Réception et diffusion de l'art conceptuel dans les collections privées françaises au cours des années 1970-1980

par François Trahais

Projet de thèse en Histoire de l'art

Sous la direction de Richard Leeman.

Thèses en préparation à Bordeaux 3 , dans le cadre de Montaigne-Humanités depuis le 17-11-2010 .


  • Résumé

    Au cours des années 1970 - 1980, la réception d'un nouvel art américain sur le sol européen engendra de nouvelles méthodes d'acquisition, de conservation et d'exposition. en effet, l'art conceptuel remet en question les procédures de production traditionnelles, les formes artistiques et le statut de l'auteur. aussi l'implication du collectionneur dans le processus de création fait de cet acteur un intervenant clef dans l'existence de l'œuvre. à travers l'étude d'un ensemble de collections privées françaises, et selon une période historique bien déterminée, il s'agit de considérer, sous une perspective élargie, l'histoire de l'art conceptuel

  • Titre traduit

    Receipt and dissemination of conceptual art in the French private collections from 1969 until 1991


  • Résumé

    Since the late sixties, conceptual art and new forms of the art work have challenged the traditional criteria of authenticity. Reproducibility but above all the dematerialization of the art work has advocated the disappearance of the object in favor of the idea and the value of the action. Collecting contemporary art has therefore become in principal a utopian project – Can we own ideas? Notwithstanding the contradictions inherent in this type of business, contracting conceptual art offers creative solutions. Contracts of exchange, certificates of authenticity and implementation of protocols frame complement and accompany the art works. These documents also initiate new methods of acquisition, exhibition and conservation. In addition, this type of contract invites new players in the creative process; it unites the artist and his patron. For each update of the art work, its owner, the collector, is considered as the interpreter of a collective work which is signed by the artist. But from a more symbolic point of view, the collector appears as a collaborator even a “co-author”. The authorship of the art work, because it is shared, helps to demystify the sole author. In addition, its ephemeral nature, intangible and infinite, contributes according to the same logic to the desecration of the unique nature of the art work. Thus, the questioning of the value criteria is illustrated explicitly within conceptual art collections. But it is in France, from the 1980s, that a new generation of artists, take in and go beyond the idea of the collection as a general pieces of art in order to make it a tool of critical detachment. With a theoretical plan such as this, the conceptual art collection summons at the same time the market, the institution and the creation, but it also shows the history of taste and the evolution of a system on the road to globalization.