For the first time, Le Carré d’Art in Nîmes, Viallat’s birthplace, presents an exhibition dedicated to this artist, founder of the Support/Surface movement. The exhibition focuses on recent works by Viallat, taken directly from the artist’s studio. Paintings, sculptures and assemblages are presented to demonstrate the talent of this exceptional colorist.
A founding member of the Supports/Surfaces group and historic figure of French abstract art, Viallat is tirelessly developing a body of work which is at once instantly recognisable and constantly on the move. In addition to his paintings, the exhibition will feature numerous objects, somewhere between sculpture and fortuitous assemblage that are always at once precariously balanced and consummately elegant. Their playful simplicity dialogues constantly with the intense formal and chromatic pleasures of his painting.
CARRÉ D’ART-MUSÉE D’ART CONTEMPORAIN
PLACE DE LA MAISON CARRÉE – 30000 NÎMES
On the occasion of the “Celebración Picasso 1973-2023” program, a total of fifty events celebrating Picasso are being organized around the world, including an exceptional collaboration between the Picasso Museum and the Miró Foundation. Focusing on two themes, the friendship between the two artists and their attachment to Barcelona, the exhibition brings together over 250 works to be discovered at both the Picasso Museum and the Miró Foundation.
The exhibition is organised around six major chronological and thematic axes and will bring together a set of more than 250 works from public and private collections from all around the world with the aim of exhibiting, one beside the other, two artists who transformed 20th century art with their own voice and an unprecedented plastic intensity. From the time they met in 1917 in Barcelona to their last monumental projects, including the episode of the Pavilion of the Spanish Republic in Paris in 1937 or the interest in the ancestral technique of ceramics, the visitor will also discover how these two artists and friends shared many transcendental moments of their careers.
Miró-Picasso forms part of the events of the Picasso Celebration 1973-2023, which includes a total of 50 exhibitions dedicated to Picasso that will take place around the world between the autumn of 2022 and the spring of 2024.
The Fondation Louis Vuitton hosts the first mark Rothko retrospective in France since 1999. Bringing together over a hundred works from major collections, the exhibition chronologically traces Rothko’s fruitful career, from his first figurative canvases to his famous Color-Field all-over canvases.
The exhibition’s co-curator, Christopher Rothko, the artist’s son, offers an intimate look at Rothko’s work.
Judit Reigl 100 | Judit Reigl and the Second School of Paris
Octobre 4th 2023 - January 28 2024
To celebrate the centenary of Judit Reigl’s birth, the Mucsarnok in Budapest is presenting a collection of over 60 works representing the artist’s fine career. The exhibition retraces Reigl’s major periods, including her rare figurative paintings executed during her stay in Rome. It will also be an opportunity to rediscover the impressive canvases in Jean Claude Gandur’s collection, commemorating the Second School of Paris, a movement to which Reigl was associated with as soon as she arrived in the capital in the 50s.
The Musée d’Art Moderne de Paris presents a major retrospective dedicated to Nicolas de Staël, an emblematic figure on the post-war art scene. Bringing together over 200 works, including some never-before-seen pieces, the exhibition chronologically traces the artist’s development towards the pure, singular abstraction.
The exhibition will run at the Fondation de l’Hermitage in Lausanne from February 9 to June 9, 2024.
Echoing Claude Monet’s Water Lilies, on September 12, 2023, the Musée de l’Orangerie presented Sam Francis’ very large-format In Lovely Blueness, on a three-year loan from the Musée National d’Art Moderne / Centre de Création Industrielle, to which it had been donated in 1977 by the Scaler Foundation with contributions from Éric and Sylvie Boissonnas.
Sam Francis arrived in Paris in 1950 and stayed for a decade, during which time his work gained recognition. The format of this painting was inspired by Monet’s Water Lilies, which he discovered when the museum reopened in 1953. He titled the work In Lovely Blueness, recalling a poem by Hölderlin (In Lieblicher Bläue, 1823). Blue of the sky, as the poet wrote, blue of the ocean too, according to Sam Francis, this color reveals the lyricism of his view of the world.
The exhibition “The Vertical Knot”, devoted to the artist Jorge Eduardo Eielson (Lima, 1924 – Milan, 2006), offers the chance to examine his artistic output from the end of the fifties to the last works he created. Eielson is one of the most radical visual artists and poets, in the fullest sense of the word, as well as multifaceted, with different ways of questioning the world we live in through a synthesis of graphic pieces and cultural references.
