EXPOSITION

Tatiana Wolska – Habitat potentiel pour une artiste  
24 février – 10 juin 2018

Du 24 février au 10 juin 2018, la Ville de Nice invite l’artiste Tatiana Wolska à présenter son exposition « Habitat potentiel pour une artiste » à la Galerie de la Marine, une installation monumentale constituée de chutes de bois et de mobilier voué au rebut. Entre architecture et sculpture habitable, cette œuvre inédite constitue pour l’artiste une nouvelle manière de construire. Le vernissage de l’exposition a lieu ce vendredi 23 février à 19 heures.

Tatiana Wolska développe depuis 10 ans des projets de sculpture en grand format, toujours liés aux lieux qui l’invitent. L’artiste fabrique de la sculpture en jouant avec toutes sortes de matériaux de récupération : chutes de bois, plastique thermoformé, métaux et objets abandonnés qu’elle découpe, décortique, réordonne et assemble à nouveau.

L’exposition propose une expérience physique et cognitive d'une architecture spécifique, à la fois vivante, organique et relationnelle. En se penchant sur l’architecture temporaire qui peut revêtir plusieurs rôles (culturel, évènementiel, social), l’exposition recouvre une diversité de potentiels. Elle est autant l’expression d’une liberté que celle d’une nécessaire survie car bien souvent, le temporaire rime avec l’urgence. Elle pose aussi la question de l’inscription potentiellement durable de ces structures dans la fabrique de la ville.

Tatiana Wolska est née en 1977 en Pologne. Elle est diplômée de l’ENSA de la Villa Arson en 2007. Elle vit et travaille à Bruxelles. Elle est représentée par les galeries Claudine Papillon, Paris, Catherine Issert, Saint-Paul de Vence et Irène Laub, Bruxelles. Elle est lauréate en 2014 du Grand Prix du 59e Salon de Montrouge consacré à la jeune création émergente.

Tatiana Wolska Nomadisme, FRAC CORSE, 2016,
crédit photo David Raffini

Costume Institute's Spring 2020 Exhibition to
Present a Disruptive Timeline of Fashion History

Costume Institute Benefit on May 4 with Co-Chairs
Nicolas Ghesquière, Lin-Manuel Miranda, Emma Stone,
Meryl Streep, and Anna Wintour

(New York, November 7, 2019)  The Metropolitan Museum of Art announced today that The Costume Institute's spring 2020 exhibition will be About Time: Fashion and Duration, on view from May 7 through September 7, 2020 (preceded on May 4 by The Costume Institute Benefit). Presented in The Met Fifth Avenue's Iris and B. Gerald Cantor Exhibition Hall, it will trace more than a century and a half of fashion, from 1870 to the present, along a disruptive timeline, as part of the Museum's 150th anniversary celebration. Employing philosopher Henri Bergson's concept of la durée—time that flows, accumulates, and is indivisible—the exhibition will explore how clothes generate temporal associations that conflate the past, present, and future. The concept will also be examined through the writings of Virginia Woolf, who will serve as the "ghost narrator" of the exhibition. Michael Cunningham, who won the Pulitzer Prize for Fiction for his novel The Hours, which was inspired by Woolf's Mrs. Dalloway, will write a new short story for the exhibition catalogue that reflects on the concept of duration.

The exhibition is made possible by Louis Vuitton.
Additional support is provided by Condé Nast.

"This exhibition will consider the ephemeral nature of fashion, employing flashbacks and fast-forwards to reveal how it can be both linear and cyclical," said Max Hollein, Director of The Met. "As such, the show will present a nuanced continuum of fashion over the Museum's 150-year history."

Andrew Bolton, Wendy Yu Curator in Charge of The Costume Institute, said: "Fashion is indelibly connected to time. It not only reflects and represents the spirit of the times, but it also changes and develops with the times, serving as an especially sensitive and accurate timepiece. Through a series of chronologies, the exhibition will use the concept of duration to analyze the temporal twists and turns of fashion history."

In celebration of the opening, The Costume Institute Benefit, also known as The Met Gala, will take place on Monday, May 4, 2020. The evening's co-chairs will be Nicolas Ghesquière, Lin-Manuel Miranda, Emma Stone, Meryl Streep, and Anna Wintour. The event is The Costume Institute's main source of annual funding for exhibitions, publications, acquisitions, and capital improvements.

