New patrons

As early as 1963, conceptual artist François Hers proposed an approach to art that went beyond museums,{{Cite book |last=Chevrier |first=Jean-François |author-link=Jean-François Chevrier |url=https://www.worldcat.org/oclc/12625577 |title=Récit |date=1 January 1983 |publisher=Herscher |isbn=978-2-7335-0047-7 |pages= |language=fr |oclc=12625577}} drawing inspiration from the ideas of the Dada movement, to establish new relationships between society, artists and their work. Hers' work reflects this innovative ambition, often being described as "wild".{{Cite book |last1=Hers |first1=François |author-link=François Hers |title=Art without capitalism |last2=Douroux |first2=Xavier |date=2013 |publisher=les Presses du réel |isbn=978-2-84066-591-5 |location=Dijon |language=en}} 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.{{Cite web |last=Nagel |first=Alexander |author-link=Alexander Nagel |date=1 November 2017 |title=On demand |url=https://www.artforum.com/columns/alexander-nagel-on-reclaiming-art-reshaping-democracy-236197/ |access-date=2024-03-11 |website=Artforum |language=en-US}} This led to the creation of the Protocole des Nouveaux commanditaires in 1991, encouraging collaboration between citizens and artists.{{Cite web |title=Mission photographique de la DATAR – Auteurs – Hers |url=https://missionphotodatar.anct.gouv.fr/media/record/eyJpIjoiZGVmYXVsdCIsIm0iOm51bGwsImQiOjMsInIiOjE0N30=/ |access-date=2024-03-11 |website=missionphotodatar.anct.gouv.fr}}

The protocol introduced by Hers involves a network of art world mediators, in essence curators, to facilitate collaboration between patrons and artists.{{Cite journal |last=Rectanus |first=Mark W. |date=17 July 2019 |title=Community-Based Museum Ecologies: Public Doors and Windows and Les Nouveaux Commanditaires ('The New Patrons') |url=https://journals.le.ac.uk/ojs1/index.php/mas/article/view/2751 |journal=Museum and Society |volume=17 |issue=2 |pages=141–156 |doi=10.29311/mas.v17i2.2751 |s2cid=199116846 |issn=1479-8360}} It also revives the collaborative and experimental essence in the conceptual works of John Cage, Fluxus or George Brecht, and the concept of shared creation with the audience found in conceptual art.{{Cite journal |last=Gaité |first=Florian |date=21 November 2017 |title=Conceptualising the Coming World, Rearming Collective Thought |url=http://journals.openedition.org/critiquedart/27215 |journal=Critique d'Art |issue=49 |pages=151–155 |doi=10.4000/critiquedart.27215 |issn=1246-8258}} This approach dismantles traditional power structures and redefines direct interactions with artists while intermediaries like galleries and curators remain to facilitate social connections. The audience gains independence and agency. Central to this dynamic is the artwork, which serves as a pivotal meeting point, fostering participation.

Hers published the first text of the protocol in 2001,{{Cite book |last=Hers |first=François |author-link=François Hers |title=Le protocole |date=2002 |publisher=Les presses du réel |isbn=978-2-84066-075-0 |location=Dijon |language=fr |trans-title=The Protocol}} followed in 2012 by a joint publication with Xavier Douroux: Art without Capitalism.{{Cite book |last1=Hers |first1=François |author-link=François Hers |title=Art without capitalism |last2=Douroux |first2=Xavier |date=2013 |publisher=les Presses du réel |isbn=978-2-84066-591-5 |location=Dijon}} Two more books, in particular, would later enrich the record of the New patrons action. 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.{{Cite book |title=Faire art comme on fait société: les nouveaux commanditaires |date=2013 |publisher=Les Presses du réel |isbn=978-2-84066-623-3 |editor-last=Debaise |editor-first=Didier |location=Dijon |editor-last2=Poggi |editor-first2=Jérôme |editor-last3=Hers |editor-first3=François |editor-last4=Fondation de France}} In 2017, an English edition, Reclaiming Art - Reshaping Democracy,{{Cite book |last1=Zhong Mengual |first1=Estelle |title=Reclaiming Art / Reshaping Democracy: The New Patrons & Participatory Art |last2=Douroux |first2=Xavier |last3=Vinciane |first3=Despret |author-link3=Vinciane Despret |last4=Groys |first4=Boris |author-link4=Boris Groys |last5=Koerner |first5=Joseph L. |author-link5=Joseph Leo Koerner |last6=Jacob |first6=Mary Jane |author-link6=Mary Jane Jacob |last7=Lordon |first7=Frédéric |author-link7=Frédéric Lordon |last8=Robinson |first8=Julia |author-link8=Julia Robinson (artist) |last9=Stengers |first9=Isabelle |author-link9=Isabelle Stengers |date=2017 |publisher=Les presses du réel |isbn=978-2-84066-720-9 |location=Dijon}} similarly privileges anglophones points of view: both publications base themselves on the case study of existing projects to theorise the emergence of publicly commissioned art.