This exhibition project, retrospective in nature and unprecedented in Europe, explores the artist’s relationship with the literary field, especially poetry, and that of visual arts. A fruitful dialogue featuring his thoughts on language. Language taken as a structure in which the symbol points equally to a beginning and an end, language that responds to graphic and visual codes that speak both to reason and to intuition.
Jorge Eduardo Eielson’s work is a corpus of worlds that converge and dialogue: the pre-Columbian past and the blue of a certain Mediterranean mythology, writing and plastic art, the concreteness of the sign and the infinity of space.
Curator : Imma Prieto
Coproduction with Es Baluard Museum of Contemporary Art of Palma
VASARELY BEFORE THE OP: European abstraction, 1945-1955
17 June to 15 October 2023
Fondation Vasarely, Aix-En-Provence
The Vasarely Foundation continues its partnership with the Centre Pompidou, Musée national d’art moderne-Centre de création industrielle for the 4th consecutive year, with the summer exhibition “Vasarely avant l’Op, une abstraction européenne, 1945-1955”. From June 17 to October 15, 2023, a selection of 35 major works on loan from the Paris museum, the Musée départemental Matisse, the Musée d’art moderne de la ville de Paris, the Hartung-Bergman Foundation, the Marta Pan Foundation, the Denise René Gallery and private collections will be presented in Aix-en-Provence, at the Vasarely Foundation for four months.
Exhibition with works by Agam, Jean-Michel Atlan, André Bloc, Simone Boisecq, Robert Breer, Geneviève Claisse, Jean Dewasne, Jean Deyrolle, Cesar Domela, Etienne Gilioli, Hans Hartung, Auguste Herbin, Robert Jacobsen, Berto Lardera, Alberto Magnelli, Richard Mortensen, Pablo Palazuelo, Marta Pan, Ideo Pantaleoni, Alicia Penalba, Edgar Pillet, Serge Poliakoff, Gérard Schneider, Pierre Soulages, Victor Vasarely and Nicolaas Warb.
Curator of the exhibition: Michel Gauthier
An exhibition in partnership with the Musée National d’Art Moderne Centre Pompidou
In the summer of 2023, the Fondation Marguerite et Aimé Maeght will present a monographic exhibition dedicated to the great artist Jean Paul Riopelle as part of “Riopelle 100”, the centenary of his birth. The exhibition will show Riopelle’s work as it has never been seen before – abstract and figurative painting, sculpture, ceramics, tapestry, engraving – thanks to numerous exclusive loans and the curatorship of his daughter, Yseult Riopelle.
This exhibition at the Fondation is the occasion for a special summer programme: concerts, film screenings on Jean Paul Riopelle, and the great return of dance to the Fondation with Noé Soulier’s “Passages” in sets that Riopelle had imagined for Merce Cunningham in 1967.
The Musée d’Art Moderne of Paris is presenting the first major retrospective devoted to Norwegian artist Anna-Eva Bergman (1909–1987). This key figure in postwar painting was a free, visionary artist whose work, characterised by the use of gold and silver leaf, is a powerful celebration of the beauty of nature, the landscapes of the Far North, and the Mediterranean.
Exhibited all over the world during her lifetime (notably at the Musée d’Art Moderne of Paris in 1977, but also in Italy, Germany and Norway), Anna-Eva Bergman nonetheless remains under-appreciated in Europe today. Her work, with its singular painterly language based on a vocabulary of pure forms, merits considerably more attention in art history terms, alongside the work of such other great women artists as her contemporaries Hilma af Klint, Georgia O’Keeffe and Sonia Delaunay.
With its panorama of her entire output, the exhibition Anna-Eva Bergman, A Journey Within brings a decisively new slant to the rediscovery of this major artist. Comprising more than 200 works, the exhibition follows in the wake of MAM’s October 2019 retrospective devoted to Bergman’s husband Hans Hartung.
As part of the exhibition, the museum is presenting N°2-1964 Stèle, acquired during the artist’s lifetime, as well as the hundred or so works making up the Hartung-Bergman’s Fondation remarkable donation to MAM in 2017. This ensemble is rounded off by photographs, drawings and archival documents from the Fondation’s collections in Antibes, many of them never shown before.
In the Paris Musées catalogue edited by Hélène Leroy essays by French and Norwegian specialists detail the wealth of media used by Bergman and the highly individual deployment of metal leaf – gold, silver, aluminium, tin, copper, lead, bismuth – that became her maker’s mark. Other essays look into Bergman’s relationship to drawing and caricature, architecture and the golden mean, together with the exhibition and reception of her work after the war, and her kinship with the great masters of the past and such contemporaries such as Barnett Newman, Ad Reinhardt and Mark Rothko.