Surreal, David Bailey (British, born 1938),
1980; Photo © David Bailey

First major museum exhibition to focus on Édouard Manet’s late work, featuring more than 90
paintings and drawings, including Jeanne (Spring), 1882

At the Getty Museum, Getty Center
October 8, 2019 through January 12, 2020

LOS ANGELES—Édouard Manet (1832-1883) is best known today for provocative, large-scale paintings that challenged the old masters and academic tradition and sent shockwaves through the French art world in the early 1860s. In the late 1870s and early 1880s, he shifted his focus and produced a different, though no less radical, body of work: stylish portraits, luscious still lifes, delicate pastels, intimate watercolors, and freely brushed scenes of suburban gardens and Parisian cafes.

On view at the J. Paul Getty Museum October 8, 2019 through January 12, 2020, Manet and Modern Beauty explores for the first time in a major museum exhibition the artist’s last years, after his rise to notoriety in the 1860s and the formal launch of the Impressionist movement in the early 1870s. The exhibition will feature more than 90 works of art, including an impressive array of genre scenes, still lifes, pastels, and portraits of favorite actresses and models, bourgeois women of his acquaintance, his wife, and his male friends.
“Manet is a titan of modern art, but most art historical narratives about his achievement focus on his early and mid-career work,” says Timothy Potts, director of the J. Paul Getty Museum. “Many of his later paintings are of extraordinary beauty, executed at the height of his artistic prowess—despite the fact that he was already afflicted with the illness that would lead to his early death. These works sparkle with an insistent – perhaps even defiant – sense of life. Presenting many iconic paintings, including our recently acquired Jeanne (Spring), alongside pastels and intimate watercolors, Manet and Modern Beauty takes a fresh look at this justly renowned and ever-popular artist.”

THE MENIL COLLECTION PRESENTS PHOTOGRAPHY AND THE SURREAL IMAGINATION
ON VIEW NOW THROUGH JUNE 14 - 2020

Events During Houston’s FotoFest Biennial 2020 Include Talks by Artist Allison Janae
Hamilton and Curator Natalie Dupêcher, a Lecture by Author David Campany, and a Special Musical Performance

HOUSTON, TEXAS, February 24, 2020 – Drawn from the Menil Collection’s renowned holdings of Surrealist art and from extraordinary loans from Houston collections, the exhibition Photography and the Surreal Imagination is on view at the Menil Collection now through June 14, 2020.
Presenting 62 works that span the years from Surrealism’s eruption in the 1920s to the present day, the exhibition reveals how photographers during and after the Surrealist movement have explored and distorted the human form, manipulated the photographic surface, and used the camera to transform the familiar into the uncanny. Photography’s inherent tension between documentation and invention emerges in the exhibition as the generative force that has made this medium so productive for artists working in the wake of Surrealism.

Tirée des collections renommées d’art surréaliste de la collection Menil et des prêts extraordinaires des collections de Houston, l’exposition Photography and the Surreal Imagination est à l’affiche à la collection Menil jusqu’au 14 juin 2020. Présentant 62 œuvres qui couvrent les années de l’éruption du surréalisme dans des années 1920 à nos jours, l’exposition révèle comment les photographes pendant et après le mouvement surréaliste ont exploré et déformé la forme humaine, manipulé la surface photographique et utilisé l’appareil photo pour transformer le familier en inquiétant. La tension inhérente à la photographie entre documentation et invention émerge dans l’exposition comme la force génératrice qui a rendu ce médium si productif pour les artistes travaillant dans le sillage du surréalisme.

George Platt Lynes, Untitled, 1941. Gelatin silver print,
9 9/16 × 7 5/8 in. (24.3 × 19.4 cm).
The Museum of Fine Arts, Houston,
The Allan Chasanoff Photographic Collection, 91.849.
© George Platt Lynes Estate

Exhibition Dates:
September 18, 2018–January 6, 2019
Exhibition Location: The Met Breuer, Floor 4

For the last 50 years, artists have explored the hidden operations of power and the symbiotic suspicion between the government and its citizens. Opening at The Met Breuer on September 18, Everything Is Connected: Art and Conspiracy will be the first major exhibition to tackle this perennially provocative topic. Covering the period from 1969 to 2016 and featuring 70 works by 30 artists working in a range of media—from painting and sculpture to photography, video, and installation art—Everything Is Connected will present an alternate history of postwar and contemporary art that is also an archaeology of our troubled times.

