1 dp big bangang

7/27/2019 1 Dp Big Bangang

1/26

Direction de la communication

DOSSIER DE PRESSE

AU MUSE NATIONAL DART MODERNE


2/26

SUMMARY

1 PRESS RELEASE page 3

3 PLAN OF THE EXHIBITION page 5

4 THE EXHIBITION page 6

5 EXHIBITED AT THE CENTRE POMPIDOUFOR THE FIRST TIME BILL VIOLA, FIVE ANGELS FOR THE MILLENNIUM, 2001 page 17

MARCEL DUCHAMP, L.H.O.O.Q., 1930 page 18

6 PUBLICATION page 19

7 IMAGES AVAILABLE TO THE PRESS page 20

BIG BANGDESTRUCTION AND CREATIONIN THE ART OF XXth CENTURY

Centre Pompidou

Direction

de la communication

75191 Paris cedex 04

head of cummunication

Roya Nasser

press officer

Coralie Sagot

telephone

00 33 (0)1 44 78 12 42

fax

00 33 (0)1 44 78 13 02

email

[email protected]


3/26

Centre Pompidou

Direction

de la communication


head of cummunication

Roya Nasser

press officer

Emilia Stocchi

telephone

00 33 (0)1 44 78 42 00

fax

00 33 (0)1 44 78 13 02

email

[email protected]

press officer

Coralie Sagottelephone

00 33 (0)1 44 78 12 42

fax

00 33 (0)1 44 78 13 02

email

[email protected]

Direction des ditions

press officer

Evelyne Poret

telephone

00 33 (0)1 44 78 15 98

email

evelyne.poret@

cnac-gp.fr

Five Angels for the Millennium, 2001

Bill Viola

Bill Viola, D.R.

Photographe Kira Perov

Centre Pompidou, MNAM, Paris/

Tate, Londres/ Whitney Museum of

American Art, New York

(achat conjoint)

PRESS RELEASEBIG BANG AT THE MUSENATIONAL DART MODERNEDESTRUCTION AND CREATION IN THE ART OF

XXth CENTURY

13 JUNE 05 -28 FEBRUARY 06MUSEE NATIONAL DART MODERNE, LEVEL 5The Centre Pompidou will present its collections for the first time,

in a thematic, interdisciplinary and non-chronological fashion. Using works

from the largest collection of modern and contemporary art in Europe, Big

Bang will bring together visual arts, video, photography, architecture, design,

and literature to confront works and trends from the beginning of the 20th

century through today. This exceptional exhibition is based on an original set

of themes: the modern big bang, or the link between creation anddestruction in 20th century art.

Using an exhibition space of about 45,000 sq. ft., the Centre Pompidou

proposes a new way of understanding the cultural phenomena of the XXth

century.


4/26

Centered on the idea of innovation and revolution, the modern project placed itself from

the beginning under the auspices of positive destruction. In the creative field, artists

tried every mode of inversion of established values by putting representation in crisis and

placing the art scene at the crucible of radical renewal: destruction of forms by Cubism,

disfiguration by Expressionism, subversion of images by Dadaism, etc.

This new exhibition has been conceived around eight major themes: destruction,deconstruction, archaism, sex, war, subversion, melancholy and re-enchantment.

For this occasion, the Centre Pompidou will exhibit several new acquisitions, in particular,

a major work by Bill Viola, Five Angels For the Millennium, 2001 shown for the first time in

France.

PROGRAMMING

Director of the Muse National dArt Moderne

Alfred Pacquement

Head curator

Catherine Grenier,

curator at the Assistant curators

Agnes of Beaumelle, Chantal Bret, Nicole Capon-Coustre, Brigitte Leal, Camille

Morineau

Advisers for literature

Marianne Alphant, Mark Alizart

The exhibition is sponsored by Hublot watches

In media partnership with

With the contribution of Air France, of Eurostar, of the Groupe Casino and Thalys

PRACTICAL INFORMATION

Centre Pompidou


telephone

00 33 (0)1 44 78 12 33

fax

00 33 (0)1 44 78 12 07mtro

Htel de Ville, Rambuteau

Hours

Open daily, except Tuesdays,

from 11:00 A.M. to 9:00 P.M.

Admission fee:

One day at the Centre Pompidou:

10 euros,reduced fee: 8 euros

Valid the same day for the Muse

National dArt Moderne and all

the exhibitions at the Centre

Pompidou. Admission tickets are

printable at home, on the site

Admission fee to the exhibition:

7 euros, reduced fee: 5 euros

Admission includes the

collections of the Muse National

dArt Moderne, the Galerie du

Muse, the Galerie dArt

Graphique , the Atelier Brancusi

and the Espace 315.

Free admission

for members of the Centre

Pompidou (with a valid annual

Laissez-passer)

Information on the

Laissez-passer: 01 44 78 14 63


5/26

page 5


6/26

page 6

4- THE EXHIBITION

The themes of the eight sections of the exhibition are those in which the urge for

destruction/creation plays itself out preferentially, in the form, the procedures and the

principal areas of practice of this constructive violence.

Each theme permits or demands a fundamental calling into question (of origins, sex,

war subversion, melancholy), until the last section on re-enchantment.

I. DESTRUCTION

Modernity inscribed the idea of destruction at the heart of the redefinition of art. Thiswill to start from scratch is present at each level of the creative act: dismissal of the

traditional subjects of art, dislocation of the figure, breaking apart and scrambling of

scale and perspective... The status of the artistic object (coherence, limits, verticality...)

is devalued while a desire for reformation, both anthropological and social, affirms

itself through art.

1. The disenchanted body

The privileged ground for aesthetic experiences, the body, sometimes glorified some-

times afflicted, is the battleground for all the conflicts, the reflection of the instability of

the world.

The exhibition opens with several convulsive representations of modern man: FrancisBacon, Willem De Kooning, Marlene Dumas, Alberto Giacometti, Pablo Picasso, Dennis

Oppenheim, Daniel Richter, Thomas Schtte, Andy Warhol...

An improbable outline made up of aggregates, The Clamdigger, 1972, by Willem de Kooning,

is subjected to a kind of petrifaction, and seems to emerge from chaos: Neanderthal

man or last survivor of an atomic war? The same anxiety is present in the inhuman

human figures presented today by Thomas Schtte (Untitled, 1996) with their grotesque

contortions and unsettling distortions that go beyond the gymnastics of the passions

invented by Rodin at the beginning of the century.

2. Disfiguration

The destruction of the figure: Jean Dubuffet, Annette Messager, Pablo Picasso, Francis

Picabia, Cham Soutine, Georg Baselitz, Bruce Nauman...

3. Chaos

Scale and perspective are abandoned. The surface is broken. The relationship between

the motif and the background is made chaotic through decomposition, scrambling,

superposition or interpenetration of forms.

