A retrOspective - Centre Pompidou Metz



A retrOspective - Centre Pompidou Metz
a retrospective
press kit
03.04 > 10.05.15
Tania Mouraud. a retrospective
1. Exhibition overview.. . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 02
2. Tania Mouraud: important dates.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 04
3. Exhibition layout at Centre Pompidou-Metz.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 06
4. The city-wide walk. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
5. lenders.... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
6. cultural programme around the exhibition.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
7. credits..... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
8. partners. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
9. Press Visuals. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Tania Mouraud. a retrospective
Exhibition overview
Tania Mouraud. A retrospective
4 March to 5 October 2015
Galerie 2 at Centre Pompidou-Metz
27 June to 5 October 2015
At Centre Pompidou-Metz and in 9 Partner Venues in Metz
In 2015, in partnership with nine cultural sites throughout the
city, Centre Pompidou-Metz is presenting the first extensive
retrospective dedicated to French artist Tania Mouraud.
under the direction of
Hélène Guenin and élodie Stroecken
Kicking off on 4 March 2015 at Centre Pompidou-Metz, this
show will encompass the city of Metz and its surroundings.
It will be presented in its full scope and unprecedented form
as of 27 June 2015.
éditions du Centre Pompidou-Metz
Format: 240 pages
price: €39
ISBN: 978-2-35983-034-7
Tania Mouraud is a unique artist in a class of her own. Her
work has continued to evolve since she started creating in
the 1960s, alternatively exploring multiple media including
painting, installation, photography, performance, video and
sound. One thing has remained constant, her works have
always explored the relationship between art and social
connections. With this in mind, she suggested integrating
meditation rooms in standard homes (1968). She plastered
her discontentment with society, with materialism taking
precedent over man, on 4 x 3 meter billboards (1977). She
has also reflected upon the aesthetic relationship between
art and war, and through the act of writing, has examined
the limits of perception by creating “words of form”* (1989).
Since 1998, she has intertwined photography, video and sound
with painting to examine the different aspects of history and
the living.
"Tania Mouraud de A à…"
Hélène Guenin and Élodie Stroecken
"Tania Mouraud – Agir dans le monde de la vie"
Ute Meta Bauer
"Corpus d’inscriptions et démultiplication de l’image"
Jean-François Chevrier
"Working Space : murs et écritures dans l’œuvre de
Tania Mouraud"
Vanina Géré
An exhibition catalogue accompanies the exhibition. This
reference work will include a significant amount of her
writings and numerous unprecedented documents.
"L’œuvre écologique de Tania Mouraud",
Janine Marchessault
The École Supérieure d'Art de Lorraine has contributed to
this retrospective.
"Tania Mouraud – Ear-rooms"
Daniele Balit
Hélène Guenin, Head of Programming Department, Centre
Élodie Stroecken, Assistant Coordinator, Programming
Department, Centre Pompidou-Metz
* Elisabeth Lebovici, « Tania Mouraud, mots de formes », Libération,
19 November 1992
Tania Mouraud. a retrospective
The City-wide EXHIBITION – the walk
This survey exhibition will expand into the city of Metz starting
on 27 June 2015, incorporating nine partner institutions and
venues. Diverse aspects of Tania Mouraud's work will be
presented, expanding on the exhibition at Centre PompidouMetz. This will take the visitor on an extended walk through the
city to exhibition spaces at Arsenal, Chapelle des Templiers,
Saint-Pierre-aux-Nonnains, Faux Mouvement – Centre d’art
contemporain, Frac Lorraine, Musée de la Cour d’Or – Metz
Métropole, Toutouchic and Octave Cowbell art galleries as
well as in front of the Galeries Lafayette department store.
The artist's emblematic works will be revealed throughout
the urban landscape and workshops with the artist herself
offered to students at École Supérieure d’Art de Lorraine in
the scope of a one-year collaboration.
Covering 1100 sq. m. in Galerie 2 at Centre PompidouMetz, the exhibition takes a look at Tania Mouraud's career
and artistic practice, from her 1968 autodafe, a profoundly
symbolic act of destruction that ended her initial pictorial
years, through to her initiation and mediation rooms of 1970s,
up to her most recent works. The exhibition highlights her
tenacious career, marked by her encounters with prominent
contemporary artists, as well as by her personal life story.
The selection of over 70 works of art, some from the artist's
personal collection, unveil the portrait of a socially engaged
Tania Mouraud. Several historic works have been be reenacted in the scope of the exhibition as well.
Extended patronage by Frac Lorraine has intricately linked
Mouraud's work and artistic career to the city of Metz
since 1990s, starting in 1995 with the acquisition of City
Performance N°1, an anthological work from the late 1970s.
This work consists of 54 billboard signs with the word “NI”
(literally neither/nor) printed in 4x3m and placed throughout
the city of Paris. Further support from Frac Lorraine came in
2005 with the monumental project titled HCYS?. This largescale work covers a blind wall at the Musée de la Cour d’Or.
The City Performance N°1 poster campaign has been revived
for one week throughout the city of Metz and its suburbs
within the framework of Tania Mouraud. A retrospective.
Special focus is given to her meditation rooms as well as
her photo-texts and works on language from the 1970s, all
emblematic of Tania Mouraud's repertoire. The exhibition
will be the first to fully explore the expanse of her initiation
rooms. Her first meditation room, One more night (1970),
initially realised for the eponymous exhibition by Jean
Larcade at Galerie Rive Droite in Paris, has been specially
reconstructed for the show.
AD NAUSEAM, a monumental audiovisual installation
presented at MAC/VAL – Musée d’art contemporain du Valde-Marne from 20 September 2014 to 25 January 2015, is
also being shown in an adapted version. This major work
by Tania Mouraud was co-produced with Ircam (Institut de
Recherche et Coordination Acoustique/Musique) during her
residency there in 2013-2014.
Tania Mouraud. a retrospective
important dates
Tania Mouraud was born on 2 January 1942 in
Paris to Marcel Mouraud, lawyer, art collector and
resistance fighter, and Martine Sersiron (pen name:
Martine Chevrier), resistance fighter, journalist,
advertising agent, business woman and writer. Her
youth was marked by the death of her father, killed
in the Vercors mountains in 1945. Her frequent visits
to the Musée du Louvre considerably influenced her
artistic career.
Schooled in England.
Tania Mouraud spent time in England on several
occasions, then went to Düsseldorf, Germany. An
important avant-garde group was active there
including Joseph Beuys, artists from the Zero group
(Heinz Mack, Otto Piene, Günther Uecker), Reiner
Ruthenbeck, Gotthard Graubner, as well as other
personalities like Alexander von Vegesack.
She discovered John Cage, Fluxus and jazz.
Returned to France and discovered abstract
American painting, lyrical abstraction by Georges
Mathieu, New Realism, GRAV (Groupe de recherches
d’art visuel).
She discovered musique concrète, became enthralled
with Varèse and Xenakis and captivated by the
theory of colour and traditional painting techniques.
