I have written my Ph.D. on urban dynamics of contemporary art spaces in Paris an Berlin (2012). Since then, I have been a post-doctorate at Alpin Geography institute in Grenoble, working on the way artists can contribute to transform spatial representations of borders (FP7 project EU-Borderscapes). I have also teached in different fields of geography, planning and urbanism at Paris I University, Reims Champagne-Ardennes University, Grenoble Alpes University, Urbanism Institute of Lyon. Supervisors: Nadine Cattan and Pr. Dr. Stefan Krätke
Alors que les activites creatives suscitent un interet croissant dans le champ des etudes urbaine... more Alors que les activites creatives suscitent un interet croissant dans le champ des etudes urbaines et que le lien entre la ville et la creation artistique est avere, l'approche geographique de la creation artistique reste a ce jour peu exploree. Cet article propose une geographie urbaine de l'activite de creation a partir d'une analyse originale des lieux de l'art dans deux villes europeennes particulierement dynamiques du point de vue culturel : Paris et Berlin. La concentration de la creation dans certains quartiers en voie de gentrification, comme a Montreuil ou a Neukolln, revele d'importants enjeux socio-economiques et surtout spatiaux lies a la presence des artistes. Les territoires de la creation apparaissent comme des espaces sociaux complexes, au-dela du cliche du quartier " boheme ". Les pratiques des artistes contribuent a faire naitre, autour de sociabilites et de manieres d'habiter singulieres, de veritable " centralites de creatio...
A l'interface entre espaces publics et espaces prives, nous nous proposons ici d'explorer... more A l'interface entre espaces publics et espaces prives, nous nous proposons ici d'explorer les processus d'esthetisation de la rue inities par les acteurs prives au moyen de l'art dans deux metropoles, Berlin et Johannesburg, qui ont en commun a la fois de partager une histoire faite de divisions territoriales et d'avoir choisi l'art contemporain et la culture pour reinventer leur identite et leur image. La mise en regard de ces deux metropoles permet ainside montrer comment l'art et la culture peuvent contribuer a la transformation aussi bien paysagere que symbolique des espaces publics, tout en soulignant l'importance d'analyses de contextes fines, loin de l'application de recettes urbanistiques globales.
Artistic districts demonstrate the spatialization of artistic activities in urban space, particul... more Artistic districts demonstrate the spatialization of artistic activities in urban space, particularly their tendency towards concentration. Today they symbolise both economic development and urban attractiveness in a time where art is a key element of symbolic production. Defining an artistic district is not straightforward and using this concept encourages us to consider the processes which lead to the emergence of a spatialised collective identity based on artistic creation. This paper aims to understand the processes of formation and perpetuation of artistic creation districts in two major European cities: Paris and Berlin. The research is based on the comparison of Montreuil and Neukolln, both situated in a pericentral area of metropolitan space and where numerous artists live and work. The analysis of spatial practices and representations related to setting up of creative activities in particular neighbourhoods shows that the territorialization embedded in the recognition of an...
Les activites artistiques, peu etudiees en tant que telles par la geographie, font partie integra... more Les activites artistiques, peu etudiees en tant que telles par la geographie, font partie integrante d'activites creatives dont il est desormais admis qu'elles participent de l'attractivite d'une metropole. L'etude du champ des arts visuels a Paris et a Berlin nous permet, dans cet article, de caracteriser differents types de centralites artistiques - patrimoniales, etablies, emergentes ou ephemeres - qui contribuent, chacune de facon specifique, a la definition de centralites urbaines d'abord, et a l'attractivite d'un quartier, d'une zone urbaine, de la metropole dans son ensemble ensuite. L'etude systemique des activites artistiques a Paris et a Berlin conduit ainsi a comprendre le fonctionnement et la portee touristique de ces differentes centralites, dans un ensemble a penser en interaction et a differentes echelles.
A partir de l'exemple de Montreuil, commune de l'Est de la Petite-Couronne parisienne et de Neuk... more A partir de l'exemple de Montreuil, commune de l'Est de la Petite-Couronne parisienne et de Neukölln au Sud Est de l'agglomération berlinoise, nous mettons en évidence la variété des formes des friches qui marquent le paysage de deux quartiers s'affirmant comme des quartiers de création des métropoles parisienne et berlinoise (Boichot, 2011). Nous montrons dans cette communication qu'il n'existe pas une friche artistique, mais des pratiques individuelles de transformation des friches pour répondre aux besoins particuliers d'une organisation de la vie professionnelle et personnelle qui évoluent au fil d'un parcours et
des choix esthétiques. Nous identifions ainsi plusieurs modèles de transformation des friches en friches artistiques : la friche-spectacle, la friche spécialisée et la friche opportunité, tous traversés et nourrissant la figure emblématique de la friche devenue elle-même le support de l’œuvre.
