13.10.18 > 15.04.19

PRESS KIT

centrepompidou-metz.fr#peindrelanuit

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1. INTRODUCTION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

2. EXHIBITION LAYOUT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

3. FIVE QUESTIONS TO THE CURATOR OF THE EXHIBITION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

4. LIST OF EXHIBITED ARTISTS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

5. THE CATALOGUE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

6. ASSOCIATED PROGRAMME . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

7. THE PARTNERS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

8. PRESS IMAGES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

SUMMARY

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PAINTING THE NIGHTFrom 13 October 2018 to 15 April 2019

GALERIES 2 & 3

1.INTRODUCTION

The topic of night has infiltrated current debates concerning society (should we open shops at night or preserve that time for sleep?), the environment (how can we limit night light pollution which prevents us from seeing the stars and impacts natural life?), politics (the French “Nuit Debout” movement, clandestine nightly border crossings), science (we are constantly furthering our knowledge of the phenomenon).

Night-time, and the many questions it prompts, has haunted artists particularly since the late 19th century. Thanks to such ground-breaking discoveries as electrification and lighting, psychoanalysis and the advent of the space age the night has evolved, transforming us in turn: theories have consequently been completely reviewed changing our relationship to the night-tide.

From 13 October 2018 to 15 April 2019, Centre Pompidou-Metz is hosting an important exhibition featuring the night in modern and contemporary painting along with a catalogue and a wealth of associated events.

A prominent source of inspiration in the history of art, the night continues to offer a rich field of investigation. Revisiting such a vast topic spawns numerous profound interrogations on our condition and our place in the Universe and the role Art could play.

Though at first the idea might seem paradoxical, Painting the Night (Peindre la nuit in french) is in fact heavy with meaning. The title is voluntarily ambiguous for night painting could either mean representing the night or painting at night. Painting the dark or in the dark, a choice has to be made either to improve one’s night vision or on the contrary to abandon seeing altogether. Indeed it is at night that we can, both physically and symbolically, at last “disconnect from the world”— a typically modern aspiration. Actually, twilight would be a perfect metaphor for the elusive boundary between figuration and abstraction.

With a focus on the perception of night rather than its iconography, the exhibition intends to be, in fact, a nocturnal experience: as visitors weave their way in they become night-owls, the heady atmosphere of nightlife takes its hold teasing the senses, stirring the inner self inducing cosmic vertigo. One steps into the exhibition as one would step out into the night.

In keeping with the spirit of Centre Pompidou-Metz exhibitions, this show is not limited exclusively to paintings, though these are central, for parallels and resonances are established with, for instance, music and literature, as well as video and photography. The event groups about a hundred artists and historical figures (Winslow Homer, Francis Bacon, Anna-Eva Bergman, Louise Bourgeois, Brassaï, Helen Frankenthaler, Paul Klee, Lee Krasner, Henri Michaux, Joan Mitchell, Amédée Ozenfant, etc.) and contemporary artists (Etel Adnan, Charbel-joseph H. Boutros, Ann Craven, Peter Doig, Jennifer Douzenel, Rodney Graham, Martin Kippenberger, Paul Kneale, Olaf Nicolai, Gerhard Richter, etc.) as well as a number of spectacular installations, some of which were created especially for the project (Harold Ancart, Raphaël Dallaporta, Spencer Finch, Daisuke Yokota, Navid Nuur, etc.).

Curator: Jean-Marie Gallais, head of exhibitions, Centre Pompidou-Metz.

On the left:

Léon Spilliaert, Dam and beach, Royal Villa and galeries of Ostend [Digue et plage, Chalet Royal et galeries d'Ostende], 1908-1909 © Collection privée, Courtesy Patrick Derom Gallery

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2.EXHIBITION LAYOUT

The exhibition covers two levels, on the first “Lost in Darkness” features night-time as we know it: a moment we live through daily whether lit by the stars or a street lamp, when nightfall arouses our innermost feelings, reveals our obsessions, and conjures up our dreams. On the second level “From Intimacy to Cosmos” focusses on an abstract and cosmogonic relationship to night-time, when stars are observed. One understands the tangible aspects of the night sky and wonders where we stand in this universe.

SCENOGRAPHY FOR THE EXHIBITION

GALLERY 2, PAINTING THE NIGHT

GALLERY 3, FROM INTIMACY TO COSMOS

Designed by Pascal Rodriguez, assisted by Perrine Villemur, the immersive scenography accompanies the visitor’s experience as they travel into the night. The layout of the first gallery follows the pattern of a town the visitor can wander through, at the opposite end they arrive at a large apse dedicated to the world of dreams and the Surrealists’ connection to the night. Aside from specific installations, the long corridors are equipped with a 3D audio effect

system offering the visitor a multi-sensorial experience. As for the layout of the second gallery its design is more regular with a series of open spaces including a spacious room at the centre dedicated to large format paintings. The exhibition closes with a monumental cube that houses a Ambiante Spaziale by Lucio Fontana. The bay window (gallery 3) looks onto the city and its night lights that can be contemplated.

SALLES 1-3: LOST IN DARKNESSSALLES 4-6: THE NIGHT DWELLERSSALLES 7-10: NOCTURNAL OBSESSIONSSALLES 11-13: THE ETERNAL EYES

SALLES 14-20: THE STAR EATERSSALLES 21-24: ENWRAPPED IN THE NIGHT

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Winslow Homer, Summer Night, 1890

Painting the effect, revealing the physical impact on the spectator at night, this is the task the American painter Winslow Homer set himself. In Summer Night, his enigmatic masterpiece of the nocturnal genre, he combined the natural light radiating from an out of the frame full moon, it must be huge, at least it seems so from its reflection on the waves, and the artificial glow of possibly a lamp post, also off canvas, which casts onto the ground the shadows of two women dancing. A group of on-lookers form a nebulous mass, a wood flooring occupies the foreground, no doubt to introduce drama and acoustics to the scene. Inevitably the viewer’s vision is shaken, he/she reels and falters as do the dancing shadows.

At night perceptions are altered, first and foremost vision is impaired resulting in, both literally and figuratively, a loss of bearings. Details are blurred, shadows begin to stretch, shapes take on a dark foreboding nature and, as the horizon fades, the night sky looms. One must either grope and stumble or simply surrender to the elation. A number of nocturnal motifs have travelled through time, the tree for instance is a versatile subject: in daylight its lines are sharp however as night falls is mass darkens to a threat; reflections on water echo the failing light, mirroring the visual distortions of nightfall: undulating, out of focus, murky; our states of mind mutate with the landscape.

When entering the first room of the exhibition, the visitors step into darkness, little by little as their vision becomes accustomed to obscurity they find they are in a projection room: a video by Jennifer Douzenel shows a night sky alive with tiny fireflies like a forever shifting star chart.

PAINTING THE NIGHTFIRST LEVEL (GALERIE 2)

“In the moonlight, by the sea, or in isolated parts of the country, when plunged in bitter reflections one can see everything take on yellow, vague, fantastic shapes. Tree-shadows, now quickly, now slowly, run, come back, and disappear again to return in different shapes, flattening out, sticking to the ground.”Comte de Lautréamont, The Songs of Maldoror [Les chants de Maldoror], 1890

1. LOST IN DARKNESS

© RMN-Grand Palais (Musée d'Orsay) / Hervé Lewandowski

Adrian Ghenie, The End of Romanticism, 2009 Huile sur toile, 210 x 140 cm Courtesy of P. Duménil

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Amédée Ozenfant, Illuminated skyscraper [Gratte-ciel éclairé], 1950

Exiled in New York between 1938 and 1955, Amédée Ozenfant discovered a city of light and verticality. Moving away from the purism he was renowned for in Europe, Ozenfant’s paintings featured hallucinated, brightly lit high-rises where he jumbled fields, perspectives and scales with shadows and halos. His backgrounds are dominated by a thick impasto of a reddish brown palette — possibly the depiction of nocturnal pollution, the very same that snuffs out the stars in a light flooded town. Not only does Ozenfant convey a visual sense of the city, he also offers us his cosmic interpretation. Splashes of light blurt their calls out into the night. The sharp corners and vertical lines of American skylines, the use of aerial views and plunging perspectives, all offer a new interpretation on fallen constellations, underlining the abstract quality of large cities after nightfall.

Similarly, urban scenes throughout the 20th century depict night-time as intoxicating and theatrical. Far from the traditional opposition between a romantic, melancholic night, under a canopy of stars, in the countryside, doomed to disappear, and a bright city night driven by work and pleasures, with the night tide comes a different sensorial experience, even in a capital city: halos, reflections, vibrations, flashing lights create an abstract vocabulary that emphasizes that special thrill of the night, the realm of the indistinct.

"What, in the end, makes advertisements so superior to criticism? Not what the moving red neon sign says – but the fiery pool reflecting in the asphalt.”Walter Benjamin, One-Way Street, 1928

© ADAGP, Paris 2018 / © Centre Pompidou, MNAM-CCI, Dist. RMN-Grand Palais / Philippe Migeat

Claude Monet, Leicester Square, by night [Leicester Square, la nuit], 1900-1901 © Collection Larock-Granoff

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“The glow from the lamp posts, cuts out shadows, does not destroy them but sharpens their edge: it is the chiaroscuro of master painters.”Restif de la Bretonne, Nights of Paris [Les Nuits de Paris], 1788-89

In the early 19th century, public gas lighting was spreading throughout Europe and along with it came the first lamp posts, then in 1879 electricity revolutionized the nocturnal environment both out in the streets and at home. Artists began capturing the glow of artificial light with enthusiasm, even idealizing it (‘We must destroy moonlight!’ proclaimed the Futurist Marinetti). Night lighting ended up uncovering what daytime hid: the turpitudes of Mankind. All sorts of strange characters stepped out of the dark into the light, some disturbingly strange, some criminal, some members of the feverish cosmopolitan nightlife when anything was possible. Street scenes at eye level were ubiquitous in the first quarter of the 20th century, often acting as visual testimonials relaying strong social criticism, namely in the case of German Expressionism and New Objectivity.