The first artistic projects to emerge from the Nouveaux commanditaires program occurred in Burgundy in 1991. Xavier Douroux, director of Dijon's Le Consortium, started as the mediator between patrons and the artist.{{Cite web |last=Nagel |first=Alexander |author-link=Alexander Nagel |date=30 August 2017 |title=Xavier Douroux (1956–2017) |url=https://www.artforum.com/columns/alexander-nagel-on-xavier-douroux-1956-2017-235460/ |access-date=2024-03-11 |website=Artforum |language=en-US}}

The protocol then spread outside France, first to Belgium in 2000. The program was introduced in Germany at the end of the 2000s, under the impulse of Sigrid Pawelke.{{Cite web |date=August 2010 |title=A "Red Cross" for Art? – The "New Patrons" in Germany |url=http://www.goethe.de/ins/al/tir/kuenste/bku/en6371596.htm |website=goethe.de}}

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,{{cite web |access-date=17 February 2024 |date=16 June 2022 |first=Claire |language=fr |last=Moulène |title=Commande publique: vers des mondes vraiment nouveaux? |url=https://www.liberation.fr/culture/arts/commande-publique-vers-des-mondes-vraiment-nouveaux-20220616_A7M2OWQJYJGGXA7ZNAJFID6T4E/ |website=Libération}} in a project called Nouveaux commanditaires – Sciences, supported by the Fondation de France and other institutions.

In 2022, the Fondation de France, which had until then coordinated and accredited the various mediating structures in France,{{Cite journal |last=Berthoin Antal |first=Ariane |date=2011 |title=Managing artistic interventions in organisations: a comparative study of programmes in Europe |url=https://www.wzb.eu/system/files/docs/dst/wipo/report_managing_artistic_interventions_2011.pdf |journal=TILLT Europe |edition=2nd |location=Gothenburg |pages=117 |via=WZB Berlin Social Science Center}} as well as covered the funding in France and sometimes abroad,{{Cite book |last=Jyrämä |first=Annukka |url=https://warwick.ac.uk/fac/soc/wbs/conf/olkc/archive/oklc5/papers/i-2_jyrama.pdf |title=Birth and survival of a microcommunity of knowledge: A study on the knowledge creation process in the context of an art project in a business school |publisher=Helsinki School of Economics |location=Espoo |pages=7}} announced its withdrawal from the New patrons project, handing over to the French Ministry of Culture.{{cite web |author=Christine Coste |date=18 February 2022 |title=La Fondation de France se retire des « Nouveaux commanditaires » |url=https://www.lejournaldesarts.fr/creation/la-fondation-de-france-se-retire-des-nouveaux-commanditaires-159222 |access-date=2024-02-17 |website=Le Journal des arts |language=fr}} 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.{{Cite web |last=Aurélia de Spirt |date=19 January 2024 |title=Quand les citoyens s'emparent de l'art ? |url=https://www.humanite.fr/culture-et-savoir/acces-a-la-culture/quand-les-citoyens-semparent-de-lart |access-date=2024-02-17 |website=L'Humanité |language=fr}}

In his Letter to a friend, François Hers suggests the emergence of a new chapter in the history of art, that of an art of Democracy succeeding the era of modern art.{{Cite book |last=François Hers |url=http://www.lespressesdureel.com/ouvrage.php?id=5113&menu= |title=Letter to a Friend About the New Patrons |publisher=Les Presses du Réel |year=2016 |isbn=978-2-84066-905-0 |location=Dijon |pages=56 |language=fr}} He sees in current conditions the potential for writing this new chapter, based on the achievements of modernity that began in the Renaissance and extended through to the 1960s.

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. Hers points out that these advances led to the invention of democracy and the development of science and technology.{{Cite book |last=François Hers |url=http://www.lespressesdureel.com/ouvrage.php?id=5113&menu= |title=Letter to a Friend About the New Patrons |publisher=Les Presses du Réel |year=2016 |isbn=978-2-84066-905-0 |location=Dijon |pages=56 |language=fr}}

The Protocol of the New patrons calls for artistic creation no longer to be confined to artists or a few high powers, but to emanate from society itself, through an active dialogue with its artists.{{Cite book |last=Hers |first=François |author-link=François Hers |title=Le protocole |date=2002 |publisher=Les presses du réel |isbn=978-2-84066-075-0 |location=Dijon |language=fr |trans-title=The Protocol}} This democratization of art is made possible by the freeing of the artistic form, that artists have established through time, enabling them to address a multitude of contemporary cultural issues.

