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16 - 18 septembre 2022Passat
Setembre 2022
Divendres 16
09:30 - 10:45
14:00 - 17:45
Dissabte 17
10:00 - 19:00
Dimenge 18
10:00 - 19:00
De 12 à 99 ans

Musée Nicéphore Niépce

Hôtel des Messageries royales 28 quai des Messageries 71100 Chalon-sur-Saône
  • Saône-et-Loire
  • Bourgogne-Franche-Comté

Thinking/ Classifying: 50 years of the museum, tribute to Georges Perec

The Nicéphore Niépce Museum proposes to lift the veil on a dimension removed from the public eye: the richness of its collections in reserve, by an approach amused in the manner of Georges Perec.
16 - 18 septembre 2022Passat
Anonyme Carte postale fantaisie sur les bébés vers 1900 carte postale colorisée © Coll. musée Nicéphore Niépce

On the occasion of its 50th anniversary, the Nicéphore Niépce Museum [1972] proposes to lift the veil on a dimension removed from the public eye: in the reserves, the wealth of its collections. To show everything is impossible, a representative selection is not either. A future catalogue will trace the history and procurement policies. So, to make both the diversity and the number, avoid repetitions with the permanent path, it is to an amusing and poetic approach of these spaces, in the manner of Georges Perec, that the public is invited.
Adept of rankings, lists, inventories, nicknamed the «crazy taxinomist», Perec [1936-1982] questions and ironically in his essay «Thinking/ Classifying», this anthropological mania of wanting to put order in the universe. The human being must classify the world to understand it, to think it. Everything in its place, a place for everything. This great “mania” is at the very heart of museum activities. Whatever its field of knowledge, a museum acquires, inventories, classes, preserves, transmits, exhibits.
For fifty years, the Nicéphore Niépce Museum has been carrying out these missions. But with one particularity: its subject, photography.
It’s a deep dive.
Because photography, the daughter of the nineteenth century and its revolutions, carries within it, from its appearance, a fixed idea, a utopia. Believe that we can, thanks to it, show everything, and bring the whole world to museums. To believe that we can make the universal and exact statement of things, to keep the image alive. To believe that we can overcome the passing of time, forgetfulness and destruction. To believe also that one can better know and understand the world, by detailing it, by dissecting it, by examining it in all its folds and folds, from the infinitely large to the infinitely small.
The photograph did not fail [?] and the reserves of the Nicéphore Niépce museum are proof of this. For two centuries, photography has undoubtedly served our taxonomic, individual and collective obsessions, whether scientific or documentary, amateur or artistic. The nature of the museum’s collections and their organization sometimes lead to a perecquien vertigo. The vocabulary listed by the writer is equally relevant to photography, “cataloguing, classifying, cutting, enumerating, grouping, hierarching, listing, numbering, sequencing, ordering, organizing, grouping, distributing”. Then “subdivide, distribute, discriminate, characterize, mark, define, distinguish, oppose, etc.” But contrary to what they induce, none of these operations can be objective. Neutrality and completeness do not exist. There is always the grid of a look, preliminary choices and an out-of-scope.
Fortunately, Perec reminds us with humour and humility that our quest for omniscience is doomed to failure. Our attempts to organize knowledge are often just over, and may be “barely more effective than the initial anarchy.”
Exhibition scheduled until September 25, 2022.

Types d'événement
Exposition
Thème 2022
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Conditions de participation
Gratuit

À propos du lieu

Musée Nicéphore Niépce
Hôtel des Messageries royales 28 quai des Messageries 71100 Chalon-sur-Saône
  • Saône-et-Loire
  • Bourgogne-Franche-Comté
Based(Established) in 1974 in Chalon-sur-Saône, born city of the inventor of the photography, the Nicéphore Niépce museum established(constituted) there about thirty-five years of existence, one of the most original photographic collections in Europe. First heliographies of Nicéphore Niépce in digital technologies, this collection of more than three million images tells the numerous stories of the photography in its aesthetic and documentary adventure, but also in its commercial and popular uses(practices). The museum gives itself for mission to establish a report(relationship) between the inventors, the pioneers and the creators of today and turns(shoots) its reflexion to the analysis of image in a more total acceptance: his(her,its) applications, his(her,its) effects, his(her,its) codes. Interactive devices(plans) and pedagogic movies aim at replacing the public in the centre of speech. The spectator manipulates virtually devices, dishwashing at the heart of experiences(experiments) of Nicéphore Niépce, is in the different professional, commercial, intimate universes of photographic practices. The museographic rooms(parts,plays) using the new technologies of image and web site favour the access of all to the activities of the museum. Educational projects, conferences, national or international internships(training courses) register the museum in its formative role. Place of visit, of preservation and of exhibition(exposure), the Nicéphore Niépce museum is also, thanks to its photography laboratory, a production site of contemporary images and of artistic creation recognised. It knows how to conjugate the respect for preservation to the precise study of the kept(preserved) bottoms and to the renewed presentation(display) by its collections (more than 80 000 photographies or objects digitally converted of collections, rich database of about 300 000 references).
Etiquetas
Villes et Pays d'art et d'histoire, Musée de France, Musée, salle d'exposition
Accès
Car park (unless 100 m). Harmed(Served) station (in 20 mn (TGV(HST))). Waterways (the Saône).
© Musée Nicéphore Niépce