She burned all of her paintings in the courtyard of
Villejuif hospital. This autodafe marked a radical
break with painting which she had engaged in
since 1962 under the influence of Georges Mathieu
in particular, American artists from action painting
and from the pop art movement. Mouraud started
making her Initiation and Meditation Rooms at this
time, a study of psychosensorial perception of space.
First meditation rooms:
Mouraud, galerie Rive Droite, Paris*
We used to know, Centro Apollinaire, Milan (Italie)*
First stay in India, six months.
Mouraud, galleria LP 220 (with musicians La Monte
Young, Terry Riley, Pandit Prân Nath), Turin (Italy)*
Documents sur les espaces d’initiation et de
méditation de Mouraud, galerie Ben doute de tout,
Nice (France)
Mouraud : Projets, galerie Rive Droite, Paris
Tania Mouraud's interest in conceptual art defined
itself in particular for Art & Language, and artists
Terry Atkinson, Bernar Venet and Joseph Kosuth. She
took classes in mathematics and logic at Université
libre in Vincennes. In her first mural composed of
linguistic statements, Wall is seen, Tania Mouraud
encourages us to understand the viewer, the act of
viewing and the object viewed, as one.
Tania Mouraud exhibition, galerie Françoise
Lambert, Milan (Italy)
Mouraud : Focale ou la fonction de l’art (music: Jon
Gibson), ARC 2, musée d’Art Moderne de la Ville de
Paris, Paris*
Tania Mouraud created her “mandalas”. Key
encounter, through Bernar Venet, Ben and artists
from Supports/Surfaces, with collector Vicky Rémy,
who became a steadfast supporter.
Following a discussion with André Valensi, she
toughened her stance by eliminating photography
from her work and concentrating solely on text, its
support and the space in which it is inscribed.
She read numerous books on typography and its
history. She was fascinated by advertising and the
Russian avant-garde.
She moved into the public space for the first time
with City Performance n°1. The word “NI” was
posted on 54 billboards in north-eastern Paris,
revealing a kind of punk nihilism in the artist,
rejecting the theories and dictates of materialism
and advertising. .
Exposition Art Space n° 5, Special Project, PS1,
New York
Tania Mouraud. a retrospective
Tania Mouraud went back to painting with
typographical work and pursued her exploration of
the legibility of text in her BLACK POWER series. This
work was further developed in Wall Paintings as of
1989. Straight black letters, very elongated and close
together, form a word or a phrase that is only legible if
the viewer makes an effort: "SEEINGISFORESEEING",
Words exhibition, Riverside Studios, Londres
BLACK POWER, galerie De Lege Ruimte, Bruges
Tania Mouraud Tania Mouraud produced the
work Le Silence des héros within the scope of
the Territoires occupés exhibition organised by
Frac Lorraine on a former NATO military base in
Zweibrücken, Germany.
World Signs, The Herbert Read Gallery, Canterbury,
Kent (United Kingdom)*
Le silence des héros, galerie du musée LouiseWeiss, Saverne (France)
On 29 December, Tania Mouraud left Strasbourg by
car to go to Struthof, the only death camp on French
soil. Camera on her shoulder, she filmed non-stop
from the back of the car up to the entrance to the
camp, producing Sightseeing with music composed
by Claudine Movsessian.
In her next videos, Machines désirantes and La Curée,
Tania Mouraud worked on the slow choreography of
the bodies of koi carp and hunting dogs – playing on
their beauty and their deaf violence.
Tania Mouraud founded the musical experimentation
group Unité de Production with Cyprien
Dedeurwaeder, Ruben Garcia, Pierre Petit, MarieOdile Sambourg, Sylvain Souque and Baptiste
Vanweydeveldt. Since the end of 2000s, she has been
producing set-ups that associate one or several
screens and spatialised soundscapes (Ad Infinitum,
La Fabrique) or mixing them directly during videoperformances on “visual drones” (DLPDA at Musée
de la Chasse et de la Nature en 2009, PreVItSoRaN #1
for Nuit Blanche Paris 2012, ReYIsToW at Backslash
gallery in 2014).
Sightseeing, Le Cube, FIAC, galerie RabouanMoussion, Paris
HCYS? project, permanent
Lorraine, Metz (France)
La Fabrique, CSUF – Grand Central Art Center,
Santa Ana, Los Angeles (United States)*
Realised her first live solo video performance and
sound improvisation at musée de la Chasse in Paris,
mixing soundscapes for a video projection.
La Fabrique, Krasnoye Znamia, French-Russian
Year, Saint Petersburg (Russia)
AD NAUSEAM, audio-visual installation in
partnership with Ircam, MAC/VAL - Musée d’art
contemporain du Val-de-Marne, Vitry-sur-Seine
* An exhibition catalogue was published.
Tania Mouraud. a retrospective
exhibition layout
at Centre Pompidou-Metz
galerie 2 layout
The exhibition opens with the poignant image of an Autodafé
from 1968 in which Tania Mouraud ends her pictorial phase
of that period in a radical manner.
Two seminal works follow this act of destruction, the largescale white Formica monochrome titled Infini au carré, and
Totémisation, a volume-sculpture created on her own fullbody scale. These works embody the formal and spiritual
revival that next shaped her career. Presented for the first
time in a museum, these works have been re-enacted
especially for this occasion.
Autodafé, 1968
In 1968, Tania Mouraud burned her paintings in public, in
the courtyard of the Villejuif hospital in Paris. This radical
act embodies the artist’s relentless quest for artistic,
technical and intellectual emancipation. Several years
earlier, in 1960, her mother had sent her to Düsseldorf
to refine herself. She attended the French library, the
Kunstverein, jazz clubs, artistic and militant circles and
followed the Zero group, Joseph Beuys and concrete poetry
present in the city at the time. Following these encounters,
Tania Mouraud flourished and started painting at twentyone, first abstract then pop art. Her subsequent discovery of
Jackson Pollock’s work in an exhibition “left a deep mark”
on her, initiating her reflection on space. She returned to
France in 1965. The 1968 documenta IV in Cassel, Germany,
a backdrop to the era’s political and social upheavals and a
showroom for new artistic forms, proved highly influential
as well. Upon her return to France, she decided to end her
initial pictorial years.
Tania Mouraud. a retrospective
1. "an extra SPACE fOR SoUL Extension"
One More Night, 1969/2015
ONE MORE NIGHT is a re-creation of the very first
meditation room set up by Tania Mouraud at Galerie
Rive Droite in 1970. Steps covered in immaculate white,
the work contains a pit in its centre that corresponds
to the measurements of the artist’s body. She declared:
“I am building a world where I could die in peace”. Its
pure lines favour introspection; the room is designed as
a “psychosensorial” environment, and a hypnotic sound
frequency is broadcast. The composition and sound
spatialisation work was initially entrusted to Eliane
Radigue. “I designed this space as a rest area for the
mind and body. The continuous frequency of 200 Hz, which
varies in function of movement and breathing, helps the
user to let go in this space which was inspired by mystical
traditions (Ziggurat) and represents the passage to another
level of consciousness.” (Tania Mouraud, handwritten note,
1969, revised in 2014)
The works cited above introduce a brief yet extremely fruitful
period in Tania Mouraud's work, which focused on the search
for "an extra space for soul extension" and brought about
her meditation and initiation rooms which she suggested be
added to standardised apartments in the 1960-70s.