The Protocol clarifies the roles and responsibilities of each party: citizens (the New patrons) are responsible for formulating the rationale of art by placing commissions; artists for creating works answering these requests; politicians and patrons for supporting the initiatives; and philosophers and researchers for providing an informed analysis of the issues at stake.{{Cite web |last= |date=9 February 2012 |title=New Patrons – Nouveaux commanditaires. An AAJ Press series on art organisations and commissioning |url=https://aajpress.wordpress.com/2012/02/09/france-new-patrons-nouveaux-commanditaires-an-aaj-press-series-on-art-organisations-and-commissioning/ |access-date=2024-03-11 |website=AAJ Press |language=en}}

At the end of 2010, this initial protocol for artistic creation was joined by a special protocol for the Nouveaux commanditaires – Sciences program.{{Cite web |last1=Claire Ribrault |last2=Livio Riboli-Sasco |title=Protocole |url=https://www.joursavenir.org/activities/ncs/protocole |access-date=2024-02-17 |website=www.joursavenir.org |language=fr}}

The Protocol of the New patrons, initially developed for artistic creation, was extended to scientific research in 2013.{{Cite web |title=L' Atelier des Jours à Venir – Nouveaux commanditaires Sciences |url=https://www.joursavenir.org/activities/ncs |access-date=2024-02-17 |website=www.joursavenir.org |language=fr}} A new Protocol{{Cite web |last1=Claire Ribrault |last2=Livio Riboli-Sasco |title=Protocole |url=https://www.joursavenir.org/activities/ncs/protocole |access-date=2024-02-17 |website=www.joursavenir.org |language=fr}} invites citizens to become the partrons of scientific projects, enabling them to play an active part in research and development. In the very same way as for artistic projects, patron citizens express their needs, concerns or interests, and scientists work with them to respond to these requests. 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. By extending the New patrons' protocol to scientific creation, it becomes an important model for participatory democracy in science.

Half a thousand artists from all disciplines – sculptors, painters, visual artists, video artists, designers, architects, composers, writers and illustrators –{{Cite web |title=New Patrons |url=https://de.wikipedia.org/wiki/Kulturstiftung_des_Bundes |website=Kulturstiftung des Bundes}}{{Circular reference|date=March 2024}} from every continent have accepted commissions for one or more artistic projects from New patrons.

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:{{Cite web |title=Works |url=http://www.nouveauxcommanditaires.eu/en/24/works |access-date=2024-03-11 |website=www.nouveauxcommanditaires.eu |language=english}}

{{Div col|colwidth=20em}}

• Vito Acconci
• Elisabeth Ballet
• Shigeru Ban
• Robert Barry
• Cécile Bart
• Patrick Berger
• Bigert & Bergström
• Christian Boltanski
• Céleste Boursier-Mougenot
• Goran Bregović
• Lee Bul
• Angela Bulloch
• Balthasar Burkhard
• Jean-Marc Bustamante
• Édith Canat de Chizy
• Alexandre Chemetoff
• Sandro Chia
• Claude Closky
• Delphine Coindet
• Matali Crasset
• Anouk De Clercq
• Pierre de Meuron
• Hervé Di Rosa
• Wim Delvoye
• Maryline Desbiolles
• Bechara El-Khoury
• Luciano Fabro
• Harun Farocki
• Sylvie Fleury
• Philippe Forest
• Michel François
• Yona Friedman
• Gloria Friedmann
• Hamish Fulton
• Giuseppe Gabellone
• Anya Gallaccio
• Martino Gamper
• Liam Gillick
• Andy Goldsworthy
• Dominique Gonzalez-Foerster
• Peter Halley
• Camille Henrot
• Pierre Henry
• Jacques Herzog
• Thomas Houseago
• Jacques Jouet
• Tadashi Kawamata
• Jan Kopp
• David Lang
• Bertrand Lavier
• Claude Lévêque
• Michael Lin
• Lani Maestro
• Annette Messager
• Michel Mossessian
• Olivier Mosset
• Jean-Luc Moulène
• Tania Mouraud
• Antoni Muntadas
• Maurizio Nannucci
• Richard Nonas
• Melik Ohanian
• Lucy Orta
• Jorge Orta
• Jean-Michel Othoniel
• Jorge Pardo
• Philippe Parreno
• Simon Patterson
• Yan Pei-Ming
• Bruno Peinado
• Carmen Perrin
• Michelangelo Pistoletto
• Rudy Ricciotti
• Robin Rimbaud
• Ugo Rondinone
• Martha Rosler
• Ágatha Ruiz de la Prada
• Claude Rutault
• Sarkis
• Jean-Louis Schoellkopf
• Ettore Spalletti
• Barbara Steiner
• Superflex
• Niele Toroni
• Tatiana Trouvé
• Oscar Tuazon
• Joëlle Tuerlinckx
• Felice Varini
• Joana Vasconcelos
• Xavier Veilhan
• Didier Vermeiren
• Jean-Luc Vilmouth
• Ulla von Brandenburg
• Gary Webb
• Erwin Wurm
• Rémy Zaugg{{Div col end}}