The exploded or scrambled composition: George Braque, Robert Delaunay, Jasper Johns,

Fernand Leger, Jackson Pollock, Christopher Wool, Francis Picabia, Sigmar Polke,

Coop Himmelbau...

Daniel Richter Duueh, 2003

Willem De Kooning

The Clamdigger, 1972

Thomas Schtte

Sans Titre, 1996

Francis Picabia

Le rechir , 1924/1926

Bruce Nauman

Pulling Mouth, 1969


7/26

page 7

4. Passage to the horizontal

The pedestal is removed, the authority of the vertical form is disputed: far from traditional

sculpture, works develop in space through modularity, repetition, and expansion...

No more pedestal, the horizon: Carl Andre, Csar, Ulrich Rckriem, and Superstudio...

5. Geometric space

With the use of the straight line, elementary shapes, bold colors posed in flat patches,

a new vision of the world is instituted: rational, serial, minimal...

Daniel Buren, Sonia Delaunay, Csar Domela, Charles Eames, Herzog & De Meuron,

Donald Judd, Ellsworth Kelly, Piet Mondrian, Olivier Mosset...

6. The Abstract City

The distinction between painting and sculpture, architecture and furniture, is abandoned

in place of a total art or a synthesis of the arts, aimed at transforming man and his

environment: abstraction setting out to conquer the world!

Abstraction setting out to conquer the world: Marcel Breuer, Vassily Kandinsky,

Jacobus Johannes Oud, Gerrit T. Rietveld, Theo Van Doesburg...

7. The Grid

System of order, symbol of enclosure, the grid imposed itself as a major referencepoint for modern art. It structures repetitive and geometric forms, at times employed

with humor and irony.

Ron Arad, Piet Mondrian, Kurt Schwitters, Frank Stella, Sophie Taeuber-Arp, Theo Van

Doesburg, Claude Viallat, Sarah Morris, Louis Kahn, Alison and Peter Smithson...

8. Monochrome

By a process of subtraction or condensation, painting reaches for pure color, which

replaces form and answers to multiple examinations: spiritual, analytical, satirical...

Ellsworth Kelly, Yves Klein, Kasimir Malevich, Gottfried Honegger, Allan McCollum,

John Baldessari, Clairet & Jugnet, Bernard Tschumi, Inga Semp...

II. CONSTRUCTION/ DECONSTRUCTION

Begun with the Cubist adventure, the formal and analytical deconstruction of the work

of art became more and more complex in a succession of new artistic procedures going

from transparency to randomness, from the soft to the change of scale, etc. This spe-

culation on the form of the work of art is also the source for Conceptual Art, which

conceives language as an artistic procedure in and of itself. Already, between 1914 and

1966, part of Marcel Duchamps artistic activity consisted of the elaboration of preparatory

handwritten notes for his works.

Avec la participation du Groupe Casino, d'Air France, d'Eurostar et de Thalys


8/26

page 8

1. Conceptualize

By dissociating the idea of art from the physical existence of objects, the critical analysis

of language and artistic facts produced works based upon theoretical, philosophical,

political or poetic propositions.

Concept and language: Guillaume Apollinaire, Art and Language, Marcel Duchamp,

Andrea Branzi, Dennis Crompton, Stanley Brouwn, Jenny Holzer, Iliazd, Joseph Kosuth,

Robert Morris, Remy Zaugg...

2. White room

At the same time empty and full, degree zero and sublime space, white indicates a threshold,a limit, a beginning or an end.

The monochromic white: Jean Arp, Enrico Castellani, Dan Flavin, Yves Klein, Le

Corbusier, Piero Manzoni, Kasimir Malevich, Franois Morellet...

3. Transparencye

A space of dematerialization and opening, of passage between interior and exterior,

intimate and social, mind and reality, transparency expresses the modern Utopia of a

major transformation in the relationship of man to the world.

The void and transparency: Laszlo Moholy-Nagy, Wilhelm Wagenfeld, Raoul Hausmann,

Marcel Duchamp, Andre Bruyre, Robert Julius Jacobsen, Gyulia Kosice,

Laszlo Moholy-Nagy, Robert Watts, Rene Coulon, Toyo Ito, Rem Koolhaas, Erwine andEstelle Laverne...

4. Randomness

Chance and indetermination, the combinatorial became one of the key procedures of

an art open to invention, precariousness and hybridization. In direct conjunction with

life, forms are evolutional and irrational.

The laws of chance: Constant, Marcel Duchamp, Robert Filliou, Francis Picabia, Man Ray,

Gil Wolman, Franois Morellet, Peter Cook...

5. Mirror-Entropy

Creating a fictitious space, the mirror introduces a principle of disorganization and entropy.

Reflections, echoes and imitations generate deformed, whirling, unstable spaces.

Robert Smithson, Marcel Janco, Constantin Brancusi, Dan Graham, Raymond Hains,

Robert Morris, Andr Kertesz, Marc Newson...

6. Aberrant Scale

The passage to either a monumental or a miniature scale upsets hierarchies, undermines

the ideal of balance and plausibility, and invests the image with a critical quality or the

capacity for subjugation.

Shifts in scale: Marcel Duchamp, Richard Goldstone, Raymond Hains, Malcolm Morley,

Gaetano Pesce, Holy Florian, Yona Friedman, Kyonori Kikutake...

Andr Kertesz

Distorsion n60, 1933

Marc Newson

Chaise, Alufelt Chair, 1993


9/26

page 9

7. Violent procedures

Destructive energy engendered aesthetics of violence and transgression. Combustions,

compressions, ripping and tearing, created residual objects, expressing the cracks and

fissures that link art to life.

Burning, Cutting, Crushing, Compressing: Arman, Alberto Burri, Lucio Fontana, Niki de

Saint Phalle, Ant Farm, Didier Fiuza Faustino, Massimiliano Fuksas...

PLEATING: INGO MAURER, ISSEY MIYAKE

The Big Bang exhibition presents numerous artists, painters, photographers, architects,

and designers who experimented with the concepts of creation and destruction in theirart.Issey Miyakes clothing line Pleats Please finds a place in this movement, resting on apositive deconstruction of a process of creation: the pleat.

Issey Miyake has always sought new avenues in his creations, radical and practical atthe same time, mixing traditions and new technologies. His work is a constant quest ofcreation for the greatest number: a garment as universal as Jeans or T-shirts, adaptedto the needs of modern life functional as much as playful.

