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Exhibitions in France As Symbolic Domination: Images of Postmodernism and Cultural Field in the 1980S

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Exhibitions in France As Symbolic Domination: Images of Postmodernism and Cultural Field in the 1980S Research Collection Journal Article Exhibitions in France as Symbolic Domination: Images of Postmodernism and Cultural Field in the 1980s Author(s): Charitonidou, Marianna Publication Date: 2021-02-12 Permanent Link: https://doi.org/10.3929/ethz-b-000469325 Originally published in: Arts 10(1), http://doi.org/10.3390/arts10010014 Rights / License: Creative Commons Attribution 4.0 International This page was generated automatically upon download from the ETH Zurich Research Collection. For more information please consult the Terms of use. ETH Library Article Exhibitions in France as Symbolic Domination: Images of Postmodernism and Cultural Field in the 1980s Marianna Charitonidou Chair of the History and Theory of Urban Design, Institute for the History and Theory of Architecture (gta), Department of Architecture, ETH Zurich, 8093 Zürich, Switzerland; [email protected] Abstract: The article examines a group of exhibitions that took place in the late seventies and early eighties and are useful for grasping what was at stake regarding the debates on the tensions between modernist and post-modernist architecture. Among the exhibitions that are examined are Europa- America: Architettura urbana, alternative suburbane, curated by Vittorio Gregotti for the Biennale di Venezia in 1976; La Presenza del passato, curated by Paolo Portoghesi for the Biennale di Venezia in 1980; the French version of La presenza del passato—Présence de l’histoire, l’après modernisme—held in the framework of the Festival d’Automne de Paris in 1981; Architectures en France: Modernité/post- modernité, curated by Chantal Béret and held at the Institut Français d’Architecture (18 November 1981–6 February 1982); La modernité, un projet inachevé: 40 architectures, curated by Paul Chemetov and Jean-Claude Garcias for the Festival d’Automne de Paris in 1982; La modernité ou l’esprit du temps, curated by Jean Nouvel, Patrice Goulet, and Francoiş Barré and held at the Centre Pompidou in 1982; and Nouveaux plaisirs d’architecture, curated by Jean Dethier for the Centre Pompidou in 1985, among other exhibitions. Analysing certain important texts published in the catalogues of the afore- mentioned exhibitions, the debates that accompanied the exhibitions and an ensemble of articles in Citation: Charitonidou, Marianna. French architectural magazines such as L’Architecture d’aujourd’hui and the Techniques & Architec- 2021. Exhibitions in France as ture, the article aims to present the questions that were at the centre of the debates regarding the Symbolic Domination: Images of opposition or osmosis between the modernist and postmodernist ideals. Some figures, such as Jean Postmodernism and Cultural Field Nouvel, were more in favour of the cross-fertilisation between modernity and postmodernity, while in the 1980s. Arts 10: 14. others, such as Paul Chemetov, believed that architects should rediscover modernity in order to https://doi.org/10.3390/arts10010014 enhance the civic dimension of architecture. Following Pierre Bourdieu’s approach, the article ar- Academic Michelle Facos gues that the tension between the ways in which each of these exhibitions treats the role of the image within architectural design and the role of architecture for the construction of a vision regarding Received: 22 December 2020 progress is the expression of two divergent positions in social space. Accepted: 8 February 2021 Published: 12 February 2021 Keywords: postmodernism; France; Paul Chemetov; Jean Nouvel; Centre Georges Pompidou; ex- hibitions; Pierre Bourdieu; symbolic domination; cultural field Publisher’s Note: MDPI stays neu- tral with regard to jurisdictional claims in published maps and insti- tutional affiliations. 1. Introduction The exhibition La modernité, un projet inachevé: 40 architectures (The Modernity, an un- finished project: 40 architectures) (Figure 1), curated by Paul Chemetov and Jean-Claude Copyright: © 2021 by the author. Li- Garcias and held in the Palais des études of the École des Beaux-Arts in Paris between 30 censee MDPI, Basel, Switzerland. September and 15 November 1982 in the framework of the Festival d’Automne, aimed to This article is an open access article show that, in contrast with the international context, the modern tradition in France was distributed under the terms and con- not characterised by continuity. This hypothesis could be opposed to Walter Gropius’s ditions of the Creative Commons At- view in (Gropius 1964) “Tradition and Continuity in Architecture”, published in Architec- tribution (CC BY) license (http://crea- tural Record in 1964. Chemetov and Garcias, through the aforementioned exhibition, tivecommons.org/licenses/by/4.0/). aimed to address the role of architects within a generalised context of massification of their action. As Paul Chemetov underlines in the catalogue, one of the main objectives of Arts 2021, 10, 