The Musée d’Art Moderne of Paris has collaborated closely on this project with the Fondation Hartung-Bergman in Antibes and the Nasjonalmuseet in Oslo, which will in turn devote an exhibition to Anna-Eva Bergman from 16 November 2023 to 25 February 2024.
In homage to Germaine Richier, the first female sculptor exhibited in the National Museum of Modern Art, in 1956, this retrospective brings together nearly 200 works – sculptures, engravings and drawings.
Drawing on previously unpublished research, the exhibition demonstrates the degree to which Germaine Richier occupies a central position in the history of modern sculpture, as a link between Rodin and the first César. Having trained in the tradition of Auguste Rodin and Antoine Bourdelle, over a period of little more than 25 years, between the 1930s and her premature passing in 1959, Germaine Richier asserted herself as profoundly original and radical in scarcely more than 25 years. The layout of the exhibition traces her artistic trajectory in chronological order, highlighting the major themes (the human, the animal, myths) that nurtured her practice as a sculptor. It reveals how Richier effected a revitalisation of the figure, forging new images of men and women in the post-war period.
Curator : Ariane Coulondre
The exhibition is organised by the Centre Pompidou, Paris, in collaboration with the Musée Fabre, Montpellier.
Ouvert en 1982, grâce au legs de Valentine Prax, peintre et épouse du sculpteur Ossip Zadkine, le musée Zadkine célèbre cette année son quarantième anniversaire. À l’occasion de cet événement, le musée présente l’exposition Ossip Zadkine. Une vie d’ateliers qui entraîne le visiteur au cœur de l’atelier des deux artistes. Près d’une centaine d’œuvres en constitue le parcours, rassemblant une belle sélection de chefs-d’œuvre de Zadkine, mais aussi des peintures de Prax rarement montrées et de nombreuses photographies inédites, certaines de photographes de renom tels André Kertész ou Marc Vaux. L’exposition bénéficie également d’un prêt exceptionnel du musée de Grenoble, une Tête de jeune fille, parmi les premières têtes taillées dans le marbre par Zadkine à la Ruche. Le parcours occupe l’ensemble des salles du musée dans une scénographie renouvelée, qui évoque « l’esprit d’atelier ».
Pendant quarante ans, les murs et les arbres de cette demeure ont été témoins du quotidien et de la création du couple d’artistes. Depuis quatre décennies, le musée Zadkine conserve et valorise leur œuvre respectif, et plus particulièrement celui du sculpteur, artisan du renouveau de la sculpture au XXe siècle. À la fois lieu physique et espace mental, autant nid, abri que poste d’observation, cette maison-atelier se déploie comme habitacle des œuvres. Scène de la création, elle sert aussi de cadre aux mémoires de Zadkine et de Prax, et de décor aux nombreuses photographies qui font partie des archives du musée aujourd’hui.
L’exposition Ossip Zadkine. Une vie d’ateliers est l’occasion de révéler une partie de ces précieux témoignages et ainsi d’offrir au public une évocation incarnée de l’atelier des deux artistes. Dans un jeu de miroir, les photographies sont associées à des sculptures, des peintures et des dessins de Zadkine et de Prax, principalement issus de la collection du musée, pour faire apparaître leur lieu de vie et de création comme un tout ; car « autant qu’un morceau du monde, la maison est un monde en soi : celui que son propriétaire porte dans sa tête et qu’elle matérialise » (Mona Chollet, Chez soi : une odyssée de l’espace domestique, 2015).
Depuis les premiers ateliers que Zadkine a peuplé de ses sculptures dès son arrivée à Paris en 1910 jusqu’à l’atelier du jardin que le sculpteur s’est fait construire après-guerre, le parcours de l’exposition suit un principe chrono-thématique. Une partie introductive raconte les premiers ateliers dans lesquels Zadkine a vécu et travaillé, au cœur du quartier Montparnasse. Le second chapitre est consacré à la maison-atelier de la rue d’Assas où il s’installe en 1928 avec Valentine Prax, qu’il a épousée en 1920. La troisième et dernière section propose de se plonger dans le processus de création et l’effervescence de la vie de l’atelier.
Cécilie Champy-Vinas, directrice du musée Zadkine;
Pauline Créteur, chargée de recherche à la BnF
The exhibition Paris et nulle part ailleurs (Paris and Nowhere Else) immerses the public in the years of post-war tumult that saw the emergence of new artistic visions, in the fields of abstraction, figuration and kinetic art, between 1945 and 1972.