The exhibition is made possible by Andrea Krantz and Harvey Sawikin.

Additional support is provided by James and Vivian Zelter.

There are incontrovertible aspects of the postwar period that created a fertile ground for the figure of conspiracy to loom so large. Foremost among these is the dramatic expansion in size and complexity of Western democracies and their attendant bureaucracies. Accordingly, the exhibition will focus on conspiracy in the West and stops short of the 2016 U.S. presidential election.

Tracing the simultaneous development of two kinds of art about conspiracy that form two sides of the same coin, the exhibition will be divided into two parts. The first is comprised of works by artists who hew strictly to the public record, uncovering hidden webs of deceit—from the shell corporations of New York’s then largest private landlord to the vast, interconnected networks encompassing politicians, businessmen, and arms dealers. The second part will feature artists who dive headlong into the fever dreams of the disaffected, creating fantastical works that nevertheless uncover uncomfortable truths in an age of information overload and weakened trust in institutions.

The Metropolitan Museum of Art | 1000 5th Ave at 82nd Street | New York | NY | 10028

Dramatic Indian Sculptural Masks to be Featured in Exhibition on Theme of Vishnu at Metropolitan Museum

Exhibition dates: December 19, 2015–June 5, 2016
Exhibition location: Florence and Herbert Irving Asian Wing, third floor, Gallery 251

www.metmuseum.org

Five rare wooden sculptural masks made in India—recently acquired by The Metropolitan Museum of Art—will be the highlighted works in the special exhibition Encountering Vishnu: The Lion Avatar in Indian Temple Drama, opening at the Met on December 19. Worn by actors in dramatic plays that were presented during religious festivals in southern India, the masks represent a largely unrecorded category of late medieval devotional art from India.

The appearances of Vishnu in many guises, known as avatars, are most famously celebrated in his Ten Avatars (Dasavatar). In this exhibition, Vishnu's Narasimha (man-lion) appearance will be celebrated with several dramatic sculptural depictions. They all explore the theme of Vishnu in his man-lion form, revealing himself at the court of an evil king in response to the king's attempts to slay his own son for his unwavering devotion (bhakti) to Vishnu. A frightful battle ensues in which Narasimha finally overcomes the protective magic that the evil King Hiranyanatakam surrounds himself with, and Narasimha disembowels the king. Order is thus restored to the universe.

Narasimha, South India (Tamil Nadu),
ca. 1700-1750. Wood with cloth and polychrome.
The Metropolitan Museum of Art, Purchase,
The Vincent Astor Foundation and Miriam and Ira D.
Wallach Foundation Gifts, 2015

This narrative is dramatically represented in sculptures and painting, and when staged it is given heightened drama by the wearing of these powerfully expressive masks. This temple drama, known as Hiranyanatakam, is still performed in the Kaveri delta region of Tamil Nadu, in villages around Thanjavur in southern India.

Along with the masks, the exhibition will present works in bronze, sandstone, and wood, as well as miniature paintings, lithographic devotional prints, and early photography, all of which illuminate the theme of Vishnu's divine appearances. Dating from the 6th to the 20th century, the 30 works will be drawn from the Met's collection, as well as private collections, and will include an extraordinary seated sandstone Narasimha from the sixth or seventh century.

The exhibition is made possible by The Miriam and Ira D. Wallach Foundation Fund.

The exhibition will be organized by John Guy, Florence and Herbert Irving Curator of the Arts of South and Southeast Asia.

