The body-image in museums of Rhône image in museums of Rhône

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The bodybody-image in museums of RhôneRhône-Alpes
Exhibition from May 4 to June 1st
In Shanghai Art Museum
CHINA
This exhibition is supported by the Rhone-Alpes, city of Lyon, the Ministry of culture
and Communication DRAC Rhone-Alpes, and the support of thress corporate
sponsors: Societe General, Sanofi Pasteur and Hua Xie
Exhibition Curators
Sylvie Ramond, director of the Museum of Fine Arts in Lyon, curator in chief, with support
from Christian Joschke, lecturer, University of Lyon II and Jerome Mauche, writer, lecturer
at the Ecole Nationale des Beaux-Arts Lyon.
Press Contact
Sylvaine Manuel de Condinguy - the Museum of Fine Arts in Lyon
20 place des Terreaux – 69001 Lyon
Tel. +33(0)4 78 38 57 51 / [email protected]
Presentation of the exhibition
Between 4 May and 1 June, at the Museum of Art in Shanghai, the Musée des BeauxArts in Lyon is presenting a set of masterpieces of modern and contemporary art
owned by five major institutions of the Rhône-Alpes region. It was the exceptional
breadth of their collections, and their organisational structure, that made possible an
historical overview of major artistic movements from the end of the 19th century to
our own time, through the theme of the body. The privileged links that exist between
the Rhône-Alpes region and the city of Shanghai provided a stimulus to this event,
which reflects strong cross-cultural relations and an outgoing approach to the world.
As an object of study or scandal, a source of material for masterpieces and an
inspiration for audacious formal research, the body changed its signification in the
course of the 20th century. It went from being an object to occupying a central
position in artistic creation, sometimes taking the place of consciousness, while also
defining new genres and artistic practices.
The representation of the human body constitutes an uninterrupted tradition in
Western art, and resonates through other civilisations. In the globalised art of the
present day, the body remains a major problematic.
This event is being organised by the Musée des Beaux-Arts in Lyon and the Museum
of Art in Shanghai on the occasion of Expo 2010.
It was made possible by the commitment of the Musée de Grenoble, the Musée d'Art
Contemporain, Lyon, the Musée des Beaux-Arts, Lyon, the Musée d'Art Moderne,
Saint-Etienne Métropole, and the Institut d'Art Contemporain, Villeurbanne.
It has been given invaluable support by the Rhône-Alpes Region.
It has also received backing from the city of Lyon, the Ministère de la Culture et de la
Communication / DRAC Rhône-Alpes and Culturesfrance. Three companies are
providing sponsorship: Société Générale, Sanofi Pasteur and Hua Xie.
Preface
For 24 years, the Rhône-Alpes region and the city of Shanghai have maintained a
rich, productive relationship that has irrigated luxuriant fields of cooperation.
Our partnership is sealed by a twinning that unites our destinies.
The Body Image exhibition at Shanghai's Museum of Art, with contributions by five
major institutions of the Rhône-Alpes region, is a splendid example of this
partnership. At the vibrant heart of the 21st century's first Universal Exposition,
some seventy masterpieces dating from the period between the end of the 19th
century and the present day will be seen by millions of people.
This exhibition is a premiere, and a major cultural event for the Rhône-Alpes region. I trust
that it will shine a light across Expo 2010, whose theme, "Better City, Better Life", embodies
the idea of a harmonious existence between the peoples and cities of the Earth.
Renoir, Matisse, Picasso, Léger and Bacon… This innovative exhibition shows how
illustrious artists have represented the body. And the scenography of the corporeal
entity thereby makes a fundamental contribution to the theme of Expo 2010, as an
expression of perceiving and being involved in the world.
The introductory work, Il Disegno dello specchio ("The drawing of the mirror"), by
Michelangelo Pistoletto, is emblematic. Right at the start, visitors are confronted
with mirrors of different shapes, and thereby their own image. As the artist says: "In
the mirror, we see what is behind our shoulders. Our perception makes a half-turn. It
becomes aware of what is behind it, and also what comes from the past." And it is at
this point that the discovery of the art can begin.
My sincere thanks go to all those who have made this event possible, essentially the
museums of the Rhône-Alpes region: the Musée des Beaux-Arts, Lyon, in partnership with
the Musée d'Art Contemporain, Lyon, the Musée de Grenoble, the Musée d'Art Moderne,
Saint-Etienne, and the Institut d'Art Contemporain, Villeurbanne.
My thanks also go to my friends in Shanghai, and notably its Museum of Art, for the
way in which they have embraced this project.
I sincerely hope that the visitors to Euro 2010 will share our pride and pleasure in
their enjoyment of the works on display, which belong to the pantheon of painting.
