Papers by Chantraine Renaud
Arts, Littérature, sida : des récits au féminin, 2019
Vacarme , 2019
Du sillon creusé par un premier terrain, à son développement fructueux grâce à une rencontre... more Du sillon creusé par un premier terrain, à son développement fructueux grâce à une rencontre décisive avec le fondateur des Mémoire des sexualités, Renaud Chantraine retrace son parcours de recherche orienté par la question de la transmission des mémoires des minorités LGBTQI et ses enjeux. Si pour l’auteur, la figure de Christian de Leusse auquel il rend hommage, a été décisive dans la constitution des archives, le «pari» est celui de leur appropriation diverse et vivante par les personnes concernées, condition de possibilité de leur transmission effective.
OnCurating, 2019
This article focuses on an ongoing heritage-making process related to HIV/AIDS memories that bega... more This article focuses on an ongoing heritage-making process related to HIV/AIDS memories that began in 1994 at the French National Museum of Arts and Popular Traditions (MnATP). It reflects upon the history of this process and some of the complex questions that have been raised, which present ongoing challenges for archivists and curators seeking to represent histories of HIV/AIDS.
Between 1994 and 2002, two museum researchers organized preliminary meetings between caregivers, people living with AIDS, activists, artists, museum and archive professionals and academics from different disciplines. During this period, a survey sent to French and francophone museums revealed that cultural institutions were not addressing the HIV/AIDS crisis.
The first period of meetings at the MnATP resulted in an acquisition program conceived in contact with the social actors affected and involved in the struggle against the epidemic. From 2002 to 2006 more than 12000 artifacts – objects and documentation – were collected, mainly within community organizations, from 35 countries in Europe and the Mediterranean area. This collecting process aimed to address two lines of inquiry: documenting an important social and political event –new forms of activism, mobilizations, solidarities, new rituals, etc.–as well as preserving and archiving the fragile memories of community organizations which, at that time, were more focused on urgent mobilizations.
From its closing in Paris to its opening in Marseilles (between 2006 and 2013), the museum’s energies were largely focused on practical questions related to the collection transfer and the opening of the new institution, rather than the presentation of AIDS artefacts. As a matter of fact this period coincided with a rupture in the relationships between the institution and the source communities, and could be considered one example of a “second silence” surrounding HIV/AIDs in France.
In 2013, Mucem opened its doors and immediately, activists from Act Up-Paris asked for new donations. By this time, there was an appetite to publicize such an important collection, and an acknowledgement that it would be impossible to do so without the involvement of social actors engaged in the struggle against HIV/AIDS, especially locally. A plan to imagine an exhibition about the social history of HIV/AIDS was born, meant the beginning of a new period in the heritage-building process.
These experiences prompt us to consider how
- a plurality of narratives, reflecting a diversity of positions, can best be combined within a specific museum context? What archival, artistic and, ethnographic support and curatorial languages might be necessary? How can a limited exhibition space account for the complexities of scale, geopolitics, temporalities, and knowledge circulation that characterised HIV/AIDS? And how should we involve the most affected communities, which are often stigmatized within and beyond the (institutional) exhibition process? What are the benefits and the costs, both for the museum and those communities, of such a collaboration?
Sexualité, savoirs et pouvoirs, Gabriel Girard, Isabelle Perreault, Nicolas Sallée (dir.) Presses de l'Université de Montréal, 2019
La Lettre de l'Ocim, 2017
En prenant comme terrain de recherche les initiatives menées aux Pays-Bas, en Allemagne et en Fra... more En prenant comme terrain de recherche les initiatives menées aux Pays-Bas, en Allemagne et en France, cette étude fait le point sur les différents dispositifs patrimoniaux mis en place pour donner aux minorités sexuelles une visibilité dans le cadre des institutions muséales et s'interroge sur le rôle à laisser aux communautés dans la gestion de ces collections spécifiques.
Né en 1952, Patrick Cardon est l’une des figures fortes du militantisme homosexuel français
– voi... more Né en 1952, Patrick Cardon est l’une des figures fortes du militantisme homosexuel français
– voir la notice qui lui est consacrée in D. Éribon (dir.), Dictionnaire des cultures gays et
lesbiennes, Paris, 2003, p. 99, Larousse. Il a fondé les éditions GayKitschCamp (Lille, puis
Montpellier) qui rééditent des textes rares de la culture gay et lesbienne (plus de 80 titres à
ce jour).
Renaud Chantraine prépare une thèse d’anthropologie à l’École des Hautes Études en
Sciences Sociales sur la patrimonialisation des minorités sexuelles et de genre en France,
Allemagne et Pays-Bas. Il est également fondateur et président de l’association Polychrome.
Editoriais, Editorials by Chantraine Renaud
Museum International , 2021
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Papers by Chantraine Renaud
Between 1994 and 2002, two museum researchers organized preliminary meetings between caregivers, people living with AIDS, activists, artists, museum and archive professionals and academics from different disciplines. During this period, a survey sent to French and francophone museums revealed that cultural institutions were not addressing the HIV/AIDS crisis.
