Hotel du Nord continues to put online the texts of the speakers at the meeting of 2 March 2013 in Venice following the signing of the Faro Convention by the Italian state (see the presentation of the meeting and see the texts already online). Hotel du Nord publishes the text of the intervention of Christine Breton curator Emeritus of Heritage and member of the Coopérative Hotel du Nord "Heritage communities between small social war fronts and museums". Let us lay our heritage and the dominant model of the museum. This large white international cube can also be a local museum. It is an accumulator of décontextués objects and thus a great Baroque poem to the glory of the scientist in his laboratory, Master of the world and of the colonies. For society such a model enters into the category of collective utopias based on the Tabula rasa, shaved tables invented by modernity, glorious or criminal. The reference Museum embodies the National Corps, everywhere in Europe and France, as soon as the revolution in 1792. It's a foundation story. Narrative today obsolete when nations fédérent in Europe, when decolonization restores its cultural property in context if possible, when wealth is made in micro-seconds. We no longer need the museum, it is an inherited work, a historical monument-Totologie of isolation. Now let's ask the reality of heritage communities. The social body is embodied in all the inherited symbolic data. The museum has the power over the symbolic and it fascinates so much. An absolute power of life and death on all traces of collective memory, the museum decides what is in or out of history. Making a museum today after the severe criticism built against this obsolete model is due to the will of personal power or ignorance. Ignore that in France, for example, the same man, Jules Ferry, creates the organization of compulsory primary education and that of museums and that he was also the champion of colonization. -How to be in our social present? At the time of this question, we moved to the world history, we reversed the historical contexts. It's time for the unseen. Then begins to shine, in the distance, everything that was excluded from the great national narrative. Begins to twinkle anything that is not referenced, muséifié or part of the Nation. Appear the missing of the stellar night, the ghosts wandering away from our collective novel, those who had so well loved Walter Benjamin by walking in the streets of Berlin or Marseille. Then the time turns and the reference shifts to the excluded third-quivering of the reason. How did the social Corps react? I often hear him scolding behind my back, when we walk through the neighborhoods of Marseille, when we pass a small social war front. They scold, uncomfortable in physical contact with violent urban exclusion. And here it is still the museum model that comes back in protection in the face of this ascent of collective repression: sensation of zoo or museumification of the city. A sensation that only refers to oneself, to its knowledge as power; Surprised in the uncultivated life. So I am assured that this city that we are thinking with our feet, collectively in the walk, does not get along. I perceive in my back their profound emotion, their inner debate which temporarily muted them-social deadlock. Perhaps this is the museum of the 21st Century: the ability to perceive the graft-museum in itself, in the organic itself. The violent disorder she creates. The decision to get away from it, to accept the inability to understand so much the concepts are still immature and yet perceive the formidable thrust alive as soon as we let go everything to go to the desert of knowledge. The social body falls into a collective practice of knowledge and memories. An ecological practice, contextuée. -end of the colonies, beginning of the work of the heritage communities on the ground of the living daily. American Anthropologist Timothy Ingold sums up this contextual triple Salto: "in itself, information is not a knowledge, and its accumulation does not make us more learned." Our ability to know is more about the possibility that we have to situate such information, to understand its meaning, within a context of perceptual relations, live with our environments. And I argue that we are developing that capability as long as we are being shown. " So let's walk to the desert of the museum following the resident there to show us. We are collectively developing our perceptual relations with the small social war fronts made so violent by invisibility and the deafening silence prevailing. -Possibility of contexts. Christine Breton Honorary curator of Heritage Venice March 2013. Christine Breton Curator Emeritus of Heritage, she has been responsible for public collections at the Musée de Grenoble (1974-1983), the regional funds of Rhône Alpes and Provence (1984-1987). Curator in charge of mission to the city of Marseille from 1987 to 2010 she created the programs of workshops of artists, exhibitions and urban artistic commissions; In collaboration with the Council of Europe she experimented 1996, with the inhabitants, the integrated approach of the heritage in the 15-16th arrondissements of Marseille. Doctor of History in 1981, she was invited to many art schools, design and art history institutes; From 1988 to 1995 associate professor at the University of Aix-Marseille. At retirement, she continues her historical and heritage research. Selective bibliography
- Berrit 83, exhibitions in and out of museum, Musée de Grenoble,1983;
- Fragments of collections for the memory of a city, Le Luc en Provence, FRAC Provence, 1985;
- The gallery of the Sea, city of Marseille,1987-1995, 7 issues on art and the city;
- Integrated heritage approach, shared valuation of heritage, conflicting value of heritage, such as Salmon, Prince of the Curious and hermit collection Exos, AGCCPF, 2004 – 2010;
- School of the Daughters of Saint-André, Marseille, 1998-2005;
- Südraum-Konferenz, Leipzig, 2004;
- Nord Hotel/Tales of hospitality, 8 issues with Martine Derain, Joint editions, Marseille, 2010-2012.