Exhibition of Magnificent Modern and Contemporary Ceramics Celebrates Gift from
Robert A. Ellison Jr. to The Met
February 22–August 29, 2021 - https://www.metmuseum.org/

Shapes from Out of Nowhere: Ceramics from the Robert A. Ellison Jr. Collection celebrates an extraordinary gift to The Met of 125 modern and contemporary ceramics from Robert A. Ellison Jr., given to the Museum in honor of its 150th anniversary. The exhibition will present a selection of over 75 works from this unparalleled collection that charts the evolution of abstraction in clay from the second half of the 20th century through the present.
The exhibition is made possible by The Modern Circle.
Max Hollein, Marina Kellen French Director of The Met, commented, "For decades, Bob Ellison has transformed The Met's collection with extraordinary gifts of ceramics, a legacy of expertise and generosity made all the more remarkable with this most recent gift. We are deeply grateful to Bob for these outstanding works of art, which represent a diverse array of styles by both well-known and underrepresented artists alike from the last century. It will be an honor to share these objects of great beauty and innovation with our audiences."
"Museums are in many ways collections of collections that have been assembled with the keen eye of passionate individuals. Bob Ellison is one of these brilliant collectors," said Sheena Wagstaff, The Met's Leonard A. Lauder Chairman of Modern and Contemporary Art. "With this donation of marvelously imaginative works by a range of artists—many influenced by the eccentric Mississippian and accidental modernist George Ohr—The Met is now proud to own deep holdings of unique contemporary abstract forms in clay."

Max Beckmann in New York, Opening at The Met on
October 19, Will Spotlight the Artist's Special Connection with the City

Exhibition Dates:
October 19, 2016–February 20, 2017
Exhibition Location:

The Metropolitan Museum of Art
1000 Fifth Avenue - Gallery 199
New York, NY 10028
T 212 535 7710,

Opening October 19, 2016, the exhibition Max Beckmann in New York at The Metropolitan Museum of Art will put a spotlight on the artist's special connection with New York City. It will feature 14 paintings that Beckmann created while living in New York from 1949 to 1950, as well as 25 works, dating from 1920 to 1948, from New York collections. The exhibition assembles several groups of iconic works, including self-portraits; mythical, expressionist interiors; robust, colorful portraits of women and performers; landscapes; and triptychs.

The exhibition is made possible by The Isaacson-Draper Foundation.

It is supported by an Indemnity from the Federal Council on the Arts and the Humanities.

In late December 1950, Beckmann set out from his apartment on the Upper West Side of New York to see his Self-Portrait in Blue Jacket (1950), which was on view at The Metropolitan Museum of Art in the exhibition American Painting Today. However, on the corner of 69th Street and Central Park West, the 66-year-old artist suffered a fatal heart attack and never made it to the Museum. The poignant circumstance of the artist's death served as the inspiration for the exhibition.

Max Beckmann (German, Leipzig 1884-1950 New York). Self-Portrait in Blue Jacket, 1950. Oil on canvas. Saint Louis Art Museum, Bequest of Morton D. May. SL.9.2016.24.1, © 2016 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn

Watch a video preview of Gerhard Richter: Painting After All, on view at The Met Breuer from March 4 through July 5, 2020. The exhibition, which considers Richter's six-decade-long preoccupation with the dual means of representation and abstraction to explore the material, conceptual and historical implications of painting, spans the entirety of Richter's prolific and innovative career, and presents over one hundred works that focus on his specific commitment to the medium, as well as his related interests in photography, digital reproduction, and sculpture

Exhibition Spanning Gerhard Richter’s Prolific Six Decade Career to Open at The Met Breuer
Gerhard Richter

Exhibition Dates: March 4–July 5, 2020
Exhibition Location: The Met Breuer, Floors 3 & 4

The Met Breuer
945 Madison Avenue
New York, NY 10021
Phone: 212-731-1675 web site : https://www.metmuseum.org/

The Met will present a major loan exhibition devoted to the work of one of the most renowned artists of our time: Gerhard Richter (German, born Dresden 1932). On view at The Met Breuer from March 4 through July 5, 2020, Gerhard Richter: Painting After All will consider the entire span of the artist’s career through some 100 works including paintings, glass sculptures, prints, and photographs. Conceived in close collaboration with the artist, the exhibition will reveal Richter’s six decade-long preoccupation with the dual means of representation and abstraction, and his continual exploration of the material, conceptual, and historical implications of painting. This will be the first major U.S. survey on the artist in nearly 20 years.

The exhibition is made possible by the Barrie A. and Deedee Wigmore Foundation.

Corporate sponsorship is provided by Morgan Stanley.