I hope, too, that the readers of this catalogue will find in it a breath of creation, and
that they will retain a pleasurable memory of the exhibition.
Jean-Jack Queyranne
President of the Rhône-Alpes region
Introduction
On the occasion of Expo 2010 Shanghai, and in the framework of the important
cultural and artistic exchanges that are taking place in the city's Museum of Art, “The
body image in the 20th century” is being presented to the Chinese public. This is a
most welcome event.
Since ancient Greece, and in a consummate acknowledgement of life and natural
beauty, the human body has always been an object of artistic expression in Europe.
Starting with this concept, the exhibition shows a diversity of aesthetics, styles and
concepts through painting, photography, installations and video. It also shows the
development of different types of body art, and of artistic methods and media, since
the end of the 19th century. But the most important thing it shows is the wisdom of
visual creation and the perception of life, which are part of the process of human
civilisation.
The diversity of styles and movements, and the large number of masterpieces that
are featured in this exhibition, are striking. It displays the great modern and postmodern artistic movements: Impressionism, Fauvism, Cubism, Surrealism,
Futurism, Pop Art, Conceptual Art, etc. The creators of these works were founders of
movements, or leading members. They include Edouard Manet, Edgar Degas,
Auguste Renoir, Henri Matisse, Pablo Picasso, Georges Braque, Victor Brauner,
Giorgio de Chirico, Fernand Léger, Georges Rouault, Francis Bacon, Andy Warhol,
Cindy Sherman and Pipilotti Rist.
It would be no exaggeration to say that this exhibition brings together the essence of
Western art over more than a century. It is both an artistic festival and an exceptional
contribution to Expo 2010 Shanghai, which will take a great many people on an
unforgettable artistic journey.
I would like to thank Lyon's Musée des Beaux-Arts, its Musée d'Art Contemporain,
the Institut d'Art Contemporain in Villeurbanne, the Musée d'Art Moderne in SaintEtienne Métropole and the Musée de Grenoble, for the works they have made
available, and also the French and Chinese personnel, for the enthusiasm and skill
they have brought to this project.
Zengxian Fang
Director of the Shanghai Museum of Art
Introduction sections
Section 1 / Accessing the body
Each period invents its bodies, spurning those that had previously been seen as
credible, attractive, sublime. In Western art, the analysis of the human body was for a
long time at the centre of the artist's education. And the history of French painting
contains many images of bodies that attest to a certain anatomical knowledge, and
strive for an ideal.
The revolution introduced in the 19th century by Edouard Manet, and carried forward
by Edgar Degas in his own way, dared to look at the female body in the private
aspects of everyday life, including the toilette. A number of artists subsequently
turned their backs on the traditional rules in their representations of the body. They
wanted to give it back its singularity and texture, its erotic charge, with an emphasis
on its deformities and particularities, and a search for sensations, feelings, or even
psychological tension.
Young artists working at the turn of the 20th century were marked by their
predecessors. The forms of the model, drawn in a synthetic way, were economical,
shorn of any superfluous detail. Colour fields were used, and the fact that they were
few in number reinforced their chromatic intensity.
Section 2 / Deconstructing the figure
Marked by the influence of Paul Cézanne (1839-1906), the artists of the early 20th
century looked at the body in its relationships to space, to landscape, to what
surrounded and interacted with it. Deconstructing the figure, for them, did not simply
consist of dissolving it in its environment, but reconstituting it in a multitude of
facets, and exploring its misshapen, monstrous aspects. The body could then appear
as the central location of artistic experience.
In 1908, Pablo Picasso and Georges Braque began to break down objects and figures,
and to dismantle all the procedures that could be used to represent things or beings
on canvas. To begin with, they carried out their aesthetic speculation together, and
Cubism quite soon became an avant-garde movement. The works presented in this
section show the influence of their research and inventions on a renewed approach
to the body, to the point of its radical deconstruction – sometimes to the point of
transgressing a certain idea of art and good taste.
Section 3 / The body machine
In Europe, the First World War (1914-1918) marked a sharp break in the domain of
art. Painting and sculpture multiplied images of a reality transformed by
technological progress. They drew on the growing power of the machine, and
produced an image of a civilisation that was changing completely, fashioning other
ways of life, inventing new human beings and creating new relationships.
The image of the body also underwent profound change. Bodies became objects,
automata, machines: robot-people, with Fernand Léger and Willi Baumeister;
mannequins, with Giorgio de Chirico and Victor Brauner. The members of the
Futurist movement lauded the modern world, the machine, speed. Looking at the
body as a human motor, they represented it in motion and analysed its movements.
Among the mechanical inventions that contributed to this transformation of
perception were photography, nascent cinematography, and, perhaps more
important still, chronophotography, which involved taking a succession of pictures at
regular intervals in order to study the movements of the body.
