De l’axiologie by Muriel Verbeeck-Boutin

Subjects: “…contemporary art…”
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Le jardin-œuvre, une autre façon d’appréhender le jardin collectif autour du travail de l’artiste Emmanuel Louisgrand by Camille Prunet

Subjects: “…contemporary art…”
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Archiver ailleurs, archiver autrement ? by Stefanie Baumann

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« Resident and Visitor », Brook Andrew et Christine Barthe en conversation by Christine Barthe

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Zwischen logos und icon by Ulrich Engel

Subjects: “…Contemporary Art…”
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“Making Sense” of Art through Design: Towards a Multisensory Theory of Reception Aesthetics by Inbal Strauss

Subjects: “…modern and contemporary art…”
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Les collections composites du musée de la Chasse et de la Nature by Marie-Christine Prestat

Subjects: “…contemporary art…”
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Âmes sensibles s’abstenir : violence à / de l’art contemporain by Catherine Bernard

Subjects: “…Contemporary art…”
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Arthur Danto and Art world by I. N. Nekhaeva

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A Study of Color Palettes and Painting Techniques of Prayat Pongdam: Oil on Board Painting “Cats and Birds (1957)” Using Micro-XRF Scanning Technique by Nawarat Kaew-On, Supapit Kongchan

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Arşivler(Savaş Arşivleri): – Arşivsel Tasavvur, Savaş ve Çağdaş Sanat by Helin İlcek

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Çağdaş Sanatı Anlamaya Yönelik Müzik, Dans/Devinim ve Resim Alanlarını Kapsayan Disiplinlerarası Bir Sanat Eğitimi Uygulaması by Şehnaz SUNGURTEKİN, Dilek BİLHAN

Subjects: “…Contemporary art…”
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SUMMARIES. Why Have There Been No Great Female Artists? History of Art in Poland Fifty Years Since the Publication of Linda Nochlin's Famous Essay by various

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Strategies for Studying Multiple Meanings in Conservation Research by Jan Marontate

“…The paper examines how diverse value systems and multiple meanings of contemporary art might be taken into account in conservation research.  …”
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Des créateurs et des curateurs aux frontières des arts visuels et du cinéma documentaire. Maroc – Tunisie (2011-2016) by Marie Pierre-Bouthier

“…In this paper, we follow a few documentary filmmakers from Morocco and Tunisia who have crossed paths with contemporary art during their career. We begin by questioning the reasons why contemporary art attracts these filmmakers: they try to adapt their practice to a restrictive cinema system, and to achieve differently their documentary ambitions. …”
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İbretnüma (2009) in the context of shadow play representation language with a feminist approach by Berceste Gülçin Özdemir, Nilay Ulusoy

“… Istanbul-born visual artist and activist Canan Şenol, also known as Canan (1970-), produced the video animation İbretnüma (2009), which tells the story of a young girl who moves from an Anatolian village to a big city. Using a contemporary art approach, the work incorporates representations that influence traditional Turkish art. …”
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Raymond Bellour, la chambre et l’art de “l’entre-images” by Martine Bubb

“…How to account for the increasing diversity of the practices in the contemporary art ? The notion of ‘inter-images’ proposed by Raymond Bellour seems to us relevant as far as it invites us to exceed the borders traditionally admitted between the arts to think the ‘passages between the images’.…”
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Replace or remake ? A work in progress by Marie-Hélène Breuil

“…Le term remake has only been used relatively recently in debates surrounding the conservation and restoration of contemporary art. The status of the « remade » work is not always very clear, wavering between exhibition copy, duplicate and reconstitution, depending on the author of the remake and the context of the reproduction.…”
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Le « Jardin d’Amour » de Yinka Shonibare au musée du quai Branly ou : quand l'« autre » s'y met by Bernard Müller

“…The author of this contribution attempts to expose what implies, both on a curatorial and a theoretical level, a contemporary art exhibition in a museum of mankind: “Jardin d’amour” by Yinka Shonibare at the musée du quai Branly in Paris (April to July 2007). …”
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La restauration de My Flower Bed, de Yayoi Kusama by Camille Morineau, Patricia Dal-Prà

“…Contemporary art works, and among them the installations which happen to be the origin of performances, present very specific problems to restorers. …”
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