Press kit - Musées de Strasbourg

Transcription

THE COLLECTOR'S EYE
NINE PRIVATE COLLECTIONS IN STRASBOURG
MUSÉE D’ART MODERNE ET CONTEMPORAIN
17 SEPTEMBER 2016 / 26 MARCH 2017
Press Relations
Service Communication des Musées
Julie Barth
[email protected]
tel. 03 68 98 74 78
Press kit and visuals
downloadable at
www.musees.strasbourg.eu
PRESS KIT « THE COLLECTOR'S EYE. NINE PRIVATE COLLECTIONS IN STRASBOURG »
MUSÉE D’ART MODERNE ET CONTEMPORAIN DE STRASBOURG, 17 SEPTEMBER 2016– 26 MARCH 2017
1. EXHIBITION PROJECT
PAGE 2
2. " PASSIONS SHARED ", INTRODUCTION
PAGE 3
3. FOCUS 1 FROM 17 SEPTEMBER TO 20 NOVEMBER 2016
PAGE 5
4. FOCUS 2 FROM 10 DECEMBER 2016 TO 26 MARCH 2017
PAGE 10
5. CULTURAL EVENTS
PAGE 15
6. VISITOR INFORMATION
PAGE 20
7. PRESS VISUALS
PAGE 21
1
1. Exhibition Project
For "The Collector's Eye", Strasbourg's Museum of Modern and Contemporary Art has invited
figures from a variety of backgrounds to take part in the game-like exercise known as an
exhibition and present the finest pieces from their "secret garden". Nine collectors have agreed
to make accessible to the public some of the works they have gathered over the years and
treasured in the privacy of their homes.
These collectors all have a special relationship with the museum. They are either donors or
lenders or have been its champions from the very beginning. This series of exhibitions is meant
not only to honour their commitment, but also to look at practices different from those normally
accepted in heritage institutions. Born of passion or neurosis, impulsive or rational, the personal
collection is exclusively a product of the individual gaze. All its twists and turns and potential
contradictions have meaning for the person building her/his collection by contingency-free
choice.
Public collections in contrast are not built on a "love at first sight" basis. They are the object of
negotiations among a multitude of players ensuring the proper use of public funds and they
enter the collective heritage ad vitam aeternam. Confronting art confined to interiors with art
that is exhibited in museums is a daring and exhilarating undertaking for both parties. This is
what "The Collector's Eye" offers us. Two consecutive hangings will show different areas of the
MAMCS occupied by collections of all shapes and sizes. Perhaps, but not necessarily,
highlighting a period, a movement or a medium, these groups of works stemming from personal
choices can be read as portraits of their creators, suggesting the idea of the collection as an art
form in itself. This unusual project reminds us that there are strong ties between public and
private collections, ties of mutual inspiration, complementary gazes and the pleasure of
celebrating and sharing art with the greatest number.
Exhibition Curators: Barbara Forest, MAMCS Heritage Curator, Marie-Jeanne Geyer, MAMCS
Heritage Curator, Jean-Louis Mandel, collector, Madeleine Millot-Durrenberger, collectress,
Estelle Pietrzyk, Chief Heritage Curator, Directress of MAMCS, Joëlle Pijaudier-Cabot, Chief
Heritage Curator, Directress of the Museums of Strasbourg.
Focus 1 : 17 September to 20 November 2016:
- Catalogue déraisonné, the Esther and Jean-Louis Mandel Collection
- Être et à voir, the J+C Mairet Collection
- La Possibilité d’une collection, the G. and M. Burg Collection
- Passages, private collection, Strasbourg and G. and M. Burg Collection
Focus 2 : 10 December 2016 to 26 March 2017:
- Le Désir est partout, the Lionel van der Gucht Collection
- Comme une respiration, the Madeleine Millot-Durrenberger Collection
- Voies de la peinture figurative contemporaine, the Jean Brolly Collection and a private
Strasbourg collection
- Collectionner les formes, Private collection, Strasbourg
435 works (Focus 1) 356 works (Focus 2). Total 791 works
226 artists
This exhibition is being presented as part of « Shared Passions. In the Heart of the Collections »,
a season of exhibitions promoting Strasbourg's Museum collections. The exhibition benefits
from the exceptional support of Eurométropole de Strasbourg.
2
2. « Passions Shared, at the Heart of the Collections », an Introduction
« Shared Passions, in the Heart of the Collections » is a multiple event launched on European
Museums Night 21 May 2016 and continuing until spring 2017.
Ten multidisciplinary exhibitions drawing on both public and private collections in Strasbourg's
City Museums will be held during the year. They focus in turn on recent acquisitions and
donations, rare or fragile aspects of public collections, exemplary restorations of works and
objects or contemporary echoes of historical works. The enthusiasm and commitment of private
collectors and their decisive role in building a shared heritage are likewise commemorated.
Members of the museum public will be invited to "collect" their chosen works and especially to
share their favourite ones, while museum teams will talk about their role in building and
transmitting our artistic heritage.
In Episode 2, sponsored by the Museums and the Alsace-Lorraine-Champagne-Ardennes Arts
Council, the Lola Gatt Dance Company and the dancer Gaël Sesboué will be in residence at the
MAMCS and Aubette 1928 from October to December. They will work to produce a
choreography inspired by the work of Jean Arp and Sophie Taeuber-Arp, who herself was a
dancer in the Rudolf Laban company. This will be an opportunity for the public to discover a
dancer's reaction to the museum and its collections. A number of public sessions are scheduled,
including several at Aubette 1928.
De quoi hier sera fait (What Yesterday Will Be Made Of) is a series of get-togethers and writing
workshops in which the writer Leo Henry, in residence at the Historical Museum, will interview
visitors on what records of our time they would like to see preserved. Borrowing his techniques
from psychogeography, historical research and science fiction, he will look at what can go into a
museum's collections, right from the Big Bang until the end of time. This residence will give the
public a chance to meet the paleontology professor Jean-Claude Gall and the astrophysicist
Roland Lehoucq. At the end of the residence, the different texts will form a complete story
taking the form of a digital book.
Episode 2 of « Shared Passions. In the Heart of the Collections » will be launched in Autumn
2016, with five exhibitions and displays:
The Collector's Eye
From 17 September 2016 to 26 March 2017 at the MAMCS
A presentation of works belonging to Strasbourg collectors forming a series of portraits of their
owners.
An Unhoped-for Windfall. Hidden Treasures in the Synagogues of Eastern France
From 15 October 2016 to 24 February 2017, an exhibition being held by the Musée Alsacien in
the Galerie Heitz (Palais Rohan)
The presentation of a genizah (a ritual repository of written texts containing the name of God
and of Ashkenazi Jewish liturgical objects) with a focus on the daily life of a small rural Jewish
community and its development from the early modern era to the late nineteenth century.
Paper Regiments
From 15 October 2016 in all Strasbourg City Museums
The Historical Museum's collections of little soldiers meet up with collections from other
museums.
3
Little Worlds. Miniatures from the Cabinet des Estampes presented at the Musée de l’Œuvre
Notre-Dame
From 15 October 2016 to 16 January 2017 at the Musée de l’Œuvre Notre-Dame / Arts of the
Middle Ages
The museum will be exhibiting a series of miniatures produced by Strasbourg artists of the 17th
century. These miniatures painted on parchment belong to a Strasbourg tradition centred
around the figure of Friedrich Brentel (1580-1651) and going back to medieval illustration
techniques.
Heterotopias. Avant-gardes in Contemporary Art
From 10 December 2016 to 30 April 2017 at the MAMCS and Aubette 1928
The founding concepts of the 1920s artistic avant-gardes are set in resonance with works by
contemporary artists (Xavier Veilhan, Ryan Gander, Anri Sala, etc.).