What do the Rolling Stones’ worldwide tours and a visual artist who is coming to settle in a gent... more What do the Rolling Stones’ worldwide tours and a visual artist who is coming to settle in a gentrified place of a cultural capital such as Berlin have in common? This question led us to think artistic mobility with a broad sense, taking into account the diversity of practices and going beyond art’s disciplinary boundaries. That is why our study combines two complementary corpuses on visual arts and performing arts: the first one offering a general overview of artists’ mobilities through an extensive database; the second one constituted from interviews, allowing for an in-depth understanding of artists’ motivations. With this methodological choice, we can tackle the topic of artistic mobility focusing on spatialities on the move that stress out the connection between routes and roots, between travels and immersion into places.
Even though creative activities are arousing an always greater interest in urban studies, and tha... more Even though creative activities are arousing an always greater interest in urban studies, and that links between artistic creation and the city is well established, the geographical approach of creation still remains rarely explored. This article is proposing an urban geography of artistic creation in two important cultural cities of Europe, Paris and Berlin, from an original analysis of artistic places in both cities. The concentration of creation in some districts knowing gentrification processes like those in Montreuil or Neukölln reveals very significant socio-economic and mainly spatial impacts of the artists' presence. Creation spaces can be considered, far from the bohemian cliché, as complex social spaces where the artists' social and spatial practices contribute to define real « creation centralities », that are reinforced by the performative representations of the artists'role in urban transformations.
The artistic activities, that haven’t been so far much explored by French geographers, belong to ... more The artistic activities, that haven’t been so far much explored by French geographers, belong to creative activities, that contribute to the metropolitan attractivity. The exemple of the visual arts in Paris and Berlin allow us to define what we called artistic centralities. Those artistic nodes -heritage nodes, well established, emerging or short-lived nodes- participate to the specificity of urban centralities as they have consequences on the attractivity degree of an urban district, of the whole city. A systemic study of the artistic activities make in that way the organisation as the touristic attractivity of these centralities understandable at different scales.
Artistic districts demonstrate the spatialization of artistic activities in urban space, particul... more Artistic districts demonstrate the spatialization of artistic activities in urban space, particularly their tendency towards concentration. Today they symbolise both economic development and urban attractiveness in a time where art is a key element of symbolic production. Defining an artistic district is not straightforward and using this concept encourages us to consider the processes which lead to the emergence of a spatialised collective identity based on artistic creation. This paper aims to understand the processes of formation and perpetuation of artistic creation districts in two major European cities : Paris and Berlin. The research is based on the comparison of Montreuil and Neukölln, both situated in a pericentral area of metropolitan space and where numerous artists live and work. The analysis of spatial practices and representations related to setting up of creative activities in particular neighbourhoods shows that the territorialization Ann. Géo., n° 698, 2014, pages 1088-1111, Armand Colin Articles Les quartiers artistiques : territoires en construction • 1089 embeddedintherecognitionofanartisticdistrictisprimarilydefinedbytheartists’ practices themselves. This takes place through the visibility of their presence, the aesthetisation of public spaces or through their collective organisation around cafés and meeting places or in locally anchored artistic networks. Recognition by inhabitantsaswellaseconomicandpoliticalsupportalsoplayaprominentrolein the definition and recognition of a collective identity of an artistic district. In this way, several actors are involved in the construction of an urban territory of artistic creation that mirrors the concept of artistic district as it is used in urban history ; every individual being part of the specific history, meaning and recomposition of the artistic district in cities such as Paris or Berlin.
Alors que les activites creatives suscitent un interet croissant dans le champ des etudes urbaine... more Alors que les activites creatives suscitent un interet croissant dans le champ des etudes urbaines et que le lien entre la ville et la creation artistique est avere, l'approche geographique de la creation artistique reste a ce jour peu exploree. Cet article propose une geographie urbaine de l'activite de creation a partir d'une analyse originale des lieux de l'art dans deux villes europeennes particulierement dynamiques du point de vue culturel : Paris et Berlin. La concentration de la creation dans certains quartiers en voie de gentrification, comme a Montreuil ou a Neukolln, revele d'importants enjeux socio-economiques et surtout spatiaux lies a la presence des artistes. Les territoires de la creation apparaissent comme des espaces sociaux complexes, au-dela du cliche du quartier " boheme ". Les pratiques des artistes contribuent a faire naitre, autour de sociabilites et de manieres d'habiter singulieres, de veritable " centralites de creatio...