This aspiration towards art dedicated to space and
environment, relatively unheard of on the European art
scene, was being explored in the United States at the time
by Doug Wheeler, James Turell and Dan Graham, amongst
others. Tania Mouraud's creation of a "room for one's self"
demonstrates her philosophical reflection on identity and
one's connection to the world.
Some of the rooms include research on sound, her own
creations or the fruit of work with composers such as Éliane
Radigue, Terry Riley, La Monte Young and Pandit Prân Nath.
Initiation Space n°5, 2013-2015
The artist created different types of spaces between
“PASSAGES”, deconditioning chambers, “INITIATION
ROOMS” and “INITIATIONS SPACES”, respectively rooms
and observatories intended for the home and landscaped
environments. The minutely precise technical drawings
bring to mind documentation on land art as well as
analytical projects from conceptual art. Some spaces
adhere to romantic idealism: suspended on a mountainside
or hollowed out of a cliff, they offer fusional immersion
with nature. Others, however, provide introspection and
transcendence of a physical experience. These projects are
presented all together for the first time here.
At the centre of a square platform, a streamlined seat
evoking a long polished pebble invites the visitor to sit
down facing the landscape. Ideally, the visitor could sit
with crossed legs in the lotus position typical of Buddhism,
on this hard transposition of the traditional seat used in
Zen meditation: a thick round cushion (zafu) placed on a
flat square cushion (zabuton). Conceived forty years after
her “INITIATION SPACES”, this project, which remained in
the planning stage, lies somewhere between a sculpture
to be contemplated and an invitation to meditate, and
brings the initiation space back to its primary component:
introspection. It was designed by the artist for use in
natural surroundings.
This project was selected by the sponsorship
commission of Fondation Nationale des Arts
Graphiques et Plastiques which brought it its
With the contribution of CCC – Centre de Création
Contemporaine de Tours et du Centre Pompidou-Metz.
Tania Mouraud. a retrospective
4. Perceivediscernidentifyrecognise
Tania Mouraud's exploration of identity, awareness of self
and one's place in the universe is broadened through her
work on a series of photo-texts and photographs taken on
heliographic plates, some of which even take the shape of
Buddhist mandalas. This examination steadily shifts from
subject to object, from cosmological to tangible ending in a
pure exploration of language and perception.
City Performance n°1 marks a significant shift in Tania
Mouraud's work. At the end of 1977, 54 billboards were
marked with the word "NI" (literally neither/nor) in five
arrondissements of northern and eastern Paris for 15 days.
A subversive paradox of language without a message, the
"NI" is an "anonymous stance. Ultimate negation, absolute
truth, universal circuit-breaker used by Western logicians
and Eastern sages."
This campaign profoundly impacted Tania Mouraud's work
and led her to several major trends: the re-use of largescales, the artistic aspects of language and the exploration
of public space.
People call me Tania Mouraud, 1971-1973/2015
In this series of works on the notion of identity, Tania
Mouraud openly questions perception and the definition
of self. A simple question is juxtaposed against a series
of photographs of the artist (or one of her female friends)
at various ages. These images, which represent the many
possible answers to the question, "People call me Tania
Mouraud. Which of these bodies are they referring to?",
sow doubt and confusion in the viewer’s mind; indeed, can
we rely on language, and how can a changing identity be
"NI" was a type of protest with which the artist left her
purely philosophical-linguistic explorations, turning to more
politically motivated content. She did however manage to
avoid the pitfalls of literalism and social commentary, her
protests remaining, through their abstract representation,
protests "with hidden noise".
De la décoration à la décoration II (FRANCE), 1994-1995
In 1994, Tania Mouraud inaugurated a set of works titled
each new show, she adapted them to the colours used
in civilian or military honours awarded in the country in
which the works were displayed. Enlarged to the size of
wall crates, these insignia, fastened to a grey, khaki or
navy-blue background representing the colour of uniforms
or ceremonial dress, bring classical painting into the era of
geometric abstraction, transforming honorary distinctions
into interior decoration.
"Through my work, I demonstrate that Philosophy and Art
should and can merge together to lead us on our path to
Tania Mouraud pursued her exploration of perception by
focusing her work on linguistics and the phenomenology of
perception – in particular on the notions of the immediate
and the deferred. Words became the tools and shapes used to
materialise her thoughts.
The artist inscribed words on a polyethylene tarp – a common
inexpensive support that evokes the world of manual labour
–, then fully extracted the writing, making it larger and
larger until reaching abstraction thus exploring its artistic
typographical potential more than the actual perception of
its meaning.
MDQRPV?, 2015
Wall drawings, imagined already in 1979 and produced as
of 1989, extend Tania Mouraud’s examination of writing on
an architectural scale. Letters and spaces, calculated using
the golden number, are stretched to the limit of legibility.
The artist rapidly turned to using poetic or literary phrases
with multiple undertones. MDQRPV? is taken from the
book by Svetlana Alexievich, Voices from Chernobyl:
The oral History of a Nuclear Disaster (1997), which
presents personal accounts of the 1986 tragedy. "Mais de
quelle radiation parlez-vous alors que les papillons volent
et les abeilles bourdonnent ?" ["Well, I say to them, what
radiation? There’s a butterfly flying, and bees are buzzing"],
asks an old woman, unauthorised resident in no-man’s
land. Life indeed seems to continue, however, despite the
visibly luscious vegetation that covers the site, the fauna
and flora are contaminated. The tragedy is now insidious,
silent and powerful like the words stretched out over the
wall, which reveal themselves to the patient reader.
This led to her "BLACK POWER" work, which consists of a
series of relief-paintings with a DIY feel to them, expressing
closer ties to industrial painting than to the smooth aesthetics
of conceptual art.
In the early 1970s, Tania Mouraud removed images that
she considered too anecdotal from her "photo-texts"
and began shifting her work towards a more radical
form of conceptual art. Her texts migrated onto tarps
and delivered plain questions and enigmatic aphorisms.
Through language, the artist hopes to make the viewer
aware of the mechanisms behind his own perception and
lead him to "see himself seeing". An equivalence is thus
established between "he who sees, the act of seeing and
the object seen".
Tania Mouraud. a retrospective
6. Ad Nauseam
This part of the exhibition deals with another dimension of
Tania Mouraud's work: her relationship with History and its
silences, present in several of her works – wall paintings,
photographs and videos. Sightseeing (2002) is one of her first
works that pointedly refers to Nazi concentration camps by
plainly and modestly addressing the Shoah.
After her autodafe of 1968 and her meditation rooms, Tania
Mouraud explored the paradoxes essential to our existence:
order and chaos, fulfilment and fury, serenity and terror,
creation and disappearance. Over the years, and in particular
through the use of video, these themes have taken a leading
role in her contemplations. Formalism has slowly given way to
a more emotional and sensitive dimension in her works, more
directly expressing the strength of these paradoxes.