In the first half of the 20th century, Paris was the world capital of the arts, a hotbed for avant-garde movements, attracting artists and intellectuals from across the world. After World War 2, despite the increasing appeal of New York, Paris and – for many people – nowhere else, was still the place you had to go to be trained, to create, to exhibit, to compare your work with that of others, to write the very history of art.
Of the 15,000 artists active in Paris at this time, 60 to 65% of them were foreigners. Whether they spent a few months, a few years, left and came back, or settled there definitively, why did these artists come? How was their work impacted by this change in environment, how does it express that? Are their migratory paths similar to those of their compatriots? Paris et nulle part ailleurs examines 24 artists of various origins (Europe, Africa, Latin America, USA, Asia) who came to Paris and whose work helps us grasp the key issues of migration.
Organised into four themes: going into exile, blending home culture and host culture, reacting to the strangeness of the world they were discovering, building a universal language without borders, the exhibition covers the motivations for leaving, the experience of settling in, socializing, and a sometimes difficult everyday life in a more or less welcoming and cosmopolitan city, now their new home..
The exhibition features around one hundred works from private and public collections – drawings, sculptures, paintings, collages – by Shafic Abboud (Lebanon), Eduardo Arroyo (Spain), André Cadere (Romania), Ahmed Cherkaoui (Morocco), Carlos Cruz-Diez (Vénezuela), Dado (Montenegro), Erró (Iceland), Tetsumi Kudo (Japan), Wifredo Lam (Cuba), Julio Le Parc (Argentina), Milvia Maglione (Italy), Roberto Matta (Chile), Joan Mitchell (USA), Véra Molnar (Hungary), Iba N’Diaye (Senegal), Alicia Penalba (Argentina), Judit Reigl (Hungary), Antonio Seguí (Argentina), Jesús Rafael Soto (Venezuela), Daniel Spoerri (Romania), Hervé Télémaque (Haiti), Victor Vasarely (Hungary), Maria Helena Vieira da Silva (Portugal), Zao Wou-Ki (China).
At the heart of Abstraction Works from the collection of the Fondation Gandur pour l’Art
July 2 - November 22, 2022
The exhibition at the Fondation Maeght will show works from the collection of the Fondation Gandur pour l’Art from the 2nd of July until the 20th of November 2022 and offers an immersion in the vibrant creation of the years 1945 to 1980.
Home to a collection of more than 13,000 works, Fondation Maeght is always keen and honoured to showcase other collections, some of which are rarely accessible to the public, as it has consistently done in the past. This summer, from 2 July to 20 November, it is unveiling some 120 works from the Fondation Gandur pour l’Art (Geneva) and offering a riveting immersion into abstraction from the 1950s to the 1980s.
In the wake of Second World War, as many European artists exiled in the United States headed back to France, Paris regained its status as a hotbed of creativity and a global cultural capital. Driven by a thirst for freedom and a craving to rethink painting in the post-war years, artists from all over the world returned to their studios, abandoned during the German occupation, and engaged in an era of creative effervescence, be it in the arts, literature or filmmaking. While the breakthroughs by the vanguards of the first half of the 20th century were an invaluable post-war stimulus, abstract art renewed itself from the most gestural expression to the interrogation of materials, mediums and techniques.
The Fondation Gandur pour l’Art’s outstanding collection displayed at Fondation Maeght reveals the variety of forms em- braced by abstraction during these creative years. Works by Hans Hartung, Martin Barré, Simon Hantaï or Pierre Soulag- es trace the evolution of non-figurative art over four decades. In a thematic and chronological layout, the exhibition invites the viewer to discover lyrical and gestural abstraction by Georges Mathieu, abstract expressionism by Sam Francis and Joan Mitchell, geometric abstraction by Victor Vasarely, kinetic works by Alexander Calder and Jean Tinguely, through to the rethinking of painting by the Supports/Surfaces group. The 1980s ushered in an era of revitalized abstract art, building on the hectic experimentation of earlier years.
Guest curator: Yan Schubert, the Gandur Collection pour l’Art curato
Embrassant une vaste période, des années 1910 aux années 1960, l’histoire du modernisme portugais, dont le poète Fernando Pessoa fut la figure tutélaire et son principal fondateur, se déroule entre le Portugal et Paris : la capitale française, centre artistique international depuis le XIXe siècle, attire les Portugais en quête de modernité.