Commissioned by William Forsythe at the beginning of the 1990s to design ballet cos-tumes, Issey Miyake became aware of the ingeniousness of the pleat. Dancers would

have a need for clothing that combined freedom of movement and great aesthetic beau-ty. What could be a better way of expressing movement than the pleat?Traditional methods of pleating since ancient Egypt consisted in folding fabric, cutting itand then sewing it. The folded effect was largely temporary.Miyakes breakthrough was to reverse the process of pleating, and to make it permanent.First of all, the fabric is cut out and sewn two to three times larger than its real dimen-sions. Then the fabric is folded, ironed, and oversewn so that the straight lines remainin place. Lastly, the garment is placed between two paper sheets into a high temperaturepress from where it comes out permanently pleated.The garment thus obtained provides thanks to its simplicity freedom of movement andan unlimited choice of combinations of forms and colors.

8. Fragments

Analytical or critical, the artists eye cuts out the form and parcels it. New spaces are

constructed, based on fragmentation, dispersion, and hybridization.

Dislocation, Dismemberment: Jean Arp, Daniel Buren, Henri Laurens, Kurt Schwitters,

Gino Severini, Gordon Matta-Clark, Alessandro Mendini, William Alsop, M. Fuksas,

Jean Nouvel, Otto Steidle...

9. The soft

With unstable and passive materials, the artist uses the plastic and metaphorical potential

that comes with softness. Subject to gravity, the form becomes free, modifiable an

anti-form without limits.Piero Gatti, Cesare Paolini and Franco Teodoro, Guilleminot Marie-Angel, Robert Morris,

Claes Oldenburg, Barry Flanagan, Kol/Mac Studio...


10/26

page 10

III. ARCHAISM

Primitivisms and archaisms crisscrossed the 20th century, from the exotic evocations

inherited from the 19th century through to contemporary interbreeding expressions.

During the watershed 1920s and 30s, the mythical idea of a return to a childhood of art

affirms itself Andr Breton forcefully declared, "The eye exists in a wild state" and

the will to find an original force that the German expressionist painters had already

invoked. In the 1940s, multiple procedures appeared which produced or simulated

effects of regression, which referred to hidden territories of consciousness, and which

explored languages that were hybrid and archaic.

1. Regression

Art is freed from aesthetic regulations and structural systems by regressing to an organic

and primitive state, allowing the unconscious and sexual dimensions of human urges

to surface.

Jean Dubuffet, Jean Fautrier, Lucio Fontana, Kazuo Shiraga, Philip Guston, Franz Kupka,

Eugene Leroy, Hans Hollein, Fernando and Humberto Campana

2. Nature

Film Spiral Jettyde Robert Smithson

3. Collection, compulsion

Andr Breton Wall, Christian Boltanski

4. The Wild Eye

In order to move beyond the values of the modern Western world, artists advocated an

archaic violence a return to the instinct. Animality, spontaneity and brutality nourished

the ideal of a radical re-beginning.

Asger Jorn, Michel Larionov, Mario Merz, Jackson Pollock, Jean-Michel Basquiat,

Garouste & Bonetti, Edouard Franois & Duncan Lewis...

While Jackson Pollock created The Moon- Woman Cuts the Circle, circa 1943, the figure

of a sacred and "savage" dance that anticipated that of the painter around his drip-pings, an artist like Asger Jorn also an ethnologist sought the pictorial terms for a

"universal language" which would express a "natural primitivism in Femme du 5 octobre,

1958, where raw color and rapid gesture confer to the feminine figure an immediate

presence.

5. The Sleep of Reason

Childhood is summoned as a liberating force, appearing as a place both for brutality

and innocence, violence and play.

Gaston Chaissac, Francesco Clemente, Robert Combas, Vassily Kandinsky, Michel Larionov,

Pablo Picasso, Jean Tinguely, Laurel & Hardy...

Lucio Fontana

Concetto Spaziale, 1947

Kazuo Shiraga

Chizensei-Kouseimao, 1960

Asger Jorn

Femme du 5 octobre, 1958

Jackson Pollock

The moon women cuts, 1943


11/26

page 11

5. Childhood

Childhood is summoned as a liberating force, appearing as a place both for brutality

and innocence, violence and play.

Gaston Chaissac, Francesco Clemente, Robert Combas, Vassily Kandinsky, Michel Larionov,

Pablo Picasso, Jean Tinguely, Laurel & Hardy...

7. Hybrid

Shifting the nature of objects, hybridization introduced a chaotic and playful force into

creation. Forms that were stuck together, grafted, semi-animal, semi-vegetable,

chimerical, told turbid stories, of dreams for metamorphosis.The hybrid and the monster: Louise Bourgeois, Ronan Bouroullec, Constantin

Brancusi, Victor Brauner, Max Ernst, Fabrice Hybert, Jannis Kounellis, Joan Mir,

Francis Picabia, Studio Nao, Jean Nouvel, Ron Herron, Iakov Tchernikov

IV. SEX

20th century art ceaselessly drew much of its creative energy from the essential risks

from one who looks, or better yet desires, and takes. The affirmation of the right to the

pleasure, of women's liberation, of the body in general, and of sexual practices make

sex a permanent exploratory ground for forms, styles, gestures, a stumbling point for

thought. From Sigmund Freud to George Bataille, and from Charles Baudelaire to

Pierre Guyotat, reality and reflection jointly put into place an indisputable bond betweensex and death at the heart of the 20th century.

1. The Bride

Sublime, pathetic or subversive, the figure of the bride conveys sentimental, political

and sometimes mythical connotations.

Marcel Duchamp, Jim Dine, Robert Doisneau, Lyonel Feininger, Niki de Saint Phalle,

Rudolph Schwarzkogler...

For Niki de Saint Phalle, the bride also occupies a central place, constituting the symbol

of "a kind of disguise" and "a total failure of individuality". Her Marie, 1963 monumental,

immaculate, and rigid in its attire, with its face broken up by suffering makes publicthe female condition.

2. The Prostitute

Object of fascination, the figure of the prostitute is the site where the gaze is freed.

Both an apology for Bohemian freedom, and a denunciation of a corrupting system,

she incarnates the revolt of the modern artist.

Emil Nolde, Kees Van Dongen, Otto Dix, Pablo Picasso, George Rouault, Pierre Klossowski,

Larry Rivers, Victor Burgin...

Louise Bourgeois

Cumul I, 1968

Dorothea Tanning

De quel amour, 1970

Pablo Picasso

Lacrobate bleu, 1929

Niki De Saint Phalle

La marie, 1963

Robert Doisneau

La marie, 1947


12/26

page 12

In a spirit close to Pop Art and New Realism, Larry Rivers recast the models of classical

painting in a popularized, vulgarized form. With I like Olympia in Black Face, 1970,

he distorted the representation of one of most famous and scandalous prostitutes in

the history of art Manets Olympia, 1863. By the inversion of black and white, Rivers

subverts the meaning of the work and its references: American and Europeans, masters

and slaves.