2. THE NIGHT DWELLERS Auguste Elysée Chabaud, Hôtel-Hôtel, 1907-1908

In France, August Elysée Chabaud, an artist neglected for far too long, bridged the gap between a formal quest and the social aspect of nightlife. Chabaud lived in Paris from 1907 to 1914, he befriended several figures of the European Avant guard, exhibited his landscapes and street scenes at the Salon des Indépendants, at the Salon d’Automne, in Berlin at the Neue Secession in 1910, and at the Galerie Bernheim-Jeune in 1912. But it was only much later, during the 50s, that a hidden aspect of his work was discovered: his nocturnal scenes painted from 1907 to 1911 which he had chosen to keep to himself at the time. Chabaud was, secretly, the painter of Parisian nightlife. He invented a powerful pictorial vocabulary, a cross between Fauvism and Expressionism: highly contrasted street scenes featuring colourful shop signs and cabarets in Montmartre, hotels, crude portraits of flirtatious ladies of the night. Chabaud managed to synthetize and simplify his subjects conveying more than a point of view, but putting the viewer in the shoes of a passer-by intrigued by their surroundings. Thus in his remarkable Hôtel-Hôtel, we witness the hustle-bustle of the street, neon signs beckon reiterating their temptations through the echo of flashing lights, a woman’s eye, the silhouette of a prostitute standing in a doorway. Such an urban environment triggered for Chabaud a new language reminiscent of the aesthetics of collage. His paintings have a quality shared with Brassai’s photographs of Paris by Night: they are acoustic. When observing a Chabaud, one can hear the din from the boulevards, the silence of the alleyways, and from his ‘lit windows’ come muffled domestic sounds.

Georg Scholz, Night Street scene [Nächtliche Strassenszene], 1923 © Staatliche Kunsthalle Karlsruhe

Musée de l'Annonciade, Saint-Tropez, © ADAGP, Paris 2018 © Photo: Pierre-Stéphane Azema

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Lee Krasner, Night creatures, 1965

It was a psychoanalyst who advised Lee Krasner to heal her insomnia by drawing and painting. In 1956, the accidental death of Jackson Pollock, to whom she was married, would transform her pictorial approach. She was going through a time of great psychological distress and sleeplessness which would lead to the new series: “Umber and White Paintings” of the first half of the 1960s. Her friend the poet Richard Howard would soon name the series “Night Journeys”. By night, Lee Krasner becomes a different painter from the one she is by day. “I was going down deep into something which wasn’t easy or pleasant. In fact, I painted a great many of them because I couldn’t sleep nights. I got tired of fighting insomnia and tried to paint instead. And I realised that if I was going to work at night I would have to knock colour out altogether, because I wouldn't deal with colour except in daylight.”1 Howard generally named the works once finished: Night Watch, Night Birds, Cobalt Night. In most of Lee Krasner’s nocturnal works primal shapes seem to emerge from chaos in the browns and ochres of rupestrian art. On the cusp of abstraction with her figurative ghostlike visions, Krasner’s nocturnal art might even suggest animal-type figures as in Night Creatures. This painting conjures up childhood memories, something nightmarish, the feeling that a thing, “half man half beast”2, was staring at her before jumping out the window of her room. Night painting was a therapeutic exercise: “It's a though you were descending once more, bringing forth from the unconscious, subconscious, or whatever arae you bring forth from, as one does in a dream.”3

1 Conversation with Richard Howard, in Lee Krasner: Umber paintings 1959-1962, New York, Robert Miller Gallery, 19932 Conversation with Eleanor Munro, in Originals: American Women Artists, New York, Da Capo, 19793 ibid (Howard, 1993)

In the dead of night, the city returns the artist to the solitary studio. Sickly insomniacs sometimes in dire need of inspiration, such nocturnal painters are troubled by obsessions: the quest for their singular voice, conversations with ghostly shadows, automatic writing, memory games, resistance, and the temptation of alcohol to fuel the sleepless nights. Obsessions in which death lingered embodied by the geometrid moth which accompanied their nightly probing into the depths of the self; indeed like the moth, the artist might fly too close to the flame.

3. NOCTURNAL OBSESSIONS

“But nothing expresses this restless and exitless present better than this ancient phrase that turns completely back on itself, being constructed letter by letter like an inescapable labyrinth, thus perfectly uniting the form and content of perdition: In girum imus nocte et consumimur igni. We turn in the night, consumed by fire.” Guy Debord, In girum imus nocte et consumimur igni, 1978

Avery Singer, Untitled, 2017 Courtesy the artist: Kraupa-Tuskany Zeidler, Berlin: Private Collection, Taiwan © Photo: Thomas Mueller

New York, Collection of the Metropolitan Museum of Art © ADAGP, Paris 2018, © Photo: The Metropolitan Museum of Art, Dist. RMN-Grand Palais / Image of the MMA

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“If you don’t fall in line with the deceptive clarity of this upside-down world, you are seen, at least by those who believe in that world, as a controversial legend, an invisible and malevolent ghost, a perverse Prince of Darkness. Which is in fact a fine title — more honourable than any the present system of floodlit enlightenment is capable of bestowing.”Guy Debord, In girum imus nocte et consumimur igni, 1978

Henri Michaux, The Prince of Darkness [Le Prince de la nuit], 1937

The Prince of Darkness is actually the title of an Henri Michaux gouache from 1937, the year he started painting. “Prince of the night, of the double, of the star-gland, / of the seat of Death / of the useless column,/ of the supreme question; / Prince of the broken crown,/ of the divided reign, of the wooden hand/ Petrified prince in a panther's robe/ Lost Prince.”1 This lost Prince with its ‘Incaesque’ look, its monkey on the shoulder and skull-like face is the portrait of an entity that resists, and dodges the light. Lost Prince? Is it not under the cover of night that collective resistance thrives? On the Berlin wall graffiti proclaimed: “The power is yours, but ours is the night”. (Ihr habt die Macht / doch wir haben die Nacht), while in the 70s the Italian walls spoke, to prisoners namely, with a slogan later reproduced in a neon piece by Claire Fontaine: “We are with you in the night” [Siamo con voi nella notte].1 Henri Michaux, Peintures, Paris, G.L.M., 1939

Paris, Centre Pompidou, Musée national d'art moderne © ADAGP, Paris 2018 © Photo: Centre Pompidou, MNAM-CCI, Dist. RMN-Grand Palais / Philippe Migeat

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“More heavenly than those glittering stars we hold the eternal eyes which the Night hath opened within us.” An excerpt from Hymns to the Night written in 1800 by Novalis, a poem the Surrealists held in high esteem in the 1920s. Twilight is a portal to one’s inner world in which reason is left asleep and apparitions and metamorphosis are welcome; it is the heart of the Surrealist revolution. The desire to “entrap the sun” haunts these artists since the night is theirs, not for its pleasures but as the realm of the subconscious, of digressions and dreams. Hence the night is a medium and nocturnal living a creative act of liberation.

4. THE ETERNAL EYES

Max Ernst, Vision Induced by the Nocturnal aspect of the Porte Saint-Denis [Vision provoquée par l'aspect nocturne de la Porte Saint-Denis], 1927

The parallel worlds are at the heart of surrealist paintings and drawings, like those of Max Ernst who used frottage and transfer printing techniques to reveal unexpected shapes. Also, to stunning effect, his Porte Saint-Denis (arch in Paris) transformed into a forest as if nocturnal rambling brought nature back into the city—are forests not as dense and as dark as night? Surrealism and Romanticism both share a penchant for night-time a natural and intimate time that allows the spirit to follow the obscure meanders of the imagination rather than any beacon of reason.The surrealists admired Victor Hugo, when he let his imagination run freely in Visions crépusculaires [Twilight visions] and spoke of a Promontoire des songes [Bluff of dreams] on the surface of the moon. The orb that shed its light on the Romantics’ nights was thus rehabilitated by the Surrealists. Max Ernst produced several lunar calendars and sculptures designed to be seen in the light of the moon (Lunar Asparagus, 1935). Man Ray honoured moonlight, adding to his signature in lieu of an 0 the symbol of infinity (À la lumière lunaire [To the Moonlight], 194∞). The moon resumed its ancient status: shedding its light on dreams and allowing for metamorphosis.

