original document

Press Kit
13.06 > 05.11.14
centrepompidou-metz.fr
en partenariat média avec
Constantin Brancusi, L’Oiseau dans l’espace, 1936, Centre Pompidou, Musée national d’art moderne, Paris.
© ADAGP, Paris 2014 © Centre Pompidou, MNAM-CCI, Dist. RMN-Grand Palais / Philippe Migeat
Graphic design: Bastien Morin
Simple Shapes
Contents
1. General Presentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 02
2. Structure of the exhibition .. . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 03
3. Interview with Jean de Loisy, PIERRE-ALEXIS DUMAS
and Laurent Le Bon. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 06
4. List of the artists.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 08
5. Lenders. .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 09
6. Echoing "Simple Shapes": "simple gestures" . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
7. Credits ... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
8. Centre Pompidou-Metz and Fondation d'entreprise Hermès. . . . . . . . . . . . 14
9. partners .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
10. Visuals for the Press . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
1
Simple Shapes
1.
general Presentation
simple Shapes
From 13 June to 5 November 2014
Galerie 2
The exhibition Simple Shapes brings to the fore our
fascination with simple shapes, from prehistoric to
contemporary. It also reveals how these shapes were
decisive in the emergence of the Modern Age.
The exhibition draws on the senses to explore the
appearance of simple shapes in art, nature and tools. This
poetic approach is balanced by an analytical view of the
twentieth century's history.
The years between the 19th and 20th centuries saw the return
of quintessential shapes through major universal expositions
which devised a new repertoire of shapes, the simplicity of
which would captivate artists and revolutionise the modern
philosophy. They introduced, within the evolution of modern
art, both an alternative to the eloquence of the human body
and the possibility that shapes could be a universal concept.
It connects scientific events and technical discoveries with
the emergence of modern shapes. Subjects pertaining
to industry, mechanics, mathematics, physics, biology,
phenomenology and archaeology are equated with objects
from art and architecture, which are in turn set alongside
their ancient predecessors and natural objects.
The Fondation d'entreprise Hermès is joint producer and
patron of Simple Shapes.
Nascent debates in physics, mathematics, phenomenology,
biology and aesthetic had important consequences on
mechanics, industry, architecture and art in general. While
visiting the 1912 Salon de la Locomotion Aérienne with
Constantin Brancusi and Fernand Léger, Marcel Duchamp
stopped short before an aeroplane propeller and declared,
"Painting is dead. Who could better this propeller?"
A catalogue accompanies the exhibition.
Curator:
Jean de Loisy, President of Palais de Tokyo
These pared-down, non-geometric shapes, which occupy
space in a constant progression, are no less fascinating
today. Minimalist artists such as Ellsworth Kelly and
Richard Serra, spiritualist artists such as Anish Kapoor,
metaphysical artists such as Tony Smith, or poetic artists
such as Ernesto Neto are as attentive to simple shapes as
were the inventors of modernity.
Associate curators:
Sandra Adam-Couralet, independent curator
Mouna Mekouar, independent curator
Exhibition design:
Laurence Fontaine
2
Simple Shapes
2.
Structure of the exhibition
1. Before shape
4. Who could better this propeller?
There are no simple forms in this initial group. Instead,
it introduces one of their characteristics: the emergence
of the latent form within a still disorganised matter.
Movements, silhouettes, faces push their way to the surface,
caught in the act of transformation; not yet fully formed
but already instilled with life. The works in this section
display an energy that shapes the world, stirs its fecundity,
accentuates its evolutions. Ritual objects, sculptures,
photographs or drawings, they neither duplicate reality nor
represent the visible, but mimic or question the vital force
that pulsates within all things.
Forms created by the constraints imposed on them; forms
adapted to the forces they exert in order to perform their
function. The product of technique, they are beautiful
because they are the perfect fulfilment of a need. Primitive
tools such as a bow or a boomerang already display the
perfection which, in the nineteenth and twentieth centuries,
would be that of aero-mechanical engineering, and would
captivate artists. At the 1912 Salon de la Locomotion
Aérienne with Constantin Brancusi and Fernand Léger,
Marcel Duchamp would thus stop short before an aeroplane
propeller and declare that "Painting is dead. Who could
better this propeller?" Part of the appeal which simple
forms held for artists in the twentieth century comes from
this fascination with lines that eschew subjectivity; which
appear to mould themselves to the forces imposed on them.
2. The moon
The mechanism of the world follows a mysterious dynamic,
made evident to us by the very simple form of the Moon.
Since the dawn of time, Man has contemplated the Moon
whose constant transformation has produced multiple
legends. Celebrated by poets, hinted at in ceramic, painted,
observed, photographed and ultimately brought within
reach, it is the very first simple form. Whether the poet’s
metaphorical Moon or the scholar’s algebraic Moon, it
suggests an autonomous process of transformation which
characterises form as a suspended state, a hiatus in time.
5. Breath
The expression of life, breath gives form to glass in its
temporary molten state. Because of the symbolic nature
of this vulnerable substance, this operation takes on
vital meaning as soon as these two fragile elements are
combined. To create a three-dimensional form using
breath is to inject the content of our own body into the
object, so as to give it its final shape. It is, by virtue of its
plastic qualities, as though suspended between material and
immaterial.
3. Flux
Form, any form, is a transitional state, a temporary
stabilising of matter. A diffusional, expansive energy, it is
the materialisation of a permanent activity that resonates
deep within elements: stone, fire, air, water. It is this
discernible vitality which the monk must meditate, or the
artist whose gestures, breathing and rhythm will align to
express the vibrations of the cosmos as he experiences
or imagines them. Many spiritual doctrines take root in the
belief that a concordance exists between objects, beings
and the world including, in the early modern era, the
Gnostic and theosophical movements inspired by Oriental
philosophies.
6. To contain
To contain is to mould the properties of a content with form,
or rather to stretch or swell so as to duplicate the precious
weight held in check. Form symbolises how emptiness and
fullness are mutually engendered; how surface tension
is determined by the nature of what is inside and by the
effort made to prevent it from spilling outside its contours.
The dynamic simplicity of archaic forms provides modern
silhouettes with a repertoire suited to industrial processes.
