The panorama: a misleading art
12-13 February 2016
I2MP (Institut méditerranéen des métiers du Patrimoine)
201, Quai du Port
The exhibition "I Love Panoramas", result of a collaboration between the Museum of Arts & History of Geneva and the MuCEM in Marseille, seeks to show how the notion of panorama goes beyond common categories of representation: fine arts, contemporary art, photography, cinema, industry... The panoramic experience came from military and scientific logics, before being monopolized by performing arts, and questions our relation to the world or the landscape, known or unknown, mass tourism, the consumption of opinions, the image as an entertainment source.
From the first panorama drawing filed by Robert Fulton at the National Institute for Intellectual Property in Paris in 1799, to the 360° room for all colours of Olafur Eliasson in 2002, the exhibition proposes a large chronological range of examples. By gathering works from Jeff Wall, Peter Greenaway, David Hockney, Vincent Van Gogh, Gustave Courbet, Gerhard Richter, Jan Dibbets, François Morellet, Ellsworth Kelly… it underlines the variety of artistic works influenced by the notion of panorama. Through photographic surveys of the Alps, of battlefields, wallpapers, postcards or films, registers, mediums and universes mingle and renew the way we see the world and the place of the spectator.
This symposium will gather the actors of the exhibition "I Love Panoramas" (curators, members of the scientific board) and researchers (visual studies, history, literature, art history, cinema history, media studies...), and several members of the projet "Misleading Arts. Machines, Magic, Media", who will attempt to renew the definition and notion of panorama through recent experiences and research.
On one hand, a visit of the exhibition will enable the organizers to think about the way the museums in Geneva and Marseille, handled the artwork form. On the other hand, historical, cultural, literary and artistic issues will go beyond the exhibition, based on precise artworks and taking into account the notion of "panoramic literature" as Walter Benjamin defined it, and the multiple expressions of panoramic culture in 19th-century printed media.