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{{cite web |author=Christian Ruby |date=17 December 2013 |language=fr |title=Vers un art public ? |url=https://www.nonfiction.fr/article-6850-vers-un-art-public.htm |website=nonfiction.fr}} and Martin Warnke in art history; Bruno Latour, Heinz Wismann and Krzysztof Pomian{{cite web |access-date=27 January 2023 |author=Centre Pompidou |date=16 June 2005 |format=vidéo |language=fr |title=Art et transmission : Interventions de Krzysztof Pomian et Heniz Wismann |url=https://www.centrepompidou.fr/fr/ressources/media/q7lgDXy |url-access= |website=centrepompidou.fr}} in philosophy; as well as philosophers of science Vinciane Despret{{cite book |author1=Vinciane Despret |date=2023 |isbn=978-2-35925-243-9 |language=fr |location=Paris |publisher=La Découverte |title=Les morts à l'oeuvre}} and Isabelle Stengers{{cite web |access-date=27 January 2023 |author=Isabelle Stengers |language=en |title=Because now I would feel authorized to do it... |url=https://neueauftraggeber.de/en/public-dialogue/commissioned-by-art-in-relation/because-now-i-would-feel-authorized-to-do-it |url-access= |website=neueauftraggeber.de}} or economist Frédéric Lordon.{{cite book |author1=Émilie Hache |author2=Frédéric Lordon |date=May 2017 |display-authors=etal |isbn=978-2-84066-720-9 |language=en |location=Dijon |publisher=Les presses du réel |title=Reclaiming Art / Reshaping Democracy – The New Patrons & Participatory Art}}

{{Gallery

| File:Ors maison wilfred owen.jpg

| The Maison forestière Wilfred-Owen (2011) by Simon Patterson, dedicated to Wilfred Owen, commissioned by the mayor and inhabitants of the town of Ors (France).

| File:De IJzeren Rijn, Neerpelt - John Körmeling.jpg

| John Körmeling's IJzeren Rijn (2017) installed on a bridge of the Iron Rhine in Pelt, commissioned by the inhabitants of the former municipality of Neerpelt (Belgium).

}}

The Salle des Départs is a major artwork by Italian artist Ettore Spalletti,{{Cite web |title=Ettore Spalletti |url=https://www.mariangoodman.com/artists/63-ettore-spalletti/ |access-date=2024-03-11 |website=Marian Goodman |language=en |quote=His major commission works include the chapel at Villa Serena, Pescara, Italy in collaboration with the architect Patrizia Leonelli and La salle des départs at Hôpital Raymond-Poincaré, Garches, France.}} developed in collaboration with Guido Fanti. It was installed in 1996 at the Raymond Poincaré Hospital in Garches (Hauts-de-Seine, France).{{Cite web |last=Jean-Luc X. |date=1 October 2019 |title=La Fondation de France rend hommage à Ettore Spalletti, artiste phare des Nouveaux commanditaires |url=https://www.fondationdefrance.org/fr/cat-culture-et-creation/la-fondation-de-france-rend-hommage-a-ettore-spalletti-artiste-phare-des-nouveaux-commanditaires |access-date=2024-02-17 |website=Fondation de France |language=fr-fr}} 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.{{cite web |access-date=2024-02-17 |language=fr-FR |title=Les Nouveaux Commanditaires de Garches |url=https://www.centredufilmsurlart.com/films/les-nouveaux-commanditaires-de-garches/ |website=Centre du film sur l'art}}

In 1993, the doctors turned to the Fondation de France. Spalletti's work is characterized by a total environment, imbued with variations of symbolic blues evoking the celestial and eternal. Elements of black and white marble, sourced from Carrara in Italy, punctuate this space of contemplation, providing a dignified setting for bereaved families.{{cite book |author1=Isabelle Genyk |author2=Isabelle Saint-Martin |author3=Magali Uhl |chapter=Quelles conditions ? Quelles existences ? Interdisciplinarité art/architecture à l’épreuve de la réalisation |date=2012 |doi=10.4000/books.pupo.1313 |id=EAN: 978-2-8218-2684-7 |isbn=978-2-84016-067-0 |language=fr |location=Nanterre |page=113-154 |publisher=Presses universitaires de Paris Nanterre |title=De l'ar[t]chitecture en milieu hospitalier: Buraglio, Pistoletto, Spalletti |url=https://books.openedition.org/pupo/1327}}

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.{{Cite web |title=Salle des Départs |url=http://arts.pallimed.org/2012/05/salle-des-departs.html |access-date=2024-03-11 |website=Pallimed Arts & Humanities}}

