<\/p>\n
\n\t\t\t\t\t\tInformations \u00e9dit\u00e9es \u00e0 partir d\u2019une annonce Calenda<\/strong><\/a>.\t\t\t\t\t<\/p>\n\n\nTh\u00e9matiques<\/span><\/span><\/li>\nCommunication et organisations<\/span><\/a><\/li>\nImages, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n\n\n\n\n\n\t\t\t\t\t\tR\u00e9ponse attendue pour le<\/span><\/span> 01\/01\/2021<\/strong>\n\t\t\t\t\t<\/p>\n\n\t\t\t\t\tType de r\u00e9ponse<\/span><\/span> R\u00e9sum\u00e9<\/strong>\n\t\t\t\t\t<\/p>\n\n\t\t\t\t\t\t\tType de contribution attendue<\/span><\/span> Article<\/strong>\n\t\t\t\t\t<\/p>\n\n\t\t\t\t\t\t\tNom de la publication<\/span><\/span> Revue Marges (num\u00e9ro 34)<\/strong>\n\t\t\t\t\t<\/p>\n<\/p><\/div>\n\nCoordinateurs<\/h3>\n\n\n\t\t\t\t\t\t\tJ\u00e9r\u00f4me <\/span> Glicenstein<\/span>, Universit\u00e9 Paris 8<\/span>\t\t\t\t\t\t\t\t\t\t\t\t\t\t, jerome.glicenstein@univ-paris8.fr<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nContacts<\/h3>\n\n\n\t\t\t\t\t\t\tJ\u00e9r\u00f4me Glicenstein, professeur au d\u00e9partement d\u2019arts plastiques de l\u2019universit\u00e9 Paris 8, r\u00e9dacteur en chef de la revue Marges (PUV)<\/span><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\tjerome.glicenstein@univ-paris8.fr<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n\n\n\n\nArgumentaire<\/h2>\nCes derni\u00e8res d\u00e9cennies ont vu une prise en consid\u00e9ration de plus en plus importante des questions \u00e9thiques au sein du monde de l\u2019art contemporain.<\/p>\nLes d\u00e9marches des artistes sont de plus en plus concern\u00e9es par des questions d\u2019ordre politique ou social : la lutte contre toutes les formes de discrimination, le fait d\u2019alerter sur l\u2019urgence \u00e9cologique, la mise en cause de la mondialisation n\u00e9olib\u00e9rale, etc. Au m\u00eame moment, la plupart des institutions d\u2019art contemporain s\u2019associent \u00e0 ces questionnements et mettent un point d\u2019honneur \u00e0 valoriser davantage les pratiques de femmes artistes ou d\u2019artistes issus des minorit\u00e9s, \u00e0 corriger des situations probl\u00e9matiques (on pense \u00e0 la question des restitutions pour les mus\u00e9es), tout en consacrant une part importante de leur programmation \u00e0 des discussions sur des sujets politiques ou sociaux, souvent en faisant appel \u00e0 des intervenants issus de sph\u00e8res activistes.<\/p>\nCette \u00e9volution de la sc\u00e8ne de l\u2019art contemporain se retrouve dans les formes de rejet dont il est l\u2019objet. Si les rejets de l\u2019art moderne et contemporain se sont longtemps faits sur un plan esth\u00e9tique, en insistant notamment sur le fait que les \u0153uvres produites ne correspondaient pas \u00e0 la tradition, aux apparences ou \u00e0 l\u2019authenticit\u00e9 de la d\u00e9marche de l\u2019artiste (au sens traditionnel), les rejets de ces derni\u00e8res ann\u00e9es concernent beaucoup plus des questions d\u2019ordre \u00e9thique ou politique, souvent en impliquant un jugement d\u2019ordre moral. En d\u2019autres termes, si les artistes et les acteurs de l\u2019art sont critiqu\u00e9s aujourd\u2019hui, c\u2019est souvent parce qu\u2019ils transgressent, mettent en doute ou ne respectent pas des valeurs suppos\u00e9es communes : lorsqu\u2019il s\u2019en prend aux femmes ou aux membres de telle ou telle minorit\u00e9, qu\u2019il valorise le pouvoir de l\u2019argent, qu\u2019il n\u2019est pas suffisamment sensible aux questions environnementales, qu\u2019il ne s\u2019occupe pas des probl\u00e8mes des classes sociales d\u00e9favoris\u00e9es, etc.<\/p>\nCes d\u00e9nonciations \u2013\u00a0de plus en plus r\u00e9pandues ces derni\u00e8res ann\u00e9es, \u00e0 la fois dans les m\u00e9dias grand public, les r\u00e9seaux sociaux et au sein du milieu de l\u2019art\u00a0\u2013 posent la question de ce que pourrait \u00eatre un art plus acceptable. Est-il d\u2019ailleurs possible ou souhaitable d\u2019avoir un art qui mettrait en exergue les valeurs communes \u00e0 la soci\u00e9t\u00e9, qui serait consensuel, valoriserait les r\u00e9ussites des femmes et des minorit\u00e9s, s\u2019en prendrait aux in\u00e9galit\u00e9s sociales et au pouvoir de l\u2019argent, tout en \u00e9tant accessible \u00e0 tous ?<\/p>\nLe partage collectif des questions \u00e9thiques affronte ici l\u2019un des principes centraux de la sph\u00e8re de l\u2019art : la d\u00e9fense de son autonomie, laquelle se retrouve dans la mise en avant d\u2019une \u00e9thique propre \u00e0 chaque artiste et qui garantirait l\u2019authenticit\u00e9 de sa d\u00e9marche. Une telle \u00e9thique est-elle compatible avec un engagement plus large qu\u2019une simple pratique artistique ?\u00a0 \u00c0 quelles conditions l\u2019artiste peut-il se faire le porte-parole d\u2019une cause qui ne le concerne pas directement ? Attribuer \u00e0 la cr\u00e9ation artistique la facult\u00e9 de r\u00e9soudre des conflits ou de susciter les prises de conscience n\u2019est-il pas un v\u0153u pieu ? Un artiste peut-il d\u00e9noncer l\u2019emprise du capital tout en participant au march\u00e9 de l\u2019art ? Une artiste peut-elle alerter sur l\u2019urgence \u00e9cologique, tout en se d\u00e9pla\u00e7ant aux quatre coins de la plan\u00e8te ? Les artistes peuvent-ils \u00eatre engag\u00e9s \u00e0 la fois dans un combat social ou politique et dans la d\u00e9fense de l\u2019autonomie de leur pratique ?<\/p>\nAxes de r\u00e9flexion possibles :<\/p>\n\nLes nouvelles formes d\u2019engagement dans l\u2019art et leurs limites (artistiques, politiques, sociales\u2026) ;<\/li>\nLa position des institutions d\u2019art contemporain vis-\u00e0-vis des questions \u00e9thiques. Les contradictions \u00e9ventuelles ;<\/li>\nLa pratique artistique \u00e0 l\u2019\u00e9preuve de l\u2019activisme : entre autonomie et h\u00e9t\u00e9ronomie ;<\/li>\n\u00c9thiques d\u2019artistes (prises de position personnelles) et \u00e9thiques collectives (responsabilit\u00e9 sociale) ;<\/li>\nLes institutions \u00e9thiques : projets d\u2019institutions non-r\u00e9alis\u00e9s, espaces alternatifs, forums, etc. ; la question de l\u2019autogestion (artists-run spaces<\/em>, coop\u00e9ratives d\u2019artistes, squats, etc.) ;<\/li>\nCensure et autocensure<\/li>\n<\/ul>\nModalit\u00e9s de soumission<\/h2>\nLes propositions devront nous parvenir avant le 1er<\/sup> janvier 2021<\/strong>, sous la forme d\u2019une probl\u00e9matique r\u00e9sum\u00e9e (5000 signes maximum, espaces compris<\/strong>), adress\u00e9e par courriel \u00e0\u00a0jerome.glicenstein@univ-paris8.fr<\/a><\/p>\nLes textes s\u00e9lectionn\u00e9s (en double aveugle<\/strong>) seront pr\u00e9sent\u00e9s par leurs auteurs lors d\u2019une session Zoom, d\u00e9but mars 2021. \u00c0 l\u2019issue de cette rencontre, les textes d\u00e9finitifs devront nous parvenir le 15 avril 2021 (30.000 \u00e0 40.000 signes, espaces et notes compris) Certaines de ces contributions seront retenues pour publication dans le num\u00e9ro 34 de\u00a0Marges<\/em>\u00a0(avril 2022).