La médiation écrite de l’art contemporain: tensions et paradoxes

Abstract

Experts, specialists, academics, critical, or professionals of the artistic diffusion, communicate between them using a language which is specific for them. The speech on the contemporary art has this of singular that, as by imitation with the installations or performances which it describes or comments on, it became a hermetic jargon. The task of the mediators who claim to familiarize new categories of public with the contemporary art is thus double: on the one hand, they seek to make appreciate and like works of the artists of our time, and with this intention, on the other hand, they try to solve the tension that the speech of the specialists in the contemporary art increases more than it does not solve it. It is obvious that the taste for the contemporary art and the discovery of works are largely subordinated to the comprehension of the texts of mediation which precede, accompany or relay their diffusion, and thus with the division of the language of speciality which animates them.