Since the 1990s, Mouraud has also been exploring signs
and symbols created by society to commemorate events and
celebrate heroes: flags, medals, decorations, etc. from which
she extracts their plastic and cognitive potential.
These aspects have become fully tangible in the different
registers of her work and have a fulfilling aspect to them in
the AD NAUSEAM audio-visual installation.
Le Silence des héros, 1995-1996
258 flags, rolled around their poles, rest aligned against
a wall. Their alternating colours and formats punctuate
the space. Le Silence des héros sets off in a silent parade,
a stifled protest, open to interpretation. Rolled up, these
banners evoke the awaiting revolt or aftermath of the
demonstration. The title refers to Voltaire, to vox populi
and "to this idea that we are all rising heroes", yet these
resting banners also allude to mute disenchantment and
society’s passivity in those years. The work was produced
in 1995 by Frac Lorraine in the scope of Territoires occupés
[Occupied Territories], an exhibition produced with female
artists in a former NATO military airport in Zweibrücken,
Germany. It was re-produced and expanded at Le Quartier,
centre d’art de Quimper.
Mounds of books are discharged in a recycling plant in an
inexorable process of destruction echoing the deafening
noise from industrial clamour. The soundtrack, produced
using nearly a thousand samples primarily recorded in
situ, the outrageous size of the images, the fragmented
and constantly shifting views, pull the audience into a
dizzying spin into the massive destruction of knowledge.
Oscillating between gripping historical references and
examination of the environmental impact of our modes of
production, AD NAUSEAM reflects Man’s capacity for selfdestruction. Captured by the flux and monumental nature
of the images, the viewer cannot take in the entire scene
and distance himself from it.
Sightseeing, 2002
This film was made from the back seat of a car, from
behind fogged-up windows. Slowly crossing a snow-filled
landscape to the sound of a clarinet, it ends with the silent
shot of a gate and barbed wire, revealing what we precisely
do not want to see. We are at the entrance to the Struthof
concentration camp in Natzweiler, Alsace. The entire video
is like a gloomy dream with music – a harrowing clarinet
solo interpreted by Claudine Movsessian – that bestows it
with an epic dimension.
Tania Mouraud. a retrospective
The city-wide walk
49 Nord 6 EST – Frac Lorraine
Exhibition: Tous les chemins mènent à Schengen !
(All Paths Lead to Schengen!)
From 22 May to 4 October 2015
Located in the historical centre of Metz, in a building from
12th century, Fonds régional d’art contemporain de Lorraine
presents its audiences with a variety of artistic experiences.
Thematic exhibitions bring conference speakers and idea
brokers together with musicians, dancers, as well as others
from the artistic scene. In the scope of its cross-disciplinarity,
Frac fosters a unique relationship with the written word and
organises residencies for art critics, historians, philosophers
and writers on a regular basis. This initiative stimulates and
encourages critical thinking on the stakes of contemporary
The ideas and experiences promoted by the Frac are reflected
across its territory and through its collection. This collection
often deals with female artists and immaterial forms and
is developed through performances, dance and other live
forms. As a true mirror of an evolving society, Frac invites
its audiences to dream the world in which they live through
collective experiences and direct participation.
"How can you sleep ?" A cry of outrage by Tania Mouraud
at those who feign sleep and ignore society's strays, nomads
and other refugees at the gates of Europe! While they dream
of a better future, they find us depressed and pessimistic in
our sedentary lives.
The present exhibition at Frac Lorraine revolves around the
figure of the relentless walker: from the wandering Jew
who erred in medieval tradition to the more contemporary
migrant... Can a parallel be drawn between the historical
movements of populations and the leisure hikes that have
become popular in the West? Is hiking a remedy for our
contemporary problems?
Artists : Ursula Biemann, Marta Caradec, Bouchra Khalili,
Beat Lippert, Mathieu Pernot…
Few visitors get a glimpse of this work since it can only be
seen from the top of the dovecote tower at Frac Lorraine. This
monumental work fits the size of the landscape. Fifteen by
thirty-some meters, it is the foreground of the city's scenic
panorama. The silent scream that unfolds here, slowly reveals
the words "How can you sleep?", from Schoenberg’s opera
A Survivor from Warsaw, in which the narrator recounts, in
English, the invasion of the ghetto by the SS.
The work can be viewed from the dovecote tower upon
49 Nord 6 Est – Frac Lorraine
1 bis, rue des Trinitaires
Tuesday to Friday – 2pm to 7pm
Saturday and Sunday – 11am to 7pm
Free Entrance
49 Nord 6 Est – Frac Lorraine, Metz
Anna Maria Maiolino, Entrevidas, 1981/2013
© Collection Frac Lorraine / Photo : E. Chenal
Access to HCYS? upon appointment: +33 ()03 87 74 20 02 or
[email protected])
Between 2pm and 7pm – Tuesday to Friday
At 5pm on Saturday and Sunday
Tania Mouraud. a retrospective
Arsenal – exhibition Gallery,
The concert hall at Arsenal is foremost dedicated to
symphonies and baroque music. However, Arsenal is equally
open to other musical genres and dance, as well as the fine
arts which has a newly reconfigured exhibition space of its
The richness of modern and contemporary art from the region
and boarder areas has led Arsenal to refine its position in
the field of visual arts. Since 2009, the Exhibition Gallery at
Arsenal has been entirely dedicated to photography. With 5
to 6 exhibitions per season, it has become a reference venue,
working in close connection with the programmes on offer
at various partner institutions throughout the region. Its
programming is based on the multiple facets of this artistic
discipline, ranging from conceptual photography to photo
journalism from both the national and international scenes,
from young photographers to veteran artists.
© Arsenal – Metz en Scènes
Saint-Pierre-aux-Nonnains is hosting Ad Infinitum, an
impressive film on the "ballet" of grey whales in the Gulf of
Mexico, providing food for thought on the confrontation with
the immenseness and power of nature.
EPCC – Metz en Scènes, which groups Arsenal, Les Trinitaires
and BAM together, was created in 2009 by the City of Metz
and the Lorraine Region.
Chapelle des templiers
A novel experience is on offer in the Chapelle des Templiers
based on the sound composition in a video entitled Myriam
Hamagdalit that mixes Kaddish, shofar, deep Russian basses,
Byzantine bells and Tibetan trumpets. A retake on this
history-laden site.
exhibition Gallery
In line with the Exhibition Gallery's programming at Arsenal,
the works on display here focus on Mouraud's photographic
production, from “Vitrines” up through her most recent series
on the open-air mines in western Germany. The exhibition
combines photography and videos from 2000 on, widely
covering the appearance of images in Tania Mouraud's work.
3, avenue Ney
Tuesday to Sunday – 2pm to 7pm
Closed on 14 July and 15 August.
Tania Mouraud. a retrospective
The wide range of European Schools from 19th century
Renaissance are well represented in its collections of
paintings. The focus is on great artists from Metz (François
de Nomé, Poerson, Le Prince), painters from the "École de
Metz" (19th century) and a set dedicated to abstraction from
the second École de Paris (1940-1980).
