Sessions auxquelles Dr Danielle Doucet participe
Samedi 4 Juin, 2016
Lundi 6 Juin, 2016
Architectural historian John R. Stubbs suggests that architectural conservation is concerned with historic buildings and their sites as well as their associated accoutrements, such as furnishings and fittings. But what happens if the building itself is not seen as “historic” or even worthy of a heritage designation, much less conservation, while its site and furnishings are significant in aesthetic, cultural or social terms; in other words what happens when a building’s decorative arts tru...
Sessions auxquelles Dr Danielle Doucet assiste
Samedi 4 Juin, 2016
What if we changed our views on heritage? And if heritage has already changed? While, on the global scene, states maintain their leading role in the mobilization of social and territorial histories, on the local scale, regions, neighbourhoods and parishes have changed. Citizens and communities too: they latch on to heritage to express an unprecedented range of belongings that no law seems to be able to take measures to contain, often to the discontent of...
Dimanche 5 Juin, 2016
Russell Staiff argues that heritage discourse and practice are tightly interwoven with the theoretical legacy of the visual arts, specifically citing the shared concerns of formalism, iconography, aesthetics and modernism (“Heritage and the Visual Arts” 2015). Yet craft, as a field of knowledge, is often subsumed under the visual arts, when in fact its materialities, functionality, concerns about skill and preoccupation with the local (whether understood as geographically or politically const...
In endeavouring to answer the question "What does heritage change?" this proposed session, "Fashioning Heritage," will call for papers that critically examine the way in which one of the main functions of dress is to locate or position individuals and communities in space and time. The temporal realm can be conceived as personally transitioning from and through certain life stages, being culturally defined as well as conceiving gender differently by dress and textiles. Transitions are visuall...
Lundi 6 Juin, 2016
Milan Tanedjikov (Concordia University) and six LaSalle College students. A Material Culture & Fashion Exhibit June 6 and 7 The garments are part of a collection, titled Odesza, designed by six LaSalle College students under the artistic direction of Milan Tanedjikov. The collection: an artisanal Montreal-based clothing collection that is part of the slow-fashion movement. The clothes are made by hand with environmentally friendly material and workers are ...
Le patrimoine fait aujourd’hui l’objet d’attentions autant que d’agressions et de destructions. Cela peut s’expliquer par les difficultés de son identification ou de sa conservation. Cela peut plus profondément s’expliquer parce que, dès le départ, il célébre un événement ou conserve une mémoire qui peut être ou devenir une source de dissenssions et de conflits politiques. Enfin, sa reconnaissance suscite des gains économiques pour les uns mais des pertes pour les autres. Mais peut-être...
Mardi 7 Juin, 2016
The second half of the 20th century saw the affirmation of national and international heritage administrations run by teams of experts that mutually validated each other’s knowledge and findings. The emergence of new forms of heritage, new collections and international networks related to museums, or other heritage structures, has led to the development of numerous new or reformulated specialities. In the last two decades a new ideal of heritage has gained ground, one based on communities ...
L’art contemporain, lorsqu’il est en relation avec le patrimoine culturel, que ce dernier soit bâti ou qu’il mobilise d’autres matériaux ou supports, tend à reconfigurer les rapports de la société à ses patrimoines et à son histoire. Il est ainsi à même d’ajouter, de modifier, de détourner ou même de transformer les valeurs historiennes ou esthétiques communément associées au patrimoine culturel d’une nation, d’une région ou d’un groupe social ou ethnique; y compris d’ailleurs en ce qui conce...
Si la ville moderne occidentale se transforme, sous l'action des aménageurs, en écho à des utopies, des programmes de développement et des intérêts économiques, on néglige trop souvent l'action quotidienne d'habitants et d'acteurs sociaux qui s'approprient les lieux et contribuent à les transformer. Dans cette mutation de la ville, le patrimoine se trouve à la croisée d'enjeux économiques et sociaux singuliers: d'une part il est convoqué par les aménageurs et les acteurs de la gentrification ...