« Passions Partagées » benefits from the exceptional support of Eurométropole de Strasbourg
4
3. The Collector's Eye / Focus 1 / 17 September to 20 November 2016
« Catalogue Déraisonné »* ("Unreasoned" Catalogue)
The Jean-Louis and Esther Mandel Collection
As well as being a scientist, Professor Jean-Louis Mandel is a connoisseur of the art of the
second half of the 20th century, a generous donor to the Strasbourg Museum of Modern and
Contemporary Art and an active member of the Friends of the Museum (AMAMCS). While he
may express a preference for prints (but not particular movements, periods or countries) JeanLouis Mandel has for decades been a faithful supporter of contemporary artist-painters from
Alsace (Camille Claus, Gabriel Micheletti Michel Krieger, etc.), whose career he has followed for
decades. This is an exhibition revealing not only themes dear to him (the interface between
figuration and abstraction, the depiction of World War II persecutions or the importance of
drawing) but also his appetite for art forms that seem far removed from each other and yet
somehow come together. Avoiding any attempt at rational interpretaton, this "Unreasoned"
Catalogue brings together the figures of art history and more confidential artists, landmark
works and hidden treasures. It is a faithful reflection of its author's passion and for the first time
gives us a complete picture of it.
This "Unreasoned Catalogue" is an opportunity to view again some of the finest sets of prints
donated to the museum by the collector or, at his suggestion, by the Friends of the Museum.
These include several portfolios by Max Klinger, prints by Max Beckmann, Lovis Corinth and
Conrad Felixmüller and, for the contemporary period, the important series by Pierre Alechinsky
or A. R. Penck. The exhibition also presents other artists in his collection, such as Lea and Hans
Grundig, whose expressionist works take pride of place in a room devoted to German prints, or
Johnny Friedlaender's Images du Malheur and Igael Tumarkin's series inspired by the figure of
the Erl-king from Goethe to Michel Tournier, side-by-side with Zoran Music's poignant evocations
of Dachau. There follows a rare and beautiful artist's book featuring the most important figures
of American Pop Art (Andy Warhol, Roy Lichtenstein, Robert Indiana, Claes Oldenburg, etc.) and
different European expressionist movements (from Asger Jorn to Karel Appel). 1 Cent Life by
Walasse Ting unfolds in the exhibition space, showing a project that is as poetic as it is "plastic".
* wordplay on "catalogue raisonné" (complete annotated catalogue)
Exhibition Curators: Jean-Louis Mandel and Marie-Jeanne Geyer, Heritage Curator at MAMCS
Number of works: 218, of which 20 were donated to the MAMCS between 1984 et 2015 (N.B.
the MAMCS holds 165 works donated, or acquisitions partly financed, by Esther and Jean-Louis
Mandel)
Number of artists: 37
Artists featured in the exhibition « Catalogue Déraisonné »
Pierre ALECHINSKY, Jean ARP, Samuel BAK, Max BECKMANN, Isaac CELNIKIER, Jean-Marc
CERINO, Camille CLAUS, Lovis CORINTH, CORNEILLE, Otto DIX, Christian DOTREMONT, Enrico
BAJ, Conrad FELIXMÛLLER, Johnny FRIEDLAENDER, Hans GRUNDIG, Léa GRUNDIG, Erich
HECKEL, Bruno HEROUX, Asger JORN, Anselm KIEFER, Max KLINGER, Käthe KOLLWITZ,
Bernhard KRETZSCHMAR, Michel KRIEGER, Alfred MANESSIER, Gabriel MICHELETTI, Zoran
MUSIC, Oskar NERLINGER, A.R. PENCK, Bernard QUESNIAUX, Jean RAINE, Jean REMLINGER,
Jean-Marc SCANREIGH, Gérard TITUS-CARMEL, Igael TUMARKIN, Heinrich VOGELER
5
« Être et à Voir » (Being and Being Seen)
J+C Mairet Collection
The J + C Mairet collection came into existence in the early 1980s, mainly through purchases
from galleries and artists. It contains about 700 works (videos, prints, drawings, paintings,
sculptures and installations) and 200 photographs, the earliest dating from the 19th century but
the majority completed after 1970. Its existence has been widely publicized, with exhibitions in
France and Germany. It includes 110 artists of twenty different nationalities, including 40
women. It is made up of two major series. Être et à Voir reveals only one of these large-scale
series, the one devoted to art. The second one is made up of old photographs that are
documentary and mostly anthropometric. Taken by Alphonse Bertillon or acquired from
specialists working in mental homes, these show the same interest in representing the
individual, his everyday objects and language.
Jean Mairet defines his collection as essentially contemporary. It has been built in the light of
the collector's personal history, of his thoughts and emotions in equal degree. Developed
equally through acquistions of work from the fifties or the present day, it is contemporary in that
it reacts to a subjective experience in the here and now. For the collector, it is a means of
expression and a form of compensation for a lack of artistic gifts. For these reasons, Mairet
finds more to talk and think about in figurative art than in abstraction – interesting though he
may find the latter. His purchases are neither planned nor compulsive, his responses stemming
primarily from a need to bring the collection to life. Its energy lies in the works' interaction, each
being displaced by the arrival of a newcomer, thus constantly increasing potential combinations,
with works drawing closer or farther apart, confirming a particular direction or upsetting the
order of a sequence. Works by artists accompanying the couple in their daily lives – those of the
Chinese Chan Kai-Yuen, the Germans Maike Freess and Wolf Vostell and the French artists
Charles Dreyfus, Nathalie Elemento, Henri Jannot and Vincent Corpet – are spotlighted in Être et
à Voir.
The J + C Mairet collection occupies different areas of the museum, enriching and renewing the
MAMCS exhibition trail. In the Modern Rooms are five paintings by Henri Jannot, a realistic
painter of the 1940s with a classic style influenced both by Le Nain and Picasso. His silent
painting is nonetheless enigmatic and disturbing. Vassily Kandinsky's Salon de Musique houses
Le Concert Autistique, Musique de Chambre by Gilles Barbier. Felt hats isolate the visitor from
the sound environment, while at the same time producing their own sounds.
On the upper floor, the collection occupies three rooms. In the first, dealing with the art of the
1960s, from BMPT to Arte Povera through Fluxus, the artists Charles Dreyfus and Claude
Rutault unexpectedly interact, the latter having designed a specific, customized installation for
the former's language game objects . A little further on, in the room devoted to German art, are
Wolf Vostell's major historical works, paintings by Rolf Lukaschewski and sculptures and
drawings by Maike Freess, including Kleiner Protest on loan to the museum since 2015, all of
which dialogue with the paintings of Immendorf, Baselitz, Penck and Schoenbeck.
The last room offers its open spaces to more than 130 works from Être et à Voir, works by
established artists and others for the moment less well known. Initially met by the works of
Vincent Corpet, the visitor passes through five successive – but not necessarily separate
sections: "Domestic Space" (Nathalie Elemento, Meschac Gaba, Georges Rousse, Guan Wei,
Julien Berthier, etc.), " Art Revised and Corrected" (Alberto Sorbelli, Prinz Gholam, Kai-Yuen
Chan, etc.), "Female Gender" (Chloe Piene, Barbara Breitenfellner Agathe May, Favre, Sophie
Calle, Julie Laignel, Claudine Drai, Frédérique Loutz, Lily Hibberd ...) "With Hue and Cry" (Félicien
Rops, Roland Topor, Dado, Gilles Barbier, Tim Plamper, Michel Gouery, Frédérique Loutz, Trine
Lise Nedreaas, François Rouan, Hans Bellmer, Pablo Picasso, Nathalie Van Doxell ...) and "In
Silence" (Djamel Tatah and Guy-Rachel Grataloup). The representation of the human figure,
6
from the most clinical to the most eroticized, becomes the central issue, both of the collection
itself and of artistic creation in general.