7. To cut
To cut is a symbolic act whose importance is underscored by
the quality of the objects associated with it. They are both
tools and emblems that derive their prestige from the finite
nature of the act they are designed to perform. Symbolising
the original decision, the separation between day and night,
life and death, determinate and indeterminate, intimate and
cosmic, the blade – and the cut it makes – is a simple form
with a powerful theological and political content which,
after the Second World War, enabled art to break free and
found a new aesthetic.
3
Simple Shapes
8. Beyond geometry
10. mathematical shapes
Geometry studies, ex nihilo, the properties of space by
expressing in numerical form the relationships between
point, line, plane and volume. A mathematical and symbolic
instrument, geometry serves to depict, calculate and
understand how the world is organised and the properties of
things. Since the Neolithic age, Man has invented complex
forms to express combinations and figures that would
become the basis for creation, the best-known example
being the five Platonic solids. While artists in the twentieth
century believed that geometry, because of its apparent
objectivity, could be the path towards a new and universal
art, Euclidian geometry is here referred to from a different
perspective. Simple forms appear to belong not to the
mental permanence of concepts but to the dynamic of life.
Their presence is influenced by evolutions in geology and
advances in non-Euclidean geometry. They invite us to
venture beyond traditional geometry.
By giving form to functions that reveal the invisible
movements and physical consequences of their calculations
using mathematical objects first described in the 1870s,
scientists invented an unexpected repertoire of forms
that prompted a sudden shift in artistic references,
an abstraction prior to abstraction. Artists' interest in
mathematics goes far back, to the invention of perspective.
In the twentieth century, mathematicians' new hypotheses
gave credence to the ideas of the cubists, constructivists
and surrealists. As this desire to represent imperceptible
dynamics grew, new simple forms emerged.
11. Nature, biomorphism
Since Aristotle, and more specifically over the last
two centuries, living things, the life cycle of plants,
their morphogenesis, cellular development, diversity,
reproduction and decline have given rise to biological
studies, illustrations and photographic representations
which identify and develop models for their essential
stages. The physiological mechanisms of plants' cellular and
molecular functioning were described in the early twentieth
century. Artists took inspiration from this new repertoire of
forms, seizing upon the leaf's contours, pliancy, decorative or
symbolic value, or the maturation of a piece of fruit. These
are analogies, not representations, which give a newly poetic
form to the principles that presided over their creation.
9. Shapes-forces
Forces mastered by new material physics and the
subsequent possibilities thrown open by the ingenuity
of engineers were of critical importance to art. Whereas
proportion had always been central to architecture,
construction now revolved around analytical reasoning,
the Eiffel Tower being an iconic example. New materials
such as iron, steel and reinforced concrete, the feat these
constructions represent, as well as economies in materials
and means produce effects of constraint, tension and
balance, and the new emotions they convey became an
inspiration for artists.
12. generating shapes
The forces of fertility are often symbolised by forms that
are associated with generation and the sacred. The cosmic
egg, lingam and standing stones express causal principles
that are worshipped in numerous religions. The forms
which represent them are pure, perfect - like the ovoid
form of the egg - and transitory, because they contain life
in evolution. Artists of every period have seized upon these
forms and made them the subject of symbolic reflection,
even though the fundamental principles of fertilisation and
embyrogenesis were not understood until the nineteenth
century.
4
Simple Shapes
13. Human Silhouettes
16. Weight of things
Ancient civilisations offer many examples of how the
human body can be depicted with extraordinarily simplicity,
whether Cycladic heads or the silhouettes of predynastic
Egypt. These pure forms immediately captivated western
artists when they were rediscovered at the very end of the
nineteenth century. Sculptors such as Constantin Brancusi
and Alberto Giacometti reproduced Cycladic idols whose
stylised, dynamic contours are a condensation of the human
form. By representing the body in its most essential aspect,
the artist forgoes the notion of identity in favour of a
synoptic expression of human vitality. Silhouettes and faces
no longer represent a single individuality but humanity as a
whole.
Certain forms appear to result exclusively from the destiny
of the substance from which they are made and which,
allowed to move freely in space and time, is frozen where
it falls. This section shows forms which, like a dress whose
elegant drape we admire, through the effect of gravity,
create new figures. In doing so they show how the materials
that compose them resist or accommodate the laws of
physics.
17. Enigmas
The form offers itself fully, in all its simplicity. Nothing is
withheld, yet whoever contemplates it cannot help but see in
it a symbol, a carefully composed mystery, an enigma. There
is an order, it seems, to its facets yet these mute figures
continue to greet us with haughty silence, refusing to deliver
the solution. Astonished by such enduring fascination, we
read a primordial complexity into this simplicity, as though
the very necessity which seems to have presided over their
creation had instilled in them an essential revelation which
could never be put into words, and which is the ultimate
explanation of their power of attraction.
14. animal Silhouettes
These animal silhouettes contain and condense the
impression of speed associated with their representational
form. Certain oceanic stones, in their natural or barely
transformed state, embody power and sacred energy in their
pure, zoomorphic line, the repository of an ancestor or a
divinity. This energy, which defies the image and takes over
space, enables the artist to capture its principle through
elision, conserving only the alert and powerful efficiency of
life. The simple or simplified form suggests the animal as it
leaps or flees. It relates movement in exactly the opposite
way to chronophotography which, in the late nineteenth
century, multiplied the number of views to capture the many
details of the animal in motion.
15. Objects with poetic reaction
There is an imperceptible stage at which the mind
spontaneously completes the as yet still absent form. This
is the fragile moment when a stone is still completely a
stone, yet already something else; the moment when it is
both matter and form. The stones which Charlotte Perriand
collected are symptomatic of those objects which from
ordinary become "objects of poetic reaction", to borrow
Le Corbusier's phrase, because they contain analogical
and metaphorical propositions. Whereas found objects are
eroded by nature, used objects are eroded by the forces
that pitilessly fashion them. New forms appear, intended
as the perfect tool, shaped through repeated gestures,
carved through matter rubbed against matter. Through the
very weakening inflicted by time, the form grows stronger.
It relates the persistence of time on matter that elicits
emotion, and the ghosts of those who used them appear in
the ultimately rarefied material.
5
Simple Shapes
3.
Interview with JEAN DE LOISY,
PIERRE-ALEXIS DUMAS and
LAURENT LE BON
JEAN DE LOISY, PRESIDENT OF PALAIS DE TOKYO AND CURATOR OF THE EXHIBITION
SIMPLES Shapes
PIERRE-ALEXIS DUMAS, PReSIDENT of FONDATION D’ENTREPRISE HERMÈS
LAURENT LE BON, DIRECToR of CENTRE POMPIDOU-METZ
How did the Simple Shapes project come about?
