Jeu de Paume
Place de la Concorde 1
+33 01 47031252
Three exhibitions
dal 19/2/2012 al 28/4/2012
Tuesday: 11am - 9pm Wednesday - Sunday: 11am - 7pm

Segnalato da

Carole Brianchon

calendario eventi  :: 


Three exhibitions

Jeu de Paume, Paris

An exhibition that covers every stage of Berenice Abbott's (1898-1991) career, featuring over 120 vintage prints by this American photographer as well as a series of documents never previously shown. "Ai Weiwei - Interlacing": photographs of radical urban transformation, of the search for earthquake victims, and the destruction of his Shanghai studio are presented together with his photography projects, the Documenta project Fairytale, the countless blog and cell phone images. Jimmy Robert explores a dialogue between his body and its representation, which explores the limits of the image as well as language.

comunicato stampa

Berenice Abbott (1898-1991)

curator Gaëlle Morel

With Berenice Abbott (1898-1991), urban experience is at the heart of the exhibition: in an America shaken by the Wall Street Crash, her images of 1930s New York convey her fascination with an urban landscape in the throes of dramatic change. Also known for championing the work of Eugène Atget, Abbott, who originally wanted to be sculptor, proved to be a great photographer of matter, space and light.
This is the first exhibition in France to cover every stage of Berenice Abbott’s career, featuring over 120 vintage prints by this American photographer as well as a series of documents never previously shown. The selection of portraits, architectural photographs and scientific plates shows the many facets of a body of work all too often reduced to a handful of familiar images.

Berenice Abbott came to the French capital in the 1920s and was trained by Man Ray before opening her own studio, where she began a successful career as a portrait photographer. Mixing in the artistic and intellectual circles of the day, she photographed a cosmopolitan cast including Eugène Atget, Marcel Duchamp, James Joyce, Man Ray, Jean Cocteau, Sylvia Beach, André Gide, Foujita, Max Ernst, and Marie Laurencin.
The exhibition also features a substantial selection of images form her Changing New York project (1935-1939), for which she is best known. This undertaking was Abbott’s own initiative but was financed by the Works Progress Administration, part of Roosevelt’s New Deal efforts to combat the Great Depression. Conceived as both a record of the city and a work of art in its own right, this ambitious government commission focuses on the contrast between the old and the new in the rapidly changing city.
The photographs she took in 1954 when travelling along the US East Coast on Route 1 (the exhibition is presenting a never previously exhibited selection of these) reflect her ambition to represent the whole of what she called the “American scene.”
In the 1950s, Abbott produced a set of photographs illustrating the principles of mechanics and optics for the Massachusetts Institute of Technology. Combining aesthetic and educational concerns, these abstract, experimental images echo her photograms of the 1920s.

An active participant in the avant-garde circles in the 1920s, a determined opponent of Pictorialism and the school of Alfred Stieglitz, famous for bringing Eugène Atget to international attention, Berenice Abbott spent her whole career exploring the notions of documentary photography and photographic realism. This retrospective at Jeu de Paume brings out the richness of her approach, and both the diversity and unity of her work.

Exhibition organised by Jeu de Paume, Paris
coproduced with Ryerson Image Centre, Toronto.

In partnership with A Nous, arte, de l'air, Stiletto and Fip.

The exhibition and catalogue have received support
from Terra Foundation for American Art.

Special thanks to Renaissance Paris Vendôme Hôtel.

Saturday 21 April, 2.30pm, in the auditorium:
Symposium related to the exhibition with Gaëlle Morel, curator of the exhibition and Exhibitions Curator at the Ryerson Image Centre, Emmanuelle de l’Écotais, Curator at the Musée d’Art Moderne de la Ville de Paris, Frits Gierstberg, Head of Exhibitions at the Nederlands Fotomuseum, Rotterdam, Françoise Reynaud, Curator of the Photography Collections at the Musée Carnavalet, and Terri Weissman, Professor of Art History at the University of Illinois. This international symposium will bring together researchers and curators to study the stages of Berenice Abbott’s career and the multiple facets of her work.


Ai Weiwei

curator Urs Stahel

"Ai Weiwei – Interlacing" is the first major exhibition of photographs and videos by Ai Weiwei. It foregrounds Ai Weiwei the communicator – the documenting, analyzing, interweaving artist who communicates via many channels. Ai Weiwei already used photography in his New York years, but especially since his return to Beijing, he has incessantly documented the everyday urban and social realities in China, discussing it over blogs and Twitter. Photographs of radical urban transformation, of the search for earthquake victims, and the destruction of his Shanghai studio are presented together with his art photography projects, the Documenta project Fairytale, the countless blog and cell phone photographs. A comprehensive book accompanies this exhibition.

Ai Weiwei is a generalist, a conceptual, socially critical artist dedicated to creating friction with, and forming reality. As an architect, conceptual artist, sculptor, photographer, blogger, Twitterer, interview artist, and cultural critic, he is a sensitive observer of current topics and social problems: a great communicator and networker who brings life into art and art into life.

