Scenographic spaces. The exhibition as a critical and sensitive experience.
MétisPresses| N° d'inventaire | 22830 |
| Format | 14 x 19 |
| Détails | 160 p., paperback with flaps |
| Publication | Geneva, 2020 |
| Etat | Nine |
| ISBN | 9782940563616 |
Following on from Scénographie d'exposition, Arnaud Sompairac now undertakes to explore the traditional tools and attitudes specific to the scenographic exercise. He questions the essential contribution of architecture to the discipline, through geometry, measurement and rhythm, privileged tools that make objects emerge and convey knowledge by withdrawing from the scene. Following this common thread, the author guides us to the discovery of multiple stagings: from the Scrovegni Chapel in Padua, to the millimeter-perfect choreographies of the Nazi party in Nuremberg, by way of the Galerie du Temps of the Louvre-Lens Museum or the luminous works of the Teamlab. Beyond a classical approach to exhibition staging, the author also highlights the need for a critique in the very attitude of the scenographer. In his gesture, he must question the contents he presents, introducing play within the forms, on the registers of humor, poetry or dissonance, in a dialogue with his sponsor, which can turn out to be complicit or conflicting. This play creates a milieu and a tone which contribute to the understanding of the purpose of the exhibition by its visitor, challenged by the forms in his body and in his movement.
Following on from Scénographie d'exposition, Arnaud Sompairac now undertakes to explore the traditional tools and attitudes specific to the scenographic exercise. He questions the essential contribution of architecture to the discipline, through geometry, measurement and rhythm, privileged tools that make objects emerge and convey knowledge by withdrawing from the scene. Following this common thread, the author guides us to the discovery of multiple stagings: from the Scrovegni Chapel in Padua, to the millimeter-perfect choreographies of the Nazi party in Nuremberg, by way of the Galerie du Temps of the Louvre-Lens Museum or the luminous works of the Teamlab. Beyond a classical approach to exhibition staging, the author also highlights the need for a critique in the very attitude of the scenographer. In his gesture, he must question the contents he presents, introducing play within the forms, on the registers of humor, poetry or dissonance, in a dialogue with his sponsor, which can turn out to be complicit or conflicting. This play creates a milieu and a tone which contribute to the understanding of the purpose of the exhibition by its visitor, challenged by the forms in his body and in his movement.