The article examines a group of exhibitions that took place in the late seventies and early eighties and are useful for grasping what was at stake regarding the debates on the tensions between modernist and post-modernist architecture. Among the exhibitions that are examined are Europa-America: Architettura urbana, alternative suburbane, curated by Vittorio Gregotti for the Biennale di Venezia in 1976; La Presenza del passato, curated by Paolo Portoghesi for the Biennale di Venezia in 1980; the French version of La presenza del passato—Présence de l’histoire, l’après modernisme—held in the framework of the Festival d’Automne de Paris in 1981; Architectures en France: Modernité/post-modernité, curated by Chantal Béret and held at the Institut Français d’Architecture (18 November 1981–6 February 1982); La modernité, un projet inachevé: 40 architectures, curated by Paul Chemetov and Jean-Claude Garcias for the Festival d’Automne de Paris in 1982; La modernité ou l’esprit du temps, curated by Jean Nouvel, Patrice Goulet, and François Barré and held at the Centre Pompidou in 1982; and Nouveaux plaisirs d’architecture, curated by Jean Dethier for the Centre Pompidou in 1985, among other exhibitions. Analysing certain important texts published in the catalogues of the aforementioned exhibitions, the debates that accompanied the exhibitions and an ensemble of articles in French architectural magazines such as L’Architecture d’aujourd’hui and the Techniques & Architecture, the article aims to present the questions that were at the centre of the debates regarding the opposition or osmosis between the modernist and postmodernist ideals. Some figures, such as Jean Nouvel, were more in favour of the cross-fertilisation between modernity and postmodernity, while others, such as Paul Chemetov, believed that architects should rediscover modernity in order to enhance the civic dimension of architecture. Following Pierre Bourdieu’s approach, the article argues that the tension between the ways in which each of these exhibitions treats the role of the image within architectural design and the role of architecture for the construction of a vision regarding progress is the expression of two divergent positions in social space.

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作为象征性统治的法国展览：1980年代的后现代主义和文化领域的图像

本文研究了一组在70年代末和80年代初举行的展览，这些展览对于了解关于现代主义和后现代主义建筑之间的紧张关系的辩论有何帮助。在审查过的展览中，有欧洲欧罗巴-美国：市区的另类郊区建筑，由维托里奥·格雷戈蒂（Vittorio Gregotti）策划于1976年威尼斯双年展；La Presenza del passato，1980年由Paolo Portoghesi策划，用于威尼斯双年展；1981年在巴黎汽车节上举办的法文版的《通行证》，即《现代主义的历史》。法国建筑：现代主义/后现代主义由尚塔尔·贝雷特（ChantalBéret）策展，并在法国建筑学院举办（1981年11月18日至1982年2月6日）；现代主义，无懈可击：40座建筑，由Paul Chemetov和Jean-Claude Garcias策展，于1982年举办的巴黎国际汽车节；临时性的现代生活，由让·努维尔，帕特里斯·古莱特和弗朗索瓦·巴雷策划，并于1982年在蓬皮杜艺术中心举行；而新贵plaisirs D'建筑，于1985年由Jean Dethier的蓬皮杜艺术中心策划，其他展览之一。分析在上述展览的目录中出版的某些重要文本，与展览相关的辩论以及法国建筑杂志（例如，L'Arjitecture d'aujourd'hui）的文章合集以及“技术与建筑”，本文旨在提出关于现代主义和后现代主义理想之间的对立或渗透的辩论中的核心问题。一些人物，例如让·努维尔（Jean Nouvel），更赞成现代性与后现代性之间的交叉融合，而另一些人物，例如保罗·切梅托夫（Paul Chemetov），则认为建筑师应该重新发现现代性，以增强建筑的公民维度。遵循皮埃尔·布迪厄（Pierre Bourdieu）的方法，文章认为，这些展览中的每一个展览对待图像在建筑设计中的作用与建筑在构建关于进步的愿景中所起的作用之间的张力，是在展览中两个不同立场的表达。社会空间。