<\/p>\nLa revue\u00a0Marges<\/em>\u00a0(Presses Universitaires de Vincennes) fait prioritairement\u00a0appel\u00a0aux jeunes chercheurs des disciplines susceptibles d’\u00eatre concern\u00e9es par les domaines suivants : esth\u00e9tique, arts plastiques, histoire de l’art, sociologie, \u00e9tudes th\u00e9\u00e2trales ou cin\u00e9matographiques, musicologie\u2026<\/p>\nModalit\u00e9s d\u2019\u00e9valuation<\/h2>\nLes propositions re\u00e7ues sous la forme d\u2019une probl\u00e9matique r\u00e9sum\u00e9e (5000 signes maximum, espaces compris) feront l\u2019objet d\u2019une lecture et d\u2019une s\u00e9lection en double aveugle par les membres du comit\u00e9 de r\u00e9daction de la revue Marges.<\/p>\nCoordinateur du num\u00e9ro<\/h2>\n\nJ\u00e9r\u00f4me Glicenstein, professeur au d\u00e9partement d\u2019arts plastiques de l\u2019universit\u00e9 Paris 8, r\u00e9dacteur en chef de la revue Marges<\/em> (PUV).<\/li>\n<\/ul>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nArts<\/span><\/a><\/li>\nEngagement<\/span><\/a><\/li>\nEthique<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 5 d\u00e9cembre 2020 Informations \u00e9dit\u00e9es \u00e0 partir d\u2019une annonce Calenda. Th\u00e9matiques Communication et organisations Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles R\u00e9ponse attendue pour le 01\/01\/2021 […]<\/p>\n","protected":false},"author":781,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[350,182,180],"thematique":[37,35],"sfsic":[],"class_list":["post-15161","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-arts","tag-engagement","tag-ethique","thematique-communication-organisations","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","wp-sticky"],"acf":[],"yoast_head":"\n\u00c9thique et\/ou esth\u00e9tique<\/title>\n<meta name=\"description\" content=\"La revue Marges lance son appel \u00e0 articles pour son num\u00e9ro 34 sur la th\u00e9matique "\u00c9thique et\/ou esth\u00e9tique".\" 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\n\t\t\t\t\t\tR\u00e9ponse attendue pour le<\/span><\/span> 01\/01\/2021<\/strong>\n\t\t\t\t\t<\/p>\n\n\t\t\t\t\tType de r\u00e9ponse<\/span><\/span> R\u00e9sum\u00e9<\/strong>\n\t\t\t\t\t<\/p>\n\n\t\t\t\t\t\t\tType de contribution attendue<\/span><\/span> Article<\/strong>\n\t\t\t\t\t<\/p>\n\n\t\t\t\t\t\t\tNom de la publication<\/span><\/span> Revue Marges (num\u00e9ro 34)<\/strong>\n\t\t\t\t\t<\/p>\n<\/p><\/div>\n\nCoordinateurs<\/h3>\n\n\n\t\t\t\t\t\t\tJ\u00e9r\u00f4me <\/span> Glicenstein<\/span>, Universit\u00e9 Paris 8<\/span>\t\t\t\t\t\t\t\t\t\t\t\t\t\t, jerome.glicenstein@univ-paris8.fr<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nContacts<\/h3>\n\n\n\t\t\t\t\t\t\tJ\u00e9r\u00f4me Glicenstein, professeur au d\u00e9partement d\u2019arts plastiques de l\u2019universit\u00e9 Paris 8, r\u00e9dacteur en chef de la revue Marges (PUV)<\/span><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\tjerome.glicenstein@univ-paris8.fr<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n\n\n\n\nArgumentaire<\/h2>\nCes derni\u00e8res d\u00e9cennies ont vu une prise en consid\u00e9ration de plus en plus importante des questions \u00e9thiques au sein du monde de l\u2019art contemporain.<\/p>\nLes d\u00e9marches des artistes sont de plus en plus concern\u00e9es par des questions d\u2019ordre politique ou social : la lutte contre toutes les formes de discrimination, le fait d\u2019alerter sur l\u2019urgence \u00e9cologique, la mise en cause de la mondialisation n\u00e9olib\u00e9rale, etc. Au m\u00eame moment, la plupart des institutions d\u2019art contemporain s\u2019associent \u00e0 ces questionnements et mettent un point d\u2019honneur \u00e0 valoriser davantage les pratiques de femmes artistes ou d\u2019artistes issus des minorit\u00e9s, \u00e0 corriger des situations probl\u00e9matiques (on pense \u00e0 la question des restitutions pour les mus\u00e9es), tout en consacrant une part importante de leur programmation \u00e0 des discussions sur des sujets politiques ou sociaux, souvent en faisant appel \u00e0 des intervenants issus de sph\u00e8res activistes.<\/p>\nCette \u00e9volution de la sc\u00e8ne de l\u2019art contemporain se retrouve dans les formes de rejet dont il est l\u2019objet. Si les rejets de l\u2019art moderne et contemporain se sont longtemps faits sur un plan esth\u00e9tique, en insistant notamment sur le fait que les \u0153uvres produites ne correspondaient pas \u00e0 la tradition, aux apparences ou \u00e0 l\u2019authenticit\u00e9 de la d\u00e9marche de l\u2019artiste (au sens traditionnel), les rejets de ces derni\u00e8res ann\u00e9es concernent beaucoup plus des questions d\u2019ordre \u00e9thique ou politique, souvent en impliquant un jugement d\u2019ordre moral. En d\u2019autres termes, si les artistes et les acteurs de l\u2019art sont critiqu\u00e9s aujourd\u2019hui, c\u2019est souvent parce qu\u2019ils transgressent, mettent en doute ou ne respectent pas des valeurs suppos\u00e9es communes : lorsqu\u2019il s\u2019en prend aux femmes ou aux membres de telle ou telle minorit\u00e9, qu\u2019il valorise le pouvoir de l\u2019argent, qu\u2019il n\u2019est pas suffisamment sensible aux questions environnementales, qu\u2019il ne s\u2019occupe pas des probl\u00e8mes des classes sociales d\u00e9favoris\u00e9es, etc.<\/p>\nCes d\u00e9nonciations \u2013\u00a0de plus en plus r\u00e9pandues ces derni\u00e8res ann\u00e9es, \u00e0 la fois dans les m\u00e9dias grand public, les r\u00e9seaux sociaux et au sein du milieu de l\u2019art\u00a0\u2013 posent la question de ce que pourrait \u00eatre un art plus acceptable. Est-il d\u2019ailleurs possible ou souhaitable d\u2019avoir un art qui mettrait en exergue les valeurs communes \u00e0 la soci\u00e9t\u00e9, qui serait consensuel, valoriserait les r\u00e9ussites des femmes et des minorit\u00e9s, s\u2019en prendrait aux in\u00e9galit\u00e9s sociales et au pouvoir de l\u2019argent, tout en \u00e9tant accessible \u00e0 tous ?<\/p>\nLe partage collectif des questions \u00e9thiques affronte ici l\u2019un des principes centraux de la sph\u00e8re de l\u2019art : la d\u00e9fense de son autonomie, laquelle se retrouve dans la mise en avant d\u2019une \u00e9thique propre \u00e0 chaque artiste et qui garantirait l\u2019authenticit\u00e9 de sa d\u00e9marche. Une telle \u00e9thique est-elle compatible avec un engagement plus large qu\u2019une simple pratique artistique ?\u00a0 \u00c0 quelles conditions l\u2019artiste peut-il se faire le porte-parole d\u2019une cause qui ne le concerne pas directement ? Attribuer \u00e0 la cr\u00e9ation artistique la facult\u00e9 de r\u00e9soudre des conflits ou de susciter les prises de conscience n\u2019est-il pas un v\u0153u pieu ? Un artiste peut-il d\u00e9noncer l\u2019emprise du capital tout en participant au march\u00e9 de l\u2019art ? Une artiste peut-elle alerter sur l\u2019urgence \u00e9cologique, tout en se d\u00e9pla\u00e7ant aux quatre coins de la plan\u00e8te ? Les artistes peuvent-ils \u00eatre engag\u00e9s \u00e0 la fois dans un combat social ou politique et dans la d\u00e9fense de l\u2019autonomie de leur pratique ?