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  • Exposition - BASQUIAT - MaM - Paris.fr
    Documenta 7 in Kassel Germany and in the following year he became the youngest artist and the first black one ever to show at the Whitney Biennial in New York In 1984 he began co creating paintings with Andy Warhol continuing until the latter s death in 1987 At the time Conceptualism and Minimalism were the austerely dominant avant garde currents in American art Basquiat s coming brought a break with this trend and saw him become the star of the Neo Expressionist wave This unexpected revival of a painting espousing innocence and spontaneity deliberate lack of skill and unrestrained use of violent figuration lasted until the early 1980s Basquiat had always described himself as influenced by his everyday urban environment and the roots of his primitivist expressionist practice are to be found in the postwar European painting of Jean Dubuffet refractory to stifling culture and Cobra as well as the great American tradition extending from Robert Rauschenberg to Cy Twombly His premature death in 1988 left behind it a substantial oeuvre pervaded by death racism and his personal fate With its mix of star system and revolt his explosive incendiary life was the inspiration for Basquiat directed by filmmaker painter Julian Schnabel in 1996 In 1984 the Musée d Art Moderne de la Ville de Paris presented Jean Michel Basquiat in the group exhibition Free Figuration France USA in which his work appeared alongside of that of Robert Combas Hervé Di Rosa and Keith Haring Comprising a hundred major pieces paintings drawings objects from numerous museums and private collections in the United States and Europe this retrospective will allow the viewer a chronological overview of the career and the chance to assess Basquiat s importance to art and art history in the post 80s years The first exhibition on

    Original URL path: http://www.mam.paris.fr/en/node/243 (2015-11-09)
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  • Exposition - Etats de l'artifice - MaM - Paris.fr
    freedoms and their illusions today many artists employ reflective strategies marked by formal experimentation often incorporating references to the styles or events of the Soviet past In her videos Olga Chernysheva frames accidental performances filmed in documentary situations with a reflective poetic structure often reminiscent of genre films The artist reflects on the archetypical imagery of collective performances from the Soviet visual canon such as demonstrations or popular public celebrations Her camera however is interested in the failures of their artifices today registering and revealing the mutations of the new and old symbolic orders In Victor Alimpliev s elaborate films play on a tension between their titles and the rigorously constructed visual scenes always meticulously directed and acted by professional performers Carrying subtle allusions to classical iconography these titles such as To Trample Down an Arable Land or Weak Rot Front are translated into a drama of the collective movements of the performers bodies Made in constant interaction with the camera the slightest movement or gesture of the performers has a dramatized appeal based on a persistent tension of collaboration and coordination In their films the FFC Group stages improbable encounters and impossible dialogues between ballet dancers and unemployed people or between two generations debating the use of the communist heritage today Very often the origin of their videos are workshops whose participants become actors and performers These forms of staging for the camera allows the group to inquiry into the contemporary resonance of certain Soviet myths The Chto Delat Group creates pieces of theater for the camera emphasizing the artifice of play production Their theatrical videos follow quite faithfully the Brechtian model of epic plays while the camera reveals details of the stage construction The choice of Brechtian aesthetics isn t accidental but is dictated by the Group s

