La conservation de l'art et son programme comme mystère relationnel
DOI :
https://doi.org/10.25071/1916-4467.40838Mots-clés :
mystère, néo-matérialisme, programme d'études, méditation de la mort, conservation de l'art, vision du monde relationnelleRésumé
Les pratiques de conservation de l'art tendent à adhérer au réductionnisme et au rationalisme eurocentristes qui ont dominé les sciences et l'éducation occidentales, niant la subjectivité et l'expérience comme sources de connaissances. Aoki a suggéré qu'il existe, entre le programme d’étude planifié et le programme d’étude vécu, des milieux mystérieux et générateurs dans lesquels on pourrait entrer par la méditation, et qui pourraient élargir le programme d’étude pour inclure les mondes de vie individuels et les relations. Cette étude mobilise la méditation foucaldienne sur la mort pour déstabiliser et élargir davantage le programme d’étude en s’imprégnant de la mort dans la vie depuis ces espaces intermédiaires mystérieux entre les conservateurs d’art humains et les objets d’art plus-qu’humains. En réunissant les perspectives néo-matérialistes et autochtones, nous reconfigurons les limites actuelles de la conservation de l’art pour tenir compte de l’agentivité, de l’intra-action et de la perméabilité de la vie et de la mort humaine et non humaine. Dans nos soins des œuvres des artistes conceptuels Komar et Melamid, intentionnellement créées pour se désintégrer, nos méditations d’attention et de deuil tendent vers des formes plus responsables de pratiques et de programmes d’études de conservation de l’art. Nous proposons un programme de conservation de l’art basé sur le mystère relationnel en utilisant la méditation sur la mort mêlée aux énigmes du deuil artistique pour approfondir l’enchantement des personnes étudiantes envers les aspects insondables de la vie et de la mort, revigorant ainsi l’enseignement et la conservation avec mystère.
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