3. Voyeurism

By setting a scene in which a taboo body is subjected to the desirous glance penetrating

or penetrated the artist places the viewer in the situation of voyeur.

Balthus, Hans Bellmer, Diego Giacometti, Ren Magritte, David Salle, Nobuyoshi Araki,Cui Xiuwen...

4. Obscene

Film: Jack Smith, Flaming Creatures

5. Transgression

By unmasking taboos death, sex, gender artists probe the limits of creation, assi-

milated to the limits of the human body.

Pablo Picasso, Salvador Dal, Ed Paschke, Tetsumi Kudo...

Assimilating sex and scissors (William Tell, 1930), Salvador Dal offers a vision of frigh-

tening effectiveness: sex, defined as the symbol of the paternal authority, updates

the genuine mechanism of power and renders the anguish of castration visible.

Fixing his sights on Americas shady "junk culture," painter Ed Paschke undertakes an

acute and provocative observation of scenes from life: an imaginary portrait of an old

whore in his signature bright colors woman or transvestite?Jolla, 1973, brutally

presents itself both as an object of desire and of repulsion.

6. Sacrilege

With the figure of Christ taken as a target by artists, it is the sacred character of art asa whole that is questioned and placed under the sign of "profanation.

Jean Fautrier, Jean Hlion, Arnulf Rainer, Peter Saul, Wim Delvoye, Jean-Michel Alberola,

Raymond Pettibon, Joel Peter Witkin...

Larry Rivers

I like Olympia, 1970

Otto Dix

Salle miroir Bruxelles, 1920

Germaine Krull

La mme Bijou, vers 1932

Salvador Dal

Guillaume Tell, 1930

Ed Paschke

Jolla, 1973

Pablo Picasso

La pisseuse, 1965


13/26

page 13

V. WAR

Devastated by two world wars, shaken by ceaseless conflicts affecting the entire planet,

marked by the appearance of new weapons and the rise of a new form of "barbarism,"

the 20th century seriously and profoundly integrated the questioning of history.

A double movement occurs. On the one hand there is an extraordinary assumption of

history by artists accompanied by a feeling of responsibility and a need to testify,

which often involves engagement and mobilization. On the other hand there is a radical

upheaval of the form, undertaken within an irreversible process of deconstruction and

renewal. A direct confrontation with historical events is replaced by the more general

and moral questions of memory and forgetting, of anguish of death and the precarious-

ness of the contemporary human condition.

1. Revolution

The energy of ideals and revolutionary Utopias accompanied artistic revolts. The image

of revolution took on multiple forms: militant, playful, critical, parody.

Erik Boulatov, Err, Ian Hamilton Finlay, Michel Parmentier, Jrg Immendorff, Annette

Messager, Daniel Pommereulle, Gerard Fromanger, Philippe Cazal...

Le Rouge, 1968-1970, by Gerard Fromanger with a first version created in collaboration

with Jean-Luc Godard was born in the heart of the leftist agitations of May 1968, and

testifies to the radicalism of the artists political engagement. The second version

made with Marin Karmitz is a rapid montage of fixed shots a provocative stream ofred paint on a French flag, ordinary street photographs, news images of the demons-

trations and protests on which the color red is superimposed over the figures, little

by little invading the screen.

2. War

The devaluation of heroism gives way to a desperate vision of a fragmented and self-

destructive man, abandoned to history.

Sophie Ristelhueber, Mona Hatoum, Luc Delahaye, Gottfried Bhm

3. Pathos / Death

Haunted by the existential anguish of man without hope of a hereafter, works are suffusedwith suffering, mourning, and death.

Kasimir Malevich, Andy Warhol, Joseph Beuys, Yves Klein, Meret Oppenheim, Martial

Raysse, Gina Pane, Carlo Scarpa, Cy Twombly...

Andy Warhols (Electric Chair, 1966) allusions to death or images of violent death, traversing

the ensemble of his work, are devoid of melancholy, sadness, or aestheticism. Just a

cold and tragic vision of modern death, one that is violent, daily and anonymous.

Without any expression of grief or judgment, the paintings indicate an absence death

to which each one of us seems complicit.

Michel Parmentier

Rouge, 1968

Andy Warhol

Electric chair, 1967

Joseph Beuys

Infiltration homogen fr Konzertflgel, 1966


14/26

page 14

4. Memory/Forgetting

On the surface of artworks, a singular relation is established between memory and

forgetting: matter makes buried memories surface, or else absorbs them and makes

forgetting an act of foundation.

Francis Picabia, Anselm Kiefer, Jochen Gerz, Toni Grand, Daniel Libeskind

5. Vanity

Unhappy conscience of the human condition and critique of material pleasure, vanity and

its emblems are reinterpreted in a serious or playful tone.

Georges Braque, Arshile Gorky, Man Ray, Marcel Duchamp, Eric Dietman,Francesco Clemente, Daniel Spoerri, Peter Fischli et David Weiss, Emile Aillaud

The motif of the skull is familiar in the work of George Braque. With its austerity, lack of

ornamentation and bareness, Vanitas, 1939, a still life with a skull, a crucifix and a rosa-

ry, fits directly in a continuum with Philippe de Champaignes Jansenist vanitas.

VI. SUBVERSION

The attitudes subversion takes, such as parody, laughter or the witty remark, have been

an integral part of artistic action throughout the 20th century. These strategies of provo-

cation, which include transgression and derision, operate against established values and

good taste, calling forth the irrational, absurdity and generalized doubt. They apply to thestatus of the work of art as well as the underlying mechanisms of the different power

structures (political, institutional, mercantile, etc.). Nourished on readings from the great

rebels of history Sade, Nietzsche, Lautramont, Rimbaud the spirit of subversion

develops also a taste for black humor, blasphemy and the grotesque. The figure of Ubu,

created by Alfred Jarry, becoming emblematic for many. .

1. Pastiche and parody

Clichs and academic commonplaces (still lifes, nudes, etc.) are revisited with humor

and irony. A subversion that addresses itself to the icons of art; while also playing on

the idea of the amateurish painting.

Victor Brauner, Francis Picabia, Pablo Picasso, Braco Dimitrijevic, Bertrand Lavier,Claes Oldenburg, Paul McCarthy, Philippe Starck, UFO, Radi Designers, Marcel Duchamp

2. Anti-Muse

The putting into question, the critique, better yet, the rejection of the museum as

institution, are paths that leads to stripping art of its sacredness. These iconoclastic

gestures question the status of an artwork and the role of the artist within the institution.