    Original URL path: http://www.mam.paris.fr/en/expositions/etats-de-l-artifice (2015-11-09)
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  • Exposition - Seconde main - MaM - Paris.fr
    Indeed many artists have reproduced and reinterpreted the same artists such as Duchamp or Warhol who were the first to separate the question of authenticity from that of originality These works which at first glance may seem identical are often fundamentally different General Idea Gavin Turk In the context of the globalized art market today s artists are expanding upon these practices to include having their works produced in China or delegating their production to artisans Jonathan Monk Zheng Guogu Furthermore various strategies of originality unlike the work of forgers reveal the formal differences from one copy to another such as the choice of the work the title the technical medium the scale Maurizio Cattelan Richard Pettibone the presence or absence of a signature Karina Bisch These distinctions therefore facilitate the emergence of the second I or author whether individual or collective who is gradually recognized and integrated into the history of art The artworks from the museum s collection are thus confronted to works that have been borrowed especially for Seconde main as well as pieces brought from storage for the occasion some of which had formerly been attributed to a major artist The exhibition Seconde main proposes to thwart the public s expectations and habits regarding attribution chronology and relations of filiation Visitors are invited to take a critical look at what they see and to associate different generations of artists like so many veiled anachronisms for example Kasimir Malevich reappearing in Belgrade in 1985 Seconde main raises the question of the always significant choice of reproductions and their contexts whether it be former Eastern Europe or in a more international context like Braco Dimitrijevic s drippings or the West as in France with André Raffray Ernest T or Richard Baquié engaging with Duchamp or Picabia the United States mainly offering replicas of European avant garde immigrants or Pop Art as well as Asia where the relationship to fakes and copies is historically and culturally quite different for example the Chinese Yang Zhenzhong printing out a Cindy Sherman photograph found on the Internet or Gabriele di Matteo commissioning Italian artisans to do replicas of best selling contemporary Chinese paintings in a nearly perfect jeu de miroir If originality in the sense of singularity and copy can coexist thereby blurring boundaries and identities these artists are often driven by a variety of motives Their practices can be punctual or regular subtle or obvious Whether disrupting the linearity of official Western art history discourse or disturbing the often blind and amnesiac way it operates these postures can be viewed as philosophical and political stands against the male hegemony of the art world or as critical of the art market mechanisms based on the signature for example Rather than art for art s sake this art about art far from being decadent or incestuous engages with appropriation as camouflage and potential resistance i e Claire Fontaine s concept of the readymade artist The issue of diffusion Pierre Leguillon may be regarded

    Original URL path: http://www.mam.paris.fr/en/node/244 (2015-11-09)
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  • Exposition - DYNASTY - MaM - Paris.fr
    Copyright Pierre Antoine Musée d Art moderne de la Ville de Paris ARC Palais de Tokyo 2010 Daniel Dewar Gregory Gicquel Mammoth and poodle 2010 Courtesy of the artist Copyright Pierre Antoine Musée d Art moderne de la Ville de Paris ARC Palais de Tokyo 2010 Florian Pugnaire Shadow boxing 1 2010 Courtesy of the artist Copyright Pierre Antoine Musée d Art moderne de la Ville de Paris ARC Palais de Tokyo 2010 Théo Mercier Le Solitaire 2010 Courtesy of the artist Copyright Pierre Antoine Musée d Art moderne de la Ville de Paris ARC Palais de Tokyo 2010 Vincent Mauger Sans titre 2010 Courtesy of the artist Copyright Pierre Antoine Musée d Art moderne de la Ville de Paris ARC Palais de Tokyo 2010 Yuhsin U Chang Poussière dans le musée d Art moderne 2010 Courtesy of the artist Copyright Pierre Antoine Musée d Art moderne de la Ville de Paris ARC Palais de Tokyo 2010 Nicolas Milhé Respublica 2009 Courtesy of the artist Copyright Pierre Antoine Musée d Art moderne de la Ville de Paris ARC Palais de Tokyo 2010 Following the guidelines laid down by Fabrice Hergott Marc Olivier Wahler and their specialist teams each artist is invited to show two interrelated works one at the Musée d Art Moderne de la Ville de Paris ARC and the other at the Palais de Tokyo The intention is to underscore the complementarity between the two institutions while providing the artists with a unique opportunity to extend their range and outreach Stereo symmetry dialectic embracing a host of media and stylistic approaches the project aims at highlighting these artists energy while also pointing up their questionings ambiguities and paradoxes Dynasty is thus a logical extension of the forward looking agenda pursued since 1977 by ARC at the Musée d

    Original URL path: http://www.mam.paris.fr/en/node/242 (2015-11-09)
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  • RAOUL DUFY - MaM - Paris.fr
    by Raoul Dufy for the 1937 International Art and Technology Exhibition Originally installed in the Pavillon de la Lumière built by Mallet Stevens it depicts the history of electricity through its applications and inventors To promote the role of electricity in the life of the nation and especially the crucial social role played by electric light was the brief for the commission given to Dufy in July 1936 by the

