The terms "Nouveaux commanditaires" or "New patrons" refer equally to the protocol that was established in 1990,[1] the subsequent cultural policy movement, and to the resulting artworks, as well as to the multiple mediation organisations responsible for overseeing the art projects around the world.
[2] The protocol followed by the New patrons dictates the basic stages in the construction of an artistic project that is intended to be democratic and whose origin is a commission from citizens, residents, employees or any other group of people with a motivated interest in the development of a work of art.
Through several hundred projects,[4] it has involved many leading figures in contemporary art, such as Daniel Buren, Luciano Fabro, Christian Boltanski, Harun Farocki, Angela Bulloch, Michelangelo Pistoletto, Wim Delvoye, Jean-Michel Othoniel, Erwin Wurm, as well as personalities from the worlds of architecture, music and design.
The Protocol has also inspired sociologists, philosophers and art historians, and has been the subject of sustained research, most notably by Bruno Latour, Vinciane Despret, Laurence Bertrand-Dorléac, Joseph L. Koerner, Jean-Michel Frodon.
[6] Asked by Fondation de France's president Bernard Latarjet to establish a new cultural approach in 1990, Hers brought forward a mode of action based on a call for art emanating from society itself.
[10] This approach dismantles traditional power structures and redefines direct interactions with artists while intermediaries like galleries and curators remain to facilitate social connections.
In 2013, under the supervision of a committee chaired by Bruno Latour, Faire art comme on fait société offers a collection of 47 contributions from a wide range of disciplinary fields.
[16] From 2002 onwards, the mediators from the various European countries taking part in the program came together under the umbrella of the Société internationale des Nouveaux commanditaires, or International Society of the New Patrons.
In 2017, Hers proposes to broaden the appeal to philosophy and humanities research to address contemporary cultural and social issues,[17] in a project called Nouveaux commanditaires – Sciences, supported by the Fondation de France and other institutions.
[20] A new French non-profit, the Société des Nouveaux commanditaires en arts et sciences was founded as an umbrella organisation, supported by the Fondation de France and the Ministry of Culture.
During this long period, artists played a crucial role in shaping individuality and liberating forms of expression, contributing to the emancipation of ways of perceiving the world.
This approach aims to foster civic engagement, encourage dialogue between scientists and local communities, and ensure that scientific research meets the needs and values of society.
[4] Non-exhaustive list, in alphabetical order, of artists or collectives who have produced at least one work as part of the Protocol of the New patrons:[28] Given its associative, collaborative, even democratic process – the initiative to commission a work of art can come from anyone, and is deemed original and innovative, standing out from the usual mechanisms of the art world – the Protocol of the New patrons and the -projects since the 1990s have been the subject of studies and publications by a large number of academics in a relatively wide range of disciplines; for example Meyer Schapiro[29] and Martin Warnke in art history; Bruno Latour, Heinz Wismann and Krzysztof Pomian[30] in philosophy; as well as philosophers of science Vinciane Despret[31] and Isabelle Stengers[32] or economist Frédéric Lordon.
[35] The project originated with Dr. François Paraire and Prof. Michel Durigon, physicians in the pathological anatomy department at Garches hospital, who were considering the need to renovate the morgue's departure room, where relatives say goodbye to their loved ones.
Elements of black and white marble, sourced from Carrara in Italy, punctuate this space of contemplation, providing a dignified setting for bereaved families.
[37] In addition to the soothing hues of blue, two musical compositions were commissioned from David Lang and Robin Rimbaud to play in the background: Departure & Channel of Flight.
Made of Carrara marble from Italy, the Doric column evokes the deep connection between Genk and the Italian mining communities that contributed to the region's economic boom.
[52] As such, every aspect of the building, from the architecture to the furniture, is designed to promote autonomy, creativity and development of pupils, as the bright colors and many shared spaces demonstrate.