Exhibition Curator: Barbara Forest, Heritage Curator at MAMCS
Number of works: 157
Artists featured in the exhibition « Être et à Voir »
Gilles BARBIER, Tamina BEAUSOLEIL, Hans BELLMER, Julien BERTHIER, Pascal BERNIER, Corine
BORGNET, Barbara BREITENFELLNER, Sophie CALLE, Kai-Yuen CHAN, Vincent CORPET, DADO,
Nicolas DARROT, Charles DREYFUS, Claudine DRAI, Nathalie ELEMENTO, FARSENSCHÖLLHAMMER, Valérie FAVRE, Maike FRESS, Meschac GABA, Michel GOUERY, Guy-Rachel
GRATALOUP, Lily HIBBERD, Henri JANNOT, Clemens KRAUSS, Julie LAIGNEL, Frédérique LOUTZ,
Rolf LUKASCHEWSKI, Agathe MAY, Henri MACCHERONI, Lise NEDREAAS TRINE, Jaime PITARCH,
Chloé PIENE, Tim PLAMPER, PRINZ+GHOLAM, Djamel TATAH, Wolf VOSTELL, Pablo PICASSO,
Henri UGHETTO, Félicien ROPS, François ROUAN, Georges ROUSSE, Raphaëlle RICOL, Claude
RUTAULT, Roland TOPOR, Daniel SABRANSKI, Alberto SORBELLI, Daniel SPOERRI, Nathalie VAN
DOXELL, Mâkhi XENAKIS, Junghyun YOO
« Être et à Voir » (1st floor of the Museum: 120 works) from 17 September to 20 November
2016
Selected works from the J+C Mairet collection will also be presented as part of the permanent
layout until 26 March 2017 (37 works)
« La Possibilité d’une Collection » (A Collection Made Possible)
G et M Burg Collection
The G. & M. Burg collection, begun on an impulse in 1971 with a drawing by Henri Laurens, now
contains between 700 and 800 pieces, including 500 photographs and 100 glass objects
created by more than a hundred living artists, confirmed or otherwise. Most are contemporary
works that address mankind and his history (his artistic history included) and were acquired in
galleries or directly from artists in Strasbourg, Paris or Madrid. Chiefly motivated by emotion,
and with a freedom of choice exempt from opportunism, Marcel Burg has continued to cultivate
an enduring emotional link with each of these works, as is evidenced by their continuing
presence in the collector's home twenty years on. Eventually they find themselves hung pell-mell
on the walls of the house or stored in what amount to domestic reserves but, to begin with, the
works are always housed in the collector's study. Here in this private workspace can begin the
concentrated process of becoming acquainted with them.
Now, for the first time, about fifty of them are being exhibited in a museum. La Possibilité d’une
Collection can be found on the ground floor and 1st floor of the MAMCS. In the Art Nouveau
room, glass objects can be seen alongside Gallé and Daum vases while the concept of
decoration is subverted by Lisa Sartorio's amazing wallpapers. Early in the 1970s, Marcel Burg
took a keen interest in Studio Glass and the simultaneous emergence in Europe and the United
States of works in glass. The Americans Dale Chihuly and Toots Zynski, the German glass
engraver Kristian Klepsch, and the Belgian Sylvie Vandenhouche, reflect contemporary trends in
the use of this very special material.
Coming at the end of the MAMCS's modern art trail and acting as a connecting thread is a
History of Art from the Middle Ages to the Avant-Gardes revisited by young artists. It reveals
Marcel Burg's interest in work that addresses issues of globalization, cultural transfers and
relativism, but also the decisive importance of art in the construction of an identity or even an
ideology. The photographs of Clark & Pougnaud are strange transcriptions of the pictorial worlds
of Edward Hopper or Vilhem Hammershøi. Mehdi Georges Lalhou and Mounir Fatmi appropriate
7
and rework cult images – works of art or Christian icons – to better reveal their symbolic and
political significance. Marc Lathuillière asserts a critical stance with his 500 photograph series
Musée National. The protagonists, all involved in heritage preservation and all wearing the same
mask, become the components of a picturesque mise-en-scène of tourism.
On the upper floor La Possibilité d’une Collection shares the space with the works of another
collector. In a series of 50 prints by Roman Opalka, showing changes in the artist's face over the
years, transformations of the human face or even its disappearance are indicators of its
perpetual presence. Photographers address the limits of representation, whether physical,
emotional, historical or cognitive (Patrick Tosani, Renaud Auguste-Dormeuil, John Stezacker
Marie Aerts, Gabor Kerekes), or photography's ability to show the body in action (Dieter Appelt,
Julien Serve, Georges Tony Stoll). Facing them, non-figurative works reflect our subjective and
inframince (Duchamp's coinage, "infinitesimal") perception of time and matter (Marc Couturier,
Xavier Theunis, Michael Zelehoski, Bernar Venet).
Exhibition Curator: Barbara Forest, Heritage Curator at MAMCS
Number of works: 49
Artists featured in the exhibition « La possibilité d’une collection »
Ground floor: Faycal BAGHRICHE, Nicolas CHARDON, Dale CHIHULY, CLARK&POUGNAUD,
Clément COGITOR, Julien CRÉPIEUX, Katarina DRZKOVA, Mounir FATMI, Kristian KLEPSCH,
Mehdi Georges LALHOU, Marc LATHUILLIÈRE, Patrick NEU, Lisa SARTORIO, Sylvie
VANDENHOUCHE, Toots ZYNSKI
1st floor: Marie AERTS, Dieter APPELT, Marc COUTURIER, Renaud AUGUSTE-DORMEUIL, Gabor
KEREKES, Mehdi-Georges LALHOU, Roman OPALKA, Xavier THEUNIS, Patrick TOSANI, Julien
SERVE, John STEZACKER, Georges Tony STOLL, Bernard VENET, Michaël ZELEHOSKI,
« La Possibilité d’une Collection » from 17 September to 26 March 2016 on the Museum ground
floor. And also 23 works presented in the exhibition « Passages » on the 1st floor of the Museum
until 20 November 2016
« Passages » (Passings)
Private collection, Strasbourg and G et M Burg Collection
Visitors to the exhibition find themselves disconcerted by a doom-laden pronouncement. "You
shall all die!" Claude Léveque's blue-tinted neon tubes shout at us, yet with something deeply
touching in their frail, sprawling penmanship. The dictum is in fact a link between these two
private collections interacting naturally and at the same time disturbingly, yet without previous
contact. On one hand the march of time towards an inexorable end and, on the other, the
gradual disappearance of any representation of the other: these are the focal points around
which the two collections have developed. And the artist they have in common, Roman Opalka
(1931-2011), is precisely emblematic of these questions. In one exhibit, it is his written work
that is highlighted in the shape of a "detail", a sequence of consecutive numbers carefully noted
by the artist in Indian ink as a record of moments irretrievably gone. In another, his face,
photographed frontally year after year, is spread over an entire wall. Between these two
proposals, Bertrand Lavier's mirror, with its silvering clouded by to make it unusable, reminds us
of the universality of the concepts handled here. The choice of works made for the exhibition
shows how exacting the two collectors have been in unearthing both landmark works from the
history of Contemporary Art (a Date Painting by On Kawara, or Dieter Appelt portraying himself
in a triptych) and rare, strange or disturbing pieces (On Kawara again, with a series of
8
Thanatophanies, or Renaud Auguste-Dormeuil's truncated faces in the Les Ambitieux series) all
brought together by a single motive: collecting. As an illogical grouping, at times barely legible
to the collector himself, the collection takes on another dimension through an exhibition that
orders and structures it, perhaps even betraying its author's ideas. The museum merely presents
a few pointers to sketch the much wider project of collecting traces of our passing through this
world. These have been captured by some of the artists: fleeting (Anri Sala – the trail left by an
aeroplane), objective (the "moods" of Gabor Kerekes) or in obsessively meticulous detail (Julien
Serve).