Marcel Broodthaers, Joseph Cornell, Richard Artschwager, Grard Gasiorowski,

Louise Lawler, Bertrand Lavier, Claude Rutault, Andrea Fraser, Roland Topor,

Hans Hollein, Franois Roche, Gianni Arnaudo

Anti-architecture: Yan Kaplicky, Klaus Pinter, Michael Webb, Guy Rottier, Jean Aubert,

Zund Up,R&Sie, Hans Hollein

Georges Braque

Vanitas, 1939

Marcel Duchamp,

LHOOQ, 1919

Philippe Starck

Tabouret-table, Gnomes, 1999


15/26

page 15

3. Grotesque

The game, the joke, sarcasm and humor translate a reactive revolt vis-a-vis the established

order and the destiny of contemporary man.

Ubu: Victor Brauner, Dado, Dora Maar, Rosemarie Trockel, Jean-Paul Yungmann

The grotesque portrait: Gino Severini, Natalia Gontcharova, Georg Grosz, Jacques-Andre

Boiffard, Glenn Brown, John Currin, Urs Fischer...

Rene Magrittes Le Stropiat, 1948, is undoubtedly a coded self-portrait. The ugly allure

of the artist, rigged up in a fake beard and a red nose, expresses the rejection of a culture

whose values could not prevent barbarity. John Currins unlikely image, The Moroccan

(2001), brings together in an incongruous way genres from the history of art: the bourgeoisportrait and the still life using photocopies of works by Old Masters as models for his

work (Rembrandt, Fragonard...).

VII. MLANCHOLY

The theme of melancholy, which treats the existential condition of man suffering from

his distance from an Ideal, his absence of hope, and time that devours him inexorably,

is the subject of art through many eras and in different ways. It continued to be so through

the 20th century for an entire lineage of artists. "Saturns Children" and fallen angels

of the avant-garde, guided by nostalgia and the metaphysical search for the sublime

or the void, aspired, for example, to the absolute of non-representation, neverthelessdeplored the death of subject and style, while challenging all morality and instituting

a mystical conception of transgression.

1. Uncanniness

Between beauty and anxiety, fascination and fear, the visible world appears as a kind of

uncanniness," according to Freud a feeling, which involves a withdrawal of conscience

a nausea in the face of everyday reality.

Fernand Lger, Eli Lothar, Marcel Duchamp, Andy Warhol, Wols, Tetsumi Kudo, Arman,

Christo, Jana Sterbak, Georges Tony Stoll

2. Figures of Melancholy

Suspension of time outside of history, loneliness, worthlessness. The feeling of death of a

bygone world haunts the figures.

Giorgio De Chirico, Ren Magritte, Otto Dix, Christian Schad, Cindy Sherman,

Dcosterd et Rahm, Aldo Rossi

3. Disappearance

"Would the image itself be what remains visually when the image takes the risk of its

own end, enters the process of deterioration, of bruising itself, or else of distancing

itself until it disappears as a visible object as such?"

Ad Reinhardt, Jackson Pollock, Mark Rothko, Cy Twombly, Sam Francis, Antoni Tpies,Pierre Soulages, Alighiero Boetti, Gerhard Richter, Gary Hill Jean Nouvel, Hans Hollein,

Christos Papoulias, Christian de Portzamparc

John Currin

The Moroccan, 2001

Ren Magritte

Le stropiat, 1948

Otto Dix

La journaliste Sylvia von Harden, 1926

Christian Schad

Portrait du Comte St Genois dAnneaucourt,

1927


16/26

page 16

4. Nostalgia

"Thought awaits the day the memory of what was missed will come to pull it out of sleep

and transform it into a philosophy lesson".

Around La Tristesse du Roi de Matisse: Peter Doig, Martial Raysse

At the end of his life, Henri Matisse delivered along with the immense La Tristesse du

Roi (The Sadness of the King), 1952, more than an image of Salomes dance in front

of King Herod he produced a reflection on memory and old age. With jubilant audacity

the masterful control of a dance of colored papers cut with scissors Matisse drew

an ultimate self-portrait in the midst of exquisite pleasures long past and realities fore-

ver gone: an exultant and nostalgic swan song to his life as a painter. In 100 Years Ago,2001, by Peter Doig, the languor and regret of twilight thoughts seem to find a place

in a vast horizontal landscape, traversed by a character drifting in a canoe, looking off

in the distance.

VIII. RE-ENCHANTEMENT

The lively forces for a possible re-enchantment are always present, at the heart of

destruction, derision or subversion, and sometimes even in full confrontation with the

drama of everyday life and History. The marvelous, the sacred, hope and Utopia find

new forms in the global era. It is because contemporary man, who has all of the freedoms

and unprecedented technological achievements, must unceasingly reinvent himself.Fear, melancholy, cruelty, mediocrity and lucidity live within him, but he is also tormented

by thirst for renewal, both individual and collective. To describe what is concealed to

the eye, make silence speak, liberate taboos, reactivate a terrain for memory, and

believe in new Utopias...

Mirrors of revelation or ladders of escape, the processes of re-enchantment are multiple

for artists: the sublime was one, others have followed one another: the primitive with

the savage object, the real with the ready-made, color alone with monochromic works,

the moving image with video... The two plastic art propositions we present here for the

first time, at the end of "Big-Bang," constitute spaces of initiation, between dizziness

and dream.

1. Cristina Iglesias: Passage2. Bill Viola: Five Angels for the Millenium, 2001

Henri Matisse

La Tristesse du roi, 1952

Peter Doig

100 Years Ago, 2000

Bill Viola

Five Angels for the Millennium, 2001

Cristina Iglesias

Untitled (Passage II), 2002


17/26

page 17

5- EXHIBITED AT THE CENTRE POMPIDOU FOR THE FIRST TIME

Two major works acquired recently by the Centre Pompidou will be shown within the

context of the Big Bang exhibition.

Five Angels for the Millennium by Bill Viola and LHOOQ by Marcel Duchamp, a prestigious

loan from the Parti Communiste Franais.

Bill ViolaFive Angels for the Millennium, 2001

VIDEO/SOUND INSTALLATIONDARK ROOM WITH VARIABLE DIMENSIONS

5 MURAL PROJECTIONS, COLOR, 240 X 320 CM.

DEPARTING ANGEL, 940; ANGEL OF BIRTH, 745; ANGEL OF FIRE, 1310; ASCENDING ANGEL,

920; ANGEL OF CREATION

5 SOURCES OF STEREO SOUND

The Big Bang exhibition is the opportunity to present for the first time in France Bill Violas

Five Angels for the Millennium, 2001. This work was purchased jointly by the Centre Pompidou

with the support of Madame Edmond Safra, the Tate in London with the support of

Mrs. Lynn Forester de Rothschild and the Whitney Museum of American Art in New York

with the support of Mr. Leonard Lauder.This acquisition is the first joint international purchase of this magnitude by three

museums.

Recognized as one of the most important artists in the international scene, Bill Viola

has been working with video since the 1970s to explore the phenomena of sense

perception and achieve knowledge. His works are centered on universal human expe-

riences: birth, death, and the revelations of consciousness.