Ai Weiwei deliberately confronts social conditions in China and in the world: Through photographically documenting the architectonic clear-cutting of Beijing in the name of progress, with provocative measurements of the world, his personal positionings in the Study of Perspective, with radical cuts in the past (made to found pieces of furniture) in order to create possibilities for the present and the future, and with his tens of thousands of blog entries, blog photographs, and cell phone photographs (along with many other artistic declarations). This first, large exhibition and book project of his photography and videos focuses on Ai Weiwei’s diversity, complexity, and connectedness, his “interlacing” and “networking” with hundreds of photographs, blogs, and explanatory essays.

Imprisoned on April 3rd 2011 by the Chinese authorities because of his political activities, released on bail June 22nd 2011, Ai Weiwei is still, today, banned from leaving the country.

Exhibition coproduced by
Fotomuseum Winterthur and Jeu de Paume, Paris.

In partnership with A Nous, Arte,
Courrier international, Polka Magazine,
Rue 89 and France Info.


Jimmy Robert
Langue matérielle
Satellite 5 / Curator: Filipa Oliveira

Jimmy Robert makes images that will then become sculptural or filmic installations. Movement, appropriation, and poetic acts are at the center of his practice, which is developed through all sorts of media: performance, actions, films, photographs and publications. Robert explores a dialogue between his body and its representation, which explores the limits of the image as well as language and the gap amidst the two.

His films and photographs are often composed of found images along his own that are transformed through various layering or manipulations, focusing on the transience of both the image and the process that leads to it. By spotlighting these particular moments, Robert transforms everyday gestures into mesmerizing delicate choreographies. Some of his works also constitute appropriations of historical works by other artists and writers, as in the case of Figure de Style (2008), an oblique intervention on Yoko Ono’s Cut Piece (1964) asking the spectators to rip pieces of masking tape off Robert’s torso.

Jimmy Robert, French, born in 1975, lives in Brussels.

The Fondation nationale des arts graphiques et plastiques (FNAGP) contributes to the production of the works of the Satellite program.

Satellite 5 is organized in collaboration with
The Fondation Calouste Gulbekian, the Instituto Camões
and the Embassy of Portugal in France.

In partnership with art press, and Radio Nova.

Acknowledgments to Sandeman and Ferreira Porto.


Blow-up introduces Locating Story by Dora García, at Jeu de Paume - Espace Virtuel

Blow-up introduces Locating Story by Dora García, at Jeu de Paume - Espace Virtuel We are pleased to announce the launch of Locating Story by Dora García, a Twitter performance beginning Monday, February 20 as part of Blow-up curatorial project. With Dora García's intervention, Blow-up concludes its season at the Jeu de Paume virtual space (until March 15th, 2012) and looks forward to its next phase, with more artistic interventions, ongoing research and new displays. The projects initiated by Blow-up bring into play phenomena of infiltration, re-appropriation and interference. They enter a diverse range of terrains and mediums and open onto a broad spectrum, ranging from micro-actions to spectacular phenomena, a spectrum through which they spread on a multiplicity of scales and rhythms, thereby increasing their “visibility value” in the economy of the immaterial. Narrative flows are associated with each project, recorded by means of social media and visualized through an expanding rhizome. Locating Story by Dora García combines twitter, geo-location software and performance. A performer will monitor a person as they move through the city, from home to work, from his work to elsewhere. The performer does not know the person; like a detective, he is only given a very brief description and an image - therefore, the performer's first task is to determine who the person is and what his daily routine appears to be.

All these observations are transmitted via twitter to a twitter account @locatingstory and to the platform twitter: Blow-up artists and projects: Terminator Studies by Jean-Baptiste-Bayle uses state of the art “artificial stupidity” to analyse and comprehend the actualisation of the so called "terminator scenario". “The everyday is a validation of the fictional hypothesis from the movies” – says Bayle. Didier Courbot placed some objects in spaces such as the stairs, the balcony, the entrance hall, the floor, and the ceiling at the Jeu de Paume. Through these unexpected and indeterminate forms he explores the museum as the locus of a “blow-up”: a place with multiple levels of perception and visibility. Thomas Hemmings is a fictional character, a paparazzi-surfer, inflating his presence through a whole spectrum of social media. Charlie Jeffery initiated an infiltration that consists of a physical attack on the concrete structures within which the flow of energy and information takes place. The protocol of his Office of Imaginary Landscape invites us to occupy offices with organic and vegetal forms, to install webcams to shoot these «gardens» and create a network of institutions. Natasha Rosling's Scale and Forces of Gravity in Desire is a work in progress exploring notions of absurdity inherent within the mediation of bodies in the public arena. Carlo Steiner is carrying out an investigation on the issues of the creation of information in the press and its presentation to readers. Blow-up also includes an ongoing archive of historical artistic interventions in the media. Blow-up is curated by Daniele Balit & Christophe Bruno

All projects are accessible at:

Image: Ai Weiwei, 'Study of perspective, the Eiffel Tower', 1995-2010 © Ai Weiwei

Press contact:
Carole Brianchon Tel 0033 (0)1 47031322

Jeu de Paume
1, place de la Concorde 75008 Paris
Tuesday: 11am – 9pm
Wednesday - Sunday: 11am – 7pm
Closed Monday, including public holidays
Admission: 8,50 €
Concessions: 5,50 €

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dal 19/10/2015 al 23/1/2016

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