“Wears not everything that inspires us the color of the Night?” Novalis, Hymns to the Night, 1800

Man Ray, To the Moonlight [À la lumière lunaire], 1948 Collection privée, courtesy Andrew Strauss, Paris, © Man Ray Trust © ADAGP Paris 2018

Collection particulière, © ADAGP, Paris 2018

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Paul Klee, Growth of plants [Pflanzenwachstum], 1921

Darkness does not define the night; indeed the lack of light is far from negative, it harbours the idea of Creation as recounted in the founding myths of most civilizations where life emerged from the Original Darkness, an ancient memory echoed nightly. It was Baudelaire’s intuition: “And that huge night like primal chaos spread.”1 Rediscovering the night is returning to the fertile grounds from which all things were born. At Bauhaus, Paul Klee attempted to transcribe in paint the nightly growth of his plants. The sculptor Louise Nevelson, from her very first exhibition in 1958, was dedicated to cultivating gardens of organic shadows that emerged from the dark under a lunar-like light. Tapping into the night is bonding with an unrestrained primitive state prepared to receive germination. At night we surrender to Nature.1 Charles Baudelaire, De profondis clamavi, in Les Fleurs du Mal, 1857, Paris, Auguste Poulet-Malassis

Paris, Centre Pompidou, Musée national d'art moderne © Service de la documentation photographique du MNAM-Centre Pompidou, MNAM-CCI / Dist. RMN-GP, © Droits réservés

“We are a few men who claim that life as the western civilization made it no longer has reasons to exist, that it is time to plunge into the inner night in order to find a new and deeper reason to be.”André Masson Lettre à André Breton du 2 septembre 1925

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FROM INTIMACY TO COSMOSSECOND LEVEL (GALERIE 3)

Contemplating a starry night is like looking into the universe, it produces another sort of vertigo, since scale and perspective are distorted by the cosmic vortex. A longing to reach the stars, to build a stairway to the milky way, even to “eat the stars” (reference to Georges Bataille's text entitled Les mangeurs d’étoiles — The Star Eaters), often inspired 20th century artists reflecting their desire to master the relentless movement of the cosmos, as would a demiurge, or simply to manifest one’s part in it — an intuition modern astronomers and astrophysicists have indeed confirmed: we come from and are made up of stardust.

5. THE STAR EATERS

“The sight of the stars always makes me dream in as simple a way as the black spots on the map representing towns and villages make me dream. Why, I say to myself, should the spots of light in the firmament be less accessible to us than the black spots on the map of France. Just as we take the train to go to Tarascon or Rouen, we take death to go to a star.”Vincent Van Gogh, Letter to Théo, 9th or 10th july 1888

Peter Doig, Milky Way, 1989-1990

These mechanics, all at once simple, logical, quotidian, and complex, risky, unexplained, are at the origin of cosmic vertigo: when the sun sets and night falls the expanse of space is revealed: infinity. The past is unveiled and the future foreseen. Cosmic vertigo, represented in painting, is not so much a question of verticality but rather of horizontality and depth. Thus in the Milky Way (1989-1990), Peter Doig’s composition shows a long stretched out nightscape in which scale is essential. The Milky Way and the trees are iterated, mirrored, still and silent, on the water, the Earth has disappeared to become a simple white thread of horizon. This nightscape exudes a feeling of immensity which is further increased when the spectator spots a tiny canoe drifting by, a scene possibly inspired by the last images of Friday 13th, a 1980s horror movie. The choice of scale evokes the mystical powers of Nature as do the works of Friedrich, Van Gogh and Munch.

Pablo Picasso, Reclining Nude Woman (or: Starry Nude) [Femme nue couchée (ou: Nu étoilé)], 1936 Paris, Centre Pompidou, Musée national d'art moderne © Succession Picasso 2018, © Photo: Centre Pompidou, MNAM-CCI, Dist. RMN-Grand Palais / Philippe Migeat

Collection de l'artiste © Peter Doig. All Rights Reserved, DACS/Artimage 2018. Photo: Jochen Littkemann / ADAGP Paris, 2018

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A star lit sky is difficult to copy. It eludes immobility. Its definition evolves after each space probe. Therefore how is the essence of such an elusive subject to be captured? By erasing the image and replacing it with matter, the lack of form, and the sense of space, of emptiness, the artist gets close to the substance of night. “Night, writes Merleau-Ponty in The Phenomenology of perception, is not an object before me; it enwraps me and infiltrates through all my senses, stifling my recollections and almost destroying my personal identity.”

6. ENWRAPPED IN THE NIGHT

Gerhard Richter, Constellation [Sternbild], 1969

The night is constantly wavering between image and matter. Augusto Giacometti sees the Milky Way as something of a surface, an organic skin and a dark expanse. In the 1960s, Gerhard Richter produced dark paintings in rough gestures, but from a certain point of view —it is the viewer that must step back to find the ideal spot — his works give the illusion of a starry sky. The night resists and, though it mutates, it is never exhausted. The paint dabbles in this alchemy, in order to become a nocturnal substance.

“In the daytime, our eyesight is defeated by the inscrutable (the sun, impossible to look at), at night our eyes probe the expanse, drawn in by the sheer quantity of what remains unobserved. (…) No image can tally up a starry firmament. (…) Two faculties that render knowledge possible are useless here: our mind is incapable of counting all the stars; our imagination cannot place them in a figure. Hence, it is the “starry night” as we see it, despite our lack of understanding, which awakens our sense of wonder. The wonders of the night sky inform Mankind that knowledge is not its only purpose.” Michael Fœssel, La Nuit, 2017

Augusto Giacometti, Starry sky (Milky Way) [Sternenhimmel (Milchstrasse)], 1917 Bünder Kunstmuseum Chur, Schenkung aus Privatbesitz

Museum Frieder Burda, Baden-Baden, © Gerhard Richter 2018 (24042018)

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“O starless night! thy loveliness my soul inhales, Without those starry rays which speak a language known, For I desire the dark, the naked and the lone.”Charles Baudelaire, Les Fleurs du Mal, 1840-1857

The exhibition closes with the reconstitution of a monumental Spatial Environment [Ambiente Spaziale]created by Lucio Fontana in 1967. The visitor is invited to enter an artificial night in which “both sense of measure and time are lost”.

Lucio Fontana, Spatial Environment [Ambiente Spaziale], 1967

Lucio Fontana managed to deliver himself from matter so as to find infinitude. “My slashes, the artist explained in a 1962 interview with the magazine Vanità, are above all a philosophical statement, an act of faith in infinity, a spiritual affirmation. When I am sitting in front of one of my tagli, (…) I am liberated from the servitude of matter, I am a man who belongs to the greatness of present and future.” Fontana’s revelation came to him when he discovered astrophysics, which proved Mankind was infinitely small, thus rendering the notion of perspective obsolete. In order to depict the newly found infinitude of the cosmos one would have to transpierce the canvas, to contain it within a foreground and a background would not do. The most accomplished cosmic sensations produced by Fontana are his spatial environments which abolish any notion of scale, measure and time since the visitor enters a space, flooded with black light, in which they lose all bearings. “It is the liberation from matter. (…) My art is based on this purity, on the philosophy of nothingness, not a destructive but a creative nothingness.”

Installation © Fondation Lucio Fontana, Milano / by SIAE / ADAGP, Paris, 2018

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PARALLEL TO THE EXHIBITION

For Painting the Night, the artist Harold Ancart was invited by Centre Pompidou-Metz to place a monumental painting of about 15 meters long and 5 meters high at the extremity of Galerie 1, where the picture window above the entrance of the art centre is located. The Belgian artist proposes an enigmatic painted landscape, a sign visible from the forecourt; the painting can be seen during the day but, because of to the lighting, at nightfall it springs to life stimulating our imagination. At once minimalist and exuberant, figurative and abstract, drawing and painting, Harold Ancart’s work evokes either a lost paradise or a prophetic future. In a world devoid of human presence, the heavens are shrouded in darkness, the horizon has dissolved while shapes reminiscent of tropical foliage occupy the foreground like sentinels standing their ground to face the advent of twilight.

With the support of C L E A R I N G Gallery New York / Brussels and David Zwirner, London.

Centre Pompidou-Metz and CCN-Ballet de Lorraine are partners in the “artiste associé” programme of the Ministry of Culture. This year, an unprecedented collaboration gather both institutions. The painter, etcher and sculptor Jérémy Demester born 1988, has been invited to stage his first live performance for the exhibition Painting the Night. Fuelled by his trips to the Benin where he was initiated to nocturnal voodoo rituals, his Gypsy origins and the input of flamenco, he presents this explosive collaboration during a night at Centre Pompidou-Metz. The dancers of the CCN-Ballet de Lorraine have taken up a new challenge and will embody the artist’s paintbrushes and the artist will work with the corps de ballet as if it were an empty canvas.

PREMIERE ON 6TH DECEMBER 2018

A monumental painting created for the picture windowof Centre Pompidou-Metz.

A danced painting / a painted dance: a unique collaboration between a visual artist and the Ballet de Lorraine dance company.

Harold Ancart, Untitled (the great night), 2018 Oil and pencil on canvas, 180 x 530 inches Courtesy CLEARING, New York / Brussels and David Zwirner, London Photo © JSP Art Photography

© Courtesy de l'artiste et de la Galerie Max Hetzler, Berlin | Paris | Londres

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CENTRE POMPIDOU-METZ — How was the idea for this exhibition born?

JEAN-MARIE GALLAIS – The idea came to me when I realized that almost all museums in the world own at least one painting of a night scene. Some ancient nightscapes even have the presence of a modern painting since the artist had to simplify shapes, abandon perspective, and use effects thus evolving to a form of pre-abstraction. It is the very particular power of night-time that intrigued me. Then I became aware of the fact that in modern times a new relationship to the night had come about, the night was omnipresent and, right from the beginning of the 20th century, shaped the future of visual arts. Furthermore, artists often work at night, they talk about it and for some night painting affects their pieces. Some even believe the night defines them. The more I thought about it, the more I fell under the spell of that giddying expanse, a thrill I hope to convey with this exhibition.

CP-M – Why devote an exhibition to the theme of night nowadays?

JMG – I believe it to be an important topic that reaches far beyond the arts, it is so obvious (we all experience and know the night!) but in fact, until now, it has rarely been explored. The night is at the heart of current controversies and paradoxes in many domains. It is listed as a prehistoric heritage, since in 1992, the UNESCO registered the nocturnal sky on the World Heritage listing. It is nevertheless endangered by industrialization and technology, in other words human activity, but is also full of promise for the future. Reviewing such a vast topic enables us to reflect upon crucial issues like our condition and place in the Universe, as well as the role and power of art. What can painting do? How did it become a means to “tame” the night? To convey its mystery, the feeling it is unfathomable and eludes our sense of reason?