Section 4 / Looking at the body
The avant-garde artists of the 1920s identified with tradition, and their slogan was "a
return to order". There was a reversion to classicism, and the values of technique,
the figure and national genealogies. The critics were scathing about the pre-war
aesthetic, seeing it as an attack on taste and established values. Cubism was
breaking down; classical painters were regaining the initiative. In Italy, the Futurist
movement was called into question by its own inventors. It seemed that painting was
going to link up once more with its past. The portrait was a focus of attention: it
became, once more, detailed and psychological.
In this context, painters such as Henri Matisse and Pierre Bonnard came back to the
forefront. Matisse was interested in Islamic and Persian art, and he explored the
possibilities of planeness, line, arabesque, and colours of maximal intensity.
Bonnard explored an intimate universe whose days, seasons and atmospheres he
represented, in a meditation on time. He was influenced by Japanese art, and
transcribed onto his canvases an empirical vision of space through planes
orchestrated by colour.
During the inter-war period, photography also contributed to the renewal of
figurative representation. It reminded the other arts about the power of corporality.
Section 5 / The impossible image
In Europe, the period following the Second World War (1939-1945) was one of
liberation, but also uncertainty and hopelessness, after all the destruction, the
discovery of the death camps, and the shadow cast by the terror of the atomic age.
Some painters adopted a style without tradition, without a future, without a message,
and which did not cling to any faith or try to portray itself as mystical. The point was
not to represent, but to depict a world in despair, and to demonstrate the tragic
character of existence with radical formal austerity.
The figurative painters, and the surrealists, for whom the subconscious was crucial,
participated in the development of this art, which was both harrowing and ruined.
Receptive to the so-called "primitive" arts, and to the influence of Picasso, they were
part of the renewal.
In another vein, Jean Fautrier adopted a figurative style that featured the obliteration,
the suppression, of any individuality. As to the British artist Francis Bacon, he
subjected the body to every possible deformation, and to ceaseless dislocations.
Section 6 / The body exhibited
In the 1960s, in Western art, the body became the subject and the object of artistic
action. It was ever-present in the cinema, which venerated it, and was celebrated in
magazines and publicity, with their new canon of beauty. It became – along with its
image – an inexhaustible source of explorations for artists, using the transformations
that were made possible by modern technology.
The profusion of images and reproductive techniques gave rise to innumerable
investigations. Corporeal practices in happenings and performances involved the
artist's own body, which was itself a material to be worked on. And there were artists
for whom autobiographical narration, more or less transformed into fiction, blended
with collective myths. They opened up a reflection on the body as it engaged with, and
was constrained by, a social entity that laid down rules and canons, and imposed
simulacra and dissimulations.
Whereas Andy Warhol remained recognisable in his self-portrait, despite stylisation
and multiple reproductions, Arnulf Rainer put to the test the image of his body –
which disappeared beneath scratch marks – as though persecuting it, torturing it,
mutilating it. With Orlan, it was the body of the artist that underwent a
metamorphosis: flesh and organs were subjected to operations that permanently
modified their appearance.
Section 7 / Appearance, disappearance
At the end of the 20th century and the start of the 21st, the body was being treated in
many different ways, and no single approach was possible. Every type of medium was
being used: artists were modelling the body, making it disappear and reappear.
Does this signify that the tradition was resilient? Or was it a question of exploring and
interrogating the critical point of a universe in which sexuality, genres, genetics,
biology and many other factors had transformed the representation of the world,
placing the body at the centre of people's preoccupations?
Where Western thought had given pre-eminence to the soul, the body, with its signs
and marks, has now become predominant in defining the identity of individuals.
The filmed performances of Marina Abramović and Ulay interrogate individuals'
sexuated relationships.
With Thomas Ruff, the portrait is reduced to its simplest expression, its highest
degree of objectivity and neutrality, to the point of banality.
Valérie Jouve's photographs seize the distinctive attitudes of a body in revolt against
its environment, and the accompanying social stereotypes.
Jean-Michel Alberola creates a conceptualised portrait of nomads who have lost
their identity and are trying to reconstruct themselves. They are nostalgic, solitary,
wandering and marginalised.
It remains only to confront the representation of bodies in different civilisations and
cultures, up to our own time, with the reactions and interactions of these different
conceptions.
The bodybody-image in museums
museums of RhôneRhône-Alpes
Michelangelo Pistoletto, Born in 1933 in Biella, Italy. Lives and works in Biella.
