La réception des expositions d'art engagé à la fin du XXe siècle au Québec : entre reconnaissance et institutionnalisation
The present thesis aims to understand how audience and critical reception of politically and socially engaged art exhibitions articulates itself in the museum context in Quebec. In order to do so, two case studies will be examined: Art et féminisme (1982) and Pour la suite du Monde (1992). Within the scope of this thesis, a thorough study will be facilitated by selecting exhibitions which took place in a single institution, the Musée d’art contemporain de Montréal. Before directly addressing reception and in order to better define the artistic and theoretical context of the 1980’s and 1990’s, the first chapter will be dedicated to the different theories and practices regarding exhibitions as they were developed in that period. As such, the work of exhibition practitioners and theorists Jérôme Glicenstein, Mieke Bal, Yves Michaud, Nathalie Heinich and Michel Pollak, as well as Daniel Buren, will be summarised. The second and third chapters will exclusively address the Art et féminisme and Pour la suite du Monde exhibitions. While their reception will be examined, the specific conceptual and socio-historical context in which they were deployed will be detailed. The aim of this exercise is to fully comprehend the way in which an exhibition enunciates its subject matter when the latter is closely linked to its political, cultural and institutional reality.
Musée d’art contemporain de Montréal Art et féminisme Pour la suite du Monde socially engaged art exhibition twentieth century