant observation and communication anthropology 10 was conducted across five exhibitions:ĭynamo. Within this group, I have chosen to examine the way in which these so-called “participatory” devices materialize in situ, inviting the public to photograph their surroundings and themselves and possibly share their images on social media platforms. De la théorie au terrain, Paris, Seuil, 2001.ħ This article is based on research from my doctoral studies 9 covering a group of temporary exhibitions from the Réunion des musées nationaux – Grand Palais (RMN – Grand Palais). 10 Yves Winkin, Anthropologie de la communication.9 Sébastien Appiotti, Photographiez, participez ! Cadrage du regard et pratiques photographiques au f (.).
These two types of social players collaborate around what is presented in the discourse as a celebration of ordinary creativity, though it is used simultaneously to promote the institution while giving platforms access to cultural content.Ħ What are an institution’s underlying interests in devices that encourage photographic participation? And with this context in mind, what is the role of the injunction to participate in the institution's communication strategy?
Joëlle Le Marec notes a reconfiguration in museums which has expanded and changed the nature of participation: “The expansion of participation into a museography that involves the visitor but is void of any political dimension is recent: it coincides with the development of digital-based approaches.” 8ĥ This transformed participation goes hand in hand with an alliance between certain cultural institutions and social media platforms, on which visitors are supposed to post and share their photographs. Pour un retour au politique en muséologie et dans le domaine ‘s (.)Ĥ At the same time, several researchers in the last few years 7 have observed a surge in the development of digital facilitation in cultural institutions. 7 Yves Jeanneret, “La place des transformations médiatiques dans l’évolution des musées.4 Some cultural (and entertainment) sites are even, by nature, designed around and for photography, such as the Museum of Ice Cream 5 (Los Angeles) or Mad Dimension (Paris), self-described as “the insta-worthy, pop up museum.” 6 In public museums and around historical monuments, certain spaces are equally dedicated to photographic practices: they stage the public’s presence through the use of mirrors, (Coliseum, Rome), and often encourage visitors to share their photos on social media platforms (Oceanographic Museum, Monaco Renwick Gallery, Washington). For indeed, certain cultural institutions have begun to develop strategies that encourage photographic participation among their visitors. 6 Mad Dimension – Manoir de Paris.ģ In this article, I will examine this first perspective.4 Sébastien Appiotti, Photographiez, participez ! Cadrage du regard et pratiques photographiques au f (.).
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