<\/p>\nAxes de r\u00e9flexion possibles :<\/p>\n\nLes nouvelles formes d\u2019engagement dans l\u2019art et leurs limites (artistiques, politiques, sociales\u2026) ;<\/li>\nLa position des institutions d\u2019art contemporain vis-\u00e0-vis des questions \u00e9thiques. Les contradictions \u00e9ventuelles ;<\/li>\nLa pratique artistique \u00e0 l\u2019\u00e9preuve de l\u2019activisme : entre autonomie et h\u00e9t\u00e9ronomie ;<\/li>\n\u00c9thiques d\u2019artistes (prises de position personnelles) et \u00e9thiques collectives (responsabilit\u00e9 sociale) ;<\/li>\nLes institutions \u00e9thiques : projets d\u2019institutions non-r\u00e9alis\u00e9s, espaces alternatifs, forums, etc. ; la question de l\u2019autogestion (artists-run spaces<\/em>, coop\u00e9ratives d\u2019artistes, squats, etc.) ;<\/li>\nCensure et autocensure<\/li>\n<\/ul>\nModalit\u00e9s de soumission<\/h2>\nLes propositions devront nous parvenir avant le 1er<\/sup> janvier 2021<\/strong>, sous la forme d\u2019une probl\u00e9matique r\u00e9sum\u00e9e (5000 signes maximum, espaces compris<\/strong>), adress\u00e9e par courriel \u00e0\u00a0jerome.glicenstein@univ-paris8.fr<\/a><\/p>\nLes textes s\u00e9lectionn\u00e9s (en double aveugle<\/strong>) seront pr\u00e9sent\u00e9s par leurs auteurs lors d\u2019une session Zoom, d\u00e9but mars 2021. \u00c0 l\u2019issue de cette rencontre, les textes d\u00e9finitifs devront nous parvenir le 15 avril 2021 (30.000 \u00e0 40.000 signes, espaces et notes compris) Certaines de ces contributions seront retenues pour publication dans le num\u00e9ro 34 de\u00a0Marges<\/em>\u00a0(avril 2022).<\/p>\nLa revue\u00a0Marges<\/em>\u00a0(Presses Universitaires de Vincennes) fait prioritairement\u00a0appel\u00a0aux jeunes chercheurs des disciplines susceptibles d’\u00eatre concern\u00e9es par les domaines suivants : esth\u00e9tique, arts plastiques, histoire de l’art, sociologie, \u00e9tudes th\u00e9\u00e2trales ou cin\u00e9matographiques, musicologie\u2026<\/p>\nModalit\u00e9s d\u2019\u00e9valuation<\/h2>\nLes propositions re\u00e7ues sous la forme d\u2019une probl\u00e9matique r\u00e9sum\u00e9e (5000 signes maximum, espaces compris) feront l\u2019objet d\u2019une lecture et d\u2019une s\u00e9lection en double aveugle par les membres du comit\u00e9 de r\u00e9daction de la revue Marges.<\/p>\nCoordinateur du num\u00e9ro<\/h2>\n\nJ\u00e9r\u00f4me Glicenstein, professeur au d\u00e9partement d\u2019arts plastiques de l\u2019universit\u00e9 Paris 8, r\u00e9dacteur en chef de la revue Marges<\/em> (PUV).<\/li>\n<\/ul>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nArts<\/span><\/a><\/li>\nEngagement<\/span><\/a><\/li>\nEthique<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 5 d\u00e9cembre 2020 Informations \u00e9dit\u00e9es \u00e0 partir d\u2019une annonce Calenda. Th\u00e9matiques Communication et organisations Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles R\u00e9ponse attendue pour le 01\/01\/2021 […]<\/p>\n","protected":false},"author":781,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[350,182,180],"thematique":[37,35],"sfsic":[],"class_list":["post-15161","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-arts","tag-engagement","tag-ethique","thematique-communication-organisations","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","wp-sticky"],"acf":[],"yoast_head":"\n\u00c9thique et\/ou esth\u00e9tique<\/title>\n<meta name=\"description\" content=\"La revue Marges lance son appel \u00e0 articles pour son num\u00e9ro 34 sur la th\u00e9matique "\u00c9thique et\/ou esth\u00e9tique".\" 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\n\t\t\t\t\tType de r\u00e9ponse<\/span><\/span> R\u00e9sum\u00e9<\/strong>\n\t\t\t\t\t<\/p>\n\n\t\t\t\t\t\t\tType de contribution attendue<\/span><\/span> Article<\/strong>\n\t\t\t\t\t<\/p>\n\n\t\t\t\t\t\t\tNom de la publication<\/span><\/span> Revue Marges (num\u00e9ro 34)<\/strong>\n\t\t\t\t\t<\/p>\n<\/p><\/div>\n\nCoordinateurs<\/h3>\n\n\n\t\t\t\t\t\t\tJ\u00e9r\u00f4me <\/span> Glicenstein<\/span>, Universit\u00e9 Paris 8<\/span>\t\t\t\t\t\t\t\t\t\t\t\t\t\t, jerome.glicenstein@univ-paris8.fr<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nContacts<\/h3>\n\n\n\t\t\t\t\t\t\tJ\u00e9r\u00f4me Glicenstein, professeur au d\u00e9partement d\u2019arts plastiques de l\u2019universit\u00e9 Paris 8, r\u00e9dacteur en chef de la revue Marges (PUV)<\/span><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\tjerome.glicenstein@univ-paris8.fr<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n\n\n\n\nArgumentaire<\/h2>\nCes derni\u00e8res d\u00e9cennies ont vu une prise en consid\u00e9ration de plus en plus importante des questions \u00e9thiques au sein du monde de l\u2019art contemporain.<\/p>\nLes d\u00e9marches des artistes sont de plus en plus concern\u00e9es par des questions d\u2019ordre politique ou social : la lutte contre toutes les formes de discrimination, le fait d\u2019alerter sur l\u2019urgence \u00e9cologique, la mise en cause de la mondialisation n\u00e9olib\u00e9rale, etc. Au m\u00eame moment, la plupart des institutions d\u2019art contemporain s\u2019associent \u00e0 ces questionnements et mettent un point d\u2019honneur \u00e0 valoriser davantage les pratiques de femmes artistes ou d\u2019artistes issus des minorit\u00e9s, \u00e0 corriger des situations probl\u00e9matiques (on pense \u00e0 la question des restitutions pour les mus\u00e9es), tout en consacrant une part importante de leur programmation \u00e0 des discussions sur des sujets politiques ou sociaux, souvent en faisant appel \u00e0 des intervenants issus de sph\u00e8res activistes.<\/p>\nCette \u00e9volution de la sc\u00e8ne de l\u2019art contemporain se retrouve dans les formes de rejet dont il est l\u2019objet. Si les rejets de l\u2019art moderne et contemporain se sont longtemps faits sur un plan esth\u00e9tique, en insistant notamment sur le fait que les \u0153uvres produites ne correspondaient pas \u00e0 la tradition, aux apparences ou \u00e0 l\u2019authenticit\u00e9 de la d\u00e9marche de l\u2019artiste (au sens traditionnel), les rejets de ces derni\u00e8res ann\u00e9es concernent beaucoup plus des questions d\u2019ordre \u00e9thique ou politique, souvent en impliquant un jugement d\u2019ordre moral. En d\u2019autres termes, si les artistes et les acteurs de l\u2019art sont critiqu\u00e9s aujourd\u2019hui, c\u2019est souvent parce qu\u2019ils transgressent, mettent en doute ou ne respectent pas des valeurs suppos\u00e9es communes : lorsqu\u2019il s\u2019en prend aux femmes ou aux membres de telle ou telle minorit\u00e9, qu\u2019il valorise le pouvoir de l\u2019argent, qu\u2019il n\u2019est pas suffisamment sensible aux questions environnementales, qu\u2019il ne s\u2019occupe pas des probl\u00e8mes des classes sociales d\u00e9favoris\u00e9es, etc.