Colloque organisé par le Mathaf et le Doha Institute for Graduate Studies
Dans le cadre du colloque Art Schools : Histories and trajectories, Catherine Fraixe proposera une conférence intitulée The Villa Medicis at the time of the alliance between France and fascist Italy in the 1930s : the construction of a transnational narrative at the service of a new Latin Europe
Doha Institute for Graduate Studies (DI) and Mathaf: Arab Museum of Modern Art, Doha, will hold a conference on the histories of art schools, and their modern and contemporary trajectories. The conference, taking place in Doha from 25 - 26 November 2019, will focus on the institutions in the fields of fine arts, and the marginal and avant-garde groups that developed in relation to the centers of these fields. Art Schools here are defined as institutions, tendencies, or groups constituted around new and alternative ideas.
fr : Le colloque intitulé Art Schools : Histories and trajectories et organisé par le Mathaf et le Doha Institute for Graduate Studies, porte sur les liens entre institutions artistiques et groupes œuvrant à la transformation des relations entre centres et périphéries.
The modern “origins” of these institutions, such as the establishment of colleges for teaching art, museums, and cultural councils appears to be linked to the rise of the nation-state. At that time, art schools were dependent on classification systems which defined the “artist”, the “artwork”, and how the public should look at it and “consume” it.
These binaries of classification produced several groups at the periphery of the fields of fine arts. Located outside the institutions, these groups had complex relationships and interaction with the official practitioners of the field. While some were avant-garde groups, others were conservative, and while some were promoting national identities, others were active in transnational geographies.
In the last few decades, modern art institutions have changed dramatically. Since the post-independence era, we have witnessed transformations in the relationships between the institutions and the alternative, marginal and conservative groups. The most salient of these transformations has been the commodification of avant-garde art due to the increasing centrality of the market and the civil society in the fine arts fields in all continents. The periph-eries of these art fields are now competing with their centers over owning the exchange values inside the fields, the markets, and the civil society. The conference addresses these transformations through an exploration of academic, archival, and artistic projects that focused on the making of the fine art fields and their margins.