The Salle des Départs aims to respond to the question of death, both in hospital and in society, by redefining the clinical space of a mortuary and turning it into a living, public space.{{Cite journal |last=Roxana Azimi |date=14 October 2019 |title=La mort du peintre Ettore Spalletti |url=https://www.lemonde.fr/culture/article/2019/10/14/la-mort-du-peintre-ettore-spalletti_6015472_3246.html |journal=Le Monde |language=fr |access-date=2024-02-17}}

L'œuvre est menacée par la fermeture annoncée de l'hôpital de Garches en 2024,. Le devenir de La Salle des Départs suscite une mobilisation de la part des autorités et de la communauté artistique pour sa préservation et sa réinstallation dans un nouvel établissement hospitalier.

The work is threatened by the announced closure of the Garches hospital in 2024.{{Cite web |date=29 October 2019 |title=La Salle des départs conçue par Ettore Spalletti à l'Hôpital Raymond-Poincaré à Garche |url=https://www.nmnm.mc/evenements/la-salle-des-departs-concue-par-ettore-spalletti-a-lhopital-raymond-poincare-a-garche/ |access-date=2024-02-17 |website=New National Museum of Monaco |language=fr-FR}} The future of La Salle des Départs has prompted the authorities and the artistic community to call for its preservation and reinstallation in a new hospital.{{Cite journal |last=Valérie Da Costa |date=22 November 2018 |title=La Salle des Départs d'Ettore Spalletti en péril |url=https://www.academia.edu/37844832 |format=pdf |journal=The Art Newspaper Daily |language=fr |issue=159 |page=3-5 |url-access=}}

The Colonna di Genk, or Pillar of Genk,{{Cite web |title=The last work by Luciano Fabro |url=http://kunstaspekte.art/event/the-last-work-by-luciano-fabro-2007-06 |access-date=11 March 2024 |website=kunstaspekte.de |language=de}} erected in Genk (Limburg, Belgium),{{cite web |access-date=17 February 2024 |title=Colonna di Genk (Luciano Fabro) — atlasmuseum |url=https://atlasmuseum.net/wiki/Colonna_di_Genk_(Luciano_Fabro) |website=atlasmuseum.net}} is the last work by Italian artist Luciano Fabro, who died in 2007. As a columnar structure, it embodies the mining heritage of Belgian Limburg, while celebrating the union between local communities and Italy.{{cite book |author1=Thérèse Legierse |isbn=978-94-90693-62-6 |language=en |location=Berlin |publisher=MER Paper Kunsthalle |title=Luciano Fabro. From Contratto sociale to Colonna di Genk|date=30 September 2013 }} Commissioned by the municipality of Genk in 2005, the sculpture symbolises the resilience of the local people in the face of the challenges of the mining past, social difficulties of Italian immigrants and economic difficulties following the mines' closure. 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.{{cite web |access-date=2024-02-17 |date=23 April 2008 |language=nl |title=Dorische zuil in meistoet naar Genk |url=https://www.hbvl.be/cnt/aid713053 |website=Het Belang van Limburg}}

Inaugurated on 1 May 2008, ten months after Fabro's death, the Colonna di Genk remains as a testimony to the artist's commitment to social unity. It embodies Genk's motto, "Samen sterk" ("Strong together"), perpetuating a message of unity and solidarity.

Les Bogues du Blat is a set of social housing designed by architect Patrick Bouchain in Beaumont, in Ardèche (France).{{Cite web |last= |first= |date=13 May 2019 |title=À Beaumont en Ardèche, tout faire pour « enrayer le déclin de l'agriculture et le vieillissement de la population » |url=https://www.rue89lyon.fr/2019/05/13/a-beaumont-en-ardeche-tout-faire-pour-enrayer-le-declin-de-lagriculture-et-le-vieillissement-de-la-population/ |access-date=2024-02-17 |website=Rue89Lyon |language=fr-FR}} Initiated by the municipality to fight against the rural flight,{{Cite journal |last1=Bresson |first1=Sabrina |last2=Labit |first2=Anne |date=1 January 2020 |title=How Does Collaborative Housing Address the Issue of Social Inclusion? A French Perspective |url=https://www.tandfonline.com/doi/full/10.1080/14036096.2019.1671488 |journal=Housing, Theory and Society |language=en |volume=37 |issue=1 |pages=118–138 |doi=10.1080/14036096.2019.1671488 |s2cid=204365655 |issn=1403-6096}} this project includes wooden frame houses inspired by chestnut frames and thus evoking local heritage.{{Cite web |last=Fèvre |first=Anne-Marie |title=Les Bogues du Blat, des HLM complètement perchées |url=https://www.liberation.fr/design/2014/06/20/les-bogues-du-blat-des-hlm-completement-perchees_1046564/ |access-date=2024-02-17 |website=Libération |language=fr}}