In the scope of this city-wide walk, Musée de la Cour d’Or
honours Tania Mouraud's video work. 5892, Once Upon a
Time and La Curée are on display in the gallery dedicated to
temporary exhibitions. The works here reveal the underlying
violence mixed with the beauty that emanates from the
moving images produced by the artist since early 2000.
The video and sound installation, La Fabrique, on loan from
Centre National d’Arts Plastiques, is being shown in an unusual
space, namely the courtyard to the museum's temporary
entrance. This major work by Tania Mouraud presents
portraits of Indian workers filmed in the textile workshops
in the region of Kerala. It reproduces, in an immersive and
alienating fashion, the mechanical ballet of the spinning and
weaving machines that constrain the workers' bodies. These
videos are part of a series of works-parables that deal with
annihilation and the mechanisation of destruction, revealing
the portrait of a socially engaged artist.
Musée de La Cour d’Or – Metz Métropole
2, rue du Haut Poirier
Every Monday and Wednesday to Sunday – 9am to 6pm
Closed on 14 July
© Musée de La Cour d'Or – Metz Métropole / Laurianne Kieffer
Located in the historical centre of Metz since 1839, Musée de
La Cour d’Or – Metz Métropole retraces the history of the city
and its surroundings from ancient Gallo-Roman times to the
present through its multi-disciplinary collections including
archaeology, history, architecture and the fine arts.
The thermal baths discovered on site in 1932 serve as the
backdrop to the permanent exhibition on the daily lives in
Roman Gaul. Noteworthy sculptures and funerary steles are
equally on display. Several outstanding sets bear witness
to the importance of Metz in the Middle Ages: Merovingian
tombs, Louis Le Pieux' sarcophagus, a chancel from the SaintPierre-aux-Nonnains church as well as rare ceilings made
of painted wood. Medieval religious statues are presented
in the vast Chèvremont granary, the former reserves for the
city built in 15th century, and today classified as a historical
Tania Mouraud. a retrospective
The exhibition at Faux Mouvement brings together a set of
works by Tania Mouraud centred on writing and the plasticity
of language, that art critique, Elisabeth Lebovici, qualified as
"Words of form" in 1992.
At end of 1980s, Tania Mouraud began her "WORDS" series.
Depicted directly on a wall or via black painted canvas on
frames, the white letters, propounded by the wall itself, play
on positives / negatives, forcing the viewer to invert his usual
reading process.
The ambiguously entitled "BLACK POWER" series produced
thereafter, refers, amongst other things, to the typographic
domination of the colour black in our society. By representing
the counter-forms of words in capital letters, the shapes
attached to the wall produce the text. The wall becomes the
word that virtually prints itself in the viewer's eye, better
revealing its importance as an active component of painting.
With her "Wall Paintings", Tania Mouraud further stretches
the time needed for a viewer to decipher her work compared
to her previous works. Directly painted on a wall, the letters
fill its entire height, stretching them to the limit of legibility.
Although extremely present on the wall, they are perfectly
evanescent. People can walk right by them, only seeing black
and white stripes, without even realising that they represent
a phrase. This is the paradox of this series of works which is
thus dedicated to anyone who takes the time to decipher them.
"WORDS", "BLACK POWER", "Wall Paintings" and Diasec
prints are presented together at the art centre.
Centre d'art contemporain
Faux Mouvement is a contemporary art centre located in Metz
since 1983. The centre has a 350 sq. m. exhibition space at
4 rue du Change, the area extending beyond Place Saint-Louis.
Six exhibitions, primarily single-artist shows specifically
designed for this space, are programmed on average every
The art centre's team conceives off-site projects consisting
of urban performances (recently with Bertrand Lavier
and Gérard Collin-Thiébaut), remote exhibitions, artist
residencies, training and information sessions in partnership
with the training centre FAPAC (Formation des artistes et des
professionnels de la culture) and actively participates in the
"Nouveaux Commanditaires" programme headed by Fondation
de France. Faux Mouvement has more recently associated
itself with research conducted by university laboratories
(Labex Arts H2H-Université Paris 8). Commissioned by the
City of Metz, the centre invests in social projects with schools,
retirement homes and hospitals as well.
Faux Mouvement – Centre d'art contemporain
Place Saint-Louis - 4 rue du Change
Wednesday to Saturday – 2pm to 7pm
Sunday – 3pm to 6pm
And upon appointment: +33(0)3 87 37 38 29
Free entrance
Tania Mouraud, maquette, août 2014
Projet de wall painting DUSPECETLDMFSMDLGSULMC
© Faux Mouvement – Centre d'art contemporain
Tania Mouraud. a retrospective
Galerie Octave Cowbell
Octave Cowbell is a 'community' exhibition space. Its primary
aim is to promote young contemporary art in its diverse forms
both in the Lorraine region and elsewhere.
Located at 5 rue des Parmentiers, Octave Cowbell is an
apartment open to visitors. You enter the space through a
window using a small staircase placed in the street. Inside,
25 sq. m. of neon-lit white and a chimney. The non-profit
organisation that runs the space is backed by DRAC Lorraine,
Lorraine Regional Council, Moselle General Council and City
of Metz.
© Photo : Sébastien Grisey
In September 2010, alongside Nuit Blanche 3 in Metz, Vanessa
Steiner and Cédric Shili decided to take over the premises
of a shop once run by dog groomer. They created Toutouchic
gallery. The aim is to disseminate and enhance contemporary
creation dealing with installation and graphic design in a
broad sense (print-type, edition, poster, etc.).
The gallery strives to present work with a twist on
contemporary issues. The mediums used to achieve this, i.e.
novel use of objects, off-beatness or quirkiness, and changes
in scale, provide viewers with a number of possibilities to
simply feel addressed by the artistic process, after which they
can then head into a more “complex” interpretation of the
issue itself.
© Galerie Octave Cowbell
Millefeuille(s), PMU
As it has been presented in its successive versions, the work
titled Millefeuille(s) is constituted by applying a protocol
elaborated by Tania Mouraud in 1996. The aim is to fully
wallpaper a surface of any size using slightly overlapping
coloured paper. The juxtaposition of these pastel or vivid
coloured rectangles explicitly refers to certain compositions
by Piet Mondrian and Ad Reinhardt. Proliferative, this work
can be just as well installed in a museum or gallery, as outside
on a façade, billboard space, electoral placard…
Peinture interactive
One of Tania Mouraud's oldest works for one of the youngest
galleries in Metz! In 1968, Mouraud conceived an interactive
painting project, with aesthetics close to geometric
abstraction. The kaleidoscopic structure of the work retains
the planarity and verticality of a painting, yet it shatters
its static unity. Each of the hexagonal tiles that compose it,
can be interchanged and oriented as desired. The visitor can
contribute to the compositions thus removing the notion of
exclusivity from the artist. Interactive, this work continues
the demystification process begun by GRAV (Groupe de
Recherche d’Art Visuel) which, in 1963, demanded that “an
audience [be] conscious of its power to act”, capable “itself of
creating true 'revolution in art'”. It is also close to Zero group's
Kinetic art as well as Fluxus, groups that Tania Mouraud
mingled with from 1959 to 1965 when she lived in Düsseldorf.