They are neither simplistic, nor negative, nor rapid, nor
minimalist. They are, perhaps, in fact highly complex shapes
beneath a seemingly simple appearance.
Pierre-Alexis Dumas: From the very beginning of the
Hermès foundation, we wanted to work with cultural
establishments on the conception of an exhibition. It's
important for us at the Foundation to be able to develop
projects and bring them to fruition. The exhibition is the
result of our meeting Jean de Loisy, and the discussion that
followed on this notion of the simple shape.
J. L.: The simple shape is determined by the artist's
arbitrary choices and by the rules of physics. It is always
caught between the two, and this tension is central to the
exhibition.
Modern artists have seized upon these shapes, but where
do they originate?
Laurent Le Bon: It's actually a triangle… Jean de Loisy,
who'd had this idea in mind for a while, mentioned it to me
just as we, at Centre Pompidou-Metz, were putting together
a programme of themed exhibitions that would consider art
history from a particular perspective. The project then came
together around the Fondation d'entreprise Hermès, almost
three years ago.
J. L.: Historically speaking, these shapes were very much
in evidence in archaic societies, then disappeared in the
west around the fifth century B.C. They then reappeared –
and in this respect the subject is modernity – in the late
eighteenth century under a threefold influence. Firstly the
archaeological discoveries which fascinated artists, from
Egyptomania to the important excavations undertaken in
Greece in the nineteenth century, one consequence of which
was the rediscovery of Cycladic civilisation. Then technology
and all that engineers were able to achieve, Eiffel being a
foremost example, as well as a sort of gnosticism which
sparked renewed interest in primordial shapes that express
the relationship between man and the cosmos. Lastly
mathematics and science, particularly biology which at that
time was especially focused on the growth of bones, cells,
plants, etc. There are some very precise references whereby
such and such a biologist influences Henry Moore, or one or
other engineer Brancusi.
Jean de Loisy: That's right. I'd spoken to Laurent Le Bon
about this idea which was going through my mind. When I
met Pierre-Alexis Dumas, it was still just an intention which
had yet to take shape. It came up in the conversation, and
the exhibition developed on three pillars: art, the hand (the
tool, if you will) and nature.
What is a simple shape?
J. L.: Certain shapes give the impression they have an inner
energy. They go beyond their geometric definition without
losing their unity.
P.-A. D.: The re-emergence of simple shapes is also linked
to disciplines such as anthropology, with the discovery of
other cultures and an influx of objects from Oceania or
Africa, for example.etc.
P.-A. D.: I would say the simple shape results from a sum
of constraints which are imposed on the material. It is the
minimum equilibrium between constraints and function;
a mystery, and a constant source of wonder and emotions.
L. L. B.: I'm tempted to explain simple shapes by antithesis.
6
Simple Shapes
J. L.: Whether it's an Arp, a Matisse, a Brancusi: these are
inaugural shapes. Brancusi's Bird in Space is an example.
Such a shape had never been seen before, yet it feels
incredibly familiar. We aren't surprised by what we see and
still we cannot take our eyes off it. We can say the same of
the moon or the sea: these are shapes that hold our gaze.
J. L.: Absolutely! The rediscovery of these archaic
societies…
P.-A. D.: …certain of which are still alive. Every culture
has its archetypal shapes which have come through the
centuries as small objects, forming an unbroken thread. It's
fascinating.
J. L.: That's one reason these shapes are so captivating.
They are the present aspect of what is generally a very
ancient memory.
Is there a universal quality to the exhibition?
J. L.: The utopia which underpinned the invention of the
simple shape, in the 1910s and 1920s, developed as part of
the hypothesis that a universal modernity did exist. This will
be very much in evidence in the exhibition: every culture is
mentioned at some point or other, not because we want to
give an exhaustive view, but because a Japanese bowl, an
Egyptian vase, an Iranian shape or a Syrian idol will feature
in the same way as a modern work. An axe which has been
polished in New Zealand, the Pyrenees or the Negev desert
is almost the same. There is an attention to shape which all
cultures share.
How did this exhibition fit with programming at Centre
Pompidou-Metz?
L. L. B.: Simple Shapes will coincide with our fourth
anniversary. It's more than a symbol; since Masterpieces?
in our first year, each summer has been marked by a major
event on a specific theme. Simple Shapes is a part of this
polyptych which, I think, is gradually forging our identity as
part of the Lorraine region.
Is the concept of beauty part of the exhibition equation?
How is the Fondation d'entreprise Hermès contributing to
the organisation of this exhibition?
J. L.: In this instance we're looking at a very particular,
calm beauty; one that appears as obvious to us as a piece
of fruit. More than beauty, I prefer the theme of fascination
in the sense that we should be moved by something which
seems devoid of complexity. The simple shape affects us
with an evident modesty: the artist's ego is absent. Of
course we recognise an Arp, but were we to place it next to
a Brancusi and an archaic Greek sculpture, the difference
would be hard to spot. This is why the foremost artists have
approached the simple shape knowing they must relinquish
a part of their personality
L. L. B.: This is a long-term partnership and a project
centred on dialogue. The Foundation is attentive and has
been present from the moment we put the very first ideas on
paper. I believe the future of cultural adventures lies with
strong, ethical publicprivate partnerships.
P.-A. D.: This idea of a collective work is extremely
important to us at the Foundation. We are an active
contributor to the project at Centre Pompidou-Metz but
with no involvement in artistic content or programming. It's
highly motivating at a time when we are working to promote
a form of patronage that is as virtuous as possible, meaning
one that is truly in the public's interest.
P.-A. D.: The individual gives way to an archetypal shape,
using their talent to bring a shape into the world. In my
mind, beauty is very much present but it constantly eludes
us.
What do you hope to convey to the public?
The exhibition design emphasises sensations. What
prompted this choice?
J. L.: I want the public to think about why they are
fascinated by these shapes. There is something that is
beyond intellectual comprehension, something which can
only be grasped intuitively
J. L.: Because works which have simple shapes appeal
directly to the collective sensibility, even if their particular
theoretical or historical background can be complex.
P.-A. D.: I hope this exhibition will intrigue people and
invite them to reflect on the question of form. We live in
a material society, surrounded by objects, and so it seems
healthy that we should look again at form.