Exhibition Curators: Estelle Pietrzyk, Chief Heritage Curator, Directress of MAMCS and Barbara
Forest, Heritage Curator at MAMCS
Number of works, Private Collection, Strasbourg : 9 works
Number of works, G et M Burg Collection: 51 works, 84 in all in the exhibition « Passages » (see
also « La Possibilité d’une Collection).
Number of artists : 24
Artists featured in the exhibition « Passages »
Marie AERTS, Dieter APPELT, Renaud AUGUSTE-DORMEUIL, Fayçal BAGRICHE, Jean-Marc
BUSTAMANTE, Sophie CALLE, Marc COUTURIER, Julien CRÉPIEUX, Olafur ELIASSON, MehdiGeorges LAHLOU, On KAWARA, Gabor KEREKES, Bertrand LAVIER, Claude LÉVÊQUE, Roman
OPALKA, Gabriel OROZCO, Anri SALA, Lisa SARTORIO, Julien SERVE, John STEZACKER, Xavier
THEUNIS, Tony Georges STOLL, Patrick TOSANI, Bernar VENET, Danh VO, Michaël ZELEHOSKI
Marc Morali, A Few Words on Private Collection, Strasbourg
My first impression upon entering this space was of an invisible link between paintings,
photographs and other objects that were nonetheless clearly all distinct. Quite the opposite of a
collection, already the outline of an approach, something being created around a theme, its
identity suggested to me by my hosts. How to paint time? How to take hold of it? Perhaps the
time of a personal history, marked by the upheavals of the last century – the Catastrophe
(Boltanski), Hiroshima (On Kawara). But, equally, the time of being itself, that of an elusive
present. The short-term is the most misleading of durations, a time that Philippe Forest calls the
"more than present", with only the act of writing to ensure its being remembered: fiction,
nostalgia, a blurred memory, life as a perforated hourglass.
Indubitably, time is thus conceptualized. For what remains easiest to grasp about it is its
gradual erasure (Opalka), its finitude, its vanishment. It is, in other words, the Absolute Real, it is
Death. This is why Lavier's mirror fails to capture the movements of the world. Its image is
clouded by brown-gold reflections, as if to shed a warm glow of scepticism over Lévêque's "You
will all die!" edict. The idea might seem morbid, but in this living space there echoes a demurral,
noteworthy and appeasing. Death, by all means, but reached through the paths of life! This is a
long way from mercantile art.
9
4. The Collector's Eye / Focus 2 / 10 December 2016 to 26 March
2017
« Le Désir est Partout » (Desire is Everywhere)
The Lionel van der Gucht Collection
It was during a sale at Hôtel Drouot 30 years ago that Lionel van der Gucht became
interested in art auctions and began his collection. He bought a wash by Edouard Pignon that
sets the tone of this "accumulative undertaking" (to use his own expression), a work already
reflecting an acute sensitivity to colour and special attention to the expression of the moment.
For Lionel van der Gucht, a collection is seen as endangering the one who develops it, his private
space heavily impacted by an apparently endless piling up of works and objects to which he
alone holds the key. Anonymous or recognized artists, rare pieces or objects rescued from flea
markets, all contribute to forming a collection freed from all constraints. It is at once ancient
and modern, embracing all media forms; it charms and at times irritates and continually
astonishes whoever discovers it. Here, for the first time, the collector is putting on view the
achievement of three decades spent tracking or snapping up the undreamed-of addition to a
project described as "ineluctable".
After the first room, designed with the collaboration of Madeleine Millot-Durrenberger,
the exhibition Le Désir est Partout opens with a series of works linked to the poet, art critic and
friend of the Surrealists, Alain Jouffroy (1928 - 2015). His book written with Gérard Fromager, Le
Peintre et le Modèle (1973), offers an immersion in colour spread across the walls of the
exhibition space. At this point an optional addition to the visit, not without its disquieting side, is
provided by a room crowded with uncanny shapes. Imaginary creatures (Jean Désiré Ringel
d'Illzach's La Chimère), amputated body parts (a mask by Maurice Rollinat), molten or decaying
matter (a ceramic by Johan Creten), anatomical charts, etc., the inhabitants of this space seem
to belong to an in-between world, their features blurred or presenting a quasi-monstrous
appearance. Following this teratological approach to the work of art, another sense becomes
involved, that of hearing. In a private space closed off by large black curtains the visitor is invited
to experience the passage of time as he listens to Roman Opalka's whispering voice. In Polish,
his native language, the artist recites numbers ranging from thousands to hundreds of
thousands without taking a breath, eventually exceeding three million. This room also features
works by Jean Bazaine and Daniel Dezeuze, fragile drawings in semi-darkness discreetly
commanding respect.
Leaving behind inchoate forms, the next room offers, almost to the point of visual saturation, a
picture of over a century of creation in Alsace, not only in painting (John Benner, Robert Heitz,
Jean-Jacques Henner, Daniel Schlier, Gustave Stoskopf, Tomi Ungerer, etc.), but also in the
history of ideas, with the modest but heavily significant presence of the brochure On the poverty
of student life considered in its economic, political, psychological, sexual and particularly
intellectual aspects, together with several ways to remedy this, published in 1966 in Strasbourg
by the Situationist International and known for its influence on May 1968 events. Here again is
an invitation from the collector to explore a byway.
The last room gives a special place to design, reiterating if need be that "Desire is Everywhere"
and that the pleasures derived from design, colour, shapes and matter admits of no hierarchy
between art and the applied arts. Among other objects, a bookcase (Charlotte Perriand), a large
luminous mirror (Ettore Sottsass) and a series of chairs (Dixon, Prouvé, Gehry, Faustino, etc.),
dialogue with quilts hung from the wall, their patterns recalling the geometric art of the 1920s.
Works by the sculptor Jean-Gabriel Coignet, placed at crucial points along the exhibition route,
play with geometry and balance, creating a thread that can be followed in reverse.
Exhibition Curator: Joëlle Pijaudier-Cabot, Chief Heritage Curator, Directress of Musées de
Strasbourg
10
Number of works: 150, including 5 donations featured in the exhibition. (N.B. Lionel van der
Gucht has donated 57 works since 2008)
Artists featured in the exhibition « Le Désir est Partout »
Gilles AILLAUD, Edouardo ARROYO, François AZAMBOURG, Patrick BAILLY-MAÎTRE-GRAND, Jean
BAZAINE, Jean BENNER, Alphonse BERNOUD, Max BILL, Stéphane Michel BLONDEAU, Adolphe
BRAUN, Gustave BRION, Camille CLAUS, Martin CHARCOT, Jean-Gabriel COIGNET, John
COPLANS, Johan CRETEN, Louis DANICHER, Honoré DAUMIER, Daniel DEZEUZE, Erik DIETMAN,
Tom DIXON, Mathias DOLL, François DUCONSEILLE, Egon EIERMANN, Didier FAUSTINO, Barry
FLANAGAN, Gérard FROMANGER, Pierre GANGLOFF, Franck GEHRY, Paul Armand GETTE, Robert
HEITZ, Jean HÉLION, Jean-Jacques HENNER, CLAUS Jean, Alain JOUFFROY, Gustave JUNDT, Peter
KLASEN, Piotr KOWALSKI, Jean-Jacques LEBEL, Maurice LEMAÎTRE, Philippe-Jacques DE
LOUTHEBOURG, René MAGRITTE, Robert MALAVAL, Alfred MANESSIER, Jean MESSAGIER, JeanMichel MEURICE, Christophe MEYER, Serge MOUILLE, Roman OPALKA, Jacques PAJAK, Pierre
PAULIN, Charlotte PERRIAND, Gaetano PESCE, Peter PHILIPPS, Pierre GAUDIBERT, Edouard
PIGNON, Bernard PLOSSU, Jean PROUVÉ, Raymond HAINS, Antonio RECALCATI, Bernard
REQUICHOT, Jean Désiré RINGEL d’ILLZACH, Léon ELCHINGER, Daniel SCHLIER, Nicolas
SCHÔFFER, Etore SOTTSASS, Aurene STEUBEN, Gustave STOSSKOPF, Graham SUTHERLAND,
Pierre TAL COAT, Alfred TOUCHEMOLIN, David TREMLETT, Elmar TRENKWALDER, Tomi
UNGERER, Xavier VEILHAN, Charles-David WINTER, Phillips WOUWERMANS, Henri ZUBER.