Never before presented in a museum environment, this work
has been specifically revived for the exhibition, produced by
Notwithstanding its obvious pictorial effect, the text printed
on each paper leaf also meets the conceptual requirement
characteristic of the artist's work and which here, takes on
sociological significance. Indeed, the words used are chosen
in function of the exhibition space and reflect an aspect of the
audience's environment which they may have ignored. And
so, for the Octave Cowbell gallery, Tania Mouraud chose the
names of race horses that are published in the newspapers
read by horse owners and bettors at the Pari Mutuel Urbain
(PMU) horse races. Recognised by part of the population,
this onomastics constitutes in itself poetry that is both
sophisticated and mainstream.
Production of Peinture interactive was crowdfunded through
Galerie Octave Cowbell
5, rue des Parmentiers
Thursday to Saturday – 2pm to 7pm
And upon appointment: +33(0)6 61 62 27 79
Free entrance
Galerie Toutouchic
Wednesday to Saturday – 2pm to 6pm
And upon appointment:
+33(0)6 78 47 03 57 / +33(0)6 82 47 82 87
Closed in August
Free entrance
Tania Mouraud. a retrospective
"I can't Breathe". The words burst and fall to pieces in
the heart of down town, in the middle of a shopping street.
This phrase, pronounced in 2014 by a victim of police
violence in United States, appears here for the first time in
Tania Mouraud's work. Written in a particular typographic
style created by the artist herself, this work appeals to the
world of Street art and graffiti and has been intentionally
scattered. The choice in colour and the iridescent effect of
the material temporarily hide the drama of these words
behind the viewer's delight. Yet, the message hidden in the
letters and revealed to those passers-by who take the time
to decipher it, may trigger their memory of this event, which
has in the meantime been replaced by so many other events.
Many demonstrations had taken place at the time with people
carrying signs reading "I Can't Breathe", just as millions of
people in France demonstrated at the start of the year with
"Je suis Charlie" placards.
ÉSAL (École supérieure d'art de Lorraine) is a public
institution, which along with École d’Épinal and CEFEDEM,
make up the only higher education centre for plastic arts–
music–dance in Lorraine region. It maintains a diverse
network of local connections in the artistic and cultural field
including Centre Pompidou-Metz, Musée de l’Image d’Épinal,
49 Nord 6 Est - Frac Lorraine, Centre d’art la Synagogue de
Delme, Octave Cowbell gallery, as well as others.
With over 160 students and a teaching staff comprised of
artists, theoreticians and practitioners, it offers crossboarder opportunities into Germany, Belgium and Luxembourg
through its Erasmus programme.
The École Supérieure d'Art de Lorraine has contributed to
this retrospective.
Students partook in workshops with the artist. Ten-some were
engaged in wall paintings and the exhibition's installation.
Like those works by Mouraud that lie open to interpretation,
this work offers each of us a space in which to project our
own references. The artist has often referred to the notions
of alienation and empowerment, as well as to fight against
discrimination, sometimes in an allusive manner – for
instance the title of her "BLACK POWER" series, in reference
to the Black Panthers – sometimes in a more literal manner,
with for example the video installation La Fabrique.
Galeries Lafayette Metz
4 Rue Winston Churchill
In city space
City Performance n°1
Considered as an anthological work of art from the late 1970s,
“NI” reproduced on 54 billboards throughout eastern Paris
marked the times. The visually intense letters stretching
out over 4x3m posters, call out to passers-by and play with
traditional strategies in advertising. Ultimate negation, or
message open to the viewer's interpretation, “NI” (literally
neither/nor) is the disapproval of a society where consumerism
rhymes with illusion.
Re-enacted several times since, "NI" is a type of protest
with which the artist left her purely philosophical-linguistic
explorations, turning to more politically motivated content.
She does however manage to avoid the pitfalls of literalism
and social commentary; her protests remain, through their
abstract representation, protests "with hidden noise".
The work will be reproduced throughout Metz and its
surroundings the last week of June.
Tania Mouraud. a retrospective
Stadtmuseum Zweibrücken
United States
Franklin Furnace Archive, Inc.
49 Nord 6 Est – Frac Lorraine
Centre Pompidou, Musée national d'art moderne
Musée d'Art Moderne de la Ville de Paris
Centre national des arts plastiques
Fonds régional d'art contemporain, Bretagne
Musée d'Art Moderne et d'Art Contemporain, Saint-étienne Métropole
Fonds régional d'art contemporain, Alsace, agence culturelle d'Alsace
Tania Mouraud. a retrospective
cultural Programme
around the exhibition
As an extension to its exhibitions, Centre Pompidou-Metz
offers cross-disciplinary programming in its Auditorium
Wendel and Studio, which are specifically dedicated to this
purpose. The programme also regularly extends into the
exhibition galleries, Forum and external gardens.
SA 07.03 + SU 08.03.15
4:00 PM
Spaces and contents open up to novel possibilities between
the exhibitions and the performing arts.
by ZALMEN LEWENTAL, interpreted par Ysé Tran
Zalmen Lewental was part of the Sonderkommando at the
Auschwitz camp, a prisoner forced to participate in the final
solution. So that the world would know the horrors he lived
through, he managed to write some manuscripts before he
died, burying them in bottles or tins near the gas chambers.
When they were at last found, these "rolls" were damaged by
weather and time... words had faded away.
Taking part in a manuscript reading by Ysé Tran, who respects
these deafening silences, is a deeply moving experience.
Performance dates are programmed in connection with
the exhibitions in order to further develop their themes
through other creative mediums: dance, music, theatre, film,
conferences and more. In this way, Centre Pompidou-Metz
fosters dynamic interpretation of modern and contemporary
art by providing artistic disciplines with a platform for
exchange and by promoting a connection between artists and
75’ - Tarif : €5
After a proposal by Tania Mouraud.
SA 07.03 + SU 08.03.15
3:00 PM
With Phill Niblock, Méryll Ampe, Philippe Langlois...
Full programme at centrepompidou-metz.fr
Composer and sound architect, Kasper T. Toeplitz plays on
the tensions between noise textures and sounds. He aims
at engulfing the listener in sound. Literally plunged into a
vibrating universe, the listener is transported and invited
to wander among the musicians in this live set-up specially
conceived for this occasion. Humming, scratching and waves
of electric basses modify the constantly evolving soundscape.
The electric and organic world according to Kasper T. Toeplitz
revealed in PURR (infra) seems never-ending and the trip
The Pass
The Pass provides unlimited access to exhibitions at Centre
Pompidou-Metz with a guest of your choice for one year and
reduced prices to shows and conferences.
2h30' – Free entrance upon presentation of an exhibition
Price for first-time membership: €37.
Membership renewal: €33.
Composition: Kasper T. Toeplitz / Electric basses: Kasper T. Toeplitz,
Jean-Baptiste Hanak, Raphaël Ortis, Eryck Abecassis.