L. L. B.: It's also a very structured layout which draws on
Centre Pompidou's rich collections. Each section has its
strengths: if one were missing, the whole architecture would
collapse. The same is true of the two hundred works in
the exhibition: there isn't a single one that could be easily
replaced by another.
J. L.: The exhibition stages a conversation between artists
up to twenty thousand years apart. What matters is to
show how, using different techniques, they continue to ask
themselves the same fundamental questions about man's
presence among matter, the universe and nature, and that
they can answer these questions with different shapes.
P.-A. D.: Certain shapes are deeply moving. There are
several ways to approach the exhibition; most of all though,
it will inspire contemplation. I cannot imagine that anyone
will be indifferent to the works on show.
This article first appeared in Le Monde d’Hermès, n° 64,
January 2014.
Interview by Marylène Malbert.
7
Simple Shapes
4.
List of Artists
A
ARP Jean
J
Janssens Ann Veronica
B
BACKER Jacob Adriaensz
BÉOTHY Étienne (Béöthy István,
dit)
BILL Max
BLOSSFELDT Karl
BRANCUSI Constantin
BRASSAÏ (Gyula Halász, dit)
K
Kapoor Anish
KELLER FRÈRES (JeanBalthazar and
Jean-Jacques Keller, dits)
Kelly Ellsworth
KLEIN Yves
KRULL Germaine
KUPKA (František Kupka, dit)
C
CAGE John
CÉSAR
CÉZANNE Paul
CORMÉRY Jean-François
Couturier Marc
Cruz-Díez Carlos
D
DOMINICIS (DE) Gino
DUCHAMP Marcel
DÜRER Albrecht
E
Eliasson Olafur
EVANS Walker
F
FONTANA Lucio
Fritscher Susanna
G
GABO Naum
GESSHIN Wada
GIACOMETTI Alberto
H
HEPWORTH Barbara
L
LE CORBUSIER (CharlesÉdouard
Jeanneret-Gris, dit)
LE RICOLAIS Robert
M
MAN RAY (Emmanuel
Rudzitsky, dit)
MAPPLETHORPE Robert
MAREY Étienne-Jules
MATISSE Henri
McCall Anthony
MCCRACKEN John
McElheny Josiah
MOHOLY-NAGY László
MOKUAN Obaku
MOORE Henry
N
Neto Ernesto
Neu Patrick
NEWMAN Barnett
P
PAIK Nam June
PERRET FRÈRES (Auguste and
Gustave
Perret, dits)
PERRIAND Charlotte
PEVSNER Antoine
8
R
REDON Odilon
Richter Gerhard
ROME DE L'ISLE (de) JeanBaptiste Louis
ROSSO Medardo
S
Saulnier Emmanuel
SALVIATI Francesco
Scheidegger Ernst
SCHWITTERS Kurt
SÉRUSIER Paul
SETSUDÕ Joun
Sicilia José María
SMITH Tony
STEICHEN Edward
STRÜWE Carl
Sugimoto Hiroshi
T
Tillmans Wolfgang
Tosani Patrick
Tsai Charwei
U
Ufan Lee
V
Verdier Fabienne
W
WESTON Edward
Y
Yonezawa Jiro
Simple Shapes
5.
Lenders
Germany
FRANCE
AVIGNON
BERLIN
Musée Calvet
Neugerriemschneider
CLAMART
Universität der Künste Fondation Arp
HANOVer
CONCARNEAU
Sprengel Museum Hannover, Sammlung NORD/LB in der Niedersächsischen
Sparkassenstiftung
Musée de la Pêche
COLOGNE
LES EYZIES-DE-TAYAC
Die Photographische Sammlung/SK Stiftung Kultur
Musée national de Préhistoire
LYON
BELGIum
Bibliothèque municipale de Lyon
Musée des Confluences
ANtwerp
Musée du quai Branly
Collection Sylvio Perlstein
Musée national des Arts asiatiques Guimet
Musée Rodin
United states
Muséum national d’histoire naturelle
SAGE Paris
CHICAGO
METZ
The Field Museum
Musée de la Cour d’Or
LOS ANGELES
PARIS
Centre Pompidou Foundation
Archives Perriand
NEW YORK
Bibliothèque nationale de France
American Museum of Natural History
Centre national des arts plastiques
Andrea Rosen Gallery
Centre Pompidou
Collection Bobbie Foshay
César Estate
Courtesy Tanya Bonakdar Gallery
Cinémathèque française
Collection Gian Enzo Sperone
Cité de la Musique – musée de la Musique
Sperone Westwater Gallery
Cité de l’Architecture et du Patrimoine
The Museum of Modern Art
9
Simple Shapes
Collection André Magnin
SÉLESTAT
Collection Antoine de Galbert
Frac Alsace
Collection David Fleiss
TOULOUSE
Collection FAJ
Les Abattoirs
Collection Galerie Maeght
Collection Jean-Christophe Charbonnier
United Kingdom
École nationale supérieure des Beaux-Arts
Fondation Alberto et Annette Giacometti
LEEDS
Fondation d'entreprise Hermès, for the work Souffle, created on special
order by Susanna Fritscher, with Les Cristalleries Saint-Louis
Leeds Museums and Galleries
Fondation Le Corbusier
LONDon
Galerie Chantal Crousel
Lisson Gallery
Galerie Kamel Mennour
Tate
Galerie Le Minotaure
The Petrie Museum of Egyptian Archaeology
Galerie Mor.Charpentier
University of the Arts London –Archives and Special Collections Centre –
London College of Communication
Galerie Thaddaeus Ropac
Galerie Tornabuoni Art
OXFORD
Institut Henri-Poincaré
Ashmolean Museum of Art & Archaeology
Les Arts décoratifs
PERRY GREE
Mingei Arts Gallery
The Henry Moore Foundation
Musée Cernuschi, musée des Arts de l’Asie de la Ville de Paris
Musée d’Art moderne de la Ville de Paris
SWITZERLAND
Musée des Arts et Métiers – Cnam
Musée d’Orsay
GENeVa
Musée du Louvre
Collection Ahrenberg
SAINT-GERMAIN-EN-LAYE
ZURICH
Musée d’Archéologie nationale et Domaine national de Saint-Germainen-Laye
Fondation Hubert Looser
Galerie Gmurzynska
10
Simple Shapes
6.
