Elitza Dulguerova (INHA) : The Biennale de Paris. Issues of a Research Program.

1.ARTL@S Seminar 2017-2018 : Opening
2.Béatrice Joyeux-Prunel : Why Not Map ?
3.The Artlas Databases : GEOMAP and the ARtlas Exhibition Database. Opening of the Test Phase
4.Béatrice Joyeux-Prunel: Exhibition catalogues and their use for art history
5.Elitza Dulguerova (INHA) : The Biennale de Paris. Issues of a Research Program.
6.Louis Gevart (PhD in Art History) : De jardin en jardin – La ronde des expositions internationales de sculpture en plein air dans l’Europe des années 1950
7.Cecilia Fajardo-Hill : the making of the Exhibition « Radical Women in Latin American Art 1960-1985 »
8.Thomas DaCosta Kaufmann (univ. de Princeton) : Tales of Trousers. Global clothing, history, and art history
9.B. Joyeux-Prunel : Digital Cartography: An Introduction, 1.
10.Elodie Vaudry : « Pre-colombian » // Alice Bombardier : The Biennials of Tehran (1958-1966)
11.Léa Saint-Raymond – Close and distant reading of art circulation in auctions
12.B. Joyeux-Prunel : Digital Cartography: An Introduction, 2.
13.Béatrice Joyeux-Prunel : Managing Big Corpora of Sources Digitally
14.Alexandre Kazerouni (PSL) : Les biennales comme outil d’analyse de la relation entre libéralisme culturel et autoritarisme dans le monde islamique depuis les années 1960
15.Artl@s Lab’ : Managing Big Corpora – Workshop
16.Adriana Ortega Orozco : Mexico at the Venice Biennial, 1950
17.WAS – Women Artists Shows·Salons·Societies (Catherine Dossin, Hanna Alkema)

Robert César, Biennale de Paris, 1965, outside view Ⓒ Archives de la critique d’art, Rennes.

The Paris Biennale was founded in 1959 by André Malraux, to welcom “young artists” (younger than 35), and was organized until 1985. Since 2016, the Institut national d’histoire de l’art has opened a research program on the Biennale. The project analyzes creation and movement in the Biennale, the variety of art exhibited, the transformation of the Biennale, its reception and critical opposition, its selection principles and the way national and international representation were managed. It also interrogates the Biennale de Paris’ place in French cultural life and in Paris from the 1960s to the 1980s.

This presentation will also explain the challenges and difficulties of such a complex research project. Should we privilege the history of artworks, exhibitions, art institutions, national participation and international exchange, and diplomatic relations? Can we trace diachronic evolutions, beyond each sessions’s particularities? What is central in the study – official representations, or marginal activities ? opposition? How can we think a quite recent biennial, which has been part of current contemporary art worlds?

Elitza Dulguerova is Assistant Professor in Theory and History of Contemporary Art at the Université de Paris I and scientific consultant at the INHA since 2016. She holds a joint Phd (EHESS, Paris & Université de Montréal) and has been a postdoctoral fellow at Stanford University.

Her research interests follow two main directions: the history of ideas & the social history of art in Russia/URSS, including the Russian avant-garde period; the study of exhibitions as an artistic and social challenge in/for 20^th and 21^st century artworks, the history and theory of exhibitions, and the issue of exhibition remakes. Her book Usages et utopies : l’exposition dans l’avant-garde russe prérévolutionnaire(Dijon: les Presses du reel, 2015) brings together these two fields by focusing in particular on the role and on the expectations that group exhibitions played for artists in Russia in the first two decades of the 20^th century.

Thursday, November 9, 13:30-15:30.

Place: Salle de l’IHMC, 45 rue d’Ulm, Paris, Escalier D, 4th floor (3e étage).