<\/p>\nCes d\u00e9nonciations \u2013\u00a0de plus en plus r\u00e9pandues ces derni\u00e8res ann\u00e9es, \u00e0 la fois dans les m\u00e9dias grand public, les r\u00e9seaux sociaux et au sein du milieu de l\u2019art\u00a0\u2013 posent la question de ce que pourrait \u00eatre un art plus acceptable. Est-il d\u2019ailleurs possible ou souhaitable d\u2019avoir un art qui mettrait en exergue les valeurs communes \u00e0 la soci\u00e9t\u00e9, qui serait consensuel, valoriserait les r\u00e9ussites des femmes et des minorit\u00e9s, s\u2019en prendrait aux in\u00e9galit\u00e9s sociales et au pouvoir de l\u2019argent, tout en \u00e9tant accessible \u00e0 tous ?<\/p>\nLe partage collectif des questions \u00e9thiques affronte ici l\u2019un des principes centraux de la sph\u00e8re de l\u2019art : la d\u00e9fense de son autonomie, laquelle se retrouve dans la mise en avant d\u2019une \u00e9thique propre \u00e0 chaque artiste et qui garantirait l\u2019authenticit\u00e9 de sa d\u00e9marche. Une telle \u00e9thique est-elle compatible avec un engagement plus large qu\u2019une simple pratique artistique ?\u00a0 \u00c0 quelles conditions l\u2019artiste peut-il se faire le porte-parole d\u2019une cause qui ne le concerne pas directement ? Attribuer \u00e0 la cr\u00e9ation artistique la facult\u00e9 de r\u00e9soudre des conflits ou de susciter les prises de conscience n\u2019est-il pas un v\u0153u pieu ? Un artiste peut-il d\u00e9noncer l\u2019emprise du capital tout en participant au march\u00e9 de l\u2019art ? Une artiste peut-elle alerter sur l\u2019urgence \u00e9cologique, tout en se d\u00e9pla\u00e7ant aux quatre coins de la plan\u00e8te ? Les artistes peuvent-ils \u00eatre engag\u00e9s \u00e0 la fois dans un combat social ou politique et dans la d\u00e9fense de l\u2019autonomie de leur pratique ?<\/p>\nAxes de r\u00e9flexion possibles :<\/p>\n\nLes nouvelles formes d\u2019engagement dans l\u2019art et leurs limites (artistiques, politiques, sociales\u2026) ;<\/li>\nLa position des institutions d\u2019art contemporain vis-\u00e0-vis des questions \u00e9thiques. Les contradictions \u00e9ventuelles ;<\/li>\nLa pratique artistique \u00e0 l\u2019\u00e9preuve de l\u2019activisme : entre autonomie et h\u00e9t\u00e9ronomie ;<\/li>\n\u00c9thiques d\u2019artistes (prises de position personnelles) et \u00e9thiques collectives (responsabilit\u00e9 sociale) ;<\/li>\nLes institutions \u00e9thiques : projets d\u2019institutions non-r\u00e9alis\u00e9s, espaces alternatifs, forums, etc. ; la question de l\u2019autogestion (artists-run spaces<\/em>, coop\u00e9ratives d\u2019artistes, squats, etc.) ;<\/li>\nCensure et autocensure<\/li>\n<\/ul>\nModalit\u00e9s de soumission<\/h2>\nLes propositions devront nous parvenir avant le 1er<\/sup> janvier 2021<\/strong>, sous la forme d\u2019une probl\u00e9matique r\u00e9sum\u00e9e (5000 signes maximum, espaces compris<\/strong>), adress\u00e9e par courriel \u00e0\u00a0jerome.glicenstein@univ-paris8.fr<\/a><\/p>\nLes textes s\u00e9lectionn\u00e9s (en double aveugle<\/strong>) seront pr\u00e9sent\u00e9s par leurs auteurs lors d\u2019une session Zoom, d\u00e9but mars 2021. \u00c0 l\u2019issue de cette rencontre, les textes d\u00e9finitifs devront nous parvenir le 15 avril 2021 (30.000 \u00e0 40.000 signes, espaces et notes compris) Certaines de ces contributions seront retenues pour publication dans le num\u00e9ro 34 de\u00a0Marges<\/em>\u00a0(avril 2022).<\/p>\nLa revue\u00a0Marges<\/em>\u00a0(Presses Universitaires de Vincennes) fait prioritairement\u00a0appel\u00a0aux jeunes chercheurs des disciplines susceptibles d’\u00eatre concern\u00e9es par les domaines suivants : esth\u00e9tique, arts plastiques, histoire de l’art, sociologie, \u00e9tudes th\u00e9\u00e2trales ou cin\u00e9matographiques, musicologie\u2026<\/p>\nModalit\u00e9s d\u2019\u00e9valuation<\/h2>\nLes propositions re\u00e7ues sous la forme d\u2019une probl\u00e9matique r\u00e9sum\u00e9e (5000 signes maximum, espaces compris) feront l\u2019objet d\u2019une lecture et d\u2019une s\u00e9lection en double aveugle par les membres du comit\u00e9 de r\u00e9daction de la revue Marges.<\/p>\nCoordinateur du num\u00e9ro<\/h2>\n\nJ\u00e9r\u00f4me Glicenstein, professeur au d\u00e9partement d\u2019arts plastiques de l\u2019universit\u00e9 Paris 8, r\u00e9dacteur en chef de la revue Marges<\/em> (PUV).<\/li>\n<\/ul>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nArts<\/span><\/a><\/li>\nEngagement<\/span><\/a><\/li>\nEthique<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 5 d\u00e9cembre 2020 Informations \u00e9dit\u00e9es \u00e0 partir d\u2019une annonce Calenda. Th\u00e9matiques Communication et organisations Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles R\u00e9ponse attendue pour le 01\/01\/2021 […]<\/p>\n","protected":false},"author":781,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[350,182,180],"thematique":[37,35],"sfsic":[],"class_list":["post-15161","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-arts","tag-engagement","tag-ethique","thematique-communication-organisations","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","wp-sticky"],"acf":[],"yoast_head":"\n\u00c9thique et\/ou esth\u00e9tique<\/title>\n<meta name=\"description\" content=\"La revue Marges lance son appel \u00e0 articles pour son num\u00e9ro 34 sur la th\u00e9matique "\u00c9thique et\/ou esth\u00e9tique".\" 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\n\t\t\t\t\t\t\tType de contribution attendue<\/span><\/span> Article<\/strong>\n\t\t\t\t\t<\/p>\n\n\t\t\t\t\t\t\tNom de la publication<\/span><\/span> Revue Marges (num\u00e9ro 34)<\/strong>\n\t\t\t\t\t<\/p>\n<\/p><\/div>\n\nCoordinateurs<\/h3>\n\n\n\t\t\t\t\t\t\tJ\u00e9r\u00f4me <\/span> Glicenstein<\/span>, Universit\u00e9 Paris 8<\/span>\t\t\t\t\t\t\t\t\t\t\t\t\t\t, jerome.glicenstein@univ-paris8.fr<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nContacts<\/h3>\n\n\n\t\t\t\t\t\t\tJ\u00e9r\u00f4me Glicenstein, professeur au d\u00e9partement d\u2019arts plastiques de l\u2019universit\u00e9 Paris 8, r\u00e9dacteur en chef de la revue Marges (PUV)<\/span><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\tjerome.glicenstein@univ-paris8.fr<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n\n\n\n\nArgumentaire<\/h2>\nCes derni\u00e8res d\u00e9cennies ont vu une prise en consid\u00e9ration de plus en plus importante des questions \u00e9thiques au sein du monde de l\u2019art contemporain.<\/p>\nLes d\u00e9marches des artistes sont de plus en plus concern\u00e9es par des questions d\u2019ordre politique ou social : la lutte contre toutes les formes de discrimination, le fait d\u2019alerter sur l\u2019urgence \u00e9cologique, la mise en cause de la mondialisation n\u00e9olib\u00e9rale, etc. Au m\u00eame moment, la plupart des institutions d\u2019art contemporain s\u2019associent \u00e0 ces questionnements et mettent un point d\u2019honneur \u00e0 valoriser davantage les pratiques de femmes artistes ou d\u2019artistes issus des minorit\u00e9s, \u00e0 corriger des situations probl\u00e9matiques (on pense \u00e0 la question des restitutions pour les mus\u00e9es), tout en consacrant une part importante de leur programmation \u00e0 des discussions sur des sujets politiques ou sociaux, souvent en faisant appel \u00e0 des intervenants issus de sph\u00e8res activistes.