Echoing Simple Shapes :
simple Gestures
From 18 September 2014 to February 2015
La Grande Place, musée du cristal Saint-Louis
The mind makes the hand, the hand makes the
mind. The gesture which does not create, the
empty gesture, provokes and defines the state
of consciousness. The gesture which creates
exerts a continuous action on inner life. The
hand wrenches the sense of touch from its
merely receptive passivity and prepares it
for experience and action. It teaches man to
conquer space, weight, density and quantity.
It fashions a new world and leaves its imprint
everywhere upon it. It pits itself against the
matter it transforms, the shape it transfigures.
Educator of man, the hand multiplies him in
space and time.
Henri Focillon, In Praise of the Hand (1934)
Beginning September 18th 2014, La Grande Place, Musée du
Cristal Saint-Louis in Saint-Louis-lès-Bitche will present
Simples Gestures as a counterpoint to Simple Shapes.
Since 2008, Fondation d’entreprise Hermès has initiated
exhibitions in its six gallery spaces (Brussels, Berne, New
York, Singapore, Seoul, Tokyo). Simple Gestures will be the
first in a programme of exhibitions at La Grande Place,
Musée du Cristal Saint-Louis in Saint-Louis-lès-Bitche.
Each year, the Foundation will propose two exhibitions
whose main focus will be contemporary creation. Thematic
group shows for the most part, they will consider glass or
techniques, although the door will remain open to other
themes.
Simples Gestures highlights man's ability to invent or repeat
gestures from which a work, dance, language or other will
originate. In doing so, it emphasises the importance of
Action when creating a form.
The exhibition is staged inside Cristalleries Saint-Louis
whose mastery of the art and techniques of crystal is
beyond compare. Whereas Simple Shapes focuses on the
fascination exerted by the objects themselves, Simple
Gestures will instead bring to the fore the ephemeral lines
drawn by man in the course of this Action.
Fondation d’entreprise Hermès will invite a cultural
institution in the Lorraine region to curate three consecutive
exhibitions in this space.
Centre Pompidou-Metz is the guest institution for 2014 and
2015.
The artists chosen for this exhibition show how a gesture
can become music, dance or sculpture…
Curators :
Jean de Loisy, President of Palais de Tokyo
Sandra Adam-Couralet, independent curator
11
Simple Shapes
7.
Credits
Simple shapes is a Centre Pompidou-Metz And Fondation d'entreprise Hermès Coproduction.
exhibition
Curator
Jean de Loisy
Associate curators
Sandra Adam-Couralet
Mouna Mekouar
Project manager
Éléonore Mialonier
Scenographer
Laurence Fontaine
Lighting Design
Julia Kravtsova and Vyara
Stefanova
Graphic design
Atelier Bastien Morin,
Gilles Beaujard, Julie Lecœur
[Julie Gilles]
Metz Métropole Representatives
Jean-Luc Bohl
President
Arlette Mathias
Vice President
Margaux Antoine-Fabry
Community Councillor
Patrick Grivel
Associate Councillor
Hacène Lekadir
Community Councillor
Pierre Muel
Associate Councillor
Patrick Thil
Community Councillor
Sacha Menasce
Public Relations Manager
Clémence Miralles-Fraysse
Head of project
Manon Renonciat-Laurent
Head of project
SIMPLE ShapeS Team
Pierre-Alexis Dumas
President
Catherine Tsekenis
Director
Manon Renonciat-Laurent
Head of project
Frédéric Hubin
Head of Editorial Image and
Publications
Sacha Menasce
Public Relations Manager
Centre Pompidou Representatives
Alain Seban
President
Denis Berthomier
General Director
Jean-Marc Auvray
Director of Financial and Legal
Affairs
Bernard Blistène
Director of Cultural Development
Catherine Guillou
Director of Visitor Services
Brigitte Léal
Deputy Director of National
Museum of Modern Art and
collections curator
PRESS
Fondation d'entreprise
Hermès
The Fondation d’entreprise
Hermès supports people and
organisations seeking to learn,
perfect, transmit and celebrate
the skills and creativity that
shape and inspire our lives today,
and into the future. Guided by
our central focus on artisan
expertise and creative artistry in
the context of society’s changing
needs, the Foundation’s activities
explore two complementary
avenues: know-how and
creativity, know-how and the
transmission of skills.
Pierre-Alexis Dumas
President
Catherine Tsekenis
Director
Claire Avignon
Executive Assistant
Blandine Buxtorf-D’Oria
Head of project
Frédéric Hubin
Head of Editorial Image and
Publications
Clément Le Duc
Head of project
Philippe Boulet
Press Officer
Ina Delcourt
International Press Office
Annelise Catineau-Franchet
Head of Internation Press
Caroline Schwartz-Mailhé
Head of France Press
Centre pompidou-Metz
Lorraine Region Representatives
Nathalie Colin-Oesterlé
Regional Councillor
Josiane Madelaine
Vice President
Jean-Pierre Moinaux
Vice President
Rachel Thomas
Vice President
Roger Tirlicien
Regional Councillor
Centre Pompidou-Metz is
an Établissement Public de
Coopération Culturelle (public
establishment for cultural
cooperation) whose founding
members are the French
State, Centre Pompidou, the
Lorraine Region, Communauté
d’Agglomération de Metz
Métropole and the City of Metz.
