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).
For the first time a group of women concrete artists was the subject of an exhibition in Germany. The majority of the twelve artists who were presented have points of contact with one another, the collection of the Kunstmuseum Stuttgart, the City of Stuttgart, or the surrounding region. The show illuminated the life and work along with the educational and exhibition conditions for women before and after 1945 as well as their sponsors and networks. The role of pioneering women gallerists who helped to promote concrete art were also taken into account for the first time. The show traced the sociological aspects of the female biographies. This revealed how biography has influenced the creative development of the artists’ lifework and its public reception.
Over 120 works illustrated the varieties of concrete art ranging between system and intuition. The multidisciplinary work of the pioneers of modern art Sophie Taeuber-Arp and Sonia Delaunay shaped the entire living environment of the 1920s; Marcelle Cahn, Aurelie Nemours, Verena Loewensberg, Geneviève Claisse, and Clara Friedrich-Jezler explore the possibilities of artistic media—color, form, and surface; Vera Molnar has used a computer for the first time to make geometric compositions, and the sculptures by Katarzyna Kobro, Mary Vieira, Charlotte Posenenske and the acoustic works by Lily Greenham call for social, participatory engagement.
The exhibition architecture in the form of showcases and seating was created in cooperation with students from the Architecture, Fine Arts, Industrial Design and Textile Design departments of the Stuttgart State Academy of Art and Design.
Curator Eva-Marina Froitzheim Curatorial Assistant Tina Weingardt
Marcelle Cahn, Geneviève Claisse, Sonia Delaunay, Clara Friedrich-Jezler, Lily Greenham, Katarzyna Kobro, Verena Loewensberg, Vera Molnar, Aurelie Nemours, Charlotte Posenenske, Sophie Taeuber-Arp, Mary Vieira
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
FROM FAUVISM TO SURREALISM. MASTERPIECES FROM THE MUSÉE D’ART MODERNE DE PARIS
February 11, 2022 - May 22, 2022
Musée Guggenheim Bilbao
The Musée d’Art Moderne de Paris (MAM) and the Guggenheim Museum Bilbao present a selection of nearly seventy masterpieces by significant artists that illustrates the history of the MAM collection while offering an overview of the avant-garde artistic movements born in Paris during the first decades of the twentieth century.
The MAM was built on the occasion of the historic Exposition Internationale (1937) to be a home to the collections of modern art of the city of Paris, which expanded rapidly in the following years thanks to major acquisitions of works by important artists of the Parisian art scene. However, MAM was only formalized as a museum in 1961. Patrons were an integral source of support for this project, especially Dr. Maurice Girardin, whose museum bequest of 1953 became the nucleus for the collection of modern masters, including the Fauves, Cubists, and representatives of the School of Paris.
Organized chronologically over three successive sections, from the beginning of the twentieth century to the period following World War II, the selection of works in this exhibition presents an historical perspective of the main protagonists involved in these pivotal artistic movements. The exhibition begins with representative works of Fauvism and Cubism, emphasizing those artists whose audacious freedom revolutionized art and changed traditional perception of landscape, human figure, and still life; followed by the generation of international artists who gave birth to the School of Paris during the interwar period; and finally a presentation of artists involved with Surrealism, which was led by the poet André Breton since its founding in 1924 in its historical home of Paris.
Through the present day, MAM continues its dynamic approach to acquisitions through its artistic and cultural policy of gathering exemplary representations of historical avant-garde movements. Many of these works are presented in Bilbao for the first time in this exhibition.
Curated by Fabrice Hergott, director of the Musée d´Art Moderne de Paris in cooperation with Hélène Leroy, curator of the Musée d´Art Moderne de Paris, and Geaninne Gutiérrez-Guimarães, curator of the Guggenheim Museum Bilbao
Exhibition organized by the Guggenheim Museum Bilbao and the Musée d’Art Moderne de Paris, Paris Musées
Bernar Venet, 1961-2021: 60 Years of Performance, Painting and Sculpture
January 20, 2022 - May 30, 2022
Kunsthalle Berlin, Aéroport de Tempelhof, Allemagne
In the most comprehensive retrospective of Bernar Venet’s work to date, more than 150 works show all facets of his 60-year oeuvre.
Bernar Venet Retrospective, 60 Years of Sculpture, Painting & Performance, 1961—2021. is the first in a series of exhibitions to unfold over the next two years in the Kunsthalle Berlin across the spectacular hangars 2 and 3 of Berlin’s emblematic Tempelhof Airport. The exhibition is the internationally-renowned French artist’s largest and most comprehensive retrospective in the world to date, spanning the entirety of his complex and widely diverse oeuvre as a sculptor, painter, performance artist – and radical conceptual artist. The exhibition will bring together over 150 works, reflecting the artist’s uncompromising approach and natural obsession for constantly shaping his environment through his art.
The retrospective charts the trajectory of the artist’s career from his very beginnings in his studio, which was made available to him by the French army during his military service, and from which the cornerstone of a body of work that has repeatedly called itself into question. Venet has consistently affirmed his concept of art as an attitude which extends far beyond the formal and the spatial. His aspirations to this day are firmly rooted in the unbounded desire to simply never accept the world as it is, instead lending it his own perspective. Landscapes and spaces suddenly assume a new dimension, allowing the observer to differently view – and feel – the energetically charged space in which his signature steel lines, arcsand angles are installed.
The exhibition is a personal homage to Dr. Paul Wember, as Venet pays tribute to the director of the Kaiser Wilhelm Museum in Krefeld.
The Hypothesis of Gravity is a monographic exhibition devoted to the contemporary artist Bernar Venet. This monumental work fills the 1,000 square metres of the luminous Glass Pavilion, reconfiguring the museum’s internal and external landscape.
Inside the Glass Pavilion are around one hundred corten steel beams in the form of Arches, Straight Lines, and Angles. Piled on top of each other in a jumbled accumulation on the floor, these sculptural and linear elements, simultaneously monumental and graphic, have collapsed in on each other.
In this work, Bernar Venet is putting forward the hypothesis of gravity as a formal proposition. Matter here is no longer governed by the forces of nature: the industrial motifs are arranged in a disordered way that recalls the spontaneous organisation of plants. The sculpture releases energy and a fierce beauty, offering visitors a physical and artistic experience of space that is poetic and unpredictable.
The work is a continuation of the artist’s exploration of matter, its capacity to resist and its reaction to gravity, and of the question of entropy, which is central to his work. The practice of piling and collapsing, and the use of random combinations as a form of creation, are essential to Bernar Venet’s work.
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