CP-M – Why the restriction to a strictly pictorial approach?

JMG – It is not strictly limited since have been included some photographers and filmmakers, video and installation artists as well as sculptors and writers, but, true, these artists have a strong relationship with painting. Night-time is of course a core theme in the history of photography and filmmaking, indeed they inspired a series of events parallel to the exhibition, however, painting and music both have a very unique capacity for abstraction from reality. The night cannot be duplicated; it is transcribed onto the canvas, even

3.FIVE QUESTIONS TO THE CURATOR

OF THE EXHIBITIONrecreated. Mounting an exhibition on the link between art and night leads inevitably to paintings for they both offer a similar experience: when I contemplate the stars above I must adjust my vision, get used to the dark, and the more I look the more details I am able to see, yet I cannot grasp it all, it is not easily explained. It is exactly the same when contemplating a painting. This exhibition encourages us to slow down, wait till our eyesight is accustomed, and understand how with a medium that is by essence bi-dimensional artists]managed to invent strategies to somehow capture such an intangible and all-embracing substance as the night. If you walk through the exhibition rooms in just a few seconds, you will be left with the impression that all you have seen is a series of identical monochromes. A night painting, just like a starry night cannot be captured at a glance, and is not easily reproduced: experiencing the work cannot be foregone.

Roy Lichtenstein, Moonscape, 1965 © Estate of Roy Lichtenstein New York / ADAGP, Paris, 20188

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CP-M – How were the artists selected and how was the layout of the exhibition designed?

JMG – The format for the exhibition is quite unique, it is not meant to be an encyclopaedic account of the history of art and night, and its various milestones. So it is more of a personal journey, each visitor will travel through and retain their own individual experience from the exhibition, I take the spectator on a nocturnal promenade. The guiding principle is the notion of perception. Like a painter, I can see, listen to, feel and smell the night. There is neither allegory nor metaphor. The body is simply confronted to the night. Therefore the layout designed itself quite naturally: whether in town out in the countryside that perception, in the dead of night, is distorted, bewildering (section 1), then the eyes become accustomed to the dark, shapes loom out, the hidden side of Mankind (section 2), as this state of nocturnal wandering is prolonged we are gradually overcome by an inner tide of melancholy from which emerge our most intimate obsessions (section 3), hallucinations, desires, urges and dreams (section 4). On another level, when contemplating the night sky we tend to believe we can touch the stars, that we are part of the universe (section 5), before we realize that the night is intangible, elusive (section 6). So we are constantly oscillating between each of the two ideas covered by the title: painting in the dark or painting the dark. The idea was to punctuate the layout with large immersive installations while leaving plenty of room and time for the works since they are each inherently a complex cosmogony.

CP-M – Which are the “must see” elements of the exhibition?

JMG – We were lucky enough to gather a collection of truly great artworks, like Leicester Square, at Night [Leicester Square, la nuit] by Monet, Nude With Stars [Nu étoilé] by Picasso, Constellation [Sternbild] by Gerhard Richter, Mysteries by Ed Ruscha and Milky Way by Peter Doig. There are also a number of painters that the public will discover I hope with great pleasure and interest as they are rarely exhibited. For instance, the Pakistani artist Lala Rukh, the Americans Morris Graves and Alma Thomas as well as Helen Frankenthaler and Anna-Eva Bergman whose large formats are presented here.

As far as I am concerned this exhibition gave me the opportunity of discovering many pieces: the nocturnal oeuvre by Auguste Elysée Chabaud that had been kept hidden for years, and the American period of Amédée Ozenfant. The Surrealist section is also a treasure trove of surprises. And of course there are the works of young artists specially created for the exhibition which are quite exceptional, without forgetting the wealth of parallel events programmed which include a painter’s staging of a ballet featuring star dancers, captivating videos and a few rare jewels from the history of the cinema.

Robert Delaunay, Nightscape (the cab) [Paysage Nocturne (le fiacre)], 1906-1907 © Collection particulière, Courtesy Galerie Louis Carré & Cie

Raymond Jonson, The Night, Chicago, 1921 Courtesy of Michael Rosenfeld Gallery LLC, New York, NY © The Raymond Jonson Collection, University of New Mexico Art Museum, Albuquerque, NM / © Photo: courtesy of Michael Rosenfeld Gallery LLC, New York, NY

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4.LIST OF EXHIBITED ARTISTS

List subject to change

AEtel Adnan Darren AlmondHarold AncartJean ArpGeneviève Asse

BFrancis BaconEugene BennettAnna Eva BergmanLouise BourgeoisCharbel-joseph H. BoutrosBrassaï Victor Brauner

CPatrick CaulfieldVija CelminsAuguste Elysée ChabaudVaclav ChocholaBruce ConnerJoseph CornellAnn CravenHenry Edmond CrossRussell CrottyJosé Cuneo

DRaphaël DallaportaRobert DelaunayEugène DeslawJason DodgePeter DoigJennifer DouzenelMarcel Duchamp

EMax Ernst

FJean FautrierStephen FeltonSpencer FinchClaire FontaineLucio FontanaHelen FrankenthalerWilhelm Freddie

GAdrian GhenieAugusto GiacomettiRodney GrahamMorris Cole GravesGeorge GroszPhilip GustonBrion Gysin

HRaymond HainsSimon HantaïVictor Hugo

IFrancisco Infante Arana

JMarcel JeanRaymond Jonson

KVassily KandinskyAlex KatzMartin KippenbergerPaul KleeWilliam Klein

Paul KnealeJannis KounellisFrantišek Kupka LNorman LewisRoy Lichtenstein

MRené MagritteGeorges MalkineAndré MassonHenri MichauxJoan MiróJoan MitchellPiet MondrianClaude MonetMonsù Desiderio (François de Nomé, dit)Robert Morris

NAlice NeelLouise NevelsonOlaf NicolaiNavid Nuur

OMarcel OdenbachAmédée Ozenfant

PPhilippe ParrenoPablo PicassoPratchaya Phinthong

RMan Ray Gerhard Richter

Hans RichterRaymond RousselLala RukhEd Ruscha SGeorg ScholzFiete StolteGeorge ShirasAvery K. SingerJan SluijtersPaolo SorrentinoLéon SpilliaertEdward Steichen Alfred Stieglitz

TAlma Woodsey ThomasIda Tursic et Wilfried Mille

UUmbo

VFelix Edouard VallottonKees Van DongenJean-Luc Verna

WMichael John Whelan

YDaisuke Yokota

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5.THE CATALOGUE

The exhibition catalogue published by Centre Pompidou-Metz, edited by Jean-Marie Gallais, is an abundantly illustrated volume that addresses a larger corpus than that of the exhibition as it examines the history of painting and night from the early 20th century to this day. It includes a yet unpublished essay by Michaël Fœssel, Inévidences nocturnes (nocturnal uncertainties) and an in-depth study of the topic by the curator of the exhibition.

Furthermore, Centre Pompidou-Metz publishes on the occasion of the exhibition an artist’s book for children, The Night is your Guide [La Nuit est ton guide], written and drawn by Dutch artist of Iranian origin Navid Nuur.

Peindre la nuit

MICHAËL FŒSSEL, NOCTURNAL UNCERTAINTIES [INÉVIDENCES NOCTURNES]

“The sun sets and night falls. According to this scenario twilight is compared to a fall that repeats itself every day. As if nightfall was an order to cease and desist, once it has landed all activities underway are left for tomorrow. Saying farewell to opportunity can be a melancholy affair. A sort of sadness often rises as the sun disappears behind the horizon leaving us worried that it might never return. At dusk, the issues of moral angst and sensorial depression begin their play. We are anxious for the dark reduces our capacities while favouring the schemers’ talent. Nightfall upsets us because light, that allowed us to take action and hope, has been terminated. (…) Still, isn’t monotony the price to pay for the universality of daylight? In the language game a “day” is the unit of account for the human timespan, whereas nights are the exception. They make the difference, stand out and escape the mundane. When a narrator opens with: “it happened one night”, his story sparks interest for surely the event will be out of the ordinary. When a painter tackles the night he is credited with the unusual power of probing the invisible. Night-time is credited with the advantage singularity has over universality. It promises the unknown to its guest.Catalogue excerpt

MICHAËL FŒSSEL, NOCTURNAL UNCERTAINTIES [INÉVIDENCES NOCTURNES]

The dead of night is not a blackout. Absolute darkness is a night-time fantasy, just as eternal light is a daytime fantasy. In fact, twilight begins with colours streaking the darkness. This is wonderfully evidenced by the act of painting. Henri Michaux depicts the transition toward night by placing colours on a black ground: “As soon as I begin, as soon as a few colours are set onto a sheet of black paper, it ceases to be a piece of paper to become the night. The colours placed more or less at random make shapes appear … that loom out of the night1”. Black becomes the colour of night when it is travelled by traces of colour that evoke the sparkle of stars or the glow of lamp posts. The dark of the night is akin to the darkness we “see” when we close our eyes: it is composed of lines and dots of colour. One cannot therefore say that the night hinders our sight nor does it abolish consciousness. On the contrary it is a “ground” that allows a subject to perceive colours and lights differently than during the day. 1 Henri Michaux, Émergences-Résurgences, Paris, Champs-Flammarion, 1987, p. 20-21

Catalogue excerpt

Man Ray, Night (Alphabet for adult) [Nuit (Alphabet pour adulte)], 1970 Paris, Centre Pompidou, Musée national d'art moderne © Man Ray Trust / ADAGP, Paris 2018 © Georges Meguerditchian - Centre Pompidou, MNAM-CCI / Dist. RMN-GP