Major support is provided by David S. Winter and the Modern and
Contemporary Art Visiting Committee.

Additional funding is provided by Angela A. Chao and Jim Breyer,
Jane C. Carroll, the Horace W. Goldsmith Foundation, Kenneth and Rosalind Landis, and the Peterson Family Foundation.

Foto: Pablo Asenjo © Museo Picasso Málaga

Two of the galleries housing the collection of the Museo Picasso Málaga have been transformed for the upcoming opening of the Picasso Sculptor. Matter and Body exhibition. From this week onwards rooms IX and X will present Perpetual Metamorphosis, a selection of works by Picasso that establish a subtle dialogue with the exhibition. This display will remain in place until the show ends.

Devised by Michael FitzGerald, a professor of Fine Art at Trinity College in Hartford (United States), Perpetual Metamorphosis complements the Picasso Sculptor. Matter and Body exhibition due to open at the Museo Picasso Málaga on May 9 as part of the Picasso Celebration. 1973–2023 commemoration.

Rooms IX and X of the Palacio de Bellavista will display works illustrating the broad variety of forms in which Picasso explored the female body using a wide range of media: sculpture, painting, drawing and ceramics. For Picasso, the ancient rivalry between painting and sculpture was meaningless. The constant evolution of his ideas exploded traditional differences between media, as his art was in perpetual motion across painting, sculpture, drawing, and printmaking.

THE MUSEUM OF MODERN ART EXPLORES THE PROVOCATIVE AND PROLIFIC CAREER OF FRANCIS PICABIA WITH HIS FIRST U.S. RETROSPECTIVE IN NEARLY 50 YEARS

MoMA's First-Ever Monographic Exhibition of Picabia Brings Together Some 200 Works to Advance Understanding of the Artist’s Vital Place in 20th-Century Art

Francis Picabia: Our Heads Are Round so Our Thoughts Can Change Direction

November 21, 2016–March 19, 2017

The Joan and Preston Robert Tisch Exhibition Gallery, sixth floor

NEW YORK, November 3, 2016—The Museum of Modern Art’s Francis Picabia: Our Heads Are Round so Our Thoughts Can Change Direction, on view November 21, 2016–March 19, 2017, is the first major exhibition of the artist’s work in the US in nearly half a century, and the first ever to chart the full range of Picabia’s audacious, irreverent, and profoundly influential career. “Our heads are round so our thoughts can change direction” is an aphorism coined by Picabia in 1922, and it aptly encapsulates the nonlinear, circular character of his artistic practice. This exhibition presents approximately 200 works in an array of mediums in order to advance understanding of Picabia’s unruly genius and its vital place within the history of modern art.

Francis Picabia is organized by MoMA and the Kunsthaus Zürich. The curators are Anne Umland, The Blanchette Hooker Rockefeller Curator of Painting and Sculpture at MoMA; and Cathérine Hug, Curator at the Kunsthaus Zürich; with Talia Kwartler, Curatorial Assistant, MoMA. Prior to its presentation in New York, the exhibition was on view at the Kunsthaus Zürich.

Francis Picabia. Aello. 1930. Oil on canvas,
66 9/16 × 66 9/16 (169 × 169 cm).
Private collection. © 2016 Artist Rights Society (ARS),
New York/ADAGP, Paris

To celebrate the 30th anniversary of Tate St Ives, Their Majesties The King and Queen visited the Barbara Hepworth Museum and Sculpture Garden today. They were given a tour of Hepworth’s studio and garden, which is cared for by Tate St Ives, and were introduced to several people who have played important roles in Tate St Ives’s success over the past 30 years.

The visit was hosted by Anne Barlow (Director of Tate St Ives) and Roland Rudd (Chair of Tate). Their Majesties began their visit in Hepworth’s beautiful studio space, filled with some of the artist’s most famous works in wood, bronze, marble and plaster. Dr Sophie Bowness (Barbara Hepworth’s granddaughter) introduced the history of the building, alongside Dame Jayne-Anne Gadhia (Trustee of Tate) and Sir Anthony Salz (Chair of Tate St Ives Advisory Council).