In Five Angels for the Millennium, video projections show the images of five angelic figures

descending in water and rising to the surface. These mysterious images give the impression

that something is taking place. On each screen, the water becomes more and more

disturbed, until a human figure appears violently, then disappears after a few seconds

leaving behind a turbulence that slowly ebbs away.

Imbued with spirituality and reflection, this work, in which the image and the sound are

equally important, evokes the idea of passage and of rebirth at various stages in life.

This visual and sound installation will be shown near the exit to the Big Bang exhibition,

in the Re-enchantment section.

Collection Centre Pompidou, MNAM, Paris / Tate, London / Whitney Museum of American

Art, New York


18/26

page 18

Marcel DuchampL.H.O.O.Q., 1930

OTHER TILE: LA JOCONDE

RECTIFIED READY-MADE

GRAPHITE PENCIL ON ROTOGRAVURE

61.5 X 49.5 CM.

NATIONAL HEADQUARTERS OF THE PARTI COMMUNISTE FRANAIS, A GIFT OF LOUIS ARAGON

ON LOAN TO THE CENTRE POMPIDOU, MUSE NATIONAL DART MODERNE

This historical work was placed in trust at the Centre Pompidou on 15 March 2005, at

the initiative of the Secretary-general of the Parti Communiste Franais (French Communist

Party), Robert Hue, and Marie-George Buffet. In a spectacular way it has come to enrichthe already sizable collection of works by Marcel Duchamp that the Museum already

holds, thanks to the artists widow, Alexina Duchamp.

Beginning on 15 June, this emblematic work by Duchamp will be exhibited in the

Subversion section of the Big Bang exhibition. Duchamps iconoclastic version of

Leonardo da Vincis famous Mona Lisa constitutes for the Centre Pompidous public, an

essential benchmark in the history of 20th century art, and of Dadaism in particular.

Marcel Duchamp conceived this provocative work in 1919, at the height of the Dada

effervescence. He drew on a reproduction of the Mona Lisa a simple postcard

a moustache and a little goatee, adding as a caption the five letters L.H.O.O.Q.

an act he qualified as a very daring joke on La Joconde. Rectifying this ready made

with unusual effectiveness, he made use of subversive procedures that were dear to him:bisexual cross-dressing and dirty puns, a game which he shared with his friend

Francis Picabia, who also wrote on a large enamel on canvas painting (Mamenez-Y;

le double monde included at the heart of the Breton Wall also displayed in the exhibition)

LHOOQ in big letters. Via this double act of profanation of the Italian Renaissances

ultimate icon and of the Louvres emblematic masterpiece Duchamp takes aim at both

the history of art and the museum.

There exist different versions of this famous interpretation of the Mona Lisa. The first,

on a common postcard (19.7 x 12.4 cm.), is from 1919 and was published by Picabia in

the magazine 391. The present second version, done on a fine rotogravure reproduction

made in Italy, is in a larger format (61.5 x 49.5 cm.), and was given to the Surrealist

poet Louis Aragon on the occasion of the famous La Peinture et le Dfi exhibition whichhe organized along with Andr Breton in 1930, at the Galerie Goermans in Paris. *

Louis Aragon, a member of the Communist Party, then gave it to the Parti Communiste

Franais before his death on 1982.

*Marcel Duchamp, catalogue raisonn by Jean Clair, p 96


19/26

page 19

6- PUBLICATION

BIG BANGDestruction and creation in 20th century artsous la direction de Catherine Grenier

format 22 x 28 cm, soft-cover, 176 pages

186 color images

Bilingual French/English

29,90 euros

Following the presentation of the exhibition, the catalog will consist of eight chapters,

which will be illustrated by masterpieces in the collection, considered in a new way.

Claiming innovation and revolution, the idea of modernity in the 20th century is linked

to that of positive and fruitful destruction: the modern big bang which shattered all

established values. The field of creation was the scene of radical renovation: destruc-

tion of forms by Cubism, disfiguration by Expressionism, subversion by Dadaism, etc.

Freed from the weight of history and the yoke of academic culture, artists brought

forth, by carrying out a profound upheaval, a complete renewal of perception and inter-

pretation.

This work closely accompanies a new presentation of the collection, conceived on thebasis of this fundamental set of themes, articulated around eight central propositions

which cover the whole 20th century: destruction, construction/deconstruction, primiti-

visms and archaisms, sex, war, subversion, melancholy and re-enchantment. This

ambitious display, both trans-historical confronting modern and contemporary art at

every step and interdisciplinary closely associating the visual arts, architecture,

design, photography and video will give place to a renewed reading of the cultural and

artistic phenomena of the 20th century, as well as an understanding of the urges and

procedures that were at play.

Centre Pompidou

Direction des ditions


press contact

Evelyne Poret

phone

00 33 1 44 78 15 98

fax

00 33 )1 44 78 14 44e-mail

evelyne.poret@ cnac-gp.fr


20/26

page 20

7- IMAGES AVAILABLE TO THE PRESS

The reproduction of works by artists associated to the ADAGP requires previous approval from the

ADAGP (01 43 59 09 79) and artists rights must be paid directly to that organization.

In other cases the requests must be made directly to the holders of the rights.

Succession Picasso: 00 33 1 47 03 69 70. Contact: Christine Pinault

Succession Matisse: 00 33 1 46 33 02 68. Contact: Isabelle Alonso

INTRODUCTORY WORK

0- Daniel RichterDuueh, 2003

Huile sur toile

300 x 200 cm

Centre Pompidou, MNAM, distr.RMN

Galerie Ghislaine Hussenot

Photo : Philippe Migeat

I DESTRUCTION

1- Willem De KooningThe Clamdigger, 1972

Sculpture, Bronze Centre Pompidou, MNAM, dist.RMN

Adagp, Paris, 2005

Willem de Kooning Revocable Estate Trust

2- Germaine RichierLorage, 1947-48

Sculpture, Bronze

200 x 80 x 52 cm

Centre Pompidou, MNAM, dist.RMN

Adagp, Paris, 2005

3- Alberto Giacometti

Femme debout II, 1959-60Sculpture, Bronze

275 x 32 x 58 cm


Adagp, Paris, 2005

4- Thomas SchtteSans titre,1996

Sculpture, Fonte d'aluminium

250 x 100 x 150 cm


Adagp, Paris, 2005

Photo : Georges Meguerditchian

5- Georg Baselitz

Ralf III, 1965Huile sur toile

100,5 x 80 cm


D.R.