<\/p>\nCette \u00e9volution de la sc\u00e8ne de l\u2019art contemporain se retrouve dans les formes de rejet dont il est l\u2019objet. Si les rejets de l\u2019art moderne et contemporain se sont longtemps faits sur un plan esth\u00e9tique, en insistant notamment sur le fait que les \u0153uvres produites ne correspondaient pas \u00e0 la tradition, aux apparences ou \u00e0 l\u2019authenticit\u00e9 de la d\u00e9marche de l\u2019artiste (au sens traditionnel), les rejets de ces derni\u00e8res ann\u00e9es concernent beaucoup plus des questions d\u2019ordre \u00e9thique ou politique, souvent en impliquant un jugement d\u2019ordre moral. En d\u2019autres termes, si les artistes et les acteurs de l\u2019art sont critiqu\u00e9s aujourd\u2019hui, c\u2019est souvent parce qu\u2019ils transgressent, mettent en doute ou ne respectent pas des valeurs suppos\u00e9es communes : lorsqu\u2019il s\u2019en prend aux femmes ou aux membres de telle ou telle minorit\u00e9, qu\u2019il valorise le pouvoir de l\u2019argent, qu\u2019il n\u2019est pas suffisamment sensible aux questions environnementales, qu\u2019il ne s\u2019occupe pas des probl\u00e8mes des classes sociales d\u00e9favoris\u00e9es, etc.<\/p>\nCes d\u00e9nonciations \u2013\u00a0de plus en plus r\u00e9pandues ces derni\u00e8res ann\u00e9es, \u00e0 la fois dans les m\u00e9dias grand public, les r\u00e9seaux sociaux et au sein du milieu de l\u2019art\u00a0\u2013 posent la question de ce que pourrait \u00eatre un art plus acceptable. Est-il d\u2019ailleurs possible ou souhaitable d\u2019avoir un art qui mettrait en exergue les valeurs communes \u00e0 la soci\u00e9t\u00e9, qui serait consensuel, valoriserait les r\u00e9ussites des femmes et des minorit\u00e9s, s\u2019en prendrait aux in\u00e9galit\u00e9s sociales et au pouvoir de l\u2019argent, tout en \u00e9tant accessible \u00e0 tous ?<\/p>\nLe partage collectif des questions \u00e9thiques affronte ici l\u2019un des principes centraux de la sph\u00e8re de l\u2019art : la d\u00e9fense de son autonomie, laquelle se retrouve dans la mise en avant d\u2019une \u00e9thique propre \u00e0 chaque artiste et qui garantirait l\u2019authenticit\u00e9 de sa d\u00e9marche. Une telle \u00e9thique est-elle compatible avec un engagement plus large qu\u2019une simple pratique artistique ?\u00a0 \u00c0 quelles conditions l\u2019artiste peut-il se faire le porte-parole d\u2019une cause qui ne le concerne pas directement ? Attribuer \u00e0 la cr\u00e9ation artistique la facult\u00e9 de r\u00e9soudre des conflits ou de susciter les prises de conscience n\u2019est-il pas un v\u0153u pieu ? Un artiste peut-il d\u00e9noncer l\u2019emprise du capital tout en participant au march\u00e9 de l\u2019art ? Une artiste peut-elle alerter sur l\u2019urgence \u00e9cologique, tout en se d\u00e9pla\u00e7ant aux quatre coins de la plan\u00e8te ? Les artistes peuvent-ils \u00eatre engag\u00e9s \u00e0 la fois dans un combat social ou politique et dans la d\u00e9fense de l\u2019autonomie de leur pratique ?<\/p>\nAxes de r\u00e9flexion possibles :<\/p>\n\nLes nouvelles formes d\u2019engagement dans l\u2019art et leurs limites (artistiques, politiques, sociales\u2026) ;<\/li>\nLa position des institutions d\u2019art contemporain vis-\u00e0-vis des questions \u00e9thiques. Les contradictions \u00e9ventuelles ;<\/li>\nLa pratique artistique \u00e0 l\u2019\u00e9preuve de l\u2019activisme : entre autonomie et h\u00e9t\u00e9ronomie ;<\/li>\n\u00c9thiques d\u2019artistes (prises de position personnelles) et \u00e9thiques collectives (responsabilit\u00e9 sociale) ;<\/li>\nLes institutions \u00e9thiques : projets d\u2019institutions non-r\u00e9alis\u00e9s, espaces alternatifs, forums, etc. ; la question de l\u2019autogestion (artists-run spaces<\/em>, coop\u00e9ratives d\u2019artistes, squats, etc.) ;<\/li>\nCensure et autocensure<\/li>\n<\/ul>\nModalit\u00e9s de soumission<\/h2>\nLes propositions devront nous parvenir avant le 1er<\/sup> janvier 2021<\/strong>, sous la forme d\u2019une probl\u00e9matique r\u00e9sum\u00e9e (5000 signes maximum, espaces compris<\/strong>), adress\u00e9e par courriel \u00e0\u00a0jerome.glicenstein@univ-paris8.fr<\/a><\/p>\nLes textes s\u00e9lectionn\u00e9s (en double aveugle<\/strong>) seront pr\u00e9sent\u00e9s par leurs auteurs lors d\u2019une session Zoom, d\u00e9but mars 2021. \u00c0 l\u2019issue de cette rencontre, les textes d\u00e9finitifs devront nous parvenir le 15 avril 2021 (30.000 \u00e0 40.000 signes, espaces et notes compris) Certaines de ces contributions seront retenues pour publication dans le num\u00e9ro 34 de\u00a0Marges<\/em>\u00a0(avril 2022).<\/p>\nLa revue\u00a0Marges<\/em>\u00a0(Presses Universitaires de Vincennes) fait prioritairement\u00a0appel\u00a0aux jeunes chercheurs des disciplines susceptibles d’\u00eatre concern\u00e9es par les domaines suivants : esth\u00e9tique, arts plastiques, histoire de l’art, sociologie, \u00e9tudes th\u00e9\u00e2trales ou cin\u00e9matographiques, musicologie\u2026<\/p>\nModalit\u00e9s d\u2019\u00e9valuation<\/h2>\nLes propositions re\u00e7ues sous la forme d\u2019une probl\u00e9matique r\u00e9sum\u00e9e (5000 signes maximum, espaces compris) feront l\u2019objet d\u2019une lecture et d\u2019une s\u00e9lection en double aveugle par les membres du comit\u00e9 de r\u00e9daction de la revue Marges.<\/p>\nCoordinateur du num\u00e9ro<\/h2>\n\nJ\u00e9r\u00f4me Glicenstein, professeur au d\u00e9partement d\u2019arts plastiques de l\u2019universit\u00e9 Paris 8, r\u00e9dacteur en chef de la revue Marges<\/em> (PUV).<\/li>\n<\/ul>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nArts<\/span><\/a><\/li>\nEngagement<\/span><\/a><\/li>\nEthique<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 5 d\u00e9cembre 2020 Informations \u00e9dit\u00e9es \u00e0 partir d\u2019une annonce Calenda. Th\u00e9matiques Communication et organisations Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles R\u00e9ponse attendue pour le 01\/01\/2021 […]<\/p>\n","protected":false},"author":781,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[350,182,180],"thematique":[37,35],"sfsic":[],"class_list":["post-15161","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-arts","tag-engagement","tag-ethique","thematique-communication-organisations","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","wp-sticky"],"acf":[],"yoast_head":"\n\u00c9thique et\/ou esth\u00e9tique<\/title>\n<meta name=\"description\" content=\"La revue Marges lance son appel \u00e0 articles pour son num\u00e9ro 34 sur la th\u00e9matique "\u00c9thique et\/ou esth\u00e9tique".