Cette histoire méconnue s’insère dans un contexte international bien plus vaste et met en lumière, à partir d’artistes de générations et de styles différents, un modernisme de tous les pays, de tous les continents.
Avec plus d’une centaine d’œuvres d’artistes portugais célèbres ou peu connus en France, mais qui tous ont contribué à l’art moderne lusitanien comme international, cette exposition nous amène à déplacer notre regard, à le faire voyager, et à penser l’histoire de l’art en dehors de ses grandes figures.
Sont exposées, les œuvres de Sarah Affonso, José de Almada Negreiros, Mário Cesariny, António Dacosta, Robert Delaunay, Sonia Delaunay, Ofélia Marques, Santa Rita Pintor, Amadeo de Souza-Cardoso, Árpád Szenes, Eduardo Viana, Maria Helena Vieira da Silva.
With Anna-Eva-Bergman as with Hans Hartung, the fact of archiving and archiving everything (sketches, letters, photographs, press…) was at the heart of their life and their work. It is one of the common dominators of the two artists, who are otherwise so autonomous in their aesthetic approach. The Hartung Bergman Foundation which emanates from their will is the embodiment of this obsession. Rich in an exceptional collection of canvases, drawings, notebooks, innumerable documents, the Foundation makes it possible to trace almost from day to day the intertwining of the creative process and the daily existence of this couple of painters among the most outstanding. and originals of the modern period. From May 11 to September 30, 2022, the exhibition “Les archives de la création” is a dive into the secrets of their production, whether free gesture, mathematical meticulousness, sometimes even the memory of an ancient craft. From a simple tool to the entire structure of the workshop, passing through contemporary or classical sources of inspiration, the “factory” of their respective and common universes is revealed here for the first time in the sumptuous setting of their villa in Antibes. .
To celebrate the centenary of Simon Hantaï’s birth (1922-2008), Fondation Louis Vuitton is organising an unprecedented retrospective exhibition curated by Anne Baldassari. It includes more than 130 of Simon Hantaï’s works, many of which have never before been shown, and the majority of which are large format works from 1957 to 2000.
Simultaneously, the Fondation will present La couleur en fugue exhibition, in which paint is free to escape the limited scope of the canvas.
The starting point for the didactic circuit is the painting Écriture rose (1958 – 1959, which was donated to the government by the artist. Musée national d’art moderne / Pompidou Centre). It goes on to explore the successive periods of his work: Peintures à signes, Monochromes, Mariales, Catamurons, Panses, Meuns, Études, Blancs, Tabulas, Peintures polychromes, Sérigraphies and Laissées, before concluding with the “last workshop”.
Hantaï’s works are shown alongside the works of other major artists that had an influence on the artist, including Henri Matisse and Jackson Pollock, whose artistic influences were decisive in Hantaï’s development, and Michel Parmentier and Daniel Buren, who were Hantaï’s peers in the 1960s scene at the Cité des Fleurs. An unprecedented in situ intervention by Daniel Buren, called Mur(s) pour Simon (“Wall(s) for Simon”) and designed as a tribute to Hantaï, is on display.
Curator and manager of the catalogue: Anne Baldassari
Fondation Louis Vuitton 8, Avenue du Mahatma Gandhi Bois de Boulogne, 75116 Paris
“La Luce del Nero” is the title of the upcoming exhibition hosted in one of the two museums of Fondazione Burri, the Ex Seccatoi del Tabacco in Città di Castello, Italy. Here, the color Black shifts from the concept of dark and absence to becoming an actual color. This event has been designed to be inclusive for a public with visual impairment, besides offering an immediate and highly stimulating sensorial experience to all visitors.
Bruno Corà, curator of this exhibition and President of Fondazione Burri, highlights how Black “between the Middle Ages and the XVII century was no longer considered a color. Artists restored its chromatic value and among them, in particular Kazimir Malevič, author of the well-known “Black Square on white background” (1915), a print of which is present in our exhibition”.
Among the artists of the second half of the XX century, Burri is the one who most used the color Black, to the extent of painting the Ex Seccatoi del Tabacco completely black. These industrial buildings became the museum hosting its major pictorial cycles.
Together with Burri, other artists included in this exhibition created artworks using black, such as Agnetti, Bassiri, Bendini, Castellani, Fontana, Hartung, Isgrò, Kounellis, Lo Savio, Morris, Nevelson, Nunzio, Parmiggiani, Schifano, Soulages and Tàpies. Each one of them with different modalities, intentions and meaning, all capable of arousing in the visitor different feelings, perceptions, sensations. Eventually, poets feelings as well are turned on Black and caecitas to explain the inner gaze of the psychic and poetic look in opposition to the actual vision.