State Representative
Nacer Meddah
Prefect of Lorraine Region, Defence
and Security Area of Eastern
France (Zone de Défense et de
Sécurité Est), and Moselle
BOARD OF DIRECTORS
Alain Seban
President
Jean-Marie Rausch
Honorary President
City of Metz Representatives
Dominique Gros
Mayor of Metz, home city of the
Establishment
William Schuman
Associate Councillor
Jean-Luc Bohl
Vice President
12
Qualified Contributors
Frédéric Lemoine
Chief Executive Officer of Wendel
Patrick Weiten
President of Moselle Department
Council
Staff Representatives
Djamila Clary
Chargée des publics et du
développement des ventes
Élodie Stroecken
Chargée de coordination du pôle
programmation
équipe du
Centre pompidou-Metz
Management
Laurent Le Bon
Director
Claire Garnier
Personal Assistant and Project
Coordinator
General Secretariat
Pascal Keller
Interim Secretary General
Hélène de Bisschop
Legal Advisor
Émilie Engler
Secretarial Assistant
Anne Horvath
Secretarial Assistant
Cécilia Zunt-Radot
Chargée de mission auprès du
Directeur et du Secrétariat général
Department of Administration and
Finance
Rodolphe di Sabatino
Head of Department
Jérémy Fleur
Chief Accountant
Mathieu Grenouillet
Accounts Assistant
Audrey Jeanront
Human Resources Management
Assistant
Alexandra Morizet
Public Contracts Coordinator
Véronique Muller
Accounts Assistant
Simple Shapes
Department of Building
Maintenance and Operation
Philippe Hubert
Technical Director
Mouhamadi Assani-Bacar
AV and IT Assistant
Christian Bertaux
Head of Building Maintenance
Sébastien Bertaux
Chief Electrician
Vivien Cassar
Technical Coordinator
Jean-Philippe Currivant
Lighting Technical Agent
Christian Heschung
Head of Information Systems
Stéphane Leroy
Operation Manager
André Martinez
Head of Security
Jean-David Puttini
Painter
Department of Communications and
Development
Annabelle Türkis
Head of Department
Charline Burger
Communication and Events Officer
Noémie Gotti
Communication and Press Officer
Marie-Christine Haas
Multimedia Communications Officer
Anne-Laure Miller
Communication Officer
Amélie Watiez
Communication and Events Officer
Department of Production
Olivia Davidson
Head of Department
Charline Becker
Project Manager
Alexandre Chevalier
Galleries Registrar
Jean-Pierre Del Vecchio
Systems and Networks
Administrator
Jennifer Gies
Project Manager
Christine Hall
AV and IT Technical coordinator
Thibault Leblanc
Live Performance Technician
Éléonore Mialonier
Project Manager
Fanny Moinel
Project Manager
Marie Pessiot
Live Performance Production Officer
Irène Pomar-Marcos
Project Manager
Marianne Pouille
Works Manager
Julie Schweitzer
Project Manager
Jeanne Simoni
Project Manager
Amandine Such
Production Assistant
Anne-Marine Guiberteau
Youth Programming and
Educational Activities Officer
Benjamin Milazzo
Visitor Relations and Membership
Officer
Anne Oster
Schools Relations Officer
Accountant
Jean-Eudes Bour
Trainees
Morgane Bielmann
Élise Blin
Marie-Claire d’Aligny
Mélissa Hiebler
Mélodie Saillard
Sophie Smenda
external service
providers
Department of Programming
Hélène Guenin
Head of Department
Claire Bonnevie
Editor
Géraldine Celli
Auditorium Wendel and Studio
Programming Officer
Hélène Meisel
Research and Exhibition Officer
Alexandra Müller
Research and Exhibition Officer
Dominique Oukkal
Manufacturing Coordinator
Élodie Stroecken
Coordination Assistant
Museographic Layout
Lumidéco : Bruno Ischia and his
team
Painting
Debra Frères : Jacques Debra
and his team
Electrical Set-up and Lighting
Cofely Ineo GDF Suez : Christophe
Lere and his team
MPM Équipement : Laurent Capron
and his team
AV Installation
JCD Groupe : Fréderic Pernot and
his team
Cottel : David Cottel and his team
Pôle publics
Aurélie Dablanc
Head of Department
Fedoua Bayoudh
Visitor Relations and Tourism
Officer
Djamila Clary
Visitor Relations and Sales Officer
Jules Coly
Visitor Relations, Information and
Accessibility Officer
Shipping and Packing
André Chenue S.A. : Julien Da Costa
Noble and his team
Hanging Services
Artrans Axal : Pierre Heinrich and
his team
Installation, framing and basing
Version bronze : Patrick Ribeiro and
his team
13
Constat d'état des œuvres
Pascale Accoyer
Élodie Aparicio-Bentz
Artwork Insurance
Blackwall Green : Robert Graham
and his team
Inspection
Dekra Industrial : Émilie
Grandclaudon
Security
Groupe SGP
Fire Safety
Service départemental d’Incendie et
de Secours de la Moselle
Mediation
Phone Régie
Nettoyage
Lustral
Friends of
CENTRE POMPIDOU-METZ
Friends of Centre PompidouMetz is a non-profit organisation
whose purpose is to accompany
the Centre in its cultural projects,
and to enlist the support of
the business world and private
individuals who wish to make
their contribution.
Jean-Jacques Aillagon
Former Minister of Culture
President
Ernest-Antoine Seillière
Vice President
Philippe Bard
President of Demathieu & Bard
Treasurer
Lotus Mahé
Secretary General
Lisa Cartus
Assistant to the Secretary General
Simple Shapes
8.
Centre Pompidou-Metz and
Fondation d'entreprise
Hermès
Fondation d'entreprise Hermès is concerned with the
creativity man employs to shape an object, a tool or an
artefact. The Foundation and Centre Pompidou-Metz have
therefore joined together to give a wide audience a new
view of objects in their purest shape, and of the creative
energy released through the interaction of man and nature.
Centre Pompidou-Metz and Fondation d'entreprise Hermès
have joined together to devise and produce Simple Shapes.
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 multidisciplinary programming.
Fondation d’entreprise Hermès supports people and
organisations seeking to learn, perfect, transmit and
celebrate the skills and creativity that shape and inspire our
lives today, and into the future. Guided by a central focus
on artisan expertise and creative artistry, the Foundation’s
activities explore two complementary avenues: know-how
and creativity, know-how and the transmission of skills.
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.
The Foundation develops its own projects: exhibitions
and artists' residencies in visual arts, the New Settings
programme for the performing arts, the Prix Émile Hermès
international design award, the Skills Academy, and
projects in favour of biodiversity. It also supports partner
organisations working in these areas around the globe.
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.
The Foundation's unique mix of programmes and support is
rooted in a single, underlying belief: Our gestures define us.
www.centrepompidou-metz.fr
www.fondationdentreprisehermes.org
14
Simple Shapes
9.
partners
of Centre Pompidou-Metz
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.
G R A N D M E C E N E D E L A C U LT U R E
15
Simple Shapes
Founding Sponsor
G R A N D M E C E N E D E L A C U LT U R E
Wendel, Founding Sponsor of the Centre Pompidou-Metz
"A Founding Sponsor since 2010, Wendel is extremely proud to pledge its fiveyear
commitment to the Centre Pompidou-Metz, an initiative which will enable the company to
support a flagship project for the Lorraine region, birthplace of the Group and its founding
families. We wanted this partnership to adhere to our corporate values of long-term
investing, which is a synonym for loyalty and solidarity in our commitments, innovation,
which we believe is key to creating not only economic value but also human and artistic
activities, and the ambition to step up our international influence in a French region located
in the heart of Europe," highlighted Frédéric Lemoine, President of Wendel’s Executive
Board, and Ernest-Antoine Seillière, Vice President of the Friends of the Wendel Foundation
and a benefactor of the Centre Pompidou-Metz.