Il disegno dello specchio ("The drawing of the mirror"), 1979, Wood and mirrors,
Villeurbanne, Institut d'Art Contemporain, collection of the Fonds Régional d'Art Contemporain
Rhône-Alpes
1. ACCESSING THE BODY
Henri FantinFantin-Latour,
Latour Grenoble, France, 1836 – Buré, France, 1904
La Lecture ("Reading"), 1877, Oil on canvas, Lyon, Musée des Beaux-Arts
Pierre Puvis de Chavannes,
Chavannes Lyon, France, 1824 – Paris, 1898
Princess Marie Cantacuzène, 1883, Oil on canvas, Lyon, Musée des Beaux-Arts
Edouard Manet,
Manet Paris, 1832 – Paris, 1883
Marguerite Gauthier-Lathuille , Oil on canvas, Lyon, Musée des Beaux-Arts
Auguste Renoir,
Renoir Limoges, France, 1841 – Cagnes-sur-Mer, France, 1919
Jeune fille au ruban bleu ("Young girl with blue ribbon"), 1888, Oil on canvas,
Lyon, Musée des Beaux-Arts
Berthe Morisot,
Morisot Bourges, France, 1841 – Paris, 1895
La Petite Niçoise ("The girl from Nice"), 1889, Oil on canvas,
Edgar Degas,
Degas Paris, 1834 – Paris, 1917
Danseuses sur la scène ("Dancers on stage"), c. 1889, Oil on canvas,
Félix Vallotton,
Vallotton Lausanne, Switzerland, 1865 – Paris, 1925
Femme assise dans un fauteuil ("Woman seated in an armchair"), 1897
Oil on cardboard, glued to plywood, Grenoble, Musée de Grenoble
Pablo Picasso,
Picasso Málaga, Spain, 1881 – Mougins, France, 1973
Nu aux bas rouges ("Nude with red stockings"), 1901,
Oil on cardboard, glued to wood, Lyon, Musée des Beaux-Arts
Auguste Chabaud,
Chabaud Nîmes, France, 1882 – Graveson, France, 1955
Le Nu rouge ("The red nude"), 1907, Oil on cardboard,
Saint-Etienne, Musée d'Art Moderne de Saint-Etienne Métropole,
loan from the Fonds National d'Art Contemporain
Raoul Dufy,
Dufy Le Havre, France, 1877 – Forcalquier, France, 1953
Nu assis ("Seated nude"), 1909, Oil on canvas, Lyon, Musée des Beaux-Arts
EmileEmile-Othon Friesz,
Friesz Le Havre, France, 1879 – Paris, 1949
Le Hamac ("The hammock"), 1912, Oil on canvas, Lyon, Musée des Beaux-Arts
Pierre Bonnard,
Bonnard Fontenay-aux-Roses, France, 1867 – Le Cannet, France, 1947
Fleurs sur une cheminée au Cannet ("Flowers on a mantelpiece in Le Cannet"), 1927,
Oil on canvas, Lyon, Musée des Beaux-Arts
Pierre Bonnard
Fontenay-aux-Roses, France, 1867 – Le Cannet, France, 1947
Marthe dans la salle à manger au Cannet ("Marthe in the dining room at Le Cannet"), 1933, Oil on
canvas, Lyon, Musée des Beaux-Arts
2. DECONSTRUCTING THE FIGURE
Roger de la Fresnaye,
Fresnaye Le Mans, France, 1885 – Grasse, France, 1925
Alice au grand chapeau ("Alice with a large hat"), 1912,Oil on canvas,Lyon,
Musée des Beaux-Arts
Albert Gleizes,
Gleizes Paris, 1881 – Avignon, France, 1953
L'Editeur Eugène Figuière ("The publisher Eugène Figuière"), 1913, Oil on canvas,
Albert Gleizes,
Danseuse espagnole ("Spanish dancer"), 1916, Oil on canvas, Lyon,
Musée des Beaux-Arts
Albert Gleizes,
La Parisienne (Juliette Roche), 1915, Oil on canvas, Lyon, Musée des Beaux-Arts
Henri
Henri Hayden,
Hayden Warsaw, Poland, 1883 – Paris, 1970
Le Jazz-Band, aka Les trois musiciens, 1920, Oil on canvas, Lyon,
Musée des Beaux-Arts, loan from the Georges Pompidou Centre, Musée National d'Art Moderne
Francis Picabia,
Picabia Paris, 1879 – Paris, 1953
Idylle, 1927, Oil on cardboard, Grenoble, Musée de Grenoble
Georges Braque,
Braque Argenteuil, France, 1882 – Paris, 1963
Femme au chevalet ("Woman at easel"), 1936, Oil on canvas,
3. THE BODY MACHINE
Willi Baumeister,
Baumeister Stuttgart, Germany, 1889 – Stuttgart, Federal German Republic, 1955
Archaische Figur, 1921, Oil and cement (applied by spatula) and pencil, on canvas,