A l'interface entre espaces publics et espaces prives, nous nous proposons ici d'explorer... more A l'interface entre espaces publics et espaces prives, nous nous proposons ici d'explorer les processus d'esthetisation de la rue inities par les acteurs prives au moyen de l'art dans deux metropoles, Berlin et Johannesburg, qui ont en commun a la fois de partager une histoire faite de divisions territoriales et d'avoir choisi l'art contemporain et la culture pour reinventer leur identite et leur image. La mise en regard de ces deux metropoles permet ainside montrer comment l'art et la culture peuvent contribuer a la transformation aussi bien paysagere que symbolique des espaces publics, tout en soulignant l'importance d'analyses de contextes fines, loin de l'application de recettes urbanistiques globales.
Artistic districts demonstrate the spatialization of artistic activities in urban space, particul... more Artistic districts demonstrate the spatialization of artistic activities in urban space, particularly their tendency towards concentration. Today they symbolise both economic development and urban attractiveness in a time where art is a key element of symbolic production. Defining an artistic district is not straightforward and using this concept encourages us to consider the processes which lead to the emergence of a spatialised collective identity based on artistic creation. This paper aims to understand the processes of formation and perpetuation of artistic creation districts in two major European cities: Paris and Berlin. The research is based on the comparison of Montreuil and Neukolln, both situated in a pericentral area of metropolitan space and where numerous artists live and work. The analysis of spatial practices and representations related to setting up of creative activities in particular neighbourhoods shows that the territorialization embedded in the recognition of an...
Les activites artistiques, peu etudiees en tant que telles par la geographie, font partie integra... more Les activites artistiques, peu etudiees en tant que telles par la geographie, font partie integrante d'activites creatives dont il est desormais admis qu'elles participent de l'attractivite d'une metropole. L'etude du champ des arts visuels a Paris et a Berlin nous permet, dans cet article, de caracteriser differents types de centralites artistiques - patrimoniales, etablies, emergentes ou ephemeres - qui contribuent, chacune de facon specifique, a la definition de centralites urbaines d'abord, et a l'attractivite d'un quartier, d'une zone urbaine, de la metropole dans son ensemble ensuite. L'etude systemique des activites artistiques a Paris et a Berlin conduit ainsi a comprendre le fonctionnement et la portee touristique de ces differentes centralites, dans un ensemble a penser en interaction et a differentes echelles.
A partir de l'exemple de Montreuil, commune de l'Est de la Petite-Couronne parisienne et de Neuk... more A partir de l'exemple de Montreuil, commune de l'Est de la Petite-Couronne parisienne et de Neukölln au Sud Est de l'agglomération berlinoise, nous mettons en évidence la variété des formes des friches qui marquent le paysage de deux quartiers s'affirmant comme des quartiers de création des métropoles parisienne et berlinoise (Boichot, 2011). Nous montrons dans cette communication qu'il n'existe pas une friche artistique, mais des pratiques individuelles de transformation des friches pour répondre aux besoins particuliers d'une organisation de la vie professionnelle et personnelle qui évoluent au fil d'un parcours et
des choix esthétiques. Nous identifions ainsi plusieurs modèles de transformation des friches en friches artistiques : la friche-spectacle, la friche spécialisée et la friche opportunité, tous traversés et nourrissant la figure emblématique de la friche devenue elle-même le support de l’œuvre.
What do the Rolling Stones’ worldwide tours and a visual artist who is coming to settle in a gent... more What do the Rolling Stones’ worldwide tours and a visual artist who is coming to settle in a gentrified place of a cultural capital such as Berlin have in common? This question led us to think artistic mobility with a broad sense, taking into account the diversity of practices and going beyond art’s disciplinary boundaries. That is why our study combines two complementary corpuses on visual arts and performing arts: the first one offering a general overview of artists’ mobilities through an extensive database; the second one constituted from interviews, allowing for an in-depth understanding of artists’ motivations. With this methodological choice, we can tackle the topic of artistic mobility focusing on spatialities on the move that stress out the connection between routes and roots, between travels and immersion into places.
Even though creative activities are arousing an always greater interest in urban studies, and tha... more Even though creative activities are arousing an always greater interest in urban studies, and that links between artistic creation and the city is well established, the geographical approach of creation still remains rarely explored. This article is proposing an urban geography of artistic creation in two important cultural cities of Europe, Paris and Berlin, from an original analysis of artistic places in both cities. The concentration of creation in some districts knowing gentrification processes like those in Montreuil or Neukölln reveals very significant socio-economic and mainly spatial impacts of the artists' presence. Creation spaces can be considered, far from the bohemian cliché, as complex social spaces where the artists' social and spatial practices contribute to define real « creation centralities », that are reinforced by the performative representations of the artists'role in urban transformations.
