I linguaggi dell'arte

Non ci sarebbe continuità né civilizzazione se le persone non fossero in grado di raccontarsi l’un l’altro le loro azioni passate, presenti e future.

Raccontiamolo anche qui.
La verità umana non è quella dell’assoluto, ma quella della relazione. Ogni identità esiste nella relazione; è solo nel rapporto con l’altro che cresco cambiando senza snaturarmi. Ogni storia rinvia ad un’altra e sfocia in un’altra.
Edouard Glissant

Mentre i musei si innamorano delle "esperienze", le loro missioni principali affrontano la ridefinizione L'esperienza è diventata una parola d'ordine nel marketing, e ora è anche il nome preferito dei musei.                                       Naomi Rea , 14 marzo 2019

Remember around 10 years ago, when “curate” became the mot du jour, descending from the ivory tower of museums and white-cube galleries to describe everything from coffee carts to sneaker stores to nightclubs? Now there’s a new buzzword in town, and that word is “experience.”

But while a decade ago, commerce borrowed the language of art, the influence is no longer flowing in just one direction. The experience phenomenon first began to take hold in the marketing world around five years ago, as brick-and-mortar stores sought to find a way to attract young people who otherwise might do their shopping online. That desire to create something that can be felt, rather than purchased or passively observed, has since bubbled over into museums.

Consider Qatar’s new National Museum, due to open in Doha at the end of March, which has been billed as “a new immersive museum experience” and whose publicity materials describe it as “1.7 miles of experiences.” In Paris, a digital art museum called the Atelier des Lumières offers multi-sensory “experiences” (read: projections) of artworks, and its recent exhibition on Gustav Klimt and Egon Schiele attracted some 1.2 million visitors in just nine months. And in Brooklyn, the experiential art collective teamLab is building a new, 55,000-square-foot “digital museum” that is expected to excite many a New Yorker when it opens this summer.

At the same time, the term “museum” has thoroughly saturated the marketing world, with museum-themed pop-ups dedicated to selfies, feelings, and pizza.

“There’s no doubt that we’re in a heightened moment of experience-based programming, in the landscape of museums and beyond,” explains Diane Jean-Mary, an associate director of strategy and innovation at marketing firm LaPlaca Cohen. “The experience economy is certainly part of the zeitgeist, perhaps because of the rise of the digitization of every aspect of our lives, and people are hungry for in-person, physical, human connection with each other and our shared world.”

The Experience Machine

The word “experience” has become so much a part of the contemporary lexicon that it has even has its own entry in Keywords for Today: A 21st Century Vocabulary, published by the Oxford University Press. The book traces the etymology of the word to “experiment,” but notes that in the past half-century there has been a surge in its use in a commercial environment.

“Perhaps the most important developments have come in advertising and marketing,” the editors write. This is a zone “where customer experience has become central and where the argument has been advanced that we live in an experience economy; just as services replaced goods, so experiences are now replacing services as the most important element in advanced economies.”

ARTISTA, espressione, arte contemporanea, perform

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