Saint-Etienne, Musée d'Art Moderne de Saint-Etienne Métropole
Fernand Léger,
Léger Argentan, France, 1881 – Gif-sur-Yvette, France, 1955
Les deux femmes au bouquet ("Two women with bouquet"), 1921, Oil on canvas,
Giorgio de Chirico,
Chirico Volos, Greece, 1888 – Rome, Italy, 1978
Les Epoux ("The spouses"), 1926, Oil on canvas, Grenoble, Musée de Grenoble
Luigi Russolo
Russolo,
solo Portogruaro, Italy, 1885 – Cerro, Italy, 1947
Synthèse plastique des mouvements d'une femme ("Plastic synthesis of the movements of a woman"),
1912, Oil on canvas, Grenoble, Musée de Grenoble
Fillia (known as Luigi Columbo),
Columbo) Revello, Italy, 1904 – Turin, Italy, 1936
L'Homme et la Femme ("Man and woman"), 1929-1930, Oil on canvas,
Grenoble, Musée de Grenoble
Victor Brauner,
Brauner Piatra Neamt, Romania, 1903 – Paris, 1966
L'Autre version ("The other version"), 1934,Oil on canvas, Saint-Etienne, Musée d'Art Moderne de
Saint-Etienne Métropole, Jacqueline Victor-Brauner donation
4. LOOKING AT THE BODY
Henri Matisse,
Matisse Cateau-Cambrésis, France, 1869 – Nice, France, 1954
L'Antiquaire Georges-Joseph Demotte (1877-1923) ("The antiquarian Georges-Joseph Demotte (18771923)"), 1918, Oil on wood, Lyon, Musée des Beaux-Arts
LeonardLeonard-Tsuguharu Foujita,
Foujita Tokyo, Japan, 1886 – Zürich, Switzerland, 1968
Autoportrait dans l'atelier ("Self-portrait in the studio"), 1926, Oil on canvas,
Gino Severini
Severini,
ni Cortone, Italy, 1883 – Meudon, France, 1966
La Famille du peintre ("The painter's family"), 1936, Oil on canvas,
Georges Rouault,
Rouaul Paris, 1871 – Paris, 1958
Pierrot, c. 1938-1939, Oil on canvas, Lyon, Musée des Beaux-Arts
Jean Hélion,
Hélion Couterne, France, 1904 – Paris, 1987
Figure gothique ("Gothic figure"), 1945, Oil on canvas,
Henri Matisse,
Matisse Le Cateau-Cambrésis, France, 1869 – Nice, France, 1954
Jeune femme en blanc, fond rouge (Modèle allongé, robe blanche), ("Young woman in white, red
background (Reclining model, white dress)"), 1946, Oil on canvas,
Lyon, Musée des Beaux-Arts, loan from the Georges Pompidou Centre, Musée National d'Art Moderne
(gift by Pierre Matisse, 1993)
Ernst Ludwig Kirchner,
Kirchner Aschaffenburg, Germany, 1880 – Frauenkirch, Switzerland, 1938
Portrait de Frau Kirchner et de Frau Miller, c. 1925, Gelatine-silver, baryta paper print, Villeurbanne,
Institut d'Art Contemporain, collection of the Fonds Régional d'Art Contemporain Rhône-Alpes
Ernst Ludwig Kirchner,
Kirchner Aschaffenburg, Germany, 1880 – Frauenkirch, Switzerland, 1938
Untitled, c. 1925, Gelatine-silver, baryta paper print, Villeurbanne, Institut d'Art Contemporain,
collection of the Fonds Régional d'Art Contemporain Rhône-Alpes, on loan from the Musée d'Art
Moderne de Saint-Etienne Métropole
Raoul Hausmann,
Hausmann Vienna, Austria, 1886 – Limoges, France, 1971
Epaules (Vera Broïdo) ("Shoulders (Vera Broïdo)"), c. 1927-1933, Gelatine-silver bromide, baryta paper
print, Saint-Etienne, Musée d'Art Moderne de Saint-Etienne Métropole
Raoul Hausmann,
Nu agenouillé (Vera Broïdo) ("Kneeling nude (Vera Broïdo)"), c. 1927-1933, Gelatine-silver bromide,
baryta paper print, Saint-Etienne, Musée d'Art Moderne de Saint-Etienne Métropole
Raoul Hausmann,
Nu agenouillé (Vera Broïdo) ("Kneeling nude (Vera Broïdo)"), c. 1927-1933, Gelatine-silver bromide,
baryta paper print, Saint-Etienne, Musée d'Art Moderne de Saint-Etienne Métropole
Raoul Hausmann,
Nu de dos sur une plage ("Nude on a beach, seen from behind"), c. 1927-1933
Gelatine-silver bromide, baryta paper print, Saint-Etienne, Musée d'Art Moderne de Saint-Etienne