SIZE: 22 x 30 CMNUMBER OF PAGES: 240 (MORE THAN 260 ILLUSTRATIONS)LANGUAGE: FRENCHPRICE: 39 EUROSRELEASE DATE: SEPTEMBER 2018

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JEAN-MARIE GALLAIS, LE VERTIGE DE LA NUIT (THE THRILL OF THE NIGHT)

Night-time offers a number of perspectives both literally and figuratively. The Realm of the Indistinct is also a time for revelation. It appeases as much as it worries. Could painting be a means of taming the night, of taking ownership? The Anglo-Saxons use the term “night painter”: a painter is either ‘of the night’ or isn’t. Whether a night-owl or an insomniac, the night painter conjures up the Romantic myth of the poet or artist living on his own terms outside of the norm, working into the night in the solitude of the studio, for the daytime is just so disappointingly unproductive.Catalogue excerpt JEAN-MARIE GALLAIS, LE VERTIGE DE LA NUIT

(THE THRILL OF THE NIGHT)

Painters work directly with the matter of the night. As a mise-en-abyme of this sensation of indiscernability, nocturnal painting also appears to be an experience that resists duplication. Not only is painting a night, but nighttime is a painting: “Darkness is but a canvas on which my eyes project by the thousands the familiar faces of the dear departed”1, writes Baudelaire. The night is an abstract or Surrealist composition precisely because it stages indistinct shapes and apparitions. In his essay on Cubist painting, Jean Paulhan recounts how, coming home late, so as not to wake his sleeping wife he decided to “flick the light on” for a second to visualize the obstacles in his path. He advanced cautiously in the dark: “I had the strangest feeling. It was as if I had walked across a modern painting.”2

1Charles Baudelaire, Obession in Les Fleurs du mal, Paris, Poulet-Malassis et De Broise, 18572Jean Paulhan, Petite aventure en pleine nuit, in La peinture cubiste, Œuvres complètes, V, Paris, Claude Tchou, p. 76-78

Catalogue excerpt

Vija Celmins, Untitled n°17, 1998 Paris, Centre Pompidou, Musée national d'art moderne © Vija Celmins, Courtesy Matthew Marks Gallery © Photo: Centre Pompidou, MNAP-CCI, Dist. RMN-Grand Palais / Philippe Migeat

Helen Frankenthaler, Star Gazing, 1989 © 2018 Helen Frankenthaler Foundation, Inc. / © ADAGP, Paris 2018

The presentation of Helen Frankenthaler's artwork Star Gazing wade made possible thanks to the support of The Helen Frankenthaler Foundation, New York.

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6.ASSOCIATED PROGRAMME

Over the six month long exhibition Painting the Night, a number of “associated programmes” and special events have been designed to prolong the experience and highlight certain aspects of the exhibition.

Once a month during exhibition the Centre Pompidou-Metz proposes a very special evening, in resonance with the theme of the exhibition, during which the museum will be open to visitors who wish to experience the very unique atmosphere and sense of immersion the visit offers after nightfall.

NOCTURNALS: SIX NIGHTS AT THE MUSEUM As part of these exceptional events the Conservatoire à rayonnement Régional Gabriel Pierné de Metz will offer a musical programme performed in front of certain artworks or in the shadows of the scenography. The Centre d’art will come alive with these nightly sessions that shall highlight various sections of the exhibition: The Thrill of Senses, Rhythms and Presences, Nocturnal Obsessions, Eternal Eyes, The Star Eaters, Enwrapped in the Night.

For each nocturnal, a special guest shall host the evening in the exhibition rooms, the Studio or the Wendel Auditorium.

THU. 08.11NIGHT #1 : THE NIGHT OF THE OWLMusical interventions by the Conservatoire à Rayonnement Régional Gabriel Pierné de Metz MétropoleSound installation by Zad MoultakaLecture by the philosopher Michaël Fœssel

THU. 06.12NIGHT #2 : THE SACRED NIGHTMusical interventions by the Conservatoire à Rayonnement Régional Gabriel Pierné de Metz MétropoleCreation of Jérémy Demester for the CCN-Ballet de Lorraine (dance)

THU. 10.01NIGHT #3 : THE STARRY NIGHTMusical interventions by the Conservatoire à Rayonnement Régional Gabriel Pierné de Metz MétropoleLecture by the astrophysicist Trinh Xuan Thuan Nombrer les étoiles, performance by Alban Richard (dance)

THU. 07.02NIGHT #4 : THE NIGHT OF MYSTERIESMusical interventions by the Conservatoire à Rayonnement Régional Gabriel Pierné de Metz Métropole Piano nocturne, concert by Thérèse Malengreau

THU. 07.03NIGHT #5 : THE LYING NIGHT (NUIT#COUCHÉE)Musical interventions by the Conservatoire à Rayonnement Régional Gabriel Pierné de Metz MétropoleConcert by Stéphane Garin / Ensemble 0 and his guests, concert all night long (23:00-06:00)

THU. 04.04NIGHT #6 : THE SILENT NIGHTMusical interventions by the Conservatoire à Rayonnement Régional Gabriel Pierné de Metz MétropoleVideo projection by Madeline HollanderConcert performance by Jeff Mills (subject to modifications)

PAINTING THE NIGHT

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The night sends us on a journey into time, as Alban Richard does with Nombrer les étoiles which takes us into the heart of the medieval night and the highly refined art of the ballad. In Nombrer les étoiles dance and music have become one; the movements follow the rhythms set by poems, by the length of the foot, the word, the verse. Nombrer les étoiles imagines secret faraway worlds, dreams of a haven of peace, a refuge. During this journey obscure changes may take place deep in the soul. Nombrer les étoiles is a poetic bubble, an otherworldly moment in synch with the Universe. “Though one might tally the stars … the drops from sky and sea, even the grains of sand they wet, though one might measure the width of the firmament, one cannot know or even imagine how great is my longing to see you.” (Guillaume de Machaut, 14th century)

THU. 10.01, 21:00ALBAN RICHARD, NOMBRER LES ÉTOILES(COUNTING THE STARS)

DANCE

AUDITORIUM WENDEL

THU. 10.01, 19:00LECTURE BY THE ASTROPHYSICIST TRINH XUAN THUAN

LECTURE

The astrophysicist Trinh Xuan Thuan takes us on a faraway journey into the starry night informing us with the latest scientific discoveries. He shares with us his enthusiasm and amazement as he speaks of our fragile world and the beauty of the cosmos. Together we shall track the light emanating from stars to understand the origin of the Universe and our own. Together we shall search what are called “blue compact dwarf galaxies” — his domain of expertise, and their young, hot, massive stars that emit a blue light. Together we shall exit the observatory to probe the darkness and stare at the unfiltered skies as he tells us of the planets, the Moon and the Sun.

AUDITORIUM WENDEL

As if by magic, during the course of the exhibition, one of the mysteries of our night skies will take place in the firmament above Metz: a total eclipse of the moon. The orb will darken and seem to disappear as it gradually turns deep red when entering the shadow of the Earth. The performance artist, Andrea Bozic invites the brave to witness her astral choreography staged against the starry night. 04:30-06:30, breakfast included.Meet the artist at 4:30 in front of Centre Pompidou-Metz.Ticket: 10€

NIGHT OF SUN. 20.01 TO MON. 21.01, 04:30 - 06:30

ANDREA BOZIC, THE ORANGE NIGHT

THU. 08.11, 20:30 LECTURE BY THE PHILOSOPHER MICHAËL FŒSSELBorn in 1974 at Thionville, Michael Fœssel, a graduate of the École Normale Supérieure, and holder of an aggregation in philosophy, was elected to replace Alain Finkielkraut at the École Polytechnique. Advisor to the editor of the literary magazine L’Esprit, and with Jean-Claude Monod, heads the collection “L’Ordre Philosophique” at the Seuil publishing house, he has authored several works including Après la fin du monde (2013), Temps de la consolation (2015) and La nuit, vivre sans témoin (2017). He has also contributed an essay to the exhibition catalogue.

LECTURE

AUDITORIUM WENDEL

NIGHT #1: THE NIGHT OF THE OWL

The painter, etcher and sculptor Jérémy Demester born 1988, has been invited to stage his first live performance for the exhibition Painting the Night. Fuelled by his trips to the Benin where he was initiated to nocturnal voodoo rituals, his Gypsy origins and the input of flamenco, he presents this explosive collaboration during a night at Centre Pompidou-Metz. The dancers of the CCN-Ballet de Lorraine have taken up a new challenge and will embody the artist’s paintbrushes and the artist will work with the corps de ballet as if it were an empty canvas.

DANCETHU. 06.12, 20:30JÉRÉMY DEMESTER AND THE CCN-BALLET DE LORRAINE

STUDIO

NIGHT #2: THE SACRED NIGHT

NIGHT #3: THE STARRY NIGHTPERFORMANCE AND ASTRONOMICAL OBSERVATION

Alban Richard, Nombrer les étoiles © Agathe Poupene

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During nocturnal musical events an exhibition ticket gives access to the exhibition from usual opening hours and until the closing at 20:30. Tickets to the special events at 20:30 from 5€ to 25€Limited number of places.

In partnership with Metz associations Ciné Art and L’œil à l’écran, a cycle of video projections and films will take place one Sunday a month. The films are briefly presented before each screening. With classics, rare works, historical pieces and emerging artists’ videos this eclectic programme follows the nocturnal promenade proposed by the exhibition.

SUN. 18.11, 16:00 LOST IN DARKNESSLa Première nuit (the first night) by Georges Franju (1957, 19 min.)After Hours by Martin Scorsese (1985, 97 min.)