CACN - Centre d'Art Contemporain de Nîmes
25 rue Saint-Rémy
30900 Nîmes
Tel : +33 (0)9 86 41 60 33
www.cacncentredart.com 
Mail : cacnimes(at)gmail.com
https://www.facebook.com/cacnimes/ 

Exposition du 7 octobre au 16 décembre 2017
Vernissage le vendredi 6 octobre à 18h
Entrée libre et gratuite

Avec Caroline Bach, Anaïs Boileau, Audrey Guiraud, Guillaume Le Moine, Nelly Monnier, et Eric Tabuchi

Lorsque nous avons pensé cette exposition, l’envie était d’abord de revenir à un format davantage épuré et une figuration résolument plus calme, « reposée ». Nous ressentions déjà en amont les interrogations, voire l’énigme théorique de ce thème, qui n’en est finalement pas vraiment un. Comme un entre-deux, nous nous interrogions sur le cheminement intrinsèque de chacune des pratiques présentées. Alors, afin de mieux comprendre les contours et les processus engagés auprès de cette sélection, quelques questions subsistent. Pourquoi mettre en avant ces architectures prosaïques ? Comment se fait-il que les personnes qui y vivent ou y travaillent disparaissent-elles du cadre ?
Les six artistes du projet Topologie* de l’absence ont installé ici des témoignages correspondant à des lieux particuliers qui mettent en exergue certaines géographies oubliées parce qu’elles sont monotones ou indiffèrent l’opinion. Pourtant ces constructions en marge sont peut-être le futur patrimonial de notre société post-contemporaine. On peut d’ores et déjà remarquer la connivence, même si les oeuvres ne dévoilent pas la même chose, de cet ensemble positionné au sein du centre d’art.
 


VALÉRIE BELIN
LES IMAGES INTRANQUILLES
24 JUIN - 14 SEPTEMBRE 2015
GALERIE D’ART GRAPHIQUE, NIVEAU 4
Centre Pompidou
75191 Paris cedex 04
téléphone
00 33 (0)1 44 78 12 33
www.centrepompidou.fr

D’où provient ce sentiment d’inquiétante étrangeté que produisent les photographies de Valérie Belin ? De la carnation vivante de ses mannequins de vitrine, de la fixité du visage de ces femmes rencontrées dans la rue ? De l’aspect organique de ces carcasses de voitures, du caractère sculptural de ces boeufs écorchés ? Est-ce un sosie ou une statue de cire ?

Le Centre Pompidou consacre, pour la première fois, une exposition à l’oeuvre de Valérie Belin du 24 juin au 14 septembre. Constituée d’une trentaine d’oeuvres, l’exposition est organisée autour de la toute dernière série de Valérie Belin, « Super Models ». Cette nouvelle proposition renoue avec la thématique du mannequin qui est au coeur du travail de l’artiste, en lien avec des oeuvres antérieures provenant de collections publiques ou privées.

Valérie Belin
Isthar (série Super Models), 2015
Tirage pigmentaire,
Courtesy Galerie Nathalie Obadia, Paris/Bruxelles
© Adagp, Paris 2015 

Des détails subtils qui interrompent la continuité quotidienne, ramenant au concept d’inquiétante étrangeté de Sigmund Freud qui la définissait justement comme « Le fait de douter qu’une créature apparemment vivante soit animée, et à l’inverse l’idée qu’une créature sans vie pourrait bien être animée, en se référant à l’impression produite par les mannequins de cire, les poupées ou les automates réalisés avec art » [ Sigmund Freud, « L’Inquiétante étrangeté », 1919 ].

C’est cela précisément qui confère aux oeuvres de Valérie Belin une singulière puissance et le choix des oeuvres ici réunies, « Michael Jackson », « Black Women I », « Lido », « Meats», «Engines», …, illustre cet aspect spécifique de son travail.