Métropole
Federico Patellani,
Patellani Monza, Italy, 1911 – Milan, Italy, 1977
Anna Magnani, 1943, Gelatine-silver bromide, baryta paper print, Saint-Etienne, Musée d'Art Moderne
de Saint-Etienne Métropole
Federico Patellani,
Anna Magnani, c. 1943, Gelatine-silver bromide, baryta paper print, Saint-Etienne, Musée d'Art
Federico Patellani,
Anna Magnani, c. 1950, Gelatine-silver bromide, baryta paper print, Saint-Etienne, Musée d'Art
5. THE IMPOSSIBLE IMAGE
Yves Tanguy,
Tanguy Paris, 1900 – Woodbury, United States, 1955
Mains et gants ("Hands and gloves"), 1946, Oil on canvas, Saint-Etienne, Musée d'Art Moderne de
Saint-Etienne Métropole
Jean Fautrier,
Fautrier Paris, 1898 – Châtenay-Malabry, France, 1964
My Fair Lady, 1956, Oil on paper, glued to canvas, Lyon, Musée des Beaux-Arts
Wilfredo Lam,
Lam Sagua la Grande, Cuba, 1902 – Paris, 1982
La Femme au couteau ("Woman with knife"), 1950, Oil on canvas, Lyon, Musée des Beaux-Arts
Victor Brauner,
Brauner Piatra Neamt, Romania, 1903 – Paris, 1966
Les Voies abandonnées ("Abandoned ways"), 1962, Oil on canvas, Lyon, Musée des Beaux-Arts
Francis Bacon,
Bacon Dublin, Ireland, 1909 – Madrid, Spain, 1992
Study for a bullfight, No. 2, 1969, Oil on canvas, Lyon, Musée des Beaux-Arts
6. THE BODY EXHIBITED
Alain Jacquet,
Jacquet Neuilly-sur-Seine, France, 1939 – New York, United States, 2008
Gaby d'Estrées, 1965, Silkscreen transferred to canvas, Saint-Etienne, Musée d'Art Moderne de SaintEtienne Métropole
Jacques Monory,
Monory Born in Paris in 1924. Lives and works in Cachan.
Meurtre n° 1 ("Murder No. 1"), 1968, Oil on canvas, Villeurbanne, Institut d'Art Contemporain,
collection of the Fonds Régional d'Art Contemporain Rhône-Alpes
Andy Warhol,
Warhol Pittsburgh, United States, 1928 – New York, 1987
Self-portrait, 1966, Silkscreen, ink on canvas, Saint-Etienne, Musée d'Art Moderne de Saint-Etienne
Métropole
Arnulf Rainer,
Rainer Born in Baden, Austria, in 1929.
Self-portrait, 1972-1975, Gouache, wash and pastel on photograph,
Denis Oppenheim,
Oppenheim, Born in Mason City, United States, in 1938. Lives and works in New York.
Stage I and II reading position from 2nd degree burn, 1970, Silkscreen on paper,
Gina Pane,
Pane Biarritz, France, 1939 – Paris, 1990
Action Psyché 74, 1974, Colour prints, chromogenic development,
Rhône-Alpes
Annette Messager,
Messager Born in Berck-sur-Mer, France, in 1943. Lives and works in Malakoff, France.
Les tortures volontaires ("Voluntary tortures"), Album-collection No. 18, 1972
Black-and-white prints under glass, with cardboard backing, attached by black adhesive fabric, an
album of photographs covered in wrapping paper and placed in a display cabinet, Villeurbanne, Institut
d'Art Contemporain, collection of the Fonds Régional d'Art Contemporain Rhône-Alpes
Michel Journiac,
Journiac Paris, 1935 – Paris, 1995
24 Heures de la vie d'une femme ordinaire ("24 hours in the life of an ordinary woman"), 1974-1994
1974:
- Le Trottoir (ou le viol) ("The sidewalk (or the rape)")
- La Vaisselle ("The washing-up")
- Le Ménage ("The household")
- Le Couple ("The couple")
1994:
- Le Musée ("The museum")
- Le Portrait ("The portrait")
- Le Piano ("The piano")
- Le Gigolo ("The gigolo")
From the series Réalités et Fantasmes ("Realities and fantasies")
Gelatine-silver, baryta paper print glued to melamined chipboard, Villeurbanne, Institut d'Art
Contemporain, collection of the Fonds Régional d'Art Contemporain Rhône-Alpes
Cindy Sherman,
Sherman Born in Glen Ridge, United States, 1954. Lives and works in New York.
