La tendance consistant \u00e0 spatialiser la photographie, et plus sp\u00e9cifiquement la photographie documentaire, s\u2019affirme clairement en 1951 \u00e0 travers les expositions : The new landscape<\/i> de Gy\u00f6rgy Kepes au Massachusetts Institute of Technology, Architettura, misura dell\u2019uomo<\/i> (IX Triennale de Milan) d\u2019Ernesto N. Rogers, Vittorio Gregotti et Giotto Stoppino, et en 1953 Parallel of Life en Art<\/i> \u00e0 l\u2019Institute of Contemporary Art (ICA) de Londres. Les documentations de ces trois \u00abdisplay\u00bb jouent un r\u00f4le essentiel sur l\u2019\u00e9volution des modes de monstration de la photographie. Elles viennent, comme celles des expositions du MoMA mises en espace par Herbert Bayer, Road to Victory et Airway to Peace<\/i>, alimenter la r\u00e9flexion qui se d\u00e9veloppe magistralement dans l\u2019ouvrage Display de Georges Nelson, publi\u00e9 en 1956.<\/p>\n
\u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0Bayer con\u00e7oit l\u2019exposition moderne \u00e0 partir des principes de la New Vision, selon lui elle ne doit pas tenir le spectateur \u00e0 distance mais l\u2019accompagner et l\u2019englober. En 1961, il compile ses id\u00e9es sur la conception des expositions dans un article, Aspect du design des expositions et des mus\u00e9es<\/i>*, et prend pour r\u00e9f\u00e9rence l\u2019exposition de l\u2019Obmokhou \u00e0 Moscou en 1921, o\u00f9 il observe \u00e0 travers sa documentation visuelle \u00ab qu\u2019une \u00e9limination radicale de l\u2019inessentiel a eu lieu\u2009\u2009\u2009\u00bb r\u00e9sultant d\u2019une recherche de la l\u00e9g\u00e8ret\u00e9 et de l\u2019apesanteur avec un minimum d\u2019utilisation de mati\u00e8re. Il consid\u00e8re alors qu\u2019il faut : \u00ab \u00e9liminer tous les \u00e9l\u00e9ments, structurels et autres, susceptibles de nuire ou d\u2019interf\u00e9rer avec les images elles-m\u00eames. La solution ultime de ce train de pens\u00e9e serait l\u2019affichage cr\u00e9\u00e9 sans aucun effort mat\u00e9riel ou support visible, plac\u00e9 en l\u2019air (\u2026) \u00bb.<\/p>\n
<\/p>\n
* Herbert Bayer \u00ab Aspect of Design of Exhibitions and Museums \u00bb, Curator, vol. 4 n\u00b03, 1961, p.258<\/p>\n","protected":false},"excerpt":{"rendered":"
Auteur : Remi Parcollet
\n28 pages, 21 \u00d7 29,7 cm, CMJN + 1 PMS en couverture
\n16 mars 2022
\nisbn 979-10-95991-40-3
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