\" 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\n\t\t\t\t\t\t\tNom de la publication<\/span><\/span> Revue Marges (num\u00e9ro 34)<\/strong>\n\t\t\t\t\t<\/p>\n<\/p><\/div>\n\nCoordinateurs<\/h3>\n\n\n\t\t\t\t\t\t\tJ\u00e9r\u00f4me <\/span> Glicenstein<\/span>, Universit\u00e9 Paris 8<\/span>\t\t\t\t\t\t\t\t\t\t\t\t\t\t, jerome.glicenstein@univ-paris8.fr<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nContacts<\/h3>\n\n\n\t\t\t\t\t\t\tJ\u00e9r\u00f4me Glicenstein, professeur au d\u00e9partement d\u2019arts plastiques de l\u2019universit\u00e9 Paris 8, r\u00e9dacteur en chef de la revue Marges (PUV)<\/span><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\tjerome.glicenstein@univ-paris8.fr<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n\n\n\n\nArgumentaire<\/h2>\nCes derni\u00e8res d\u00e9cennies ont vu une prise en consid\u00e9ration de plus en plus importante des questions \u00e9thiques au sein du monde de l\u2019art contemporain.<\/p>\nLes d\u00e9marches des artistes sont de plus en plus concern\u00e9es par des questions d\u2019ordre politique ou social : la lutte contre toutes les formes de discrimination, le fait d\u2019alerter sur l\u2019urgence \u00e9cologique, la mise en cause de la mondialisation n\u00e9olib\u00e9rale, etc. Au m\u00eame moment, la plupart des institutions d\u2019art contemporain s\u2019associent \u00e0 ces questionnements et mettent un point d\u2019honneur \u00e0 valoriser davantage les pratiques de femmes artistes ou d\u2019artistes issus des minorit\u00e9s, \u00e0 corriger des situations probl\u00e9matiques (on pense \u00e0 la question des restitutions pour les mus\u00e9es), tout en consacrant une part importante de leur programmation \u00e0 des discussions sur des sujets politiques ou sociaux, souvent en faisant appel \u00e0 des intervenants issus de sph\u00e8res activistes.<\/p>\nCette \u00e9volution de la sc\u00e8ne de l\u2019art contemporain se retrouve dans les formes de rejet dont il est l\u2019objet. Si les rejets de l\u2019art moderne et contemporain se sont longtemps faits sur un plan esth\u00e9tique, en insistant notamment sur le fait que les \u0153uvres produites ne correspondaient pas \u00e0 la tradition, aux apparences ou \u00e0 l\u2019authenticit\u00e9 de la d\u00e9marche de l\u2019artiste (au sens traditionnel), les rejets de ces derni\u00e8res ann\u00e9es concernent beaucoup plus des questions d\u2019ordre \u00e9thique ou politique, souvent en impliquant un jugement d\u2019ordre moral. En d\u2019autres termes, si les artistes et les acteurs de l\u2019art sont critiqu\u00e9s aujourd\u2019hui, c\u2019est souvent parce qu\u2019ils transgressent, mettent en doute ou ne respectent pas des valeurs suppos\u00e9es communes : lorsqu\u2019il s\u2019en prend aux femmes ou aux membres de telle ou telle minorit\u00e9, qu\u2019il valorise le pouvoir de l\u2019argent, qu\u2019il n\u2019est pas suffisamment sensible aux questions environnementales, qu\u2019il ne s\u2019occupe pas des probl\u00e8mes des classes sociales d\u00e9favoris\u00e9es, etc.<\/p>\nCes d\u00e9nonciations \u2013\u00a0de plus en plus r\u00e9pandues ces derni\u00e8res ann\u00e9es, \u00e0 la fois dans les m\u00e9dias grand public, les r\u00e9seaux sociaux et au sein du milieu de l\u2019art\u00a0\u2013 posent la question de ce que pourrait \u00eatre un art plus acceptable. Est-il d\u2019ailleurs possible ou souhaitable d\u2019avoir un art qui mettrait en exergue les valeurs communes \u00e0 la soci\u00e9t\u00e9, qui serait consensuel, valoriserait les r\u00e9ussites des femmes et des minorit\u00e9s, s\u2019en prendrait aux in\u00e9galit\u00e9s sociales et au pouvoir de l\u2019argent, tout en \u00e9tant accessible \u00e0 tous ?<\/p>\nLe partage collectif des questions \u00e9thiques affronte ici l\u2019un des principes centraux de la sph\u00e8re de l\u2019art : la d\u00e9fense de son autonomie, laquelle se retrouve dans la mise en avant d\u2019une \u00e9thique propre \u00e0 chaque artiste et qui garantirait l\u2019authenticit\u00e9 de sa d\u00e9marche. Une telle \u00e9thique est-elle compatible avec un engagement plus large qu\u2019une simple pratique artistique ?\u00a0 \u00c0 quelles conditions l\u2019artiste peut-il se faire le porte-parole d\u2019une cause qui ne le concerne pas directement ? Attribuer \u00e0 la cr\u00e9ation artistique la facult\u00e9 de r\u00e9soudre des conflits ou de susciter les prises de conscience n\u2019est-il pas un v\u0153u pieu ? Un artiste peut-il d\u00e9noncer l\u2019emprise du capital tout en participant au march\u00e9 de l\u2019art ? Une artiste peut-elle alerter sur l\u2019urgence \u00e9cologique, tout en se d\u00e9pla\u00e7ant aux quatre coins de la plan\u00e8te ? Les artistes peuvent-ils \u00eatre engag\u00e9s \u00e0 la fois dans un combat social ou politique et dans la d\u00e9fense de l\u2019autonomie de leur pratique ?<\/p>\nAxes de r\u00e9flexion possibles :<\/p>\n\nLes nouvelles formes d\u2019engagement dans l\u2019art et leurs limites (artistiques, politiques, sociales\u2026) ;<\/li>\nLa position des institutions d\u2019art contemporain vis-\u00e0-vis des questions \u00e9thiques. Les contradictions \u00e9ventuelles ;<\/li>\nLa pratique artistique \u00e0 l\u2019\u00e9preuve de l\u2019activisme : entre autonomie et h\u00e9t\u00e9ronomie ;<\/li>\n\u00c9thiques d\u2019artistes (prises de position personnelles) et \u00e9thiques collectives (responsabilit\u00e9 sociale) ;<\/li>\nLes institutions \u00e9thiques : projets d\u2019institutions non-r\u00e9alis\u00e9s, espaces alternatifs, forums, etc. ; la question de l\u2019autogestion (artists-run spaces<\/em>, coop\u00e9ratives d\u2019artistes, squats, etc.) ;<\/li>\nCensure et autocensure<\/li>\n<\/ul>\nModalit\u00e9s de soumission<\/h2>\nLes propositions devront nous parvenir avant le 1er<\/sup> janvier 2021<\/strong>, sous la forme d\u2019une probl\u00e9matique r\u00e9sum\u00e9e (5000 signes maximum, espaces compris<\/strong>), adress\u00e9e par courriel \u00e0\u00a0jerome.glicenstein@univ-paris8.fr<\/a><\/p>\nLes textes s\u00e9lectionn\u00e9s (en double aveugle<\/strong>) seront pr\u00e9sent\u00e9s par leurs auteurs lors d\u2019une session Zoom, d\u00e9but mars 2021. \u00c0 l\u2019issue de cette rencontre, les textes d\u00e9finitifs devront nous parvenir le 15 avril 2021 (30.000 \u00e0 40.000 signes, espaces et notes compris) Certaines de ces contributions seront retenues pour publication dans le num\u00e9ro 34 de\u00a0Marges<\/em>\u00a0(avril 2022).<\/p>\nLa revue\u00a0Marges<\/em>\u00a0(Presses Universitaires de Vincennes) fait prioritairement\u00a0appel\u00a0aux jeunes chercheurs des disciplines susceptibles d’\u00eatre concern\u00e9es par les domaines suivants : esth\u00e9tique, arts plastiques, histoire de l’art, sociologie, \u00e9tudes th\u00e9\u00e2trales ou cin\u00e9matographiques, musicologie\u2026<\/p>\nModalit\u00e9s d\u2019\u00e9valuation<\/h2>\nLes propositions re\u00e7ues sous la forme d\u2019une probl\u00e9matique r\u00e9sum\u00e9e (5000 signes maximum, espaces compris) feront l\u2019objet d\u2019une lecture et d\u2019une s\u00e9lection en double aveugle par les membres du comit\u00e9 de r\u00e9daction de la revue Marges.<\/p>\nCoordinateur du num\u00e9ro<\/h2>\n\nJ\u00e9r\u00f4me Glicenstein, professeur au d\u00e9partement d\u2019arts plastiques de l\u2019universit\u00e9 Paris 8, r\u00e9dacteur en chef de la revue Marges<\/em> (PUV).