The artistic activities, that haven’t been so far much explored by French geographers, belong to ... more The artistic activities, that haven’t been so far much explored by French geographers, belong to creative activities, that contribute to the metropolitan attractivity. The exemple of the visual arts in Paris and Berlin allow us to define what we called artistic centralities. Those artistic nodes -heritage nodes, well established, emerging or short-lived nodes- participate to the specificity of urban centralities as they have consequences on the attractivity degree of an urban district, of the whole city. A systemic study of the artistic activities make in that way the organisation as the touristic attractivity of these centralities understandable at different scales.
Artistic districts demonstrate the spatialization of artistic activities in urban space, particul... more Artistic districts demonstrate the spatialization of artistic activities in urban space, particularly their tendency towards concentration. Today they symbolise both economic development and urban attractiveness in a time where art is a key element of symbolic production. Defining an artistic district is not straightforward and using this concept encourages us to consider the processes which lead to the emergence of a spatialised collective identity based on artistic creation. This paper aims to understand the processes of formation and perpetuation of artistic creation districts in two major European cities : Paris and Berlin. The research is based on the comparison of Montreuil and Neukölln, both situated in a pericentral area of metropolitan space and where numerous artists live and work. The analysis of spatial practices and representations related to setting up of creative activities in particular neighbourhoods shows that the territorialization Ann. Géo., n° 698, 2014, pages 1088-1111, Armand Colin Articles Les quartiers artistiques : territoires en construction • 1089 embeddedintherecognitionofanartisticdistrictisprimarilydefinedbytheartists’ practices themselves. This takes place through the visibility of their presence, the aesthetisation of public spaces or through their collective organisation around cafés and meeting places or in locally anchored artistic networks. Recognition by inhabitantsaswellaseconomicandpoliticalsupportalsoplayaprominentrolein the definition and recognition of a collective identity of an artistic district. In this way, several actors are involved in the construction of an urban territory of artistic creation that mirrors the concept of artistic district as it is used in urban history ; every individual being part of the specific history, meaning and recomposition of the artistic district in cities such as Paris or Berlin.
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des choix esthétiques. Nous identifions ainsi plusieurs modèles de transformation des friches en friches
artistiques : la friche-spectacle, la friche spécialisée et la friche opportunité, tous traversés et nourrissant la figure emblématique de la friche devenue elle-même le support de l’œuvre.
activities, that contribute to the metropolitan attractivity. The exemple of the visual arts in Paris and Berlin allow
us to define what we called artistic centralities. Those artistic nodes -heritage nodes, well established, emerging or
short-lived nodes- participate to the specificity of urban centralities as they have consequences on the attractivity
degree of an urban district, of the whole city. A systemic study of the artistic activities make in that way the
organisation as the touristic attractivity of these centralities understandable at different scales.
Ann. Géo., n° 698, 2014, pages 1088-1111, Armand Colin
Articles Les quartiers artistiques : territoires en construction • 1089
embeddedintherecognitionofanartisticdistrictisprimarilydefinedbytheartists’ practices themselves. This takes place through the visibility of their presence, the aesthetisation of public spaces or through their collective organisation around cafés and meeting places or in locally anchored artistic networks. Recognition by inhabitantsaswellaseconomicandpoliticalsupportalsoplayaprominentrolein the definition and recognition of a collective identity of an artistic district. In this way, several actors are involved in the construction of an urban territory of artistic creation that mirrors the concept of artistic district as it is used in urban history ; every individual being part of the specific history, meaning and recomposition of the artistic district in cities such as Paris or Berlin.
des choix esthétiques. Nous identifions ainsi plusieurs modèles de transformation des friches en friches
artistiques : la friche-spectacle, la friche spécialisée et la friche opportunité, tous traversés et nourrissant la figure emblématique de la friche devenue elle-même le support de l’œuvre.
activities, that contribute to the metropolitan attractivity. The exemple of the visual arts in Paris and Berlin allow
us to define what we called artistic centralities. Those artistic nodes -heritage nodes, well established, emerging or
short-lived nodes- participate to the specificity of urban centralities as they have consequences on the attractivity
degree of an urban district, of the whole city. A systemic study of the artistic activities make in that way the
organisation as the touristic attractivity of these centralities understandable at different scales.
Ann. Géo., n° 698, 2014, pages 1088-1111, Armand Colin
Articles Les quartiers artistiques : territoires en construction • 1089
embeddedintherecognitionofanartisticdistrictisprimarilydefinedbytheartists’ practices themselves. This takes place through the visibility of their presence, the aesthetisation of public spaces or through their collective organisation around cafés and meeting places or in locally anchored artistic networks. Recognition by inhabitantsaswellaseconomicandpoliticalsupportalsoplayaprominentrolein the definition and recognition of a collective identity of an artistic district. In this way, several actors are involved in the construction of an urban territory of artistic creation that mirrors the concept of artistic district as it is used in urban history ; every individual being part of the specific history, meaning and recomposition of the artistic district in cities such as Paris or Berlin.