SUN. 09.12, 16:00 THE NIGHT DWELLERSLa nuit du doute (the night of doubts), by Fayçal Baghriche (2016, 6 min.)Night in Beirut by Sirine Fattouh (2006, 8 min.)Leaving Living by Noa Giniger (2005, 10 min.)Kempiski de Neil Belfoufa (2007, 14 min.) Histoire de la Nuit (story of the night) by Clémens Klopfenstein (1978, 63 min.)

SUN. 13.01, 16:00 NOCTURNAL OBSESSIONSTehran-Geles by Arash Nassiri (2014, 18 min.) Alphaville by Jean-Luc Godard (1965, 90 min.)

SUN. 10.02, 16:00 THE ETERNAL EYESLe monde de Paul Delvaux (the world of P. Deveaux) by Henri Storck (1946, 10 min.) Les lumières du faubourg by Aki Kaurismaki (2006, 80 min.)

SUN. 10.03, 16:00 ENWRAPPED IN THE NIGHTLa Déraison du Louvre by Ange Leccia (2005, 15 min.) The Very Eye of Night by Maya Deren (1959, 15 min.)Belle de Nuit by Luciano Emmer (1997, 26 min.) Un Amour d’été by Jean-François Lesage (2015, 63 min.)

Tickets: 5€ / free for members

A session for children and family is also proposed on Sunday 7th April 2019, see on next page.

PROJECTION SESSIONS: “A NIGHT ON THE SCREEN” [LA NUIT À L'ÉCRAN]

Seen as a pianist for whom music is above all a combination of thought and matter, during her concert Thérèse Malengreau explores past and present composers’ glorification of the night hours. Her unique, unusual programme is inspired by the exhibition, her piano resonates with the thrill of the night.

THU. 07.02, 20:30THÉRÈSE MALENGREAU, MOONLIGHT

CONCERT

GALERIE 3With the assistance of Pianos Schaeffer

The Centre Pompidou-Metz houses La nuit#couchée; the public relaxes on beds in the Studio to listen to music till the end of the night. (with Alfredo Costar Monteiro, Maxime Denuc, Christophe Petchanatz Klimperei, Floriane Pochon (subject to modifications), Pacôme Thiellement, Stéphane Garin / ensemble 0).

NIGHT OF THU. 07.03 TO FRI. 08.03, 23:00 - 06:00ENSEMBLE 0, LA NUIT#COUCHÉE

CONCERT ALL NIGHT LONG

STUDIOWith the support of DODO®

Madeline Hollander is working on a new project: a video inspired by research on a species of crickets from an island in the Hawaiian archipelago that, because of genetic evolution, have become silent at night.

THU. 04.04, 18:00MADELINE HOLLANDER

VIDEO PROJECTION

AUDITORIUM WENDEL

NIGHT #4: THE NIGHT OF MYSTERIES

NIGHT #5 : THE LYING NIGHT (NUIT#COUCHÉE)

NOCTURNE #6: THE SILENT NIGHT

THU. 04.04, 20:30JEFF MILLS (SUBJECT TO MODIFICATIONS)

CONCERT PERFORMANCE

STUDIO

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YOUNG PUBLIC PROGRAMME

The Mu are a strange people, these little creatures come from a faraway universe and set up camp at the 5-12 year old workshop at Centre Pompidou-Metz. To understand them and discover their unusual story, the children will have to tiptoe into the shadows for the Mu only awake at night! During the workshop the children embark on a journey into the imaginary world of artist Alice Monvaillier. In this cosmic environment they are tasked with depicting he incredible itinerary of the Mu by using collage and fluorescent paint.

SAT. + SUN. + PUBLIC HOLIDAYS (except 1st May)5-7 years old: 11:008-12 years old: 15:001:30 – 5€

Registration on-line and on-site (subject to availability)Additional sessions during regional school vacations (B):5-7 years old: WED. at 15:008-12 years old: MON. +THU. +FRI. at 15:00

SUN. 07.04, 15:00YOUTH CINEMADuring the “Nuit à l’écran” (A night on the screen) cycle, a screening of short and animated films for a young public is presented, with periods of discussion and workshop in partnership with the local associations Ciné Art and L’œil à l’écran.- Blinkity Blank by Norman Mac Laren (1955, 5 min.)- Le voyage dans la Lune by Georges Méliès (1902, 13min.) - Silly Symphonies (Night) by Walt Disney (1930, 7 min.)- Felix the cat in sure locked homes by Otto Mesmer (1928, 7 min. 50 sec.) - Le hérisson dans le brouillard by Youri Norstein (1975, 11 min.)- Obscur by Idir Hanifi (2014, 12 min.)

Tickets: 5€ / free for membersFrom 6 years old

SUN. 09.12, 15:00FAMILY SHOWThe storyteller Muriel Bloch, author of 365 contes pour tous les âges (365 tales for all ages), Comment la nuit vint au monde et autres contes du Brésil (How the night was born and other Brazilian stories) and the radio series Histoires à se réveiller couchés (stories to wake up to in bed), has collected a number of family destined stories about the night that she will enact during the exhibition.

This programme was created in partnership with the JECJ (European Days for Jewish Culture).

Admission free, limited places available.

WORKSHOP FOR CHILDREN FROM 5-12 YEARS

13.10.18 → 04.02.19ALICE MONVAILLIER, L'ATELIER DES MU,(THE JOURNEY OF THE MU PEOPLE)

WORKSHOP FOR CHILDREN FROM 8-12 YEARS DURING ALL-SAINTS HOLIDAY

24.10.18 → 26.10.18, 10:00-11:30THE MU AT NIGHTOf what do the Mu, strange little creatures spawned by artist Alice Monvaillier’s imagination, dream? Inspired by the works exhibited during Painting the Night, the children will have three sessions to design an album recounting the many adventures of the cute little devils.

3 days 3 x 1:30 – 15€ (flat rate includes the 3 sessions)

STUDIO

Centre Pompidou-Metz and the National Orchestra of Lorraine in association with public libraries and multimedia libraries propose two exceptional sessions of Babies' Island dedicated to the wonderful and mysterious world of the night. During these two very special sessions parents and children alike will enjoy a selection of musical albums and nursery rhymes to resonate with the exhibition Painting the night. These fun recreational activities, stories and finger games can easily be continued at home.

45 min. - Free with a ticket to the exhibitions of the day.

UP TO FIVE YEARS OLDSAT. 23.03.19, 10:15 + 11:15

BABIES' ISLAND

During the exhibition Painting the Night, both adults and children will be able to discover a world of the night made of dreams, the infinity of space and sensations.

Along the way several games and creative activities offer each family a means to broach the topic of night-time in their own unique fashion. They will have fun playing with shadows, describing their dreams and nightmares, and watching the stars twinkle!

On the first Sunday of the month, holidays (except on 1st of May) and on Wednesdays during school vacations of zone B in France: a one hour visit at 15:00 for an extra 4€ per person with a ticket to the exhibitions of the day.Free for holders of a PASS-M or a Youth PASS-M.Registry on-line or tickets on site the day of the visit (subject to availability).

FAMILY VISIT WITH CHILDREN FROM 5 TO 9 YEARS OLD AND THEIR PARENTSBEGINNING 24.10.18 FAMILY VISIT: LET’S TAKE A WALK IN THE DARK

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OUTSIDE EVENTS

LISTEN TO THE NIGHT, AT THE CITÉ MUSICALE-METZ17.10 → 21.10Parallel to the Painting the Night exhibition, the Cité Musicale - Metz shall organize musical and dance performances on the theme of night.

The dance is honored with Ad Noctum by Christian Rizzo who transports us into a breathtaking duo punctuated by unusual and beautiful fade to black effects. This homage to darkness offers us a musical landscape, a cinematic score created by Nicolas Devos and Pénélope Michel interact with Cathy Olives’ luminous vibrations.

MEDIEVAL MUSICWED. 17.10, 20:00 ENSEMBLE SOLLAZZO, NUIT ET JOUR:SAINT-PIERRE-AUX-NONNAINSTickets: 25€ / 10€

LIVE PERFORMANCETHU. 18.10, 20:00CHRISTIAN RIZZO, AD NOCTUMARSENAL / GRANDE SALLETickets: 25€ / 20€ / 10€

SYMPHONICFRI. 19.10, 20:00ORCHESTRE NATIONAL DE METZ, NUITS ÉTOILÉESMusical director: David Reiland Wolfgang Amadeus Mozart: Eine kleine NachtmusikArvo Pärt: Cantus in memoriam Benjamin BrittenToru Takemitsu: Twill by TwilightModest Moussorgsky: Nuit sur le mont chauve Arnold Schoenberg: Verklärte Nacht , Op.4

ARSENAL / GRANDE SALLETickets: 33€ / 28€ / 20€ / 10€

CONFERENCEFRI. 19.10, 19:00Eurydice Jousse, Professeur de culture musicale du Conservatoire à Rayonnement Régional Gabriel Pierné de Metz Métropole.

