Showing papers by "Eve Chiapello published in 1997"
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TL;DR: The definition of art inherited from the Romantic era implies that " true " art must be totally free and exclusively in its own service, and all forms of constraint and control are therefore seen as destructive.
Abstract: The definition of art inherited from the Romantic era implies that " true " art must be totally free and exclusively in its own service. All forms of constraint and control are therefore seen as destructive. Yet art today is increasingly produced in a relationship with organizations and in a collective context which necessarily produces certain forms of control. The author has therefore tried here both to define this control and the forms of art at the centre of the accusation that control could kill art, and to identify the forms of control at play in the most innovative productions which are also, " a priori ", the most hostile areas to any form of constraint. Four sources of control are distinguished: self-control, control by romantic ideology, control through a gift and control by an adhocratic body. The paradox is that these four sources of control, which break away from traditional management, are today part of the reflection of the most modern management. It seems very likely that this will affect artists' historical reservations vis-a-vis management.
20 citations
01 Dec 1997
TL;DR: The definition of the art heritee de l'epoque romantique assumes that l'art "veritable" doit andre totalement libre and au service exclusif de lui-meme as discussed by the authors.
Abstract: La definition de l'art heritee de l'epoque romantique suppose que l'art «veritable» doit etre totalement libre et au service exclusif de lui-meme. Toutes les formes de contraintes et de controle sont des lors concues comme destructrices. Pourtant, l'art est produit de nos jours de plus en plus en relation avec des organisations et dans un cadre collectif, contexte qui suscite forcement certaines formes de controle. L'auteur de cet article a donc d'une part cherche a comprendre quelles sont les formes de controle et les formes d'art qui sont au centre de l'accusation selon laquelle le controle pourrait tuer l'art, et d'autre part a identifier les formes de controle a l'oeuvre en ce qui concerne les productions les plus innovantes qui forment aussi « a priori » les terrains les plus hostiles a toute forme de contrainte. Quatre sources de controle sont mises au jour : l'auto-controle, le controle par l'ideologie romantique, le controle par le don et le controle par une structure adhocratique. Le paradoxe est que ces quatre sources de controle qui sont en rupture avec la gestion traditionnelle se trouvent aujourd'hui incorporee dans les reflexions du management le plus moderne, ce qui ne devrait pas manquer d'affecter la reticence historique des artistes a l'egard du management.
10 citations