In the first show, a group of works by Gina Pane coming from the museum's own collection and special loans: installations, sculptures, drawings, videos, photographs and objects related to the artist's actions. Dionysiac. Art in flux, is a group show of 14 contemporary artists. They range from Paul McCarthy to John Bock, Fabrice Hyber and Jason Rhoades: the show is a 'reflection' exhibition, rather than a thematic display. Comme le reve le dessin 16th/17th-Century Italian sketches & present-day parallels. The Centre Pompidou and the Musee du Louvre are combining to present an innovative rapprochement of over 80 works from the two collections.
16 FEBRUARY â€“ 16 MAY 2005
MUSEUM GALLERY, LEVEL 4
The Centre Pompidou, MusÃ©e national dâ€™art moderne, is pleased to present a group of works by artist Gina Pane coming from the museumâ€™s own collection and special loans. This exhibition, which will take place from 16 February to 16 May 2005, includes installations, sculptures, drawings, videos, photographs and objects related to the artistâ€™s actions. It thus offers an opportunity to approach the work of a key figure of body art in France through the wide range of her expressions, from the minimal structures and actions in natural settings of the 1960s to the â€œPartitionsâ€ of the 1980s.
â€œI worked on a language which gave me possibilities of thinking about art in a new way. That of the body, my radical gesture: the body became the material and the subject of discourse (meaning â€“ mind and matter).â€
gina pane, Lettre Ã un(e) inconnu(e), Paris: Ecole nationale supÃ©rieure des beaux-arts, Ecrits dâ€™artistes series, 2003, p. 68.
Born in Biarritz, Gina Pane grew up in Italy but returned to France in 1961 to study at the Beaux-Arts in Paris and subsequently participated in the Atelier dâ€™Art SacrÃ© which was founded by painter Maurice Denis. By 1965, she was making sculptures and installations drawing the visitor into a carefully conceived encounter with the body, which was to be the centre of her preoccupations from then on. In 1968, she isolated herself in the countryside in order to create site-specific works using nature â€œas a poetic force, a locus of memory and energiesâ€ (Anne Tronche, gina pane, actions, Paris: Ã©d. Fall, 1997, p. 33).
Gina Pane developed her first actions at the beginning of the 1970s, first in the studio and then in public. The main representative of body art in France, she wilfully set herself apart from the notions of â€œhappeningâ€ and â€œperformanceâ€ so as to avoid any theatrical connotation. She planned her â€œactionsâ€ with extremely detailed storyboards, as attested by â€œphotographic reportsâ€. Revealing the language of the body in biological, psychological, aesthetic and social terms, she made it the very medium of her work. The superficial wounds she inflicted on herself with a razor blade expressed the bodyâ€™s fragility, and the blood, the vital energy it contains. â€œI inflict wounds on myself but never mutilations. . . . The wound? To identify, inscribe and pinpoint a certain uneasiness: itâ€™s centralâ€ (Gina Pane, Les Revues parlÃ©es, Paris, Centre Pompidou, 29 May 1996).
During the 1980s, Gina Pane created works between installation and sculpture, called â€œPartitionsâ€, where the body was evoked through the materials and the arrangement of heterogeneous elements. The question of the sacred â€“ which underlies her entire body of work â€“ was to be forcefully inscribed in her last investigations, which were inspired by the martyr saints. Gina Pane died in Paris in 1990 following a long illness.
Paralleling her artistic career, Gina Pane taught at the Beaux-Arts in Mans from 1975 to 1990. In 1978 she initiated and led a performance workshop at the Centre Pompidou.