VIALLAT - HAAS - ERBELDING - COSKUN exposition SIGNES SENSIBLES

Fascination contemporaine pour l'art pariétal
au Château du Val Fleury

vernissage de l'exposition sur invitation
SIGNES SENSIBLES
le jeudi 17 mai 2018 à 19h
en présence des artistes
Claude Viallat - Michel Haas - Patricia Erbelding - Coskun

Visite commentée par , commissaire de l'exposition Laurence d'Ist Un catalogue est édité pour l'occasion
Exposition du 15 mai au 8 juillet 2018
Du mardi au samedi de 14h à 18h
Dimanche de 14h à 18h30
Ouverture le dimanche 20 mai 2018
Entrée libre

Château du Val Fleury
Allée du Val FLeury
91190 Gif-sur-Yvette (Essonne)

Renseignements : 01 70 56 52 60 culturel(at)mairie-gif.fr
Programme détaillé : www.ville-gif.fr

Fondation Beyeler, Beyeler Museum AG, Baselstrasse 77, CH-4125 Riehen
Horaires d'ouverture de la Fondation Beyeler: tous les jours 10h00–18h00, le mercredi jusqu'à 20h00

www.fondationbeyeler.ch

Du 13 février au 19 avril 2020

La modernité en tant qu'ère du progrès technique se caractérise surtout par le mouvement et la vitesse, qui ont aussi trouvé des manifestations multiples dans le domaine de l'art. En parallèle s'est développé un désir croissant de décélération, qui s'exprime dans des images toujours nouvelles de calme et de quiétude. Par les temps d'accélération toujours plus poussée comme les nôtres, le besoin d'apaisement et de détente semble particulièrement fort.

L'actuelle présentation de la collection de la Fondation Beyeler se concentre ainsi sur des œuvres d'art moderne et contemporain qui ont pour thème le calme et la quiétude. Il est frappant de constater à quel point ces œuvres diffèrent de par leur esthétique, leur contenu, leur forme, leur choix de médium et de matériau. Le musée lui-même apparaît en tant que lieu potentiel de silence et de réflexion. Chaque salle de l'exposition est consacrée à un aspect spécifique de la notion de calme et de quiétude, invitant le spectateur à une contemplation silencieuse: le calme statique et physique, le calme idyllique de la nature, le calme céleste et le calme avant la tempête, le silence et le vide, l'équilibre de la composition, la nature morte, le calme intérieur, se taire, la solitude et la méditation, et enfin le sommeil et le repos éternel sont les motifs autour desquels s'articulent les différents chapitres de l'exposition. Ensemble, les œuvres exposées déploient toute la richesse de la thématique, principalement dans les médias de la peinture et de la sculpture. Il s'y reflète par ailleurs une caractéristique essentielle des œuvres d'Edward Hopper, auquel la Fondation Beyeler consacre au même moment une grande exposition.

Mark Rothko, Untitled (Red-Brown, Black, Green, Red), 1962,
huile sur toile, 206,0 x 193,5 cm,
Fondation Beyeler, Riehen/Bâle, Collection Beyeler:
© 1998 Kate Rothko Prizel & Christopher Rothko / 2019,
ProLitteris, Zurich; Photo: Peter Schibli

VOL - LA PEINTURE FIGURATIVE DE JUDIT REIGL

MUSÉE DE KISCELL, BUDAPEST, HONGRIE

23 AOÛT - 27 OCTOBRE 2023

Plusieurs musées européens et hongrois célèbrent le centenaire de la naissance de Judit Reigl au travers d'expositions consacrées à l'artiste. Les œuvres présentées au Musée Kiscell - Galerie Municipale de Budapest permettent de faire le pont entre l'exposition de la Neue Nationalgalerie de Berlin et celle organisée par le Musée des Beaux-Arts de Budapest. En effet, la première couvre la période la plus célèbre de l'artiste, ses peintures abstraites et figuratives des années 1950 aux années 1980, tandis que la seconde propose une sélection d'œuvres datant des dernières années de la carrière de Judit Reigl. L'exposition au Musée Kiscell se concentre quant à elle sur l'intervalle entre ces deux périodes et révèle pour la première fois l'importance occupée par la représentation de l'homme dans l'œuvre de Judit Reigl.

Dans l'espace monumental de la chapelle du Musée Kiscell (qui était un lieu important pour Reigl) ces figures humaines flottantes et volantes trouvent un contexte particulier. L'exposition est organisée en collaboration avec le Fonds de dotation Judit Reigl, la fondation parisienne chargée de préserver l'héritage de l'artiste et détenant les droits d'auteur de son œuvre.