The Lionel van der Gucht Collection « Le Désir est Partout » benefits from the patronage of
Artisans du Son
« Comme une Respiration » (Like Breathing)
The Madeleine Millot-Durrenberger Collection
A collector, curator and publisher (for In Extremis publications), Madeleine Millot-Durrenberger
holds nearly 1300 works in her collection, begun in the early 1980s and entirely devoted to
photography. For her, the act of collecting is inseparable from a duty to pass on this heritage to
others. Indeed, far from confining the viewing of her works to a restricted circle, she regularly
organizes exhibitions (in art schools and festivals or in the associative gallery she has cofounded) and circulates in publications the work of artists she defends. A committed collector,
she feels herself less responsive to the pure aesthetics of a photograph than to the surprise
elicited by something ordinary being shown "differently". Her attraction to a photograph that is
capable of inventing, rather than describing or enhancing, explains her special attachment to
the work of the Czech photographer Josef Sudek, work she was one of the first to identify and
collect. With almost 150 photographs, the exhibition Comme une Respiration is MillotDurrenberger's latest opus. It should be viewed, not just as a selection of her works and those
she has helped bring into the MAMCS collection, but rather as the expression of a line of
thought, a particular approach, a very personal reading of the images being displayed. She
herself reinvents her collection, personally ensuring all aspects of curatorial work (from the
choice of exhibits to the lighting, from framing to hanging, from designing a layout to making
exhibition labels), this time with the collaboration of an artist, Patrick Bailly Maître Grand, whose
own work is present in the exhibition. "For me" she says, "a collection is an acknowledgement
that life is not sufficient." Nor does an exhibition ever suffice to exhaust the numerous possible
confrontations or new directions, sometimes unsuspected at the time of a work's acquisition –
and this is the 140th presentation of her collection. Meanings are made and unmade,
constantly reinvented, prolonging the pleasure of owning a fine collection by offering it to the
eyes of others.
11
Exhibition Curator: Madeleine Millot-Durrenberger, exhibition designed by Patrick Bailly-MaîtreGrand
Number of works: 150, including 34 works belonging to the MAMCS acquired through
Madeleine Millot-Durrenberger (N.B. There are 116 works acquired with the help of M.M.D. in the
MAMCS collection of photographs).
Artists featured in the exhibition « Comme une Respiration »
Bérénice ABBOTT, Dieter APPELT, Manuel ALVAREZ BRAVO, John ARMELEDER, Vasco ASCOLINI,
Claude BATHO, Valérie BELIN, Anne et Bernhard BLUME, Joachim BONNEMAISON, BRASSAÏ,
Adolphe BRAUN, Patrick BAÎLLY MAÎTRE-GRAND, Sophie CALLE, Harry CALLAHAN, Henri
CARTIER BRESSON, Toni CATANY, Marc COUTURIER, Eugène CORDIER, Donigan CUMMING,
DAUBAS, Déborah TURBEVILLE, Gérard DESCHAMPS, Suzanne DOPPELT, Tom DRAHOS, Sammy
ENGRAMER, Manuel ESCLUSA, Gilbert FASTENAEKENS, Bernard FAUCON, Mario GIACOMELLI,
Fay GODWIN, Valérie GRAFTIEAUX, Régis GUILLAUME, Yanning HEDEL, Kaveh HOSSEINI, Colette
HYVRARD, Alain JANSSENS, Michel JOURNIAC, Michael KENNA, Gabor KEREKES, Bogdan
KONOPKA, Marc LE MÉNÉ, Remie LOHSE, Robert MAPPLETHORPE, Georges MÉLIES, Pierre
MERCIER, Pierre MOLINIER, David NEBREDA, Yuki ONOREDA, Ian PATERSON, Irving PENN,
Bernard PLOSSU, Rattana RASI, Denis ROCHE, Eric RONDEPIERRE, Georges ROUSSE, Lewis
RUTHERFURD, François SAGNES, Jan SAUDEK, François SAUR, Pierre SAVATIER, Daniel
SCHLIER, Gundula Eldowy SCHULZE, Simon SILVI, Jun SHIRAOKA, Vladimir SKODA, Miro SVOLIK,
Josef SUDEK, Rutger TEN BROEKE, Patrick TOSANI, François TUEFFERD, Joël Peter WITKIN,
Masao YAMAMOTO, Vladimir ZIDLICKY
"Collecting" by Madeleine Millot-Durrenberg 2006/2016
A collection is useless, but is used for everything ...
Like breathing
If the collector knew why he collected, would he still collect?
Sometimes he enjoys making a list of conjectures – in other words collecting them –
a list that throws light on his irrepressible desire to add photographs to his collection:
Collecting is an admission that life is not enough.
Collecting is adding an extravagance to an initial whim
Collecting is writing an endless book with the illusion of reinventing an aspiration
Collecting is mesmerizing the present and monopolizing memory
Collecting is looking for the lost in the irrecoverable
Collecting is differentiating, deciphering, questioning a work's radiance
Collecting is being faithful to the artist's transmission of a mystery about which
he knows nothing essential ...
Collecting is accepting the prospect of shadows and secrets.
Sometimes he says to himself that it is not "collecting" that matters;
what seems vital to him is his collection "in person", the one he wants
to discover, understand, enhance, but only if he accepts that:
A collection is made of the stuff of dreams
A collection is ones' eyes keeping alive the memory of one's dreams.
A collection is a series of surprises, haze of a beauty yet to come,
not a calculation.
A collection is a means of making visible the poetic while accepting
the absurd, and the inexplicable nature of existence.
A collection has no today, it is a tamer of absences.
A collection is a test of solitude, it is also a place for restoring the
12
solitude of each artist considering himself more precious than the rest of the world.
A collection is useless, but is used for everything, like breathing.
« Voies de la peinture figurative contemporaine » (Trends in Contemporary Figurative Painting)
Private collection, Strasbourg
The Jean Brolly Collection
Without prior consultation, these two collections complement and harmoniously interact with
each other, the one forming a satisfying temporal extension to the other. While remaining nonexclusive, the collectors' love of painting is manifest and they have chosen to gather around
them artists emblematic of the vitality of French painting from the 1970s to the present day.
This faithfulness to the medium of painting, and particularly to figurative painting, can be read
as a form of commitment to "slow" art, something that French institutions and critics fought shy
of from the early 1980s. The first collection in the exhibition focuses on representatives of what
the critic Gérald Gassiot-Talabot has called "Narrative Figuration". Jacques Monory (born in
1924), Gérard Schlosser, Bernard Rancillac (both born in 1931) and Erró (born 1932) belong to
a generation of artists who, although developing their own specific styles, have in common the
fact of addressing the images of their time, those of film, comics and advertising, and not just
the pictorial heritage handed down by art history. While their works may show everyday scenes
or epic moments, ordinary interiors or fictional narratives, each artist sets out to study the
possibilities offered by painting in his own way. What, they seem to ask, is the place of painting
in an environment saturated with indiscriminate live image streaming? The persistence of the
painting medium also asserts itself in the work of an artist like Bernard Frize who, although he
has chosen a non-figurative approach, addresses similar issues.