<\/li>\n<\/ul>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nArts<\/span><\/a><\/li>\nEngagement<\/span><\/a><\/li>\nEthique<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 5 d\u00e9cembre 2020 Informations \u00e9dit\u00e9es \u00e0 partir d\u2019une annonce Calenda. Th\u00e9matiques Communication et organisations Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles R\u00e9ponse attendue pour le 01\/01\/2021 […]<\/p>\n","protected":false},"author":781,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[350,182,180],"thematique":[37,35],"sfsic":[],"class_list":["post-15161","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-arts","tag-engagement","tag-ethique","thematique-communication-organisations","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","wp-sticky"],"acf":[],"yoast_head":"\n\u00c9thique et\/ou esth\u00e9tique<\/title>\n<meta name=\"description\" content=\"La revue Marges lance son appel \u00e0 articles pour son num\u00e9ro 34 sur la th\u00e9matique "\u00c9thique et\/ou esth\u00e9tique".\" 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Ces derni\u00e8res d\u00e9cennies ont vu une prise en consid\u00e9ration de plus en plus importante des questions \u00e9thiques au sein du monde de l\u2019art contemporain.<\/p>\n
Les d\u00e9marches des artistes sont de plus en plus concern\u00e9es par des questions d\u2019ordre politique ou social : la lutte contre toutes les formes de discrimination, le fait d\u2019alerter sur l\u2019urgence \u00e9cologique, la mise en cause de la mondialisation n\u00e9olib\u00e9rale, etc. Au m\u00eame moment, la plupart des institutions d\u2019art contemporain s\u2019associent \u00e0 ces questionnements et mettent un point d\u2019honneur \u00e0 valoriser davantage les pratiques de femmes artistes ou d\u2019artistes issus des minorit\u00e9s, \u00e0 corriger des situations probl\u00e9matiques (on pense \u00e0 la question des restitutions pour les mus\u00e9es), tout en consacrant une part importante de leur programmation \u00e0 des discussions sur des sujets politiques ou sociaux, souvent en faisant appel \u00e0 des intervenants issus de sph\u00e8res activistes.<\/p>\n
Cette \u00e9volution de la sc\u00e8ne de l\u2019art contemporain se retrouve dans les formes de rejet dont il est l\u2019objet. Si les rejets de l\u2019art moderne et contemporain se sont longtemps faits sur un plan esth\u00e9tique, en insistant notamment sur le fait que les \u0153uvres produites ne correspondaient pas \u00e0 la tradition, aux apparences ou \u00e0 l\u2019authenticit\u00e9 de la d\u00e9marche de l\u2019artiste (au sens traditionnel), les rejets de ces derni\u00e8res ann\u00e9es concernent beaucoup plus des questions d\u2019ordre \u00e9thique ou politique, souvent en impliquant un jugement d\u2019ordre moral. En d\u2019autres termes, si les artistes et les acteurs de l\u2019art sont critiqu\u00e9s aujourd\u2019hui, c\u2019est souvent parce qu\u2019ils transgressent, mettent en doute ou ne respectent pas des valeurs suppos\u00e9es communes : lorsqu\u2019il s\u2019en prend aux femmes ou aux membres de telle ou telle minorit\u00e9, qu\u2019il valorise le pouvoir de l\u2019argent, qu\u2019il n\u2019est pas suffisamment sensible aux questions environnementales, qu\u2019il ne s\u2019occupe pas des probl\u00e8mes des classes sociales d\u00e9favoris\u00e9es, etc.<\/p>\n
Ces d\u00e9nonciations \u2013\u00a0de plus en plus r\u00e9pandues ces derni\u00e8res ann\u00e9es, \u00e0 la fois dans les m\u00e9dias grand public, les r\u00e9seaux sociaux et au sein du milieu de l\u2019art\u00a0\u2013 posent la question de ce que pourrait \u00eatre un art plus acceptable. Est-il d\u2019ailleurs possible ou souhaitable d\u2019avoir un art qui mettrait en exergue les valeurs communes \u00e0 la soci\u00e9t\u00e9, qui serait consensuel, valoriserait les r\u00e9ussites des femmes et des minorit\u00e9s, s\u2019en prendrait aux in\u00e9galit\u00e9s sociales et au pouvoir de l\u2019argent, tout en \u00e9tant accessible \u00e0 tous ?<\/p>\n
Le partage collectif des questions \u00e9thiques affronte ici l\u2019un des principes centraux de la sph\u00e8re de l\u2019art : la d\u00e9fense de son autonomie, laquelle se retrouve dans la mise en avant d\u2019une \u00e9thique propre \u00e0 chaque artiste et qui garantirait l\u2019authenticit\u00e9 de sa d\u00e9marche. Une telle \u00e9thique est-elle compatible avec un engagement plus large qu\u2019une simple pratique artistique ?\u00a0 \u00c0 quelles conditions l\u2019artiste peut-il se faire le porte-parole d\u2019une cause qui ne le concerne pas directement ? Attribuer \u00e0 la cr\u00e9ation artistique la facult\u00e9 de r\u00e9soudre des conflits ou de susciter les prises de conscience n\u2019est-il pas un v\u0153u pieu ? Un artiste peut-il d\u00e9noncer l\u2019emprise du capital tout en participant au march\u00e9 de l\u2019art ? Une artiste peut-elle alerter sur l\u2019urgence \u00e9cologique, tout en se d\u00e9pla\u00e7ant aux quatre coins de la plan\u00e8te ? Les artistes peuvent-ils \u00eatre engag\u00e9s \u00e0 la fois dans un combat social ou politique et dans la d\u00e9fense de l\u2019autonomie de leur pratique ?<\/p>\n
Axes de r\u00e9flexion possibles :<\/p>\n
Les propositions devront nous parvenir avant le 1er<\/sup> janvier 2021<\/strong>, sous la forme d\u2019une probl\u00e9matique r\u00e9sum\u00e9e (5000 signes maximum, espaces compris<\/strong>), adress\u00e9e par courriel \u00e0\u00a0jerome.glicenstein@univ-paris8.fr<\/a><\/p>\nLes textes s\u00e9lectionn\u00e9s (en double aveugle<\/strong>) seront pr\u00e9sent\u00e9s par leurs auteurs lors d\u2019une session Zoom, d\u00e9but mars 2021. \u00c0 l\u2019issue de cette rencontre, les textes d\u00e9finitifs devront nous parvenir le 15 avril 2021 (30.000 \u00e0 40.000 signes, espaces et notes compris) Certaines de ces contributions seront retenues pour publication dans le num\u00e9ro 34 de\u00a0Marges<\/em>\u00a0(avril 2022).<\/p>\nLa revue\u00a0Marges<\/em>\u00a0(Presses Universitaires de Vincennes) fait prioritairement\u00a0appel\u00a0aux jeunes chercheurs des disciplines susceptibles d’\u00eatre concern\u00e9es par les domaines suivants : esth\u00e9tique, arts plastiques, histoire de l’art, sociologie, \u00e9tudes th\u00e9\u00e2trales ou cin\u00e9matographiques, musicologie\u2026<\/p>\nModalit\u00e9s d\u2019\u00e9valuation<\/h2>\nLes propositions re\u00e7ues sous la forme d\u2019une probl\u00e9matique r\u00e9sum\u00e9e (5000 signes maximum, espaces compris) feront l\u2019objet d\u2019une lecture et d\u2019une s\u00e9lection en double aveugle par les membres du comit\u00e9 de r\u00e9daction de la revue Marges.<\/p>\nCoordinateur du num\u00e9ro<\/h2>\n\nJ\u00e9r\u00f4me Glicenstein, professeur au d\u00e9partement d\u2019arts plastiques de l\u2019universit\u00e9 Paris 8, r\u00e9dacteur en chef de la revue Marges<\/em> (PUV).