The first period of meetings at the MnATP resulted in an acquisition program conceived in contact with the social actors affected and involved in the struggle against the epidemic. From 2002 to 2006 more than 12000 artifacts – objects and documentation – were collected, mainly within community organizations, from 35 countries in Europe and the Mediterranean area. This collecting process aimed to address two lines of inquiry: documenting an important social and political event –new forms of activism, mobilizations, solidarities, new rituals, etc.–as well as preserving and archiving the fragile memories of community organizations which, at that time, were more focused on urgent mobilizations.
From its closing in Paris to its opening in Marseilles (between 2006 and 2013), the museum’s energies were largely focused on practical questions related to the collection transfer and the opening of the new institution, rather than the presentation of AIDS artefacts. As a matter of fact this period coincided with a rupture in the relationships between the institution and the source communities, and could be considered one example of a “second silence” surrounding HIV/AIDs in France.
In 2013, Mucem opened its doors and immediately, activists from Act Up-Paris asked for new donations. By this time, there was an appetite to publicize such an important collection, and an acknowledgement that it would be impossible to do so without the involvement of social actors engaged in the struggle against HIV/AIDS, especially locally. A plan to imagine an exhibition about the social history of HIV/AIDS was born, meant the beginning of a new period in the heritage-building process.
These experiences prompt us to consider how
- a plurality of narratives, reflecting a diversity of positions, can best be combined within a specific museum context? What archival, artistic and, ethnographic support and curatorial languages might be necessary? How can a limited exhibition space account for the complexities of scale, geopolitics, temporalities, and knowledge circulation that characterised HIV/AIDS? And how should we involve the most affected communities, which are often stigmatized within and beyond the (institutional) exhibition process? What are the benefits and the costs, both for the museum and those communities, of such a collaboration?
– voir la notice qui lui est consacrée in D. Éribon (dir.), Dictionnaire des cultures gays et
lesbiennes, Paris, 2003, p. 99, Larousse. Il a fondé les éditions GayKitschCamp (Lille, puis
Montpellier) qui rééditent des textes rares de la culture gay et lesbienne (plus de 80 titres à
ce jour).
Renaud Chantraine prépare une thèse d’anthropologie à l’École des Hautes Études en
Sciences Sociales sur la patrimonialisation des minorités sexuelles et de genre en France,
Allemagne et Pays-Bas. Il est également fondateur et président de l’association Polychrome.
Editoriais, Editorials by Chantraine Renaud
Between 1994 and 2002, two museum researchers organized preliminary meetings between caregivers, people living with AIDS, activists, artists, museum and archive professionals and academics from different disciplines. During this period, a survey sent to French and francophone museums revealed that cultural institutions were not addressing the HIV/AIDS crisis.
The first period of meetings at the MnATP resulted in an acquisition program conceived in contact with the social actors affected and involved in the struggle against the epidemic. From 2002 to 2006 more than 12000 artifacts – objects and documentation – were collected, mainly within community organizations, from 35 countries in Europe and the Mediterranean area. This collecting process aimed to address two lines of inquiry: documenting an important social and political event –new forms of activism, mobilizations, solidarities, new rituals, etc.–as well as preserving and archiving the fragile memories of community organizations which, at that time, were more focused on urgent mobilizations.
From its closing in Paris to its opening in Marseilles (between 2006 and 2013), the museum’s energies were largely focused on practical questions related to the collection transfer and the opening of the new institution, rather than the presentation of AIDS artefacts. As a matter of fact this period coincided with a rupture in the relationships between the institution and the source communities, and could be considered one example of a “second silence” surrounding HIV/AIDs in France.
In 2013, Mucem opened its doors and immediately, activists from Act Up-Paris asked for new donations. By this time, there was an appetite to publicize such an important collection, and an acknowledgement that it would be impossible to do so without the involvement of social actors engaged in the struggle against HIV/AIDS, especially locally. A plan to imagine an exhibition about the social history of HIV/AIDS was born, meant the beginning of a new period in the heritage-building process.
These experiences prompt us to consider how
- a plurality of narratives, reflecting a diversity of positions, can best be combined within a specific museum context? What archival, artistic and, ethnographic support and curatorial languages might be necessary? How can a limited exhibition space account for the complexities of scale, geopolitics, temporalities, and knowledge circulation that characterised HIV/AIDS? And how should we involve the most affected communities, which are often stigmatized within and beyond the (institutional) exhibition process? What are the benefits and the costs, both for the museum and those communities, of such a collaboration?
– voir la notice qui lui est consacrée in D. Éribon (dir.), Dictionnaire des cultures gays et
lesbiennes, Paris, 2003, p. 99, Larousse. Il a fondé les éditions GayKitschCamp (Lille, puis
Montpellier) qui rééditent des textes rares de la culture gay et lesbienne (plus de 80 titres à
ce jour).
Renaud Chantraine prépare une thèse d’anthropologie à l’École des Hautes Études en
Sciences Sociales sur la patrimonialisation des minorités sexuelles et de genre en France,
Allemagne et Pays-Bas. Il est également fondateur et président de l’association Polychrome.