The second part of the exhibition brings together works from the Jean Brolly collection. Although
a fervent lover of minimalism, Brolly has chosen to present figurative works appearing after
1990, at the same time linking up with other works of this kind, the earliest going back back to
around 1965. His selection mingles different generations (the four exhibiting artists were born in
1939, 1960, 1970 and 1982 respectively) and geographical origins. It thus offers a fresh vision
of figurative painting from Jean Claus' revisitations of mythology to Daniel Schlier's iconic
portraits or from Mathieu Cherkit's monumental domestic interiors to Benjamin Swaim's
Dionysian compositions.
Exhibition Curator: Estelle Pietrzyk, Chief Heritage Curator, directress of MAMCS
Number of works : 6 paintings from a private collection, 11 paintings from the Jean Brolly
collection
Artists featured in the exhibition « Voies de la peinture figurative contemporaine »
Mathieu CHERKIT, Jean CLAUS, ERRÓ, Bernard FRIZE, Jacques MONORY, Bernard RANCILLAC,
Daniel SCHLIER, Gérard SCHLOSSER, Benjamin SWAIM, Hervé TÉLÉMAQUE
13
« Collectionner les Formes » (Collecting Art Forms)
Private collection, Strasbourg
This resolutely international private collection brings together contemporary artists who are
German, English, American, French, Israeli, Polish, Portuguese, Swiss, etc. Although from very
different generations (they include both Robert Barry, born in 1936 and artists in their thirties
like Paul Czerlitzki), they have all produced works marked by the history of Abstract Art, while a
number of them also owe a debt to the legacy of Conceptual Art. This Strasbourg collection,
begun more than forty years ago, is today being exhibited on a large scale for the first time
(about 600 m2) and demonstrates the exactingness of its authors' choices: pieces of museum
quality, chosen with care from the work of each of the artists concerned and well-matched, as if
they had always been waiting for each other. The sureness of the choices made does not
necessarily go hand in hand with an exclusive view of the contemporary art scene, and so much
the better. Emerging artists have every right to their place alongside the leading art figures of
the 21st century.
The thread that binds these works together can of course be glimpsed in the formal relationship
set up between one work and another, unquestionably entailing a dialogue between points, lines
and planes. This does not, however, suffice to characterize a collection that can also be read
"between the lines". What do a painting by François Morellet, a light box by Matt Mullican and
an installation by John Armleder have in common? Artists from backgrounds as different as this,
and usually with their own distinct "histories", have come together through this exhibition. Each
of these works appears inhabited by a deep humanity and it is perhaps this which is the
project's keyword. Morellet's math game? Playful. Mullican's empty pocket? Moving. Armleder's
explosion of colours? Joyful. Even when it borders on the most extreme abstraction or the most
elevated concept, the art that makes up this collection is the expression of man in his actions,
feelings and thoughts. "Exciting", "inspiring" are probably the best adjectives to accompany
these assembled works. They share the daily life of collectors who have adopted Robert Filliou's
famous maxim: "Art is what makes life more interesting than art . »
Exhibition Curator: Estelle Pietrzyk, Chief Heritage Curator, directress of MAMCS
Number of works 46
Number of artists 35
Artists featured in the exhibition « Collectionner les Formes »
John ARMLEDER, Robert BARRY, Davide BALULA, Aaron BOBROW, Martin BOYCE, Angela
BULLOCH, Alan CHARLTON, Paul CZERLITZKI, Stéphane DAFFLON, Jeff ELROD, Stephen FELTON,
Roland FISCHER, Marc Flood, Günther FÖRG, Liam GILLICK, Peter HALLEY, Gregor
HILDEBRANDT, Candida HÖFER, Imi KNOEBEL, Bertrand LAVIER, Allan McCOLLUM, François
MORELLET, Sarah MORRIS, Olivier MOSSET, Matt MULLICAN, Michel PARMENTIER, Diogo
PIMENTAO, Seth PRICE, David RENGGLI, Thomas RUFF, Haïm STEINBACH, Charline VON HEYL,
Ian WALLACE, Daniel WALSCH, Raphaël ZARKA
14
5. Cultural Events
Performances
"The Collector's Eye" brings together photographs by the Prinz Gholam duo, paintings by Vincent
Corpet and a collection of works by Maike Freess from the J + C Mairet Collection. At the
suggestion of Jean Mairet, the MAMCS has invite them to produce a performance art event.
Saturday 17 SEPTEMBER at 4 pm at the MAMCS
Maike Freess, Transition
For over 20 years, Maike Freess has been developing multidisciplinary and multimedia work in
which the leitmotiv is the body. Her body and those of others are omnipresent in her drawings,
videos and sculptures.
Although trained partly in France in Christian Boltanski's Workshop, her artistic culture is deeply
Germanic. A taste for deformations, expressionism, Matthias Grünewald's hallucinatory visions,
Baldung Grien's pathos or Otto Dix's caricatures is evident in her work. She can be considered an
inheritor not only of these artists, but also of Hans Bellmer or Georg Baselitz. And as a woman
artist of her time, she addresses the body in its social and cultural functions, from its
representativity to its representation.
Maike Freess' performance in the museum galleries lasts about an hour.
Admission free
Maike Freess, KORREKTUR, 2015, long duration performance, Wuppertal, Performance Night, from 2
October 2015, Von der Heydt-Museum, Wuppertal, Germany
Saturdays 1 October and 19 November at Musée des Beaux-Arts; Sundays 2 October and 20
November 2016 at MAMCS. From 10 am to 18h.
Vincent Corpet, Les Fuck-Maîtres
Vincent Corpet started copying the great painters following the exhibition "Picasso and the
Masters" held at the Grand Palais in 2008. Starting with the most important ones, he worked
feverishly at a formula for going from a black and white copy to a work in colour, scraped and
lettered. To date, Vincent Corpet has produced 235 Fuck-Maîtres, from the Lascaux caves to
Murakami. The masterpiece is desacralized by expression, ad libitum. Avidly, the artist plants
himself in front of the canvas and its reproduction and blocks out the lines and surfaces to be
reproduced, taking great swipes with a blackened cloth. With his feet on the canvas, in public or
not, the practice of painting becomes performative. A month later, when the material has dried,
he returns to the work and transforms it. He finds on the surface several stories and from the
15
superimposed layers emerges Le Fuck-Maître, which is at once a concept, a process, a
technique and a painting event.
Vincent Corpet will perform at the Museum of Fine Arts and the MAMCS. During the
performance, He will be available to answer questions and initiate a dialogue.
Admission with museum admission ticket. Free on Sunday 2 October.
Vincent Corpet at the Louvre © Fabienne Sthal
Sunday 6 November, 4 pm at MAMCS
Prinz Gholam
The Berlin artist duo Prinz Gholam is formed by Wolfgang Prinz (born in Germany in 1969) and
Michel Gholam (born in Beirut in 1963), who met in 1993 and have worked together in Berlin
since 2001.
The approach developed by Wolfgang Prinz and Michel Gholam is based on the body and on
movement. When we look more closely, however, we see that their work is richer and more
complex than the term 'performance' might suggest. In fact, their work also borrows from
dance, theatre, the cinema, the visual arts and the tableau vivant. It revolves around how we
experience or imagine the world through images imprinted in our memory from the history of
art, film and other media. Simultaneously, they develop an original photographic itinerary in
which tradition, the self-portrait and framing are both cited and questioned. Since 2004, they
have created more than a dozen renewable performances.
In the rooms of the museum. Admission free.