<\/li>\n<\/ul>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nArts<\/span><\/a><\/li>\nEngagement<\/span><\/a><\/li>\nEthique<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 5 d\u00e9cembre 2020 Informations \u00e9dit\u00e9es \u00e0 partir d\u2019une annonce Calenda. Th\u00e9matiques Communication et organisations Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles R\u00e9ponse attendue pour le 01\/01\/2021 […]<\/p>\n","protected":false},"author":781,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[350,182,180],"thematique":[37,35],"sfsic":[],"class_list":["post-15161","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-arts","tag-engagement","tag-ethique","thematique-communication-organisations","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","wp-sticky"],"acf":[],"yoast_head":"\n\u00c9thique et\/ou esth\u00e9tique<\/title>\n<meta name=\"description\" content=\"La revue Marges lance son appel \u00e0 articles pour son num\u00e9ro 34 sur la th\u00e9matique "\u00c9thique et\/ou esth\u00e9tique".\" 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Les textes s\u00e9lectionn\u00e9s (en double aveugle<\/strong>) seront pr\u00e9sent\u00e9s par leurs auteurs lors d\u2019une session Zoom, d\u00e9but mars 2021. \u00c0 l\u2019issue de cette rencontre, les textes d\u00e9finitifs devront nous parvenir le 15 avril 2021 (30.000 \u00e0 40.000 signes, espaces et notes compris) Certaines de ces contributions seront retenues pour publication dans le num\u00e9ro 34 de\u00a0Marges<\/em>\u00a0(avril 2022).<\/p>\nLa revue\u00a0Marges<\/em>\u00a0(Presses Universitaires de Vincennes) fait prioritairement\u00a0appel\u00a0aux jeunes chercheurs des disciplines susceptibles d’\u00eatre concern\u00e9es par les domaines suivants : esth\u00e9tique, arts plastiques, histoire de l’art, sociologie, \u00e9tudes th\u00e9\u00e2trales ou cin\u00e9matographiques, musicologie\u2026<\/p>\nModalit\u00e9s d\u2019\u00e9valuation<\/h2>\nLes propositions re\u00e7ues sous la forme d\u2019une probl\u00e9matique r\u00e9sum\u00e9e (5000 signes maximum, espaces compris) feront l\u2019objet d\u2019une lecture et d\u2019une s\u00e9lection en double aveugle par les membres du comit\u00e9 de r\u00e9daction de la revue Marges.<\/p>\nCoordinateur du num\u00e9ro<\/h2>\n\nJ\u00e9r\u00f4me Glicenstein, professeur au d\u00e9partement d\u2019arts plastiques de l\u2019universit\u00e9 Paris 8, r\u00e9dacteur en chef de la revue Marges<\/em> (PUV).<\/li>\n<\/ul>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nArts<\/span><\/a><\/li>\nEngagement<\/span><\/a><\/li>\nEthique<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 5 d\u00e9cembre 2020 Informations \u00e9dit\u00e9es \u00e0 partir d\u2019une annonce Calenda. Th\u00e9matiques Communication et organisations Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles R\u00e9ponse attendue pour le 01\/01\/2021 […]<\/p>\n","protected":false},"author":781,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[350,182,180],"thematique":[37,35],"sfsic":[],"class_list":["post-15161","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-arts","tag-engagement","tag-ethique","thematique-communication-organisations","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","wp-sticky"],"acf":[],"yoast_head":"\n\u00c9thique et\/ou esth\u00e9tique<\/title>\n<meta name=\"description\" content=\"La revue Marges lance son appel \u00e0 articles pour son num\u00e9ro 34 sur la th\u00e9matique "\u00c9thique et\/ou esth\u00e9tique".\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.sfsic.org\/en\/aac-publication\/ethique-et-ou-esthetique\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u00c9thique et\/ou esth\u00e9tique\" \/>\n<meta property=\"og:description\" content=\"La revue Marges lance son appel \u00e0 articles pour son num\u00e9ro 34 sur la th\u00e9matique "\u00c9thique et\/ou esth\u00e9tique".\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.sfsic.org\/en\/aac-publication\/ethique-et-ou-esthetique\/\" \/>\n<meta property=\"og:site_name\" content=\"SFSIC\" \/>\n<meta property=\"article:published_time\" content=\"2020-12-08T17:02:20+00:00\" \/>\n<meta name=\"author\" content=\"Axelle Martin\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<script 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La revue\u00a0Marges<\/em>\u00a0(Presses Universitaires de Vincennes) fait prioritairement\u00a0appel\u00a0aux jeunes chercheurs des disciplines susceptibles d’\u00eatre concern\u00e9es par les domaines suivants : esth\u00e9tique, arts plastiques, histoire de l’art, sociologie, \u00e9tudes th\u00e9\u00e2trales ou cin\u00e9matographiques, musicologie\u2026<\/p>\nModalit\u00e9s d\u2019\u00e9valuation<\/h2>\nLes propositions re\u00e7ues sous la forme d\u2019une probl\u00e9matique r\u00e9sum\u00e9e (5000 signes maximum, espaces compris) feront l\u2019objet d\u2019une lecture et d\u2019une s\u00e9lection en double aveugle par les membres du comit\u00e9 de r\u00e9daction de la revue Marges.<\/p>\nCoordinateur du num\u00e9ro<\/h2>\n\nJ\u00e9r\u00f4me Glicenstein, professeur au d\u00e9partement d\u2019arts plastiques de l\u2019universit\u00e9 Paris 8, r\u00e9dacteur en chef de la revue Marges<\/em> (PUV).<\/li>\n<\/ul>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nArts<\/span><\/a><\/li>\nEngagement<\/span><\/a><\/li>\nEthique<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 5 d\u00e9cembre 2020 Informations \u00e9dit\u00e9es \u00e0 partir d\u2019une annonce Calenda. Th\u00e9matiques Communication et organisations Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles R\u00e9ponse attendue pour le 01\/01\/2021 […]<\/p>\n","protected":false},"author":781,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[350,182,180],"thematique":[37,35],"sfsic":[],"class_list":["post-15161","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-arts","tag-engagement","tag-ethique","thematique-communication-organisations","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","wp-sticky"],"acf":[],"yoast_head":"\n\u00c9thique et\/ou esth\u00e9tique<\/title>\n<meta name=\"description\" content=\"La revue Marges lance son appel \u00e0 articles pour son num\u00e9ro 34 sur la th\u00e9matique "\u00c9thique et\/ou esth\u00e9tique".\" 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Les propositions re\u00e7ues sous la forme d\u2019une probl\u00e9matique r\u00e9sum\u00e9e (5000 signes maximum, espaces compris) feront l\u2019objet d\u2019une lecture et d\u2019une s\u00e9lection en double aveugle par les membres du comit\u00e9 de r\u00e9daction de la revue Marges.<\/p>\n
<\/p>\n","protected":false},"excerpt":{"rendered":"
Mis en ligne le 5 d\u00e9cembre 2020 Informations \u00e9dit\u00e9es \u00e0 partir d\u2019une annonce Calenda. Th\u00e9matiques Communication et organisations Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles R\u00e9ponse attendue pour le 01\/01\/2021 […]<\/p>\n","protected":false},"author":781,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[350,182,180],"thematique":[37,35],"sfsic":[],"class_list":["post-15161","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-arts","tag-engagement","tag-ethique","thematique-communication-organisations","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","wp-sticky"],"acf":[],"yoast_head":"\n