Closely involving residents, future residents, and elected officials, the project embodies a participatory and sustainable approach to architecture.{{Cite book |last=Valérie Cudel |title=Les Bogues du Blat: une commande des élus de Beaumont |date=2018 |publisher=Les presses du réel |isbn=978-2-9558778-4-5 |location=Dijon}} The constructions started in 2012 and favor environmentally friendly materials and a community lifestyle, linked to the Monts d'Ardèche regional natural park.{{Cite journal |last1=Sánchez |first1=M. C. |last2=Colomé |first2=J. |last3=Gelpí |first3=E. |date=3 November 1976 |title=Electron capture and multiple ion detection of benzodiazepine esters in pharmacokinetic studies |url=https://pubmed.ncbi.nlm.nih.gov/10316 |journal=Journal of Chromatography |volume=126 |pages=601–613 |doi=10.1016/s0021-9673(01)84105-4 |pmid=10316}}

Located in the town of Trébédan, Brittany (France), the École le Blé en herbe was designed by Matali Crasset.{{Cite web |last=Kwok |first=Natasha |date=31 August 2015 |title=Matali Crasset colorfully renovates french school with 'tiny architectures' |url=https://www.designboom.com/architecture/matali-crasset-ble-en-herbe-school-trebedan-brittany-france-08-31-2015/ |access-date=11 March 2024 |website=designboom.com |language=en}} As a new primary school, it is the result of a collaboration between the municipality, residents and local educational authorities.{{Cite journal |last=Marie Godfrain |date=7 September 2015 |title=Trop classe, le design de ma classe ! |url=https://www.lemonde.fr/m-design-deco/article/2015/09/07/trop-classe-le-design-de-ma-classe_4742292_4497702.html |journal=Le Monde |language=fr |access-date=2024-02-17}} The process of creating the school began in 2007, when the community of Trébédan decided to rethink its educational establishment, which had become dilapidated and unsuitable for modern needs.{{cite web |access-date=2024-02-17 |author=Ouest-France |date=27 October 2014 |language=fr |title=L'école rénovée va pouvoir être inaugurée dès le samedi 21 mars |url=https://www.ouest-france.fr/bretagne/trebedan-22980/lecole-renovee-va-pouvoir-etre-inauguree-des-le-samedi-21-mars-2939442 |website=Ouest-France.fr}} Teachers, parents and local elected officials sought to revitalize the village and offer children stimulating learning environments.{{cite web |access-date=2024-02-17 |author=Isabelle Halliez |date=8 September 2015 |language=fr-FR |title=Trébédan. Une école oeuvre d'art |url=https://www.letelegramme.fr/finistere/spantrebedanspan-une-ecole-oeuvre-dart-2511716.php |website=Le Télégramme}}

Matali Crasset sees the school as a work of art in its own right.{{Cite journal |last=Marie Godfrain |date=7 September 2015 |title=Trop classe, le design de ma classe ! |url=https://www.lemonde.fr/m-design-deco/article/2015/09/07/trop-classe-le-design-de-ma-classe_4742292_4497702.html |journal=Le Monde |language=fr |access-date=2024-02-17}} 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.{{Cite web |date=3 March 2016 |title=Le Blé en Herbe School |url=https://plateforme-socialdesign.net/en/decouvrir/le-ble-en-herbe-school |access-date=2024-03-11 |website=social design |language=en}}

{{Infobox NGO

| name = International Society of the New Patrons

| formation = {{start date and age|2002}} (Dijon)
{{start date and age|df=yes|2023|12|19}} (Paris)

| native name = Société internationale des Nouveaux commanditaires

| native_name_lang = French

| abbreviation = SiNc

| founder = François Hers

| founding_location = Paris

| type = International non-profit Organisation

| status = AISBL

| headquarters = Avenue Louise

| location_city = City of Brussels

| location_country = Belgium

| membership = 7 national organisations

| language = French, English

| sec_gen = Thérèse Legierse

| leader_title = President

| leader_name = Alexander Koch

| website = http://nouveauxcommanditaires.eu

}}

Between 1991 and 2022, the Fondation de France oversees (and funds) the development of New patrons projects. In France, the Fondation de France recognises a series of organisations and individuals as "accredited mediators", responsible for mediating New patrons projects in a certain region or, in some cases, for a certain artistic discipline. These include Le Consortium in Burgundy or Les Abattoirs in Occitania. The Fondation de France also coordinates the artistic projects surrounding the extension of tramway 3b in northern Paris.{{Cite web |last=Harris |first=Gareth |date=29 May 2016 |title=Art makeover for Parisian trains and tram stops |url=https://www.theartnewspaper.com/2016/05/30/art-makeover-for-parisian-trains-and-tram-stops |access-date=2024-03-11 |website=The Art Newspaper}} Since 2020, the mediator associations have become independent from the Fondation de France, and their accreditation is now under the responsibility of the newly created Société des Nouveaux commanditaires en arts et sciences, a non-profit association founded in Lille.