© Prinz Gholam, I’ve got the time, 2004. Photograph, 55 x 53 cm
16
Cultural Events
Guided Visits
Sundays at 11 am
Focus 1
From Sunday 25 September to 20 November
"Une Heure / une Œuvre"
Friday at 12. 30 pm and Tuesday at 2.30 pm
14 and 18 October : Mireille, 2000, Clark & Pougnaud
4 and 8 November : Nous ne sommes pas les derniers, 1970, Zoran Music
"Le Temps d’une Rencontre"
Saturdays at 2.30 pm
17 September « Sur le Fil » (On the Edge) with Jean Mairet, collector
15 October « La Possibilité d’une Collection » with Marcel Burg, collector (to be confirmed)
19 November « Catalogue Déraisonné » with Jean Louis Mandel, collector
"Les Petites Formes du Dimanche en Famille"
(Sunday's Little Art Forms for all the Family)
À la carte Mini-Workshops (from 4 years) between 2.30 pm and 5 pm
Sunday 6 November « Muséophile » (Museum Lover)
"Les Petites Formes des Vacances"
(Little Art Forms for the Holidays)
Mini-Workshops for all the family (from 4 years), non-stop between 2.30 pm and 5 pm
Wednesdays 26 October and 2 November « Muséophile » (Museum Lover)
Workshop for Young People / Adults
Saturday from 10 am to 12 noon
15 October : « Le Temps Compté », visual arts workshop
Workshops 6 / 11 years
Saturdays from 2.30 pm to 4.30 pm
8 October, 5 and 19 November : « Je Débute une Collection » (Starting a Collection)
Documentary Film
Auditorium des Musées (MAMCS)
Friday 18 November at 7 pm
Voir Ça - Ça Voir, film written and directed by Olivier Taïeb, 2016, 52'
"When Vincent Corpet began painting in the early eighties, painting was considered an outdated
practice with no future, sidelining the field of contemporary creation. Voir Ça - Ça Voir, is an
intimate portrait of a rebellious artist, a film about a painter whose constantly evolving work has
relocated pictorial art at the centre of contemporary art and its challenges. This is a creative
documentary, the result of eight years of a unique collaboration between artist and filmmaker,
immersing the viewer in the heart of an uncompromising artist's creative work. Voir Ça - Ça Voir
is a manifesto for Art that is about Art . "
First public screening, prior to a run that will include participation in various festivals.
Admission free
17
Passions Partagées, au Cœur des Collections
Linked events
Auditorium des Musées ( MAMCS)
Talks
Cycle organised by Dominique Jacquot, Head Curator, Musée des Beaux-arts
Wednesday 5 October 2016 at 7 pm
Les Reynon, Pierre-Jean Mariette, Othon Kaufman et François Schlageter : des collectionneurs
avisés by Pierre Rosenberg
The Reynons and Mariette lived in the 18th century, Kaufman and Schlageter are our
contemporaries. All they have in common is the fact that they were collectors. These portraits
The talk will bring out diversity of their approaches and their interests, while their portraits will
serve to illustrate the phenomenon of collectionism.
Pierre Rosenberg, of the French Academy, is Honorary President-Director of the Louvre Museum.
Wednesday 19 October 2016 at 7 pm
Collector Junkie by Gérard Wajcman
A basis for a clinical study of the collector might be sought in the works of Freud and Lacan. But
in today's world, when the the object has become a compulsively cultivated social norm, it
makes little sense to regard collecting as a pathological trait. From now on, "Get your kicks!" is
the universal watchword.
Gérard Wajcman is a writer, psychoanalyst and Senior Lecturer in Psychoanalysis at the
University of Paris.
Wednesday 9 November 2016 at 7 pm
Peintures de peintres by Anne Robbins
(Painters' Paintings)
The National Gallery in London is presenting an exhibition of major works that have belonged to
famous painters. Taking as examples eight artist-collectors from the 17th to the 20th century,
this talk will outline issues highlighted in the exhibition.
Anne Robbins is Assistant Curator for paintings since 1800 at the National Gallery, London.
Wednesday 23 November 2016 at 7 pm
Figures littéraires du collectionneur au XIXe siècle by Christine Peltre
(Literary Figures of 19th century Collectors)
From Balzac to Huysmans or from Champfleury to Edmond de Goncourt, 19th century writers
have left us a strikingly varied series of collectors' portraits. Illustrations of these literary
creations will help to place the figures and their passions in the context of an era, often
presented as a "golden age" of collections.
Christine Peltre is Professor of the History of Contemporary Art at the University of Strasbourg
Admission free, subject to seating availability
18
Film Cycle « Un œil, une histoire »
Wednesday 12 October at 7 pm
Svetlana Alpers, distance et étrangeté by Pascale Bouhénic and Marianne Alphant, 2015, 48’
Marianne Alphant and Pascale Bouhénic have produced a series of ten films portraying art
historians from around the world and inviting them to reveal the secrets of their discipline.
Svetlana Alpers renews approaches to 17th century Dutch painting. While Italian art is the
expression of an allegorical and philosophical culture, the Nordic model is part of a visual
culture. Throughout the film, Svetlana Alpers places on her table reproductions evoking the
artists' actual activity, rather than the symbolic interpretation of their works.
The screening will be followed by a meeting with Svetlana Alpers and Marianne Alphant and art
critic Regis Durand
Thursday 15 December at 7 pm
Gilles A. Tiberghien, Un œil, une histoire : extension du domaine de l’art, 2014, 42’ by Pascale
Bouhénic and Marianne Alphant
To listen to Gilles Tiberghien, a specialist in Land Art, is to gain instant access to the singularity
of his work. The objects triggering his lines of thought are found not just in museums but in open
spaces. We follow him in his wanderings, from the Nevada desert to productions by Bob Wilson
or Paolo Uccello's games with perspective ... The film explores his philosophy of a "terrain" with
spatial and sensory as well as aesthetic qualities.
After the screening, an exchange will take place with Gilles Tiberghien, Marianne Alphant (or
Pascale Bouhénic) and Régis Durand.
Admission free, subject to seating availability
Contemporary Art Weekend
Sunday 19 March at 3 pm and 5 pm
In partnership with TJP CDN d'Alsace Strasbourg
Corps noir
Installation- Performance by Aurélien Bory for Stéphanie Fuster / Cie 111
Duration 45 mins
Aurélien Bory again directs Stéphanie Fuster following Questcequetudeviens?. This time the
dancer is enclosed in a black cube, her naked body stirring and exuding warmth, leaving marks
on the translucent walls of the monolith. The frozen image suggests a dance figure in
suspended animation. Like a phantom imprint brightening and fading on our retina, the white
traces vanish as her body warmth dissipates, only to reappear with each succeeding contact.
This body not only radiates warmth and light, it produces friction. These amplified noises
resound through the MAMCS galleries. This installation-performance is a continuation of
Aurélien Bory's research, his aesthetic approach directly influenced by his interest in science. His
work is centred on the concept of the body in space and he conceives his theatrical work purely
as a renewal of form, leaving room for the viewer's imagination. The theatrical form developed
by this director is strikingly physical and hybrid, at a meeting point between many different
types of performance. Aurélien Bory founded the Cie 111 in 2000. At the TJP He has presented
Sans objet, Plan B and Plexus.
Admission free as part of the Contemporary Art Week-end.
19
6. Visitor Information
Musée d’Art Moderne et Contemporain (MAMCS)
Address
1 place Hans-Jean-Arp, Strasbourg
tel. 03 68 98 51 55
Opening Times
Open every day except Monday, 10 am - 6 pm
Special times are available for group visits organized by the Service Éducatif des Musées or
accompanied by guides from the Strasbourg Tourist Office.
Group Visits
Advance telephone booking is required for groups of more than 10, tel. +33/(0)3 68 98 51 54.