    Original URL path: http://www.mam.paris.fr/en/node/269 (2015-11-09)
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  • LA FÉE ÉLECTRICITÉ - MaM - Paris.fr
    Mallet Stevens sur le Champs de Mars Il se plie au programme du commanditaire la Compagnie parisienne de Distribution d Electricité pour raconter La Fée Electricité à partir du Rerum natura de Lucrèce Dans cette composition de 10 mètres sur 60 se déploie de droite à gauche sur deux registres principaux l histoire de l électricité et de ses applications depuis les premières observations jusqu aux réalisations techniques les plus modernes Dans la partie supérieure se déploie un paysage changeant où sont disséminés les thèmes favoris du peintre voiliers nuées d oiseaux batteuse bal du 14 juillet Le long du registre inférieur sont disposés les portraits de 110 savants et inventeurs ayant contribué au développement de l électricité Mêlant la mythologie et les allégories à l exactitude historique et à la description technologique Dufy joue sur l opposition des contraires Au centre les dieux de l Olympe et les générateurs de la centrale électrique reliés par la foudre de Zeus la nature primordiale et les architectures les travaux et les jours et les machines modernes Formellement aussi les registres de couleurs chaudes s opposent aux froides avec les dominantes chromatiques nettement différenciées selon les zones Ce double cheminement narratif se résout en apothéose avec l envol d Iris messagère des dieux fille d Electra qui vole dans la lumière au dessus d un orchestre et des capitales du Monde diffusant toutes les teintes du prisme La méthode utilisée par Dufy permit une grande rapidité d exécution 10 mois depuis la conception à la réalisation grâce à un médium mis au point par le chimiste Jacques Maroger qui permettait de retirer aux pigments leur opacité et de retrouver les secrets perdus de la peinture à l huile des anciens leurs couleurs brillantes ductiles transparentes En réalité ce fa presto dissimule un

    Original URL path: http://www.mam.paris.fr/fr/oeuvre/la-fee-electricite-raoul-dufy (2015-11-09)
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  • CHRISTIAN BOLTANSKI - MaM - Paris.fr
    of iconic works by Boltanski tracing the evolution of his style They include The Storeroom of the Children s Museum I and II 1989 evoking the fragility of memory and life Shadows Theatre 1984 1997 whose poetic style conjures up the danse macabre of the Middle Ages and children s puppet games and Telephone subscribers 2000 in which thousands of names listed in telephone directories worldwide present a condensed version

    Original URL path: http://www.mam.paris.fr/en/node/284 (2015-11-09)
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  • RESERVE DU MUSEE DES ENFANTS I ET II - MaM - Paris.fr
    éclairage est constitué de 28 lampes de bureau fixées au sommet des étagères Tissus métal lampes Premier mur 300 x 495 cm deuxième mur 300 x 511 cm troisième mur 300 x 409 cm Réserve du Musée des Enfants II Installation de 55 photographies encadrées avec éclairage Photographie noir et blanc lampes ADAGP Paris 2010 Christophe Fouin La Réserve du musée des enfants I et II réalisée à l occasion de l exposition Histoires de Musée en 1989 Dans un espace au sous sol du musée sont accumulés sur des étagères métalliques des vêtements d enfants éclairées seulement par de petites lampes accrochées aux portants des étagères Cette présentation est complétée par un ensemble de photographies noir et blanc d enfants anonymes extraites de journaux et de magazines également faiblement éclairées Rappel des corps absents souvenir d une enfance à jamais enfuie allusion aux tragédies de l Histoire reliques de petits disparus autant d interprétations possibles qui reprennent une des thématiques essentielles de l œuvre de Boltanski la fragilité de la mémoire et de la vie humaine Ce pouvoir émotionnel de l évocation par le biais d objets ordinaires de dispositifs dérisoires tels les Théâtres d ombres ombres démesurées de

    Original URL path: http://www.mam.paris.fr/fr/oeuvre/reserve-du-musee-des-enfants-i-et-ii (2015-11-09)
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