Gina Pane, Action Autoportrait: mise en condition / contraction / rejet , 11 janvier 1973
Constat de lâ€™action rÃ©alisÃ©e Ã la Galerie Stadler (dÃ©tail), Paris. 3 panneaux de 12 photographies couleur collÃ©es sur bois 100 x 100 cm chaque panneau 100 x 300 cm dimensions totales. Photographie : FranÃ§oise Masson Achat 1999
Collection MusÃ©e national dâ€™art moderne, Centre Pompidou
Â© Jacques Faujour, Centre Pompidou, 2005
Â©ADAGP, 2005, Paris
Exhibition curator: Sophie Duplaix, curator, MusÃ©e national dâ€™art moderne, contemporary collections department
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FEBRUARY 16TH-MAY 9TH 2005
Art in Flux: John Bock, Christoph Buchel, Maurizio Cattelan, Malachi Farrell, Gelatin, Kendell Geers, Thomas Hirschhorn, Fabrice Hyber*, Richard Jackson, Martin Kersels, Paul McCarthy, Jonathan Meese, Jason Rhoades, Keith Tyson
DIONYSIAC is an exhibition that brings together 14 contemporary artists. Some of them are already well known in Paris, others have never shown here before.
They range from Paul McCarthy to John Bock, Fabrice Hyber and Jason Rhoades.
In most cases, the artists will present a new work, especially created for the exhibition.
A novel group exhibition, DIONYSIAC is a "reflection" exhibition, rather than a thematic display. It presents a state of mind that is shared by all the artists and offers its own perspective towards contemporary creation.
DIONYSIAC attributes a special relationship to art and life. It is against resignation, which is expressed as much through anger as it is through pleasure received through destruction, through excitement of life and flux and through joy to the point of excess. In addition, there is an inclination for laughter, for irony and a form of subversion, in so far as it is still possible today. Music is also at the heart of the exhibition with a "sound room" created together with the artists.
The neologism, DIONYSIAC, has been invented by combining French and English. The newly coined word is derived from the adjective "dionysiaque", used by Friedrich Nietzsche in his book The Birth of Tragedy (1871). In using "dionysiaque", Nietzche was inspired by the Greek god Dionysos, god of both explosion and enthusiasm, the force of life and destruction, of all outbursts.
Nietzsche developed this aesthetic concept throughout his written work, leading to the notion of flux in excess, of which life is only a part. Dionysiac goes hand in hand with Apollonian, the harmonious force. It is in this "tight", even contradictory articulation, that contemporary tragedy is situated.
Christine Macel, curator for Contemporary art in charge of the Department of Prospective and Contemporary Creation, Musee national d'art moderne, the Centre Pompidou
The Dionysiac publication is conceived by Christine Macel with Christophe Brunquell
It includes approximately 250 pages, black and white and colour and is published by the Centre Pompidou. It has :
â€¢ A glossary, collage of texts and illustrations, clarifying the concept of "Dionysiac", by Christine Macel
â€¢ Essays by Jean-Pierre Criqui, Christine Macel and Barbara Stiegler
â€¢ Contributions by each artist
The Dionysiac film, documentary of 26', is a scenario written and created by Natsuko Uchino and produced by the Centre Pompidou. It includes 14 portraits of the artists and the making of the exhibition, as well as a few surprises. (bilingual DVD)
Performances on the opening night and during the exhibition by Kendell Geers, Gelatin...
-17th February : Paul McCarthy will present two films (Cinema 1)
-31st March : John Bock, invited by Prospectif Cinema, will show all of his videos for the first time ever (Cinema 1).
The post-Dionysiac conference : "Art action direct"
April 13th 2005, the Revues parlees / Forums de societe will present a conference conceived of by Mark Alizart with Christine Macel. It poses problems that are touched upon in the DIONYSIAC exhibition.
What is our "post-post modern" period, since 1989 made of?
Is the Dionysiac a breath of fresh air? Is it simply yet another form of romanticism or does it define a new radicalism ? How can the artist define his practice today in terms of the overturning of values : is this overturning in itself desirable and possible today ?
The DIONYSIAC exhibition believes that we are well and truly clear of romanticism and that hope can be found in the principles of flux and energy and in the principle of democracy.
Artists, philosophers, art historians and exhibition curators respond or attempt to respond to these questions.
