2004
Jeu de paume (Paris)
La création du Jeu de Paume s’inscrit dans un long processus de valorisation de la création photographique.
Portée par des initiatives municipales et régionales, la création photographique se voit attribuer un budget à partir 1976 avec la création du Service de la photographie dirigée par Pierre Barbin et Agnès de Gouvion Saint-Cyr. En 1980, le service est scindé en deux : le versant conservation est assigné à la Mission du patrimoine photographique pendant que la seconde section encourage la création au travers de l’enseignement, des questions juridiques et sociales des photographes.
L’élection de la gauche apporte de nouveaux moyens à la photographie contemporaine avec la création du Centre national de la photographie en 1982. Ce lieu d’exposition situé au palais de Tokyo et dirigé par Robert Delpire, porte la politique du ministère. En parallèle la Mission du patrimoine photographique anime l’activité régionale et supervise l’action de l’Association française pour la diffusion du patrimoine photographique qui reçoit les donations.
En 1993 le CNP ainsi que la Mission du patrimoine photographique quittent le palais de Tokyo dont les travaux visant à en faire un palais des Arts de l’image ont commencé. Ils s’installent respectivement à l’hôtel Salomon de Rothschild et à l’hôtel de Sully. Cette séparation géographique, l’orientation nouvelle choisie par Régis Durand et l’inauguration par la ville de Paris de la Maison européenne de la photographie (1996) diminue l’influence du CNP.
Le projet de la Galerie nationale du Jeu de Paume vise alors à doter l’Etat d’un nouvel établissement plus visible et capable d’accueillir le grand public. Inoccupé suite au transfert des œuvres impressionnistes au musée d’Orsay en 1986, le Jeu de Paume est alors voué à la présentation des arts de la seconde moitié du XXe siècle. L’idée était de faire au cœur de Paris une sorte de Kunsthalle à la française, en créant un pôle d’exposition et d’action culturelle sans collection. Suite à un appel à candidatures lancé par le ministère de la Culture et de la communication en juillet 1987, 7 projets d’architecture sont retenus pour le réaménagement du bâtiment. Le projet de l’architecte Antoine Stinco est déclaré lauréat par le jury présidé par Dominique Bozo en septembre 1987.
La gestion du lieu est organisée selon le mode de fonctionnement associatif. La Galerie nationale du Jeu de Paume est donc constituée en association loi 1901, placée sous le contrôle du ministère de la Culture et de la communication. Le mode de financement choisi institue un co-financement public-privé, l’État apportant les deux tiers des crédits et la société civile, le tiers restant. L’Union des assurances de Paris (UAP) joue dans ce dispositif un rôle essentiel. En 1997, la fusion de l'UAP et d'AXA conduit à la fin de cet arrangement. L’État est désormais le seul financeur, ce qui conduit la direction de la Galerie à privilégier des expositions à forte fréquentation, afin d’augmenter les ressources propres.
Deux directeurs se succèdent à sa tête : Alfred Pacquement, de 1991 à 1993, puis Daniel Abadie, de 1993 à 2004.
En juin 2003, Jean-Jacques Aillagon, ministre de la Culture et de la communication, décide, dans le cadre d’une politique d’aide à la photographie, de dédier la Galerie nationale du Jeu de Paume à la photographie et à l’image. Elle fusionne alors en 2004 avec le Centre national de la photographie et l’Association française de défense du patrimoine photographique (qui prend le nom de Patrimoine photographique en 1999).
Daniel Abadie est alors remplacé à partir de juin 2004 à la tête de l’institution par Régis Durand.
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