Production manager: Zak Cammoun
Creation by Kasper T. Toeplitz for Sleaze Art, electric bass
Tania Mouraud. a retrospective
The exhibition Tania Mouraud. a retrospective is produced by Centre Pompidou-Metz.
Hélène Guenin
Élodie Stroecken
Project Managers
Jennifer Gies
Irène Pomar-Marcos
Est-ce ainsi : Xavier Wrona,
Charles Aubertin et Meredith Black
GMGB : Émilien Deloche et son
Scenography from original elements
designed by Laurence Fontaine for
the Simples Shapes exhibition.
Graphic Designers
Nicolas Pleutret et
Michel Le Petit Didier
Centre pompidou-Metz
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Tania Mouraud. a retrospective
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Tania Mouraud. a retrospective
Centre Pompidou-Metz is the first offshoot of a major French cultural institution, Centre Pompidou, in partnership
with regional authorities. An independent body, Centre Pompidou-Metz benefits from the experience, expertise and
international reputation of Centre Pompidou. It shares with its older sibling values of innovation and generosity, and
the same determination to engage a wide public through multi-disciplinary programming.
Centre Pompidou-Metz produces temporary exhibitions which draw on loans from the holdings of Centre Pompidou,
Musée National d'Art Moderne. With more than 100,000 works, it is the largest collection of modern and contemporary art
in Europe and the second largest in the world.
Centre Pompidou-Metz also develops partnerships with museums around the world. A programme of dance, music, films,
lectures and children's workshops further explore themes raised in the exhibitions.
Financial support is provided by Wendel, its founding sponsor.
Mécène fondateur
Tania Mouraud. A Retrospective is produced with the support of Antalis, Arjowiggins,
the Galeries Lafayette Group and the Cercle féminin de soutien à Tania Mouraud.
In a media partnership with
Tania Mouraud. a retrospective
Mécène fondateur
Wendel, Founder Patron of Centre Pompidou-Metz
Wendel has been commited for five years alongside Centre Pompidou-Metz. Since the
opening of the Centre in 2010, Wendel wanted to support a flagship institution whose
cultural influence reaches the most people. Thanks to its commitment for many years in
favor of Culture, Wendel received the title of Grand Patron of Culture in 2012.
Wendel is one of the leading quoted investment companies in Europe, acting as an investor
and professional shareholder, promoting the long-term development of companies which
are global leaders in their sectors: Bureau Veritas, Saint-Gobain, IHS, Materis Paints, Stahl,
Mecatherm or CSP Technologies.
Founded in 1704 in Lorraine, Wendel Group was committed during 270 years to the
development of various activities, especially of the steel industry, before beginning a
longterm investor in the late 1970s.
The Group is supported by its reference family shareholder, made up of more than one
thousand Wendel family shareholders, who are united in the family company WendelParticipations, which owns 35% of Wendel.
Press Relations:
Christine Anglade-Pirzadeh :
+ 33 (0) 1 42 85 63 24
[email protected]
Caroline Decaux
+ 33 (0) 1 42 85 91 27
[email protected]
Tania Mouraud. a retrospective
It is with great enthusiasm that Galeries Lafayette group has chosen to support the retrospective
dedicated to Tania Mouraud, an extensive exhibition conceived and produced by
Centre Pompidou-Metz.
A stakeholder committed to contemporary creation, Galeries Lafayette group immediately wanted to
associate itself with this unprecedented retrospective which highlights Tania Mouraud's significant
contribution to contemporary art.
The exhibition features the creative diversity of the artist and the constant evolution of her work. The
gallery's layout unveils the richness of Tania Mouraud's art including her reflection on fashion in 1980s,
which she expressed through a series of snap-shots taken of Parisian shop windows. This dual setting of
contemporary art and fashion provides the perfect stage for a dialogue between Centre Pompidou-Metz
and Galeries Lafayette group in the scope of this retrospective.
In June, the exhibition takes on its full form and unfolds into the city investing nine cultural institutions
and venues. At this time, the display windows in the Metz store will house an unprecedented work by
Tania Mouraud. By taking part in this city-wide walk, the Group reaffirms its commitment to contemporary
creation and acts as a mediator between the artist and a large audience.
Already a partner for the art centre's sneak preview, Constellation, in 2009, as well as the Paparazzi !
Photographes, stars et artistes exhibition in 2014, Galeries Lafayette group continues to support, alongside
Centre Pompidou-Metz, creation and remains implicated in the local cultural scene and its desire to share
creation with the greatest number of people.
On groupe Galeries Lafayette group
Fashion specialist and leader in the down-town shopping sector, Galeries Lafayette group is a private,
family, sales group in retail shopping with 120 years to its name. Stakeholder committed to creation and
leading private employer in France with 15,000 associates, the Group aims at fostering l’Art de Vivre à la
française. With retail sales of 3.8 billion Euros, the Group today benefits from international renown founded
on its emblematic brands: Galeries Lafayette, BHV / MARAIS, Royal Quartz, Louis Pion and Didier Guérin.
For more information: http://www.groupegalerieslafayette.fr
Head of Corporate Patronage
[email protected]
+33 (0)1 42 82 37 79
Tania Mouraud. a retrospective
The long tradition of paper in Europe has been at the base of Sequana group's activities since
18th century. With this expertise and its close ties to the art world, the group has been engaged
in cultural partnerships for over ten years, focusing on bringing art to a vast audience.
Along these lines, Sequana has decided to support Centre Pompidou-Metz by contributing
to the publication of the Tania Mouraud catalogue. The high-quality papers by Ideal and Olin
used in this work are manufactured by Arjowiggins and distributed by Antalis.
As a global stakeholder in the paper industry, Sequana is on the forefront in each of these
sectors with:
Antalis, no. 1 in paper and wrapping product distribution in Europe.
Present in 44 pays, Antalis employs approximately 6000 associates.
Arjowiggins, world leader in technical and art papers, employs over
4000 people.
With over 10,000 associates the world over, Sequana achieved a turnover of 3.3 billion Euros
in 2013.
Head of Communications
+33 (0)1 58 04 22 80
For more information: www.sequana.com
Tania Mouraud. a retrospective
The Female Circle of Support
to Tania Mouraud
The circle
The Female Circle of Support to Tania Mouraud was launched on 13 November 2014 and
brings together women who are willing to commit themselves alongside the artist and Centre
Pompidou-Metz, that highlights for the first time a female artist on a city-wide scale.
The amount of donations collected until now contributed to the recreation, into the
retrospective, of One more night, the first meditation room designed by the artist in 1969
and shown in 1970 at the galerie Rive Droite in Paris. This founding work was acquired by the
Musée d’Art Moderne de la Ville de Paris.
Tania Mouraud, One more night
Built within a white cube, One more night is an environment constituted by a central podium
which the visitor reaches after climbing several steps. At the heart of this platform, a 20 cm
deep rectangular area, that corresponds to the measurements of the artist’s body, has been
designed in hollow. Enabling introspection, this simple and plain shaped room has been
conceived as a "psycho-sensory" environment, distributing a soothing sound frequency.
