Sylvia Girel

The audience reception of the exhibition Au Bazar du genre: Féminin/Masculin en Méditerranée This abstract will reveal the first results of a qualitative study about the audience reception and perception of the exhibition Au bazar du genre:Féminin/Masculin en Méditerranée. Thanks to numerous media (interviews, field observations, the guest book, detailed press review, blogs, etc.), the aim will be to see how different could be the manners to perceive the same exhibition and to discuss the different points of views on gender and the objects on display – works of art, documents, and daily items.

Lecturer at the University of Aix-Marseille, researcher at the LESA (Laboratory about studies in art sciences) and at the LAMES (Mediterranean Laboratory in sociology), she is also a member of the OPuS, an international research group that is part of the CNRS. She teaches “Cultural mediation” at the UFR ALLSH in Aix-en- Provence and Marseille, and “Management of cultural institutions” at the IUP in Arles. Her main research field deals with art and cultural sociology related to the audience practices as well as cultural democratization.

Nicole Pellegrin

Presentation of an online museum project about women: MUSEA

Specialized in historical anthropology of the XVI and XIX centuries, Nicole Pellegrin is a research coordinator at the CNRS and also contributes to the virtual museum Musea, dealing with the history of women and gender, produced by the University of Angers (France). She conceived for this university the online exhibition Les genres de Jeanne d’Arc too. Her researches aim to reconstitute the ways of behaving and speaking, which are peculiar or common to sexual categories. She has studied several topics: the societies of young people and their celebrations, different textile objects and their identity powers, the role of dictionaries concerning eminent women in the development of an historical feminist memory.

Nicolas Hasselqvist

What is The Unstraight Museum? In 2007 a group of people in Sweden got tired of the fact that most museums neglected to tell the stories of the so-called Unstraight people and decided therefore to start an exhibition project. It led then to the idea of a new museum focused on the collective collection of Unstraight stories. “The Unstraight Museum” is nowadays producing and running travelling exhibitions, close cooperating with the international LGBTQ community. The museum is also digitally collecting and documenting Unstraight history in all its forms, thanks to the cataloguing and the creation of an open source database. Thank to its tools and methods, the “Unstraight Museum” fosters other museums, NGO’s and activists to include an Unstraight perspective in their collections and exhibitions and to take into account non-normative perspectives.

Teacher, actor and project manager in the cultural scene in Sweden, he has worked as a theater producer and in the fields of marketing theater and modern dance. He has also co-directed several film festivals and took part in the committee for West Pride, the LGBTQ-festival of western Sweden. Since fall 2013, he has been involved in The Unstraight Museum. Nowadays its research particularly focuses on how arts pedagogy can help people to understand their contemporaries.

Olinka Vištica

The Museum of Broken Relationships: the final theater of love

The Museum of Broken Relationships was created from an itinerant exhibition focusing on failed relationships and their ruins. Far from the idea of being a miraculous therapy against love pains, the museum proposes to overcome the emotional collapse by an act of creation: by enlarging its collection. Whatever the reason for offering personal stuff (exhibitionist desire, therapeutic act or just by curiosity), people have enjoyed the idea to display their love heritage as a sort of ritual or solemn ceremony. As Roland Barthes says in «Fragments d’un discours amoureux»: “Every passion definitely has its spectator… (there is no) total self-giving of love without a final theater”. Conceptualized in Croatia after a breakup, the exhibition has travelled all over the world and has collected numerous objects and stories and it continues to enlarge its collection thanks to several donations from its public. This abstract deals with the beginning and the development of this unique experience, both intimate and universal. It aims to focus on the impact and the different possible interpretations caused by the display of an emotional heritage, which shakes up the identity, gender, cultural and artistic boundaries.

Olinka Vištica, film producer and co-founder of HULAHOP, a production company honoured with for several awards for documentaries and short films, is one of the most versatile arts managers in the Croatian cultural scene. She co-authored the Museum of Broken Relationships, an original, internationally acclaimed project started in 2006 that has recently opened its permanent home in Zagreb after a worldwide tour. Its universal power to promote healing, understanding and compassion that crosses cultures has been recognized by the European Museum Forum, which awarded it with Kenneth Hudson Award for the most innovative museum in Europe in 2011.

Ophélie Ferlier

The male nude in a century of virility (1850-1914)

The abstract aims to analyze the general phenomenon of the depreciation of the male nude in the middle of the XIX century in opposition to the female nude, in particular in the modern artistic circles breaking with the traditional academic rules. However, the male nude is neither frozen into an immobile academism nor totally slipped away: it experiences a light renewal in a realistic or naturalistic perspective, and moreover as an introspective and expressionist quest.

Specialized in the French sculpture from the end of the XIX century to the early XX century, Ophélie Ferlier has been a project manager at the musée d’Orsay and in charge of practical works at the Ecole du Louvre before integrating the Institut national du patrimoine. After being researcher at the Heritage Inventory Service in Aquitaine from 2010 to 2012, she is now sculpture curator at the Musée d’Orsay.