The creative process is a collective work

<p>One of the important points raised by this study concerns the definition and orchestration of the art-making process as it could be envisaged by the museum. For Howard Becker (1988, 2006) and Albena Yaneva (2003), the creative process is, above all, collective. Indeed, even during the art installation process, we all depend on each other in a "network of relationship" made of "cooperative links".</p> <p>These results do not suggest that artists are not important, since they remain at the center of art installation and conservation decisions. But they show that other speakers deserve to be heard, especially as these other actors that are conservators, curators, technicians are just as creative as the artist. </p> <p>Indeed, Donald Winnicott (1971) proposed that we should consider creativity in its widest sense without restricting it to a successful or recognized creativity, but consider it as a colorful and imaginative behavior in front of the external reality. In this case, the "art coefficient" developed by Marcel Duchamp could be applied to all actors involved in the art-making process.</p> <p>This integration of stakeholders during the art-making process suggests broadening borders and including a wider range of interested or interested groups for the museum. But also, it invites to transform the museum into playful laboratory for artistic experiments. </p><p>In this work, we use a qualitative research method. It is useful especially in the social sciences, as in sociology, ethnology and anthropology. We deliberately set aside the quantitative aspect to gain in depth to the analysis of the object of study.</p><p> </p><p>To this end, various techniques, based on the administration of open questions and the exploration of language, are implemented: research-desk, interviews, participant and direct observations, are the most important.</p>