Telephone answering hours: Tuesday, Wednesday and Thursday 8.30 at am - 12.30 pm,
Wednesday 2 pm - 5 pm (Zone B schools in session), same days but 9 am - 12 noon and 2 pm 4 pm (Zone B school holidays)
Tickets
Standard rate
7 € (reduced rate 3,50 €)
Admission free
- visitors under age 18
- carte Culture card holders
- Atout Voir card holders
- Museums Pass Musées card holders
- Édu’Pass card holders
- visitors with disabilities
- students of art, history of art and architecture
- persons seeking employment
- recipients of social assistance
- badge-holding employees of Strasbourg Eurometropolis
Admission free all visitors
1st Sunday in the month
1 day pass. 12 €, reduced rate 6 € (access to all Strasbourg museums and temporary
exhibitions),
3 day pass. 18 €, reduced rate 12 € (access to all Strasbourg museums and temporary
exhibitions),
Museums Pass Musées – 1 year, 320 museums. Individual rate 98 € (access to more than 320
museums, castles, stately homes and gardens in France, Switzerland and Germany).
20
L’ŒIL DU COLLECTIONNEUR
NEUF COLLECTIONS PARTICULIÈRES STRASBOURGEOISES
Musée d’Art moderne et contemporain
Focus 1 du 17 Septembre au 20 Novembre 2016
Focus 2 du 10 Décembre 2016 au 26 Mars 2017
LISTE DES VISUELS TÉLÉCHARGEABLES SUR LE SITE
WWW.MUSEES.STRASBOURG.EU
1. Georges Tony Stoll, Homme cible, 1999.
Photographie argentique, tirage RA-4 couleur satiné prestige, 50 x 75 cm.
Courtesy Galerie Jérôme Poggi, Paris. Collection G et M Burg
2. On Kawara (1933, Kariya, Japon – 2014, New-York), Thanatophanies, 1955-1993.
24,5 x 19,2 cm. Collection privée, Strasbourg
3. Olafur Eliasson (1967, Copenhague), The descent series, 2004.
9 c-print, 22x33 cm. Collection privée, Strasbourg
4. Jacques Monory (1924, Paris), Death Valley n°6, 1975.
Huile sur toile, 170 x 170 cm. Collection privée, Strasbourg © ADAGP Paris 2016
Demande à adresser à :
Service communication
des Musées de la Ville de Strasbourg
Julie Barth
2 place du Château, Strasbourg
[email protected]
Tél. + 33 (0)3 68 98 74 78
7. Charles Dreyfus (1947, Suresnes), Un vrai semblable, 2013.
Verre soufflé de laboratoire gravé, 50 x 25 cm.
Collection J+C Mairet. Crédit photo : archives J+C Mairet
8. Josef Sudek (1896, Kolín, République-Tchèque – 1976, Prague) Nature
morte simple, 1950 – 1954.
Photographie sur papier grain soie au bromure d'argent, 23,8 x 17,8 cm.
Strasbourg, Musée d'Art moderne et contemporain. Photo : A. Plisson
9. Max Klinger (1857, Leipzig - 1920, Großjena, Naumbourg, Allemagne),
Radierte Skizzen, Opus I, 1879.
Portfolio de 8 planches (deuxième édition, Alexander Danz, Leipzig, 1879).
Don de Jean-Louis et Esther Mandel en 2009.
Strasbourg, Musée d'Art moderne et contemporain. Photo : M. Bertola
10. Max Klinger (1857, Leipzig - 1920, Großjena, Naumbourg, Allemagne),
Dolce Far Niente, planche 8, Siesta II, 1879.
Eau-forte et aquatinte 41,4 x 29,7 cm.
Don de Jean-Louis et Esther Mandel en 2009.
Strasbourg, Musée d'Art moderne et contemporain. Photo : M. Bertola
5. Peter Klasen (1935, Lübeck RFA), Lame de rasoir + bouche (ouverte) A, 1969.
Huile sur toile, 100 x 81 cm.
S.T.D.R. Don de M. Lionel Van der Gucht en 2010.
Strasbourg, Musée d'Art moderne et contemporain.
Photo : Musées de la Ville de Strasbourg © ADAGP Paris 2016
6. Djamel Tatah (1959, Saint-Chamond, Loire), Sans titre, 1998.
Huile et cire sur toile, 150 x 200 cm.
Collection J+C Mairet. Crédits photos : archives J+C Mairet © ADAGP Paris 2016
11. Vincent Corpet (1958, Paris), totem M., 2005-2011.
12. Daniel Schlier (1960, Dannemarie), Double portrait avec Pauline, 2006.
Huile et acrylique sur toile, 178 x 140 cm.
Collection Jean Brolly, Paris © Galerie Jean Brolly © ADAGP Paris 2016
13. Pierre Alechinsky (1927, Bruxelles), Morsure IX, 1962.
Eau-forte en couleur sur papier vélin Fabriano, 60,2 x 50,2 cm.
Don de Jean-Louis et Esther Mandel avec l'aide des Amis du Musée d'Art
moderne et contemporain de Strasbourg, AMAMCS en 2001.
Strasbourg, Musée d'Art moderne et contemporain. Photo : N. Fussler
© ADAGP Paris 2016
14. Thomas Ruff (1958, Zell am Harmersbach), 0979, 2003.
19. Patrick Tosani (1954, Boissy-l'Aillerie, Val-d’Oise), La pluie multipliée, 1986.
Cibachromes, 120 x 160 cm.
Strasbourg, Musée d'Art moderne et contemporain. Photo : N. Fussler
© ADAGP Paris 2016
20. John Armleder (1948, Genève), Furniture sculpture, 1991.
Sculpture, 190 x 210 cm. Collection privée, Strasbourg.
Photographie, 130 x 168 cm. Collection privée, Strasbourg © ADAGP Paris 2016
15. Clark (1963, Paris) & Pougnaud (1962, Angoûleme), Caroline, 2005.
Photographie, 63 x 74 cm. Collection G et M Burg © ADAGP Paris 2016
16. Maike Freess (1965, Leipzig), Insomnia 3, 2004.
Photographie couleur sur aluminium, 139 x 122 cm.
Collection J+C Mairet. Crédit photo : Maike Freess
17. Stéphane Couturier (1957, Neuilly-sur-Seine), Edouard VII, Paris 9e, 1995.
Cibachrome sous diasec, 180 x 135 cm
Collection privée, Strasbourg
18. Kai-Yuen Chan (1948), Je pense donc je suis, 2006.
Résine polychrome, 50 x 70 x 50 cm.
Collection J+C Mairet. Crédit photo : Kai-Yuen Chan
21. Marc Lathuillière (1970, Paris), La société du musée - Jean Lorentz,
président, société Schongauer, Musée Unterlinden, Colmar (Haut-Rhin)
de la Série Musée national (2004-2014).
Photographie, 60 x 80 cm.
© Marc Lathuillière. Courtesy Galerie Binôme. Collection G et M Burg
22. Alfred Manessier (1911, Saint-Ouen – 1993, Orléans), La fenêtre, 1954.
Don de M. Lionel Van der Gucht en 2011.
Strasbourg, Musée d’Art moderne et contemporain.
Photo : Musées de la Ville de Strasbourg © ADAGP Paris 2016
23. Mathieu Cherkit (1982, Paris), Bivouac, 2010.
Huile sur toile. Dyptique 195 x 260 cm
Collection Jean Brolly, Paris © Collection Jean Brolly
24. Vincent Corpet (1958, Paris), Nu 3111 P, 2003-2004.

Press kit - Musées de Strasbourg

Transcription

Documents pareils

AROBASE Sàrl

centre rotarien de la jeunesse rotary international

Un exemple de CV en anglais pour BTS Hôtellerie

The Great East Japan Earthquake

the merovingian age

Career Objective Education and Certificates Work Experience

Travelling to Strasbourg

Levan Amashukeli “Zmudart” Levan Amashukeli was born

Format PDF - Volume