Sound composition and spatialization have originally been entrusted to Eliane Radigue.
With the kind contribution of TATIANAFABECK ARCHITECTE.
and then?
Be a part of the Female Circle of Support to Tania Mouraud is also be associated with the
exhibition's programme: members regularly receive information about the events around the
exhibition; they discover educational and social projects developed within the context of the
retrospective and will meet up for a special moment on the occasion of the city-wike walk's
opening on 26 June...
Women who would like to become members of the Female Circle of Support to Tania Mouraud
can address:
Amélie Watiez
[email protected]
Amandine Butticaz
[email protected]
Tania Mouraud. a retrospective
press visuals
Login: presse
Password: Pomp1d57
Visuals of works in the exhibition, amongst them the
images below, can be downloaded at the following address:
Tania Mouraud in front of Infini au carré,
© All rights reserved
© ADAGP, Paris 2014
Tania Mouraud, Autodafé, 1968
Tania Mouraud, Initiation Room N°2 , 1971
Hôpital de Villejuif
White lacquer on floor, walls and ceiling, indirect lighting,
sinusoidal frequency 200 hertz, 600 x 500 x 150 cm
Installation view (detail), Galleria LP 220, Turin
© ADAGP, Paris 2014
© All rights reserved
© ADAGP, Paris 2014
© Gianni Berengo Gardin / Courtesy Fondazione Forma
per la Fotografia
Tania Mouraud, People call me Tania Mouraud, 1973
Artist's collection
© ADAGP, Paris 2014
© Photograph Tania Mouraud
Tania Mouraud. a retrospective
Tania Mouraud, Can I be anything which I say I Possess?, 1971-1973/2015
Tania Mouraud, Mandala n°3, 1974/2015
Heliography and laminated letters on laminate, 89.5 × 260 cm
Collection at Centre National des arts plastiques
Heliographic film, metal frame
Artist's collection
© ADAGP, Paris 2014
© Photograph Didier Béquillard
© ADAGP, Paris 2014
© Photograph Tania Mouraud
Tania Mouraud, City performance n°1, 1977-1978
Tania Mouraud, Art space n°6, Memory of a non-existent
seeing, 1977
Urban intervention
Collection at 49 NORD 6 EST - Frac Lorraine, Metz
Acrylic on walls
Installation view, (detail), PS1, New York
© ADAGP, Paris 2014
© Photograph Tania Mouraud
© ADAGP, Paris 2014
© Photograph Tania Mouraud
Tania Mouraud, WYSIWYG, 1989
Tania Mouraud, De la décoration à la décoration II (France), 1996
Wall painting, variable dimensions
Exhibition view - La Force de l'Art, Grand Palais, Paris, 2006
Collection at Musée National d'Art Moderne, Centre Pompidou, Paris
Acrylic on wood on painted wall
Installation view, Le Quartier, Quimper
Artist's collection
© ADAGP, Paris 2014
© Photograph Thierry Depagne
© ADAGP, Paris 2014
© All rights reserved
Tania Mouraud. a retrospective
Tania Mouraud, Sightseeing, 2002
Tania Mouraud, AD NAUSEAM, 2014
DVD video, pal, colour, sound
Duration: 7’- Edition of 5
Collection at Musée d’art moderne de la Ville de Paris
Video installation
Sound Tania Mouraud assisted by Ircam
Production Tania Mouraud, Mac /Val, Ircam
© ADAGP, Paris 2014
© Videogram Tania Mouraud
© ADAGP, Paris 2014
© Videogram Tania Mouraud
Tania Mouraud, Backstage 0129, 2013
Digital print on Hahnemühle Rag, 23.60 × 100 cm
Edition 5 + 2EA
Artist's collection
© ADAGP, Paris 2014
© Photograph Tania Mouraud
Tania Mouraud, L’indienne, "Images fabriquées" series,
Black and white photograph, 50 x 60 cm
3 prints
Artist's collection
© ADAGP, Paris 2014
© Photograph Tania Mouraud
Tania Mouraud, Opéra 500/46, "Vitrines" series, 1981
Black and white photograph, 13 x 18 cm
Edition of 4
Artist's collection
© ADAGP, Paris 2014
© Photograph Tania Mouraud
Tania Mouraud, Made in Palace
326/8, 1980
Black and white photograph, 53.50 × 35 cm
Edition 2/5
Artist's collection
© ADAGP, Paris 2014
© Photograph Tania Mouraud
Tania Mouraud. a retrospective
Tania Mouraud,
Bordeland 0683, 2010
Pigment ink one Fine Art paper
Art, 163.70 x 108.70 cm
© ADAGP, Paris 2014
© Photograph Tania Mouraud
Tania Mouraud, Rubato 034R/0125b/036R , 2010-2013
Tania Mouraud, Ad Infinitum, 2007-2009
Pigment ink one Fine Art paper, 100 × 198.40 cm
Edition of 5
Artist's collection
HD video, black and white, sound (loop)
Duration: 8’10"
Edition of 3 + 2 EA
Installation view, 2009, Musée des Beaux-Arts - Chapelle de l'Oratoire,
© ADAGP, Paris 2014
© Photograph Tania Mouraud
© ADAGP, Paris 2014
© Photograph C. Clos
Tania Mouraud, La Curée, 2003-2004
Tania Mouraud, La Fabrique, 2006
Tania Mouraud, Once Upon a Time, 2011-2012
DVD, pal, sound
Duration: 2’ (loop)
Edition of 5 + 1EA
Production: La Box et Bandits Mages, Bourges
Artist's collection
Video installation
15 Tvs, 4 video projections, 19 sound sources
Collection at Centre National des arts plastiques, Paris
Production Tania Mouraud, Lille3000, Frac Nord-Pas-de-Calais
HD video
Duration: 9'16" (loop)
Edition of 5 + 2EA
Installation view 2012, City Hall, Nuit Blanche, Toronto
Production Tania Mouraud & Scotiabank Nuit Blanche, Toronto
© ADAGP, Paris 2014
© Videogram Tania Mouraud
© ADAGP, Paris 2014
© Photograph Thierry Depagne
© ADAGP, Paris 2014
© Photograph Tania Mouraud
Tania Mouraud, HCYS?, 2005
Tania Mouraud, A Collection, 1996
Digital print on tarp, 5 x 30 m
Collection at 49 NORD 6 EST - Frac Lorraine, Metz
Paper leafs glued to a wall, variable dimensions
Installation view, University Museum CSULB, Long Beach,
Adhesive tape on cardboard, 50 cm each
Artist's collection
© ADAGP, Paris 2014
© Photograph Tania Mouraud
© ADAGP, Paris 2014
© Photograph Cyprien Quairiat
© ADAGP, Paris 2014
© Photograph Rémi Villaggi
Tania Mouraud, Projet de peinture interactive,
Press Contact
Centre Pompidou-Metz
Noémie Gotti
Communications and Press Officer
+33 (0)3 87 15 39 63
[email protected]
Claudine Colin Communication
Diane Junqua
+33 (0)1 42 72 60 01
[email protected]
# TaniaMouraud

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