February 16th - May 9th 2005, Galerie sud, level 1
Open daily, except Tuesdays, 11:00 - 21:00 (ticket office closes at 20:00)
The Pass "A day at the Centre Pompidou" gives admission to the Musee national d'art moderne as well as to all temporary exhibitions .
Admission free to the holders of the Centre Pompidou annual Pass
Comme le rÃªve le dessin
16th/17th-Century ITALIAN SKETCHES & PRESENT-DAY PARALLELS
17 FEBRUARY â€“ 16 MAY 2005
CENTRE POMPIDOU, GALERIE Dâ€™ART GRAPHIQUE (MUSEUM, LEVEL 4)
MUSÃ‰E DU LOUVRE, SALLE DE LA CHAPELLE
The Centre Pompidou MusÃ©e National dâ€™Art Moderne and the MusÃ©e du Louvre are combining to present Drawing like a Dream, an innovative rapprochement of over 80 works from the two collections.
As a rule, art history's attempts to provide a specific status for the sketch are automatically governed by notions of purpose: the sketch is seen as a rough draft, preparing and pointing to a finished work â€“ painting, sculpture or autonomous drawing â€“ which in retrospect makes it intelligible. The idea behind this exhibition is that rather than being the starting point for a drawing, the sketch is its conclusion; and the method chosen is a parallel between contemporary drawings from the MusÃ©e National dâ€™Art Moderne's collection and 16th/17th-century Italian studies and sketches from the MusÃ©e du Louvre.
Because the preparatory aspect â€“ in the academic sense, at least â€“ has vanished from contemporary drawing, we can now look at early drawings in a "purpose-free" light. When we give up interpreting the sketch retroactively â€“ in terms of some preliminary function â€“ we can perceive it as a domain of transformation, and its unfinished character not as a shortcoming but as receptivity, a return to an unstable, indeterminate representational state. In the light of Beuys' seismographic drawings, Gerhardt Richter's effacings, Robert Morris' eyes-closed works and Fontana's perforations and scribblings, unexpected features become perceptible in the old sketches â€“ changes of emphasis (Fra Bartolomeo) losses of correlation (Casolani), decentration (Cigoli, Cecco Bravo), residual figuration (Federico Zuccaro, Barocci) â€“ that are identical with those to be observed in dreams.
Both segments of the exhibition include old and contemporary drawings. The MusÃ©e National dâ€™Art Moderne will also present moving images, and the Louvre will be offering an installation by Jean-Luc Vilmouth.
From 14 February â€“ 23 May 2005 the Comme le rÃªve le dessin exhibition will be complemented by lectures, two readings and a series of films. On Monday 21 February at 18:30 Philippe-Alain Michaud, curator of the exhibition and curator at the MusÃ©e National dâ€™Art Moderne, will give a lecture titled "Sketch, Dream, Drawing".
USEFUL INFORMATION - MUSÃ‰E DU LOUVRE
Open daily except Tuesdays and Thursdays, 9:00 â€“ 17:30, and until 21:30 on Wednesdays and Fridays
Admission to the exhibition: with the ticket for the museum's permanent collection 8.50 euros
6 euros from 18:00 Wednesdays and Fridays
Free the first Sunday of the month and for visitors under 26 from 18:00 on Fridays
MusÃ©e du Louvre
Salle de la Chapelle Sully Wing, 1st floor
Metro: Louvre Rivoli Tel. 01 40205317
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Place Georges Pompidou 75004 Paris
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Open daily except Tuesdays, 11:00 â€“ 21:00
A Day at the Pompidou Pass
10 Euros, concessions 8 Euros
Valid the same day for the MusÃ©e National d'Art Moderne and all the exhibitions
For the first time a cultural institution is offering home-printed e-tickets.
7 Euros, concessions 5 Euros
The ticket also covers the MusÃ©e National d'Art Moderne collection, the Museum Gallery, the Graphic Arts Gallery, the Brancusi studio and Espace 315.