Mediators are generally art curators with in-depth knowledge of the art world and their local area.{{Cite web |title=The mediator |url=http://www.nouveauxcommanditaires.eu/en/26/le-m%C3%A9diateur |url-access= |access-date=2024-02-17 |website=www.nouveauxcommanditaires.eu |language=en}}

Outside France, mediation structures are established by national organisations. Internationally, they are grouped under the International Society of the New Patrons (Société internationale des Nouveaux commanditaires, SiNc), founded in Dijon in 2002, and established as an international non-profit association in Brussels in 2023.

As of 2024, SiNc includes the following members:

|gGmbH

|2007Common Lands registration portal, « Neue Auftraggeber e.V. », entreprise number VR 26969, Berlin District Court (Charlottenburg),

|-

|Belgium

|de Nieuwe opdrachtgevers – les Nouveaux commanditaires

|ASBL

|2000{{Cite web |date=12 September 2000 |title=Data of a registered enterprise — les Nouveaux commanditaires |url=https://kbopub.economie.fgov.be/kbopub/toonondernemingps.html?ondernemingsnummer=473063060 |access-date=2024-02-17 |website=kbopub.economie.fgov.be |publisher=Banque-Carrefour des Entreprises |language=fr}}

|-

|Cameroon

|Société des Nouveaux commanditaires du Cameroun

|OBNL

|2016

|-

|Spain

|Concomitentes

|Asociación Civil

|2018{{Cite web |title=Concomitentes – What is Concomitentes? |url=https://concomitentes.org/en/info/what-is |access-date=2024-02-17 |website=concomitentes.org}}

|-

|France

|Société des Nouveaux commanditaires en arts et sciences

|Association loi de 1901

|2020

|-

|Italy

|a.titolo

|Associazione culturale

|2001

|-

|Switzerland

|Société suisse des Nouveaux commanditaires

|Swiss association

|2014{{Cite web |title=Qui sommes-nous? |url=https://nc-na.ch/qui-sommes-nous |access-date=2024-02-17 |website=nc-na.ch}}

|}

Funding is most often provided by the Fondation de France and the foundations it houses (particularly the Fondation Carasso), as well as public contributions: in France, from the Ministry of Culture and regional FRAC contemporary art funds), in Dutch-speaking Belgium from the Flemish Community, in Germany from the Kulturstiftung des Bundes. The budget sometimes comes from the 1 percent for art rule.

"Nouveaux commanditaires" is a registered trademark by the International Society of New Patrons in the Benelux{{Cite web |date=25 August 2021 |title=Trademark number 1446157 |url=https://www.boip.int/en/trademarks-register?app=%2Fitem%2Fbx1446157&query=nouveaux+commanditai |url-access= |access-date=15 February 2024 |website=boip.int |language=en}} and by the Fondation de France in France.{{Cite web |date=21 December 2001 |title=Marque verbale Nouveaux Commanditaires |url=https://data.inpi.fr/marques/FR3138494?q=nouveaux%20commanditaires#FR3138494 |url-access= |access-date=15 February 2024 |website=data.inpi.fr |language=fr}}

The term was translated to other languages, in some cases inventing new a new word to symbolise the "patron", in other cases using an already well established expression:{{Cite web |title=the New patrons |url=http://www.nouveauxcommanditaires.eu/en/ |access-date=11 March 2024 |website=www.nouveauxcommanditaires.eu |language=english}}

• Nuovi committenti in Italian;
• Nuevos comanditarios in Spanish;
• Nieuwe opdrachtgevers in Dutch;
• Neue Auftraggeber in German;
• Komanditario berriak in Basque;
• Taiteen Uudet Tukijat in Finnish

In its international communication, the International Society of New Patrons uses the English term "New Patrons".

Two academic programs focus on the New patrons and the mediation process in contemporary art. Both are in France.