The exhibition “La Luce del Nero” has been organized within the framework of the Creative Europe programme, through the “Beam Up” project (Blind Engagement In Accessible Museum Projects), which addresses the issue of accessibility of contemporary art for a public with visual impairment at an international and inclusive level.
This exhibition crowns the reopening of the venues of the Ex Seccatoi del Tabacco after 7 years of constructions, which fully upgraded these exhibition areas. As stated by Mr. Corà “in the world, there are very few artist’s museums such as the Burri museum in Città di Castello, which can pride itself on having a museum itinerary that starts from Palazzo Albizzini and ends to the Ex Seccatoi del Tabacco without fearing comparisons with any other museum”.
Auguste Herbin, Geneviève Claisse ou encore Jean Dewasne, artistes abstraits géométriques originaires du Nord et férus de sciences exactes, dont le musée départemental Matisse possède une importante collection, ont utilisé le cercle comme un élément récurrent de composition.
Le travail de ces artistes entre en résonance avec les photographies que le spationaute français Thomas Pesquet a faites pendant ses loisirs à bord de la Station spatiale internationale (ISS). Quand il nous montre la Terre depuis l’espace, nous sommes frappés par l’extrême beauté de notre planète. De même, quand il photographie son environnement, l’absence de pesanteur donne à son Habitacle une sensation de sphère ou de cercle.
Cette exposition établit un rapprochement de ces deux visions : celle de l’artiste qui s’inspire de la science et celle du scientifique qui traduit sa fascination de l’espace par la photographie. L’une et l’autre dialoguent et se complètent mutuellement.
Ce projet a été enrichi par des prêts émanant de deux autres musées du Département du Nord : le Forum antique de Bavay par celui de statuettes de Mars et d’Atlas, le Musverre par celui d’œuvres contemporaines. Le Forum départemental des Sciences nous a en outre apporté un précieux concours scientifique et pédagogique, sans oublier le partenariat avec l’Abbaye de Vaucelles.
L’exposition met en regard, dans un dialogue qui se veut aussi formel que poétique :
21 œuvres d’Auguste Herbin,
19 œuvres de Geneviève Claisse,
5 œuvres de Jean Dewasne dont le monumental Habitacle rouge,
Un bronze de Joan Miró,
Quelques extraits de revues et de livres illustrés édités par Tériade et photographies des artistes exposés,
2 statuettes antiques prêtées par le Forum antique de Bavay,
9 œuvres contemporaines prêtées par le MusVerre,
32 photographies et une courte vidéo de Thomas Pesquet et de la NASA, vues intérieures et extérieures de la Station spatiale internationale (ISS), de la planète Terre et d’aurores boréales.
At the end of World War II, Jean Dubuffet (1901–1985) began exhibiting paintings that defied entrenched artistic values. He rejected principles of decorum and classical beauty, along with pretentions of expertise. Instead, he looked to the commonplace and the unheralded, employing crude materials, mundane subjects, and a style that spurned any outward sign of academic training. In this approach, Dubuffet was challenging norms that he believed obstructed authentic expression and devalued everyday experience. However, his goal was not only to reveal how threadbare cultural conventions were; he also wanted to illustrate the vitality of life freed from them. As he once claimed, “I would like people to see my work as a rehabilitation of scorned values and . . . make no mistake about it, a work of ardent celebration.”
Throughout his career, Dubuffet’s output was characterized by this celebratory impulse, as much as it was by his commitment to critiquing culture. His work of the 1940s and 1950s invited audiences to fundamentally reconsider the concept of beauty, and it demonstrated how worthy of admiration ordinary things could be—whether rocks, crumpled aluminum foil, or thickened paint. From the 1960s through the mid-1970s, Dubuffet showed the potential for adventure, creativity, and discovery that can be unleashed by diving into fantasy. For the last decade of his life, he strove to inspire a rethinking of the most basic structures of the mind, as he imagined the possibilities of approaching the world without the constraints of learned categories. This exhibition, drawn entirely from the collections of the Solomon R. Guggenheim Museum, New York, and the Peggy Guggenheim Collection, Venice, offers a survey of his production from these defining decades. It seeks to affirm that across Dubuffet’s shifts in focus, he kept his ever-evolving project grounded in its dedication to sharing new and revitalizing perspectives with viewers.
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