Untitled #106, 1982, Colour print, chromogenic development,
Rhône-Alpes
Cindy Sherman,
Untitled #107, 1982, Colour print, chromogenic development,
Rhône-Alpes
Cindy Sherman,
Untitled, 1981, Colour print, chromogenic development, Saint-Etienne, Musée d'Art Moderne de SaintEtienne Métropole
Orlan,
Orlan Born in Saint-Etienne, France, in 1947.
Cimier ancien de danse Ejaban Nigéria et visage de femme Euro-stéphanoise, Self-hybridation
africaine ("Ancient dance headdress, Ejaban, Nigeria, and face of Euro-Stéphanoise woman, African
self-hybridisation"), 2000, Digital photograph, colour print, Saint-Etienne, Musée d'Art Moderne de
Saint-Etienne Métropole
Orlan,
Orlan Born in Saint-Etienne, France, in 1947.
Femme-girafe Ndebelé souche nguni Zimbabwe et visage de femme Euro-parisienne, Self-hybridation
africaine ("Ndebele giraffe-woman, Nguni origin, Zimbabwe, and face of Euro-Parisian woman, African
self-hybridisation"), 2000
Digital photograph, colour print, Saint-Etienne, Musée d'Art Moderne de Saint-Etienne Métropole
7. APPEARANCE – DISAPPEARANCE
Abramovic and Ulay
Marina Abramovic, born in Belgrade, Yugoslavia, in 1946. Lives and works in New York.
Ulay, born in Solingen, Germany, in 1943. Lives and works in Amsterdam, Netherlands.
Relation in time, 1977, Black-and-white video, with sound on laser disk,
Lyon, Musée d'Art Contemporain.1
Abramovic and Ulay
Light / Dark, 1977, Black-and-white video, with sound on laser disk,
Lyon, Musée d'Art Contemporain
Abramovic and Ulay
Breathing in / Breathing out, 1977, Black-and-white video, with sound on laser disk,
Abramovic and Ulay
Ulay
AAA – AAA, 1978; Black-and-white video, with sound on laser disk,
Lyon, Musée d'Art Contemporain1
Abramovic and Ulay
Nightsea Crossing, 1981-1986
Installation with 22 cibachrome photographs of variable dimensions, a mahogany table, 81 x 210 x 90
cm, 2 wooden, fabric-covered armchairs with padded seats and backs, 78 x 57 x 53 cm each, a pair of
No. 90 tailor's scissors, 1 x 31 x 9 cm;
Jan Fabre,
Fabre Born in Antwerp, Belgium, in 1958. Lives and works in Antwerp.
De Zak, 1980; 8 mm black-and-white film, transferred to DVD,
Jan Fabre,
Hyperventilatie, 1982, 8 mm black-and-white film, transferred to DVD,
Jan Fabre,
Lichaampje, Lichaampje aan de Wand, 1997, 16 mm black-and-white film, transferred to DVD, Lyon,
Musée d'Art Contemporain
Pipilotti Rist,
Rist Born in Grabs, Switzerland, in 1962. Lives and works in Zürich and Basel, Switzerland,
and in Leipzig, Germany.
I'm not The Girl Who Misses Much, 1986, Video on DVD, Villeurbanne, Institut d'Art Contemporain,
collection of the Fonds Régional d'Art Contemporain Rhône-Alpes
Thomas Ruff,
Ruff Born in Zell, Germany, in 1954.
Porträts ("Portraits"), 1983-1985, Colour prints, chromogenic development,
Rhône-Alpes
Valérie Jouve,
Jouve Born in Saint-Etienne, France, in 1964. Lives and works in Paris.
Untitled (Les Personnages avec Andréa Keen) (VJ02 05), 2000-2001, Colour print, chromogenic
development, Villeurbanne, Institut d'Art Contemporain, collection of the Fonds Régional d'Art
Contemporain Rhône-Alpes
Marc Desgrandchamps,
Desgrandchamps Born in Sallanches, France, in 1960. Lives and works in Lyon, France.
Untitled (ref 1480), 2004, Oil on canvas, Lyon, Musée d'Art Contemporain
JeanJean-Michel Alberola
Alberola,
ola Born in Saida, Algeria, in 1953. Lives and works in Paris.
Jeanne, Pierrette, Martin, Gotlieb, Spiess, "Heimatlos" series, 2002, Gouache on paper, Saint-Etienne,
Musée d'Art Moderne de Saint-Etienne Métropole
JeanJean-Michel Alberola,
Alberola Born in Saida, Algeria, in 1953. Lives and works in Paris.