In 2010, inspired by the Protocol of the New Patrons, Bruno Latour founded a programme in political arts at Sciences Po Paris, called SPEAP{{cite web |access-date=15 February 2024 |author=Sciences Po |date=9 October 2023 |language=fr |title=Un an après, Bruno Latour nous inspire toujours |url=https://www.sciencespo.fr/fr/actualites/un-an-apres-bruno-latour-nous-inspire-toujours/ |url-access= |website=sciencespo.fr}} (Sciences Po Expérimentation Arts Politiques, or later Sciences Po École des Arts Politiques).{{Cite web |title=SPEAP: Programme of experimentation in arts and politics, Call for applications 2012–2013 – e-flux Education |url=https://www.e-flux.com/announcements/109672/speap-programme-of-experimentation-in-arts-and-politics-call-for-applications-2012-2013/ |access-date=11 March 2024 |website=www.e-flux.com |language=en}} Under Latour's leadership, the program evolved into the Master of Experimentation in Arts and Politics, which later became the 1-year Master in Political Arts at Science Po's School of Public Affairs.{{Cite web |date=22 January 2017 |title=Applications to the SPEAP program in political arts |url=http://www.bruno-latour.fr/node/717.html |access-date=11 March 2024 |website=www.bruno-latour.fr}} In 2023, the SPEAP programme joined the newly created Maison des Arts et de la Création.{{Cite web |date=29 March 2023 |title=Sciences Po launched its Institute for Arts and Creation |url=https://newsroom.sciencespo.fr/sciences-po-launched-its-institute-for-arts-and-creation/ |url-access= |access-date=15 February 2024 |website=newsroom.sciencespo.fr |language=en}} SPEAP is both focused on artists and academics, aiming at experimentation, but also trains in curation and artistic mediation in a context specific to the creation of public art under the aegis of public or political authorities.{{Cite web |title=SPEAP {{!}} ZKM |url=https://zkm.de/en/person/speap |access-date=11 March 2024 |website=zkm.de |language=en}}

In 2020, the University of Lille launched the University Diploma "Building art as building society — Mediation-production in the contemporary arts" in collaboration with the French Society of the New Patrons in Arts and Sciences.{{cite web |access-date=15 February 2023 |author=Université de Lille |language=fr |title=DU Faire œuvre comme on fait société : médiation-production en arts contemporains |url=https://formationpro.univ-lille.fr/formations/formation-thematique/du-faire-oeuvre-comme-on-fait-societe-mediation-production-en-arts-contemporains |url-access= |website=formationpro.univ-lille.fr}} The programme was later included to the Master of Arts programme in Exhibition and production of contemporary works of art.{{cite web |title=Diplôme universitaire 2023 Faire œuvre comme on fait société : médiation-production en arts contemporains |url=https://www.artconnexion.org/learning/dipl%C3%B4me-universitaire-faire-%C5%93uvre-comme-on-fait-soci%C3%A9t%C3%A9-m%C3%A9diation-production-en-arts-contemporains#:~:text=Ce%20Dipl%C3%B4me%20Universitaire%20s'inscrit,commanditaires%20en%20arts%20et%20sciences. |url-access= |access-date=15 February 2024 |website=artconnexion.org |language=fr}}

• Vinciane Despret, Les Morts à l'œuvre, Paris: La Découverte, 2023.{{Cite book |last=Vinciane Despret |title=Les morts à l'oeuvre |publisher=La Découverte |year=2023 |isbn=978-2-35925-243-9 |location=Paris |language=fr}}
• Émilie Hache, Frédéric Lordon, et al., Reclaiming Art / Reshaping Democracy – The New Patrons & Participatory Art, Dijon: Les presses du réel, 2017.{{Cite book |last1=Zhong Mengual |first1=Estelle |title=Reclaiming art, reshaping democracy: the new patrons & participatory art |last2=Douroux |first2=Xavier |date=2017 |publisher=les Presses du réel |isbn=978-2-84066-720-9 |location=Dijon}}
• François Hers, The protocol, Dijon: Les presses du réel, 2002.{{Cite book |last=François Hers |title=Le Protocole |publisher=Les Presses du Réel |year=2002 |isbn=978-2-84066-075-0 |pages= |language=fr}}
• François Hers, Xavier Douroux, Art without Capitalism, Dijon: Les presses du réel, 2013.{{Cite book |last1=Hers |first1=François |title=Art without capitalism |last2=Douroux |first2=Xavier |date=2013 |publisher=les Presses du réel |isbn=978-2-84066-591-5 |location=Dijon}}
• François Hers, Letter to a Friend about the New patrons, translated by Emmelene Landon, Dijon: Les presses du réel, 2016.{{Cite book |last1=Hers |first1=François |title=Letter to a friend, about the "New patrons" |last2=Landon |first2=Emmelene |date=2016 |publisher=les Presses du réel |isbn=978-2-84066-905-0 |location=Dijon}}
• François Hers, Operation Nouveaux commanditaires, Dijon: Les presses du réel, 2023.{{Cite book |last=Hers |first=François |author-link=François Hers |title=Operation "Nouveaux commanditaires" |date=July 2023 |publisher=les presses du réel |year=2023 |isbn=978-2-37896-456-6 |location=Dijon}}

Category:Contemporary art organizations

Category:Arts organizations based in France

Category:Arts organizations established in 1990

Category:French artist groups and collectives

Category:1990 establishments in France