Georg Baselitz

6- Francis PicabiaLe rechir , 1924-1926

Gouache et encre de Chine sur carton

103,3 x 74,1 cm


Adagp, Paris, 2005


7- Chaim SoutineLe sculpteur Miestchaninoff, 1923

Huile sur toile

83 x 65 cm


Adagp, Paris, 2005

Photo : Jacqueline Hyde

8- Bruce NaumanPulling Mouth, 1969

Film cinmatographique 16 mm noir et blanc,

silencieux, dure : 9' Centre Pompidou, MNAM, dist.RMN

Adagp, Paris, 2005

9- Herzog et De MeuronGalerie Goetz, 1989-92

Projet ralis. Maquette de rendu

Bois, carton et verre

44 x 152 x 62 cm


Herzog & de Meuron

10- Katarzyna Kobro

Sculpture spatiale, 1928Sculpture. Tle d'acier peint

44,8 x 44,8 x 46,7 cm


D. R.


21/26

page 21

11- Charles EamesEtagre, ESU 400, 1950

Structure en acier tremp profil froid.

Compartiments et portes coulissantes

en contre-plaqu embouti

149 x 119 x 43 cm


D. R.

Photo : Jean-Claude Planchet

12- Piet MondrianComposition en rouge, bleu et blanc II, 1937

Huile sur toile75 x 60,5 cm


HCR, Warreton USA

II CONSTRUCTION/DECONSTRUCTION

1- MarieAnge GuilleminotMes poupes, 1993

Vido

Betacam SP, PAL, couleur, son. dure : 32'

(prsente en boucle)


2- Gatti, Paolini et Teodoro, SaccoPouf Sacco, 1968-69

Sac de vinyle avec fermeture glissire, rempli

de billes de polystyrne expans

100 x 85 x 100 cm


Arch. Franco Teodoro


3- Claes OldenburgGhost Drum Set, 1972

InstallationDix lments en toile cousus et peints contenant

des billes de polystyrne

Toile peinte, polystyrne

80 x 183 x 183 cm

Socle : 60,5 x 183 x 183 cm


Claes Oldenburg

4- Kol / MacResi/ Rise Skyscraper, 1999

Maquette

Mousse haute densit avec fibre de verre,

surface enduite et colore avec pigments64 x 150 x 71 cm


D.R.

5- Issey MiyakeMaking Things 1991 - Pleats Please

23 mtres x 1,50 mtres

Collection Issey Miyake

D.R.

6- Ingo MaurerWo Tum Bu I, 1998

Papier, silicone, pierre et verre

Hauteur : 190 cm


D.R.


7- Andr KertszDistorsion n60, 1933

Tire par Igor Bakht

Epreuve glatino-argentique

25,2 x 20,3


D.R.

Patrimoine Photo

8- Constantin BrancusiLe nouveau n II, 1927

Sculpture. Acier inoxydable18 x 24,8 x 17 cm

Socle en 2 parties :

Disque en acier inoxydable : 0,5 x 45 cm

Chne : 80 x 25 x 39 cm (AM 4002-165)


Adagp, Paris, 2005

Adam Rzepka

9- Marc NewsonChaise, Alufelt Chair, 1993

Aluminium poli et dos laqu

85 x 67 x 100 cm

Centre Pompidou, MNAM, dist.RMN D.R.


III ARCHAISM

1- Asger JornFemme du 5 octobre, 1958

Huile sur toile

63 x 76 cm


Adagp, Paris, 2005



22/26

page 22

2- Mario MerzGirasole , 1960

Recto-verso

Tempera sur toile

85 x 120 cm


D.R.


3- Jackson PollockThe Moon Women Cuts the Circle, 1943

Huile sur toile

109,5 x 104 cm Centre Pompidou, MNAM, dist.RMN

Adagp, Paris, 2005

4- Lucio FontanaConcetto Spaziale, 1947

Sculpture. Cramique polychrome

60 x 64 x 60 cm


Fondazione Lucio Fontana

Photo : Christian Bahier et Philippe Migeat

5- Kazuo Shiraga

Chizensei-Kouseimao, 1960Huile sur toile

161,5 x 130 cm


D.R.

6- Jean DubuffetLe voyage sans boussole, 1952

Huile sur isorel

118,5 x 155 cm


Adagp, Paris, 2005

7- Louise BourgeoisCumul I, 1968

Sculpture. Marbre blanc

51 x 127 x 122 cm


Adagp, Paris, 2005


8- Constantin BrancusiPrincesse X, 1915/1916

Sculpture. Bronze poli

61,7 x 40,5 x 22,2 cm


Photo : Adam Rzepka

9- Dorothea TanningDe quel amour, 1970

Sculpture. Tissu, mtal, fourrure

174 x 44,5 x 59 cm


Adagp, Paris, 2005


10- Vincent BeaurinPouf, Noli me tangere, 1994

Mousse de polyurthane souple peau

45 x 50 x 55 cm

Centre Pompidou, MNAM, dist.RMN Adagp, Paris, 2005

Photo : Bertrand Prvost

11- Pablo PicassoLAcrobate bleu, 1929

Fusain et huile sur toile

162 x 130 cm



Succession Picasso

IV SEX

1- John ChamberlainThe Bride, 1988

Assemblage. Fragments de tle chrome

et laque, dforms et souds

Tle chrome et laque

216 x 120 x 114 cm


Adagp, Paris, 2005

2- Niki De Saint PhalleLa Marie, 1963

Sculpture. Grillage, pltre, dentelle encolle,

jouets divers peints222 x 200 x 100 cm


Adagp, Paris, 2005

3- Robert DoisneauLa marie sur le tape-cul, Joinville,

chez Ggne, 1947


40,8 x 30,3 cm


The Estate of Robert Doisneau & Agence

Rapho, Paris



23/26

page 23

4- Otto DixSouvenir de la galerie des glaces Bruxelles,

1920

Huile et glacis sur fonds d'argent sur toile

124 x 80,4 cm


Adagp, Paris, 2005

5- Larry RiversI like Olympia in blackface, 1970

Construction peinte

Huile sur bois, toile plastifie, plastique

et plexiglas182 x 194 x 100 cm


Adagp, Paris, 2005


6- Germaine KrullLa mme Bijou, vers 1932


18,1 x 16,1 cm


Muse Folkwang, Essen


7- Salvador DaliGuillaume Tell, 1930

Huile et collage sur toile

113 x 87 cm


Salvador Dali, Fondation Gala-Salvador Dali/

Adagp, Paris Etat espagnol, lgataire universel

de Salvador Dali/ Adagp


8- Ed PaschkeJolla, 1973

Huile sur toile152,5 x 127 cm


D.R.

9- Pablo PicassoLa Pisseuse, 1965

Huile sur toile

194,8 x 96,5 cm


Succession Picasso

10- Jack Smith

Flaming Creatures, 1963Film cinmatographique 16 mm noir et blanc,

sonore. dure : 42'


D.R.