Werner Bischof - Point de vue et Helvetica
À visiter du mardi au dimanche de 11h à 18h.
27 janvier au 1er mai 2016
MUSEE DE L'ELYSEE LAUSANNE
18, avenue de l’Elysée
CH - 1014 Lausanne
T + 41 21 316 99 11
F + 41 21 316 99 12
www.elysee.ch

A l’occasion du centième anniversaire de la naissance du photographe suisse Werner Bischof (1916-1954), le Musée de l’Elysée présente une rétrospective de son travail intitulée Point de vue, produite par Magnum Photos (Paris). L’exposition propose près de 200 tirages originaux, parfois inédits, choisis dans la collection du Werner Bischof Estate (Zurich). L’exposition présentera également des planches-contacts, des livres, des magazines et des lettres personnelles. Une installation multimédia créée pour la circonstance permettra une approche contemporaine de son travail. L’exposition présentera l’ensemble de son œuvre en Suisse (1934-1944), en Europe (1945-1950), en Asie (1951-1952) et en Amérique du Nord et du Sud (1953-1954).

Breast with grid, Zurich, Switzerland, 1941 © Werner Bischof / Magnum Photos / Courtesy Musée de l'Elysée

Le Musée Guggenheim Bilbao présente

du 14 mars-4 septembre 2014
Yoko Ono. Half-A-Wind Show. Rétrospective
Commissaires : Ingrid Pfeiffer, commissaire de la Schirn Kunsthalle de Francfort ;
Álvaro Rodríguez Fominaya, commissaire du Musée Guggenheim Bilbao ; Jon
Hendricks, commissaire de Yoko Ono Exhibitions
Une exposition de la Schirn Kunsthalle de Francfort en partenariat avec le Musée
Guggenheim Bilbao
Parrainage : Seguros Bilbao

Musée Guggenheim Bilbao
Département de communication et marketing
Tel. +34 944359008
media[at]guggenheim-bilbao.es
www.guggenheim-bilbao.es

A l’occasion du quatre-vingtième anniversaire de l’artiste en 2013, le Musée Guggenheim Bilbao accueille, du 14 mars au 4 septembre 2014, Yoko Ono. Half-A-Wind Show, Rétrospective la plus vaste organisée à ce jour en Europe sur l’oeuvre de l’une des artistes les plus influentes de notre époque, une légende vivante à l’avant-garde non seulement de l’art contemporain, mais aussi de la musique et du cinéma expérimental.

Walking On Thin Ice (photogramme vide´o), 1981 © Yoko Ono

ZAO WOU-KI
UNE DONATION EXCEPTIONNELLE
Dessins, céramiques et encres de Chine Bronzes
et céladons de la collection du Maître  

MUSEE CERNUSCHI
MUSEE DES ARTS DE L’ASIE DE LA VILLE DE PARIS
7 Avenue Velasquez, 75008 Paris
http://www.cernuschi.paris.fr/

L’entrée dans la collection du musée Cernuschi de la donation de Madame Françoise Marquet-Zao est historique.

Tout d’abord, elle rappelle que, dès 1946, les oeuvres de Zao Wou-ki avaient été présentées pour la première fois en France au Musée Cernuschi. Vadime Elisseeff, alors conservateur au musée, avait eu le discernement et l’audace de présenter au public parisien cet artiste à la fois jeune et inconnu ! La presse de l’époque avait tout de suite reconnu le talent de Zao Wou-ki. Deux ans plus tard, le jeune peintre chinois arrivait à Paris, une ville qui allait demeurer l’espace privilégié de sa création.

Les oeuvres de la donation évoquent justement cette période clé au cours de laquelle Zao Wou-ki multiplie les expériences techniques et chemine de la figuration vers l’abstraction. Ainsi pour le seul travail sur papier, l’artiste pratique le fusain, l’aquarelle, la gouache et bien sûr l’encre. Il réalise quelques portraits d’un trait sûr aux accents matissiens, s’inspire aussi bien de modèles vivants nus que de gravures et d’estampages chinois antiques. Après quelques années de rupture, il retrouvera la voie de l’encre à partir des années 1970 et ne la quittera plus. La série de compositions abstraites datées des décennies 1970 à 2000, illustre avec précision les multiples facettes de cette recherche.

Couverture © Petit Oeuvres de
Zao Wou-ki
© Zao Wou-ki – ProLitteris, Zurich