Wendel is one of the leading 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, Legrand, Saint-Gobain, Materis, Stahl and
Mecatherm.
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 individual Wendel family shareholders, who are united in the family
company Wendel-Participations, which owns 35% of Wendel.
Press Relations:
Christine Anglade-Pirzadeh :
+ 33 (0) 1 42 85 63 24
[email protected]
Christèle Lion
+ 33 (0) 1 42 85 91 27
[email protected]
www.wendelgroup.com
16
Simple Shapes
10.
Visuals
for the Press
Visuals of works in the exhibition, amongst them the
images below, can be downloaded at the following address:
centrepompidou-metz.fr/phototheque
Login: presse
Password: Pomp1d57
Pyramidion of Ben-neben-sekhaef,
Egypt, 21st Dynasty, 1069-945 B.C.
Charwei Tsai, Circle II
Limestone, 47 × 48 × 50.5 cm
Department of Egyptian Antiquities, Musée du
Louvre, Paris
© Musée du Louvre, Dist. RMN-Grand Palais - ©
Georges Poncet
KUPKA (Kupka Krantisek, known
as), Abstraction Noir et Blanc
[Black and White Abstraction],
circa 1930-1933
Colour video, silent, 56 seconds
Courtesy of the artist and galerie Mor.Charpentier,
Paris
Black and white gouache and graphite on paper,
28.3 × 28 cm
Centre Pompidou, Musée national d’art moderne,
Paris
Gift from Ms Eugenie Kupka, 1963
© Charwei Tsai
Etienne Béothy (Beöthy Istvan,
known as), Rythmes entrecroisés,
1937 [Interwoven Rhythms]
Amaranth wood, 115 × 27.3 × 26.5 cm
Centre Pompidou, Musée national d’art moderne,
Paris
© ADAGP, Paris 2014
© Centre Pompidou, MNAM-CCI, Dist. RMNGrand Palais / Philippe Migeat
© ADAGP, Paris 2014
© Centre Pompidou, MNAM-CCI, Dist. RMNGrand Palais / Jean-Claude Planchet
Constantin Brancusi, L'Oiseau dans
l'espace [Bird in Space], 1936
Plaster, 183.5 × 14 × 15.5 cm
Centre Pompidou, Musée national d’art moderne,
Paris
Bequest from Constantin Brancusi, 1957
© ADAGP, Paris 2014
© Centre Pompidou, MNAM-CCI, Dist. RMNGrand Palais / Philippe Migeat
Constantin Brancusi, L'Oiseau dans
l'espace [Bird in Space], black
marble, vers 1936
Centre Pompidou, Musée national d'art moderne,
Paris
GE90 Design Team, Jet Engine Fan
Blade (model GE90-115B), 2011
Barbara Hepworth, Single Form,
Holly wood, 1937
Composite fibre resin, polyurethane coating,
titanium, 121.9 × 58.4 × 43.2 cm
The Museum of Modern Art, New York
Holly wood, 89,8 x 28 x 17,6 cm
Leeds Museums and Galleries (Leeds Art Gallery)
© Bowness, Hepworth Estate
© Centre Pompidou, MNAM-CCI, Dist. RMNGrand Palais / Jacques Faujour
© Adagp, Paris 2014
© 2014. Digital image, The Museum of Modern Art,
New York/Scala, Florence
17
Simple Shapes
Rhyton, Italia (?), second half of Ist
century A.C.
Marcel Duchamp, Air de Paris [Air
from Paris], 1919/1939
Kandéla, 3Grèce, Ancient Cycladic I
(3200-2700 B.C.)
Anthony McCall, Line describing a
cone, 1973
Mouth-blown glass ; height 20 cm, diameter 6 cm
Department of Greek, Etruscan and Roman
Antiquities, Musée du Louvre, Paris
Collection E. Durand, 1825
Miniature reproduction of the original, edited for
la Boîte-en-valise
Glass, 4 x 2,5 x 2,5 cm
Collection David Fleiss, Paris
Galerie 1900-2000, Paris
Marble, 28 x 28 cm
Department of Greek, Etruscan and Roman
Antiquities, Musée du Louvre, Paris
Anonymous gift in memory of E. Bizot, 1993
Cinematic installation, varying dimensions
Collection of the artist
© RMN-Grand Palais (musée du Louvre) / Hervé
Lewandowski
© Anthony McCall
© RMN-Grand Palais (musée du Louvre) / Tony
Querrec
© Succession Marcel Duchamp / Adagp,
Paris 2014
Barnett Newman, Untitled (The
Break), 1946
Top, Borneo Island, Dayak people,
undated
Anonymous, Steel piece for a plane,
vers 1943
Robert Le Ricolais, Pre-tensionned
Monkey Saddle, 1958
India ink on rag paper pasted on canvas, 91,5 ×
61 cm
Centre Pompidou, Musée national d’art moderne,
Paris
Gift from Ms Annalee Newman, 1986, through
Georges Pompidou Art and Culture Foundation
Sculpted wood, height 13,5 cm, diameter 23 cm
Centre Pompidou, Musée national d'art moderne,
Paris
Donation Daniel Cordier, 1989 ; location: Les
Abattoirs, Toulouse
Silver gelatine print, 20,6 x 25,4 cm
Centre Pompidou, Musée national d'art moderne,
Paris
Lacquered and bent steel tube, tension cables,
18.5 × 53 × 55 cm
Centre Pompidou Foundation
Location: Musée national d'art moderne, 2010
© Centre Pompidou, MNAM-CCI, Dist. RMNGrand
Palais / Jean-Claude Planchet
© All rigths reserved
© Centre Pompidou, MNAM-CCI, Dist. RMNGrand Palais / Philippe Migeat
Max Bill, Unendliche Schleife,
version IV, (1960-1961)
Man Ray (known as), Radnitzky
Emmanuel, Objet mathématique
[Mathematical Object], 1934-1936
© 2014 The Barnett Newman Foundation / ADAGP,
Paris
© Centre Pompidou, MNAM-CCI, Dist. RMN-Grand
