Les espaces d’exposition scénographiés : les enjeux des nouveaux modes de spatialisation des publics dans les espaces de l’art

This article attempts to describe spatial conditions of our aesthetic experiences, which are today shaped by the exhibition scenography. We will discuss initially the different types of exhibition area which have historically succeeded one another -cabinets of curiosities, museums, white cubes- and spatial patterns which are correlated with. Secondly, it will involve proposing a typography of exhibition scenography based on spatial patterns they involve. Thus, we have to distinguish between three categories. First, purist scenography, in which space serves as a background to the object, which in this opposition takes shape: it is a pure space, which allows only pure spirits. Here, the visitor is in a kind of non-spatialization. Then, thematic scenography, that build an immersive space where the visitor merges with the object: the visitor dissolves himself in a manner of speaking by and in this form of spatialization. Finally, participatory scenography that make the way in which the visitor and the art space a real driving force for visitors interaction and works, in other words the aesthetic experience