Arts, science, society: artistic, academic and economic developments.
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International Symposium on Art Research and Research in Higher Art Education
Ministère de la Culture et de la Communication
École Nationale Supérieure d’Arts de Paris-Cergy
9, 10 February 2012
at the École Nationale Supérieure d’Architecture de Paris- Belleville
Academic research has consecrated publication as the most valuable means of research promotion. Being particularly structured (by review committees, journal ranking, quote rating, key-words etc.), this development principle is inevitably based on written text. Fine arts, on the other hand, rely on a different but essential means of recognition : the exhibition. At a time when art schools are expected to participate in the development of art research and in its transmission within existing networks, the constraint of written production, viewed as the necessary conclusion of the research process, is problematic particularly when considering practice-based research. If indeed publishing is a necessity, maybe it should be reconsidered in the light of its etymological
meaning: to make (something) public. In this case, couldn’t the exhibition and its various forms be fully acknowledged as a type of publication, all the more so as, lately, exhibitions are often associated with editorial publications? Isn’t this already an active movement of change, following the example of the famous MIT slogan “Demo or Die” (Peter Lunenfeld, 2000), which was suggested to replace the influential academic motto “Publish or Perish”? While there is no question of replacing one means (written
publication) by the other (exhibition), the exhibition media offers specific, unique frameworks: particularly, it allows to share experiences through another direct, aesthetic and public experience. With the advent of Living Labs, this public confrontation can also address the debates concerning the economic development of art research. While the latter consists in ensuring the transfer, application and also the legal protection of such research results to create innovative products or services, it has now
become of strategic importance to evaluate the social impact of these products and, if needed, to adjust them prior to a large scale distribution. What can be said about this potential dynamic when research labs such as the CSL (Sony Computer Sciences Laboratory) organize open house events in reputed sites of contemporary art (La Maison Rouge in
What can we make of this shift in art research development, when the Science Gallery in Dublin participates in the public debate by questioning the future of our societies with exhibitions that bring together some of the most prospective art, science and designs?
What possible answers can be given, when the ZKM in Karlsruhe (with their seminal exhibition and catalogue, Making things public), followed by the Science Po School of Political Arts, asks this essential question: how are things made public?
– Nelly Ben Hayoun, Designer
– Leonore Bonaccini, artist, founding member of the Bureau d’étude duo.
– Jean-Marc Chomaz, Co-Chair of The Laboratoire d’Hydrodynamique (LadHyX) de l’École Polytechnique
– Valerie Pihet, executive director of the École des arts politiques de Sciences Po (Science Po School of Political Arts), Paris
Coordinator and moderator: Samuel Bianchini, artist, teacher and researcher at Valenciennes University and at the EnsadLab (the École nationale supérieure d’arts décoratifs’s research laboratory).