ARSENAL / SALON CLAUDE LEFEBVREFree admission

MUSIQUE DE CHAMBRE, PIANOSAT. 20.10, 18:00VANESSA WAGNER, AVANT LA NUITFranz Liszt: Bénédiction de Dieu dans la solitude, Hymne de l’enfant au réveil, Funérailles, Andante Lacrimoso, Cantique d’amourArvo Pärt: Fur Alina, Trivium, Pari Intervallo

ARSENAL / SALLE DE L’ESPLANADETickets: 25€ / 10€

ELECTROSAT. 20.10, 21:00DANSER LA NUITChloé + Flavien Berger + Marc Melià(complete programming coming soon) BAM18€/ 15€ / 12€

BAROQUESUN. 21.10, 11:30L'ACHÉRON, COUPERIN: PIÈCES POUR VIOLE ET CLAVECINPièces de viole: Suite en mi mineur, Suite en la majeurPièces de clavecin: La Ténébreuse, Les Pavots, Les Barricades Mystérieuses

ARSENAL / SALLE DE L’ESPLANADETickets: 16€ / 10€ + Brunch must be reserved

FURTHER INFORMATION ON WWW.CITEMUSICALE-METZ.FR/

Christian Rizzo, Ad Noctum Photo © Marc Coudrais

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THU. 11.04 + FRI. 12.04.19ANOTHER WAY TO EXPERIENCE THE NIGHTAT THE AMNÉVILLE ZOO

Detailed information about the program will be available shortly on the centrepompidou-metz.fr website

The events announced here are subject to changes. For up-dated information please check with the Pôle des Publics and Communications Dept. at Centre Pompidou-Metz or on the internet site.

The attendants have left, visitors have gone home, night is falling… Darkness descends quietly upon the park. Rustlings, shifting and squirming: we can hear and sense some of the Amnéville Zoo hosts (nocturnal raptors, reptiles, wolves, big cats…) as they awaken.After a night at the museum, discover a night at the zoo (reservation required, limited offer open only to Centre Pompidou-Metz members).

Paul Klee, La nuit de Walpurgis [Walpurgisnacht], 1935 © Droits réservés © Photo: Tate, London 2018

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7.THE PARTNERS

Centre Pompidou-Metz is the first example of devolution of a major national cultural institution, Centre Pompidou, in partnership with local and regional authorities. As an autonomous institution, Centre Pompidou-Metz benefits from the experience, know-how and international renown of Centre Pompidou. It shares with its elder the values of innovation, generosity, a pluridisciplinary approach as well as an openness to all visitors.

Centre Pompidou-Metz puts on temporary exhibitions based on loans from the collection of Centre Pompidou, National Museum of Modern Art, which, with more than 120.000 artworks, is the largest collection of modern and contemporary art in Europe and the second largest in the world. The loans come as well from numerous

other French and international museums, galleries and private collectors.

It also develops partnerships with museums around the world. As an extension to its exhibitions, Centre Pompidou-Metz offers dance performances, concerts, cinema and lectures.

It is supported by Wendel, its founding sponsor.

With the support of the Moselle department

Patrons of the exhibition :

The exhibition has benefitted from exceptional loans from the musée d'Orsay

With the assistance of Pianos Schaeffer

With the participation of Vranken-Pommery Monopole.

For the associated programme:

Mécène fondateur

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Wendel, founding sponsor of the Centre Pompidou-Metz

Wendel has been involved with the Centre Pompidou-Metz since its opening in 2010. Trough this patronage, Wendel has wanted to support an emblematic institution with a broad cultural influence. In acknowledgement of its long-standing commitment to cultural development, Wendel was awarded the title of “Grand Sponsor of Culture” in 2012.

Wendel is one of Europe’s leading listed investment companies. It operates as a long-term investor and requires a commitment from shareholder which fosters trust, constant attention to innovation, sustainable development and promising diversification opportunities. Wendel excels in the selection of leading companies, such as those in which it currently owns a stake: Bureau Veritas, Saint-Gobain, IHS, Constantia Flexibles, Allied Universal, Cromology, Stahl, CSP Technologies, Tsebo, PlaYce, Mecatherm and Nippon Oil Pump.

Founded in 1704 in the Lorraine region, the Wendel Group expanded for 270 years in various activities, in particular in the steel industry, before becoming a long-term investor in the late 1970s.

The Group is supported by its core family shareholder group, which is composed of more than one thousand shareholders of the Wendel family, combined to form the family company Wendel-Participations, which owns 37.6% of the Wendel group’s share capital.

CONTACTS

Christine Anglade Pirzadeh: + 33 (0) 1 42 85 63 24 c.angladepirzadeh@wendelgroup.com

Caroline Decaux: + 33 (0) 1 42 85 91 27 c.decaux@wendelgroup.com

G R A N D M E C E N E D E L A C U LT U R E

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The UEM Group, sponsor of the Painting the Night exhibition

UEM, provider of energy since 1901 for Metz and the surrounding 138 communes, is proud to support Centre Pompidou-Metz once again for the exhibition Painting the Night on display from 13 October until 15 April 2019.

It seemed very relevant for UEM to support this exceptional exhibition for its theme is linked to the history and activities of the company. Indeed, as early as 1887, Metz was one of the first French cities to provide electricity for its Theatre and its surroundings! Such a ground breaking technology brought light to the population of Metz offering them a new way of experiencing the night.

Acknowledged for its commitment to the life of the community and its cultural institutions, the UEM Group could not overlook such an ambitious project.

As a patron of Centre Pompidou-Metz since its inauguration, the UEM Group confirms here its support to this cultural and artistic establishment of national and international standing.

UEM is more particularly involved in supporting the workshops for 5-12 year old children who are put in contact with modern and contemporary art through educational activities and creative assignments supervised by artists.

These workshops are in keeping with the objectives of the UEM Group: over the past years, the company has launched numerous programmes for pupils in partnership with the Moselle educational administration (each year over 1,000 children visit the Argancy hydroelectric power plant or the Musée Pontiffroy), and through teaching materials offered on the website Energy Kid’s.

By sponsoring this Centre Pompidou-Metz exhibition, the UEM Group pursues its actions in support of spreading culture and promoting the City of Metz as one of the leading capital cities of Contemporary Art.

About UEM

UEM is the first French Independent Local Distribution Company. It supplies power to over 165,000 clients including 23,000 businesses.

The company has long been committed to sustainable development: its 3 hydroelectric power plants spread over the Moselle area and its biomass unit inaugurated in 2013 all produce renewable electricity.

UEM is part of the UEM Group, which gathers 5 entities (UEM, URM, énergem, énergreen production, efluid) and employs 700 people.

The UEM Group is key to the vitality of the local and regional economy.

Press Contacts:

UEM

Claire LARDIN/ Valérie COZETTE LE BAIL

2, place du Pontiffroy – 57 000 METZ

Tel: 03 87 34 45 48 / 03 87 34 37 58

Mail c-lardin@uem-metz.fr / v-cozette@uem-metz.fr

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Lorraine Airport sponsor of Painting the Night exhibition

After the exhibition Beacons and Musicircus, the Lorraine regional airport is once again a sponsor of Centre Pompidou-Metz for Painting the Night. Travel is a strong common denominator between the two local institutions for indeed Art is a journey! While this new exhibition leads its visitors into the fascinating world of the night, Lorraine Airport carries its passengers toward new territories.

Since its inauguration, over 6.5 million travelers have boarded, visited, explored, discovered numerous destinations such as Heraklion, Nice, Venice, Rome, Lyon, Prague, Nantes, Biarritz, Bordeaux among others. In 2018, it is still possible to reach a broad array of national, European and international cities including new regular lines like Metz-Marseille with HOP airlines and some supplementary flights toward Casablanca and Algeria.

Nowadays, several hundred people are actively involved in offering better travel services thanks to regular airline companies and established tour operators.

In order to meet the expectations of the public, Lorraine Airport has opened a Duty Free shop in the boarding zone and a new restaurant with a panoramic view of the runways.

Press contact:

Stéphanie Brocard sbrocard@lorraineairport.com03 87 56 70 13 / 06 74 44 72 05

www.lorraineairport.com

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The Conservatoire à Rayonnement Régional Gabriel Pierné Metz Métropole (CRR) is a music, dance and theatre academy.

Located on the heights of Saint-Croix at the heart of the historical city of Metz it offers quality training in over sixty artistic disciplines.

It welcomes up to 1 600 students each year, from the Jardin musical for four-year-olds to master classes.

A team of about one hundred teachers offer high quality instruction for amateurs as well as future professional artists.

The CRR’s open, innovative pedagogical approach is also directed toward school children through several interactive activities; it is a driving force in the regional artistic community both in terms of creativity and dissemination.

This cultural facility has been managed since January 2004 by the city of Metz under the supervision of the Ministry of Culture with regard to pedagogical aspects.

The Cinema, in all its various shapes and forms, emerged from light, or rather the absence of light, in the night of the darkened projection room, a prerequisite for the show to begin. On the screen a multitude of luminous dots, a fragile balance between black and white, even when there is colour it appears only in the gap between obscurity and total light – the whiteness of the screen.

Whether a fiction, a document or an abstract piece (or all three at once if it pleases the spectator), if it is set in full daylight or at night, under the sunlamps or in the shadows of a city or a forest, the cinema, by nature, is compelled, if only for technical reasons, to a relationship with the dark of night: a script made of light when it echoes literature or theatre; a visual art when it focusses purely on characters, objects and shapes.

The relationship is intensified when it represents night itself (Indeed how does one film the night?), a double affinity that sometimes leads to a number of conventions, and genres (film noir, science fiction, horror).

In resonance with the exhibition Painting the Night, two associations, Ciné Art and L’œil à l’écran, propose seven screenings including films that all focus on the night. Far from the beaten tracks, these shorts and feature films set over different periods in time will enhance the visitors’ experience of the exhibition.

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Masterpieces on loan from the Musée d’Orsay in Paris.