Michael Humboletzky, "Heimatlos" series, 2002, Gouache on paper,
Anna Maria Bergdorf, "Heimatlos" series, 1998-2005, Gouache on paper,
Anna Maria Grether, "Heimatlos" series, 2002, Gouache on paper,
Georg Baselitz,
Baselitz Born in Deutschbaselitz, Germany, in 1938.
Elke VI, October 1976, Oil on canvas, Saint-Etienne, Musée d'Art Moderne de Saint-Etienne Métropole
The body
body-image in museums of RhôneRhône-Alpes
Presentations of partner institutions
Musée de Grenoble
Surrounded by mountains, at the foot of the Alps, Grenoble is at the heart of a
conurbation of more than half a million people.
The Musée de Grenoble, created in 1796, is an important municipal institution.
Situated in the heart of the old city, the building that now houses the collections was
opened in 1994. It provides excellent viewing conditions for its temporary exhibitions,
which draw on its 1,500 works.
The museum owns a unique ensemble of works that cover the history of Western art
from the end of the Middle Ages up to the present day, with an important Egyptian
Antiquities section, and a remarkable collection of ancient art. It was also one of the
first modern art museums to be created in France. The presentation of the
contemporary art collection in a chronological continuity with the past is one of the
original characteristics of this exceptional museum.
Musée d'Art Moderne, SaintSaint-Etienne Métropole
Saint-Etienne is a conurbation of 43 districts, and 400,000 inhabitants, situated in the
west of the Rhône-Alpes region.
The Musée d'Art Moderne had previously been attached to the city's Musée d'Art et
d'Industrie. In its present form, it opened in 1987. It owns more than 15,000 paintings,
sculptures, drawings, photographs and design objects from the 20th and 21st
centuries.
An ambitious acquisition policy, supported by the Casino supermarket chain, and
loans by the State and the regional authorities, along with exceptional gifts by
collectors, have brought into being a museum of international standing.
The museum regularly presents selections from its collections, along with temporary
exhibitions by younger, and more established, contemporary artists, and seminal or
thematic art movements.
Musée d'Art Contemporain de Lyon – MAC LYON
Lyon is at the heart of the Rhône-Alpes region, of which it is also the capital. It is the
core of a conurbation of 1,700,000 inhabitants.
The Musée d'Art Contemporain de Lyon is a showcase for current French and
international art. Its exhibitions embrace all the different forms of modernity: audio
works, installations, choreography, painting, video and performance.
Right from the start, the museum has acquired both individual works and complete
exhibitions, sometimes monumental, produced in close collaboration with artists,
and often in situ. Its collection now comprises more than 1,000 works, which are
presented on a rotating basis.
The museum opened in December 1995 in the city's Cité Internationale, between the
river Rhône and the Tête d'Or park.
Musée des BeauxBeaux-Arts, Lyon
The Musée des Beaux-Arts, Lyon, is one of the leading museums in France, or indeed
Europe. It occupies a 17th-century royal abbey in the centre of the city, and several
parts of the building have retained their original decor.
The museum's exceptional collection occupies seventy rooms, with a panorama of
art representing world-historical civilisations, and also the main schools of Western
art, from Antiquity to the 1980s.
At the start of the 20th century, the museum was a pioneer in its purchase of
Impressionist paintings. In 1998, a donation of 38 paintings from the 19th and 20th
centuries gave an exceptional dimension to its collection of modern art.
The Musée des Beaux-Arts expands its collection regularly, thanks to an active
acquisition policy supported by private-sector partners. Each year, it organises
exhibitions of international scope.
Institut d'Art Contemporain (IAC), Villeurbanne
The Institut d'Art Contemporain, situated in Villeurbanne, adjacent to Lyon, was
created in 1998 following a fusion of the Nouveau Musée and the Fonds Régional
d'Art Contemporain, which maintains collections of works in all the different regions
of France, and whose function is to promote contemporary art.
The IAC is devoted to creation, experimentation and research in art, with
programmes of exhibitions and encounters. It also makes loans of works to other
institutions across the region, and further afield.
The collection comprises 1,600 works, some by artists who have become "historical",
others by members of the younger generation, whose reputation is still growing.
The IAC's exhibitions, whether they present a particular artist's approach or explore
a specific theme, always provide an opportunity to look at the issues involved in
contemporary artistic creativity, in an exhibition space that is continually renewed.
Practical Information
Exhibition Location
Shanghai Art Museum
No.325 NanJing Road (w)
Shanghai 200003 China
Tel: 8621-63272829
Opening hours
From 4 May to 1 June 2010, daily from 9:00 a.m. to 5:00 p.m.
Download visuals available for the press at this address:
http://www.mba-lyon.fr/mba/sections/fr/espace-pro/presse/
Login: Presse / Password: mba69
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The body-image in museums of Rhône image in museums of Rhône

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