14. https://doi.org/10.3390/arts10010014 www.mdpi.com/journal/arts Arts 2021, 10, 14 2 of 21 the exhibition was to show that “for France, Jean-Paul Sartre's Critique de la raison dialec- tique rose up against the socialist complex of progress and against the one-dimensionality […] of historical materialism” (Sartre 1960; Chemetov 1982a). Α question that dominated architectural discourse during the years of the crisis of modernity concerned the ways in which these changes influenced the status of architecture as an art representative of cul- ture and history. Relevant for understanding the view developed by Chemetov and Gar- cias in the aforementioned exhibition was Sartre’s conception of the engaged intellectual. FiAccordinggure 1. Fron tot co Sartre,ver of th thee exh intellectual’sibition catalogu eengagement La M odernit oushould be understood as linked to the human condition.(Paris :More l’Éque specifically,rre, 1982). for Sartre, the intellectual is a restless soul who feels ill at ease in the society of his time because he no longer wants to express the objective spirit of his class or to put his universal knowledge at the service of particular interests. FiFiguregure 2 1.. Front cover Laof PaulM oder Chemetov,nit , un pro jeJeant ina-chClaudeev : 4 0Garcias, eds. 1982. La Modernité, un projet Catalogue de l’exposition La Modernité ou l’esprit du temps, Paris, l’Éq u e rre, 1982. Catalogue de l’Fexrpoonsitt icoon Lvae Mr oodfernité, un projet inachevé : 40ainachevr achrchitieteccttéees:s ,40 P(aPr iarchitectesas, rÉids:it ioÉnds idtiuo Mn. osParis:n idteuu r,M 19 oÉditions8n2.iteur, 19 du82) Moniteur.. The catalogue of the exhibition La modernité, un projet inachevé: 40 architectures in- logement 10 ». Les crit è res principaux qui ont guid é son choix decluded socia bKennethilit é « arc- bFrampton’sout é e sur le te“Réfléxionsmps ». Son in tsuré rê t l’étatpour lade la modernité: fragments polé- ont é t é « la cohé rence des positions personnelles au travers dumiques”ré e s’op p(Framptonose à l’appe 1982)l de N,o Jeanuvel à-Claude utiliser « Garcias’s tout le pot “Laentie modernitél la plus récente” (Garcias d ’œ u v res fort diff é rentes » et le caract è re repré senta- du temps pré s e n t ». Lorsque Chemetov af rme que la radica- tif « d ’une d é marche qui nous paraît commune à l’ensemble lit1982)é du Mo, Jürgenuvement Habermas’s moderne « l“L’autree mettait etradition”n porte- à- f(Habermasaux sur sa 1982), and “Le postmodernisme 11 ou la peur des conflits” (Schmidt17 1982; id. 1986) by German philosopher Burghart des projets » . Alternat ivement, les crit è res retenus pour le bDars. eir .s Moarciaianle naet Cmhaatréitronielildoe mu ê me », il fait é tat d e l ’i n c a p a c i t é Page 2 / 2 choix des projets de La Modernité ou l’esprit du temps ont dSchmidt.e l’avant-g Itar dconcludede à aborde r withdes qau etextstio nbys s oPaulciale sChemetov à travers entitled “Inachevé, parce qu’in- é t é leur refus des concepts unificat eurs et simplificat eurs, l’achevable”architecture, (pChemetovosition que 1982ales ana)l,y inse swhich d ’Anto theine Cauthorompag nsuggestedon readdressing the questions 18 leur absence de position doctrinale et leur mé fiance vis- à-vis praisedourraie nbyt é theclai rmoderner utilem emovementnt . through a critical re-evaluation of its strategies. Reading de toute vé rit é imp é rialiste et universalisante12. Les organisa- En suivant l’approche de Pierre Bourdieu dans La teurs partaient de l’id é e d ’« accepter la lé gitimit é des diffé - Di“Lastin Biennalection, la f adeço Venise:n selon criselaque letle ornements”,chacun des d publishedeux archi- in Techniques & Architecture in Oc- rents mod è les culturels » et de mettre « en cause toute une tetoberctes e1982ntend(Chemetov l’image et le 1982b, rô le de p.l’arc152)hite—ctthature disan tos l esay cha, nthe- same year that La modernité, un at titude culturelle basé e sur l’autonomie disciplinaire de l’ar- gprojetemen tinachevé: social ref l40ète architectures leur position wasresp eheldctive— doneans lise cconfrontedhamp with the anti-postmodernist chitecture »13. Dans son texte « Fr é q u e n c e modernit é », Barré soviewcial19 of. Le Chemetov.s deux expo sitions visent par leur aspect polé mique é voque les pratiques d é mocratiques conduisant à « des à conqTheué ri rsame un ca yearpital sasym Labo lmodernité,ique et leu runs t aprojetctique inachevé:s tendent 40 architectures, another exhibition espaces nouveaux, des lieux d ’interrelat ions et des confron- à af rmer dans chaque cas le « pouvoir de produire et d ’impo- tat ions ». Il perço it la modernit é propre à l’esprit du temps salsoer [u ntooke] vis placeion du in m oParis,nde l éthisgitim timee20 ». atLe sthe id é Centrees opp oPompidou:sé es de La modernité ou l'esprit du temps comme un appel à l’« ouverture sur tous les modes d ’expres- C(hModernityemetov et dore theNou spiritvel co nofd utheise ntimest à re)v i(sNouvel,iter les o uEgg,tils e tFillion, les Goulet 1982), curated by Jean sion de l’é poque, sur les exp é rimentat ions du langage, de coNouvel,ncepts dPatricee la gé nGouleté ration, andpré c éFrandentceoiş , v isBarr- à-véis.
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