Palais / Jacques Faujour
Yonezawa Jiro, Bridge, 2007
Bamboo, cane, cedar roots, lacquer, 21 x 103,5
x 13,6 cm
Mingei Arts Gallery, Paris
© Photo Pascal Goetgheluck
© Mingei Arts Gallery, Paris
Bequest from Constantin Brancusi, 1957
Grey granite from Wassen, 130 × 175 × 90 cm
Centre Pompidou, Musée national d’art moderne,
Paris
Purchase by the State, 1962
Silver gelatine print, 30 × 24 cm
Centre Pompidou, Musée national d'art moderne,
Paris
Bequest, 1994
© ADAGP, Paris 2014
© Centre Pompidou, MNAM-CCI, Dist. RMNGrand Palais / Jacqueline Hyde
© Man Ray Trust / ADAGP, Paris 2014
© Centre Pompidou, MNAM-CCI, Dist. RMNGrand Palais / Georges Meguerditchian
18
© ADAGP, Paris 2014
© Centre Pompidou, MNAM-CCI, Dist. RMNGrand Palais / Bertrand Prévost
José María Sicilia, The Instant, 2013
Gold (18 kt), bird song (nightingale), 3.50 x 12.20
x 7.50 cm
Courtesy from the artiste and Galerie Chantal
Crousel, Paris
© Rebecca Fanuele
Simple Shapes
Jean Arp, Bourgeon [Bud], 1935
Plaster, 40,5 x 19 x 20 cm
Centre Pompidou, Musée national d’art moderne,
Paris
Seizure by the Customs Administration, 1996 ;
location: Fondation Arp, Clamart
© ADAGP, Paris 2014
© Centre Pompidou, MNAM-CCI, Dist. RMNGrand Palais / Adam Rzepka
Edward Steichen, Le
Commencement du monde [The
Beginning of the World], 1920
Silver gelatine print, 25,6 x 20,1 cm
Centre Pompidou, Musée national d'art moderne,
Paris
Bequest from Constantin Brancusi, 1957
© Centre Pompidou, MNAM-CCI, Dist. RMNGrand Palais / Guy Carrard
© The Estate of Edward Steichen / Adagp, Paris,
2014
Standing stone, Syria, Tell Brak,
middle Bronze age (600-1400 av.
J.-C.)
Basalt, 73 x 53 x 40 cm
Department of Oriental Antiquities, Musée du
Louvre, Paris
Gift from Cdt Muller and father Poidebard, 1930
© Musée du Louvre, Dist. RMN-Grand Palais /
Etienne Revault
Jean Arp, Coquille formée par une
main humaine [Shell formed by a
human hand], 1935
Karl Blossfeldt, Aristolochia
clematitis. Aristoloche clématite,
Pointe foliaire [Leaf Point]
Plaster, 47 × 74 × 43 cm
Centre Pompidou, Musée national d’art moderne,
Paris
Seizure by the Customs Administration, 1996 ;
location: Fondation Arp, Clamart
Silver gelatine print, 30,1 x 20,1 cm
Archives, collection Karl Blossfeldt, Université
des Arts, Berlin ; location: Die Photographische
Sammlung / SK Stiftung Kultur, Cologne
© L’Université des Arts de Berlin
© ADAGP, Paris 2014
© Centre Pompidou, MNAM-CCI, Dist. RMNGrand Palais / Adam Rzepka
Karl Blossfeldt, Equisetum
hyemale. Prêle d’hiver, Extrêmité
d’une jeune pousse [Winter
Horsetail. End of a Young Shoot],
avant 1926
© L’Université des Arts de Berlin, Archives,
Collection Karl Blossfeldt, en dépôt de longue
durée à Die Photographische Sammlung/SK
Stiftung Kultur, Cologne
© L’Université des Arts de Berlin
Syros Group, Head of a female
figurine from Keros,Greece, ancient
Cycladic II (2700-2300 B.C.)
Marble, 27 × 14 × 10 cm
Department of Greek, Etruscan and Roman
Antiquities, Musée du Louvre, Paris
Gift from Rayet, 1873
© RMN-Grand Palais (musée du Louvre) / Hervé
Lewandowski
Man Ray (known as), Radnitzky
Emmanuel, Lampshade, 1919-1954
Painted aluminium, 152,5 x 63,5 cm
Centre Pompidou, Musée national d'Art moderne
Bequest, 1994
Constantin Brancusi, Le Poisson
[The Fish], 1924
Brassaï (Gyula Halász, known as)
Oiseau 2 [Bird 2], 1960
Bleached plaster, 13,5 x 43 x 2,5 cm
Centre Pompidou, Musée national d’art moderne,
Paris
Bequest from Constantin Brancusi, 1957
Black marble, 11 × 5.5 × 1.5 cm
Centre Pompidou, MNAM-CCI, Dist. RMN-Grand
© Palais / Adam Rzepka
© ADAGP, Paris 2014
© Centre Pompidou, MNAM-CCI, Dist. RMNGrand Palais / Georges Meguerditchian
© Brassaï Estate
Mortar and pestle, Abri des
Marseilles (Dordogne), Middle
Magdalenian, (15th-14th millenniums
B.C.)
Odilon Redon, Le Boulet [The Ball],
vers 1882
Limestone, 34 × 28 cm
Les Eyzies-de-Tayac, musée national de
Préhistoire
© Man Ray Trust / ADAGP, Paris 2014
© Centre Pompidou, MNAM-CCI, Dist. RMNGrand Palais / Jacques Faujour
© MNP, Les Eyzies, Dist. RMN-Grand Palais /
Philippe Jugie
19
Centre Pompidou, Musée national d’art moderne,
Paris
Musée d'Orsay, Paris
Location: Musée du Louvres, Paris
© RMN-Grand Palais (musée d'Orsay) / Michèle
Bellot
Simple Shapes
Notes
20
GE90
Design Team, Jet Engine Fan Blade (model GE90-115B), 2011, The Museum of Modern Art
Jean Pigozzi,
©
2014.Pompidou,
Digital image,
Thenational
Museum
of Modern
Art,Paris
New ©
York/Scala,
Florence
Centre
Musée
d’art
moderne,
Jean Pigozzi
/ Centre Pompidou, Mnam-Cci, Dist. RMN-Grand Palais / image courtesy CAAC – The Pigozzi Collection
Graphic design: Bastien Morin
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