The exhibition opens with one of the rare American paintings in the Orsay collections, a night scene: Summer Night by Winslow Homer (1890), The canvas is displayed in the company of proofs by a photographer from Luxemburg, Edward Steichen: Road into the Valley – Moonrise (1906), and Moonlight: The Pond (1906), works that testify to the fascination for the night shown by the fledgling discipline, more specifically Pictorialism. The Musée d’Orsay own quite a large collection of Steichen’s photographs, indeed he was one of the first to find the technical solutions required to capture nocturnal light. In 1908, Rodin, a friend of the painter-photographer, ordered from him a series of shots of his Balzac sculpture taken under the light of the moon, one of which is the now iconic proof Balzac – The Silhouette, 4 a.m., lent by Orsay for the exhibition. Also on loan from the museum is a print from the series Equivalent (1925) by Alfred Stieglitz hung in the last section of the exhibition “Enwrapped in the Night”.

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8.PRESS IMAGES

The pictures of artworks, among which the pictures listed hereafter, can be downloaded at the following url:

centrepompidou-metz.fr/phototheque

USERNAME: presse

PASSWORD: Pomp1d57

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Jean Arp, Game after midnight [Jeu après minuit], 1962 Papiers découpés et collés sur papier, 64 x 50cm Paris, Centre Pompidou, Musée national d'art moderne © Adagp, Paris 2018 © Georges Meguerditchian - Centre Pompidou, MNAM-CCI/Dist. RMN-GP

Vija Celmins, Untitled n°7, 1998 Fusain sur papier 45,7 x 55,5 cm Paris, Centre Pompidou, Musée national d'art moderne © Vija Celmins, Courtesy Matthew Marks Gallery Photo © Centre Pompidou, MNAM-CCI/Dist. RMN-GP / Philippe Migeat

Augusto Giacometti, Starry Sky (Milky Way) [Sternenhimmel (Milchstrasse) ], 1917 Huile sur toile, 86 cm Bündner Kunstmuseum Chur, Schenkung aus Privatbesitz

Winslow Homer, Summer Night, 1890 Huile sur toile, 0,767 x 1,02 m Paris, Musée d'Orsay

© RMN- Grand Palais (Musée d'Orsay) / Hervé Lewandowski

Victor Hugo, Twilight vision [Vision crépusculaire], s.d Techniques mixtes sur papier, 7,5 x 9,3 cm Paris, Maison de Victor Hugo

Photo © Maisons de Victor Hugo / Roger-Viollet

Peter Doig, Milky Way, 1989/1990 Huile sur toile, 152 x 204 cm Collection de l'artiste © Peter Doig. All Rights Reserved, DACS/Artimage 2018. Photo: Jochen Littkemann / ADAGP Paris, 2018

Auguste Elysée Chabaud, Hôtel-Hôtel, 1907/1908 Huile sur papier marouflé sur panneau marqueté, 38,6 x 53,4 cm Musée de L'Annonciade, Saint-Tropez © Adagp, Paris 2018 Photo © Pierre-Stéphane Azema

Robert Delaunay, Nightscape (the cab) [Paysage Noc-turne (le fiacre)], 1906/1907 Huile sur toile, 43 x 58 cm Collection particulière Courtesy Galerie Louis Carré & Cie

Francis Bacon, Femme nue se tenant dans un encadrement de porte 1972 Papiers découpés et collés sur papier, 64 x 50cm Paris, Centre Pompidou, Musée national d'art moderne © The Estate of Francis Bacon - Adagp, Paris 2018 Photo © Centre Pompidou, MNAM-CCI/Dist. RMN-GP / Philippe Migeat

Raymon Jonson, The Night, Chicago, 1921 Huile sur toile, 88,9 x 104,1 cm Courtesy of Michael Rosenfeld Gallery LLC, New York, NY

© The Raymon Jonson Collection, University of New Mexico Art Museum, Albuquerque, NM Photo © Courtesy of Michael Rosenfeld Gallery LLC, New York, NY

Vassily Kandinsky, A Circle (A) [Ein Kreis (A)], 1928 Huile sur toile, 35 x 25 cm Paris, Centre Pompidou, Musée national d'art moderne Photo © Centre Pompidou, MNAM-CCI, DIst. RMN-GP / Philippe Migeat

Paul Klee, Growth of plants [Pflanzenwachstum], 1921 Huile sur carton, 54 x 40 cm Paris, Centre Pompidou, Musée national d'art moderne © Droits réservés © Service de la documentation photographique du MNAM, Centre Pompidou, MNAM-CCI/Dist. RMN-GP

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Jannis Kounellis, Untitled (Night) [Senza titolo (Notte)], 1965 Huile sur toile non enduite, agrafée sur châssis, 120 x 180 cm Paris, Centre Pompidou, Musée national d'art moderne © Adagp, Paris 2018 Photo © Centre Pompidou, MNAM-CCI/ Dist. RMN-GP / Adam Rzepka

Lee Karsner, Night creatures, 1965 Acrylic on paper, 76 x 108 cm New York, Collection of the Metropolitan Museum of Art © Adagp, Paris 2018 Photo © The Metropolitan Museum of Art, Dist. RMN-GP / Image of the MMA

Frantisek Kupka, Fall, 1910/1913 Huile sur toile, 74 x 84 cm Paris, Centre Pompidou, Musée national d'art moderne © Adagp, Paris 2018 Photo © Centre Pompidou, MNAM-CCI/ Dist. RMN-GP / Jean-Claude Planchet

Paul Klee, The night of Walpurgis [Walpurgisnacht], 1935 Gouache sur toile contreplaqué, 50,8 x 40,7 cm © Droits réservés

Roy Lichtenstein, Moonscape, 1965 Screenprint on plastic, 50x61 cm Collection particulière M. & Mme. Menke © Adagp, Paris 2018 Photo © Tate, London 2018

Man Ray, Night (Alphabet for Adult)[Nuit (Alphabet pour adulte)], 1970 Encre de Chine et stylo-feutre sur papier, 30,6 x 24 cm Paris, Centre Pompidou, Musée national d'art moderne © Man Ray Trust / Adagp, Paris 2018 Photo © Centre Pompidou, MNAM-CCI/ Dist. RMN-GP / Georges Meguerditchian

Man Ray, To the moonlight [À la lumière lunaire], 1948 Gouache sur bois, Collection privée, courtesy Andrew Strauss, Paris © Adagp, Paris 2018

Henri Michaux, The Prince of the Night [Le Prince de la nuit], 1937 Gouache et aquarelle sur papier noir, 32,3 x 24,5 cm Paris, Centre Pompidou, Musée national d'art moderne © Adagp, Paris 2018 Photo © Centre Pompidou, MNAM-CCI, Dist. RMN-GP / Philippe Migeat

Claude Monet, Leicester Square, by night [Leicester Square, la nuit], 1900/1901 Huile sur toile, 80 x 64 cm © Collection Larock-Granoff

Lucio Fontana, Spacial Environment [Ambiente Spaziale], 1967 Installation © Fondation Lucio Fontana, Milan © Adagp, Paris 2018

Max Ernst, Vision Induced by the Nocturnal Aspect of the Porte Saint-Denis [Vision provoquée par l'aspect nocturne de la Porte Sainte-Denis], 1927 Huile sur toile, 65 x 81 cm Collection particulière © Adagp, Paris 2018

Adrian Ghenie, The End of Romanticism, 2009 Huile sur toile, 210 x 140 cm Courtesy of P. Duménil

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Pablo Picasso, Reclining nude woman (or Starry Nude) [Femme nue couchée (ou Nu étoilé)], 1936 Huile sur toile, 1,306 x 1,625 m Paris, Centre Pompidou, Musée national d'art moderne © Succession Picasso 2018 Photo © Centre Pompidou, MNAM-CCI, Dist. RMN-GP / Philippe Migeat

Jan Sluijters, Moonlight [Maannacht IV], 1912 Huile sur toile Museum Voorlinden Wassenaar (The Netherlands) © Adagp, Paris 2018

Léon Spilliaert, Dam and beach, Royal Villa and galeries of Ostend [Digue et plage, Chalet Royal et galeries d'Ostende], 1908/1909 Encre de Chine et aquarelle sur papier, 64 x 48 cm Collection privée Courtesy Patrick Derom Gallery Photo © Vincent Everarts de Velp

Helen Frankenthaler, Star Gazing, 1989 Acrylique sur toile, 181,61 x 365,76 cm © 2018 Helen Frankenthaler Foundation, Inc. © Adagp, Paris 2018

The presentation of Helen Frankenthaler's artwork Star Gazing wade made possible thanks to the support of The Helen Frankenthaler Foundation, New York.

Gerhard Richter, Constellation [Sternbild], 1969 Huile sur toile, 92 x 92 cm Museum Frieder Burda, Baden-Baden © Gerhard Richter 2018 (24042018)

Georg Scholz, Night Street Scene [Nächtliche Strassenszene], 1923 © Staatliche Kunsthalle Karlsruhe

Avery Singer, Untitled, 2017 Acrylique sur toile, 101,6 x 114,3 x 5,08 cm Courtesy the artist, Kraupa-Tuskany Zeidler, Berlin/ Private Collection, Taiwan/ Photo © Thomas Mueller

Amédée Ozenfant, Illuminated Skyscraper [Gratte ciel éclairé], 1950 Huile sur toile, 152 x 107 cm Paris, Centre Pompidou, Musée national d'art moderne © Adagp, Paris 2018 © Centre Pompidou, MNAM-CCI/Dist. RMN-GP / Philippe Migeat

Amédée Ozenfant, Light on the water [Lumières sur l'eau], 1949 Huile sur toile, 1,04 x 1,3 m Paris, Centre Pompidou, Musée national d'art moderne © Adagp, Paris 2018 © Centre Pompidou, MNAM-CCI/Dist. RMN-GP / Philippe Migeat,

Fiete Stolte, Smoke (after Still Life with Candle #3), 2016 Tubes néon, 160 x 75 x 10 cm Courtesy of Klosterfelde Edition Berlin and the artist Photo © Studio Fiete Stolte

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