V WARS

1- Jrg ImmendorffAlles geht vom Volke aus, 1976

Huile sur toile

286 x 286 x 2,8 cm


Courtesy Galerie Michael Werner, Cologne

et New York


2- Michel Parmentier

Rouge, 1968Huile sur toile cire

233,5 x 240 cm


Association Michel Parmentier

3- Grard FromangerLe rouge, 1968

Film cinmatographique 16 mm couleur, sonore

dure : 2'30"


Grard Fromanger

4- ErroWatercolors in Moscow, 1975

Huile sur toile

97 x 73,7 cm


Adagp, Paris, 2005

5- Cy TwomblyAchilles mourning, the death of Patroclus, 1962

Huile, mine de plomb sur toile

259 x 302 cm


Cy Twombly

Photo : Adam Rzepka

6- Yves KleinCi-gt lespace, 1960

Sculpture. Eponge peinte, fleurs artificielles,

feuilles d'or sur panneau

10 x 100 x 125 cm


Adagp, Paris, 2005

Photo : Jacques Faujour

7- Andy WarholElectric chair, 1967

Srigraphie sur toile, acrylique et laqueappliques

137,2 x 185,3 cm


Adagp, Paris, 2005


24/26

page 24

8- Joseph BeuysInfiltration homogen fr Konzertflgel, 1966

Piano queue recouvert de feutre gris

Piano, feutre, tissu

100 x 152 x 240 cm


Adagp, Paris, 2005

9- Georges BraqueVanitas,1939

Huile sur toile

38 x 55 cm


10- Francesco ClementeCodice,1982

Fusain et pastel sur papier

45,7 x 60,8 cm


Francesco Clemente

11- Eric DietmanDpche, 2000-2002

Scie mtaux crmaillre portant sur la

lame un pansement nouScie, bande Velpeau

5 x 51 x 12,5 cm


Adagp, Paris, 2005

12- Sigmar PolkeJeux denfants, 1988

Acrylique et encre d'imprimerie sur tissu

synthtique

225 x 300 cm


Sigmar Polke

VI SUBVERSION

1- George GroszRemember Uncle August, the unhappy inventor,

1919

Huile, crayon, papiers et cinq boutons colls

sur toile

49 x 39,5 cm


Adagp, Paris, 2005

2- Hannah Hch

Mutter, 1925/1926Aquarelle et photographies colles sur papier gris

41 x 35 cm


Adagp, Paris, 2005

Photo : Peter Willi

3- John CurrinThe Moroccan, 2001

Huile sur toile

66,04 x 55,88 cm


John Currin


4- Ren MagritteLe stropiat, 1948

Huile sur toile maroufle sur contre-plaqu

59,5 x 49,5 cm



5- Eric FischlStrange Place to Park n2, 1992

Huile sur toile

219 x 249,5 cm


Eric Fischl

6- Francis PicabiaBull Dog, 1941-42

Huile sur carton106 x 76 cm


Adagp, Paris, 2005


7- Marcel DuchampLHOOQ, 1919

Crayon sur papier imprim

19,7 x 12, 40 cm


Adagp, Paris, 2005

Succession Marcel Duchamp

8- Philippe StarckTabouret-table, Gnomes, 1999

Srie de 3 tabourets Attila, Napolon et Saint-Esprit

Technopolymre thermoplastique teint

Hauteur : 44 cm, diamtre : 40 cm


Philippe Starck


9- Jan KaplickyBulle, 1983

Dessin d'architecture

Photomontage59 x 83,7 cm


Jan Kaplicky


25/26

page 25

10- Klaus PinterThe Cocoon, 1971

Dessin d'architecture

Collage, photomontage rhauss de couleurs

sur papier

51,5 x 63,5 cm

Centre Pompidou, MNAM, dist. RMN

Adagp, Paris, 2005


VII MLANCHOLY

1- ArmanLa vie pleine dents, 1960

Accumulation de dentiers dans une bote

Rsine, mtal, bois

18 x 35 x 6 cm

Centre Pompidou, MNAM, dist. RMN

Adagp, Paris, 2005

2- Georges Tony StollMa main, Ta main, 1997

Photographie couleur

Epreuve contrecolle sur aluminium

120 x 80 cm

Centre Pompidou, MNAM, dist.RMN D.R.


3- Marcel DuchampTorturemorte, 1959

Assemblage

Pltre peint, mouches synthtiques, papier

sur bois, verre

29,5 x 13,4 x 10,3 cm


Adagp, Paris, 2005

Succession Marcel Duchamp

4- Jana SterbakVanitas robe de chair pour albinos anorexique,

1987

Robe en bavettes de boeuf entires et pares

expose sur un mannequin de couture

et accompagne d'une photographie couleur

monte au mur proximit de la sculpture

Viande de buf crue sur mannequin

et photographie

Hauteur : 113 cm


Jana Sterbak

Photo : Jean Faujour

5- Andr DerainPortrait dIturrino, 1914

Huile sur toile

92 x 65 cm


Adagp, Paris, 2005

6- Otto DixLa journaliste Sylvia von Harden, 1926

Huile et tempera sur bois

121 x 89 cm


Adagp, Paris, 2005

7- Christian SchadPortrait du comte St Genois dAnneaucourt, 1927

Huile sur bois

103 x 80,5 cm


Adagp, Paris, 2005


8- Cindy ShermanUntiled, # 141, 1981

Tirage limit 10 exemplaires

Cibachrome184,2 x 122,8 cm


Cindy Sherman

9- Henri MatisseLa Tristesse du roi, 1952

Papiers gouachs, dcoups, maroufls sur toile

292 x 386 cm

Dimensions du socle de chne: 30 x 389 x 17 cm


Succession H. Matisse

10- Peter Doig100 years ago, 2000

Srigraphie sur papier

75,1 x 101,8 cm


D.R.


11- Martial RaysseCeux du maquis, 1992

Dtrempe sur toile

205 x 319,5 cm


Adagp, Paris, 2005 Photo : Adam Rzepka


26/26

page 26

VIII RE-ENCHANTMENT

1- Bill ViolaFive Angels for the Millennium, 2001

photographe : Kira Perov

Bill Viola, D. R.

photograghe : Kira Perov

Centre Pompidou, MNAM, Paris/

Tate, Londres/Whitney Museum of American

Art, New York (joint purchase)

1- Cristina Iglesias

Untitled (Passage II), 2002Installation

Ensemble of raffia braids attached to the ceiling

making a text formed by braided capital letters

each braid has seven squared lengthwise and 18

height-wise, each with a letter..

Raffia, string

each element: 298 x 126 x 1 cm

unique piece

Centre Pompidou, MNAM, dist..RMN

All rights reserved

1 dp big bangang

Documents