TABLE OF CONTENTS

PRESS CONTACTS

INTERNATIONAL AND NATIONAL PRESS

Brunswick ArtsGrégory Fleuriet+33 1 85 65 83 23 / +33 6 26 54 26 67

Roya Nasser +33 1 85 65 83 27 / +33 6 20 26 33 28fondationcarmignac@brunswickgroup.com

Fondation CarmignacAnne Racine+33 1 70 38 38 90anne.racine@carmignac.com

Valentine Dolla+33 1 70 92 31 91valentine.dolla@carmignac.com

PRESS KIT

Opening to the public

on 2nd June 2018

1. Press release 3

2. Édouard Carmignac - President 4

3. Charles Carmignac - Director 4

4. The Carmignac collection 5

5. The inner island 7

6. The architecture 10

7. Design of the interior and exterior spaces 12

8. The garden 13

9. Commissionned artists 15

10. The garden and its artworks 17

11. Peparing your visit 19

12. Chronology 20

Photo: Lionel Barbe

The Fondation Carmignac is pleased to announce the opening of its site on the Porquerolles island on June 2, 2018.

The Fondation, created in 2000 under the initiative of Édouard Carmignac, will open to the public in Porquerolles,a Mediterranean island often compared to a floating forest on the sea. Visitors will discover contemporaryartworks of the Carmignac Collection in the beautiful surroundings of a national park, along with temporaryexhibitions, a sculpture garden, and a rich program of cultural events.

The island is not the result of a random decision: “As in all legends or initiatory journeys, the voyage to the island is always a dual crossing – both physical and psychological. It is about crossing over to the other side,” states the Director of the foundation, Charles Carmignac.

Once on the island, the visitor will discover a Provençal farmhouse blended into the landscape. Inside, the galleriesexpand to reveal 2,000 square meters of exhibition spaces. Natural light, filtered through a ceiling filled with water,illuminates the spaces hidden beneath the surface. Outside, a selection of works inspired by the surroundings isdispersed over a 15-hectare garden, conceived by landscape designer Louis Benech.

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Created in 2000 under the initiative of Édouard Carmignac, the Fondation Carmignac is a corporate foundation with two mainfocuses: an art collection of close to 300 works, and the annual Carmignac Photojournalism Award. In partnership with theFondation Carmignac, the Villa Carmignac, this exhibition space open to the public, was conceived in Porquerolles to showcase the collection and to host cultural and artistic activities.

1. Press release

Cover photo: Eric Valli 3

If Fondation Carmignac has one guiding principle, it is that of “Liberté” [freedom].

As an antidote to conformity and convention, I glance over my shoulder at my partners and friends Andy Warhol, Jean-Michel Basquiat or Roy Lichtenstein. Their revolutionary diversions, which have now become universal codes, are an obvious source of inspiration and energy: a constant call for self-criticism, vigilance and insight.

Having passionately put together a collection over the last twenty years on my company premises, I was inspired by the discovery of Porquerolles to create a place that is open to all.

This endeavour also reflects my deep desire to make a bigger commitment to contemporary art – engage with artists by exhibiting them in a preserved and unique environment; engage with the public, by creating the ideal conditions for encounters and explorations.

A project that spans an entire lifetime, on a human scale, is about to see the light of day; the promise of a voyage that is poised to become reality, an adventure that acquires its meaning when it is shared.

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Édouard Carmignac is the Founder and President of the Carmignac company, specialized in asset management. After spending his childhood in Peru, he studied economics in Paris and graduated from Columbia University. He has been collecting contemporary art since the early 1980s, after coming into contact with the New York art scene.

An island is always an elsewhere. Here, by crossing over to the other side, we move away from the world, in order to better immerse ourselves in it.

Porquerolles confronts us with some key questions. Both a National Park and a crowded site, the island puts into question mankind and its presence in the world.

Fondation Carmignac chose that delicately balanced elsewhere as a place to share its collection, one that consists of sharp, free, and inspired visions of the contemporary world.

A vision is a way of seeing things; it is also a way of looking ahead; and it is, finally, the sudden and mysterious appearance of a mental image.

These three types of vision, shared on Porquerolles island, may have the power to transform the gaze of those crossing them. That is the purpose of our project.

_Charles Carmignac, a 40-year-old entrepreneur engaged in artistic and environmental pursuits, has launched a number of projects in journalism, communications and the arts, following his studies at ESCP and Sciences Po Paris. He was also a composer and a band member of Moriarty for 20 years. He took over the management of the Fondation in January 2017 to focus on the opening of the site on Porquerolles island, on 2nd June 2018.

2. Édouard Carmignac - President

3. Charles Carmignac - Director

Photo: Matthieu Salvaing

Photo: Matthieu Salvaing

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4. The Carmignac Collection

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The Collection, presented and shared since its creation inside the company’s offices, celebrates American art from the 1960s to the 1980s, with iconic works by Andy Warhol, Roy Lichtenstein and Jean-Michel Basquiat. The 20th and 21st centuries are surveyed with the incisive or more contemplative visions of Gerhard Richter, Willem de Kooning, Martial Raysse, Miquel Barceló or even Ed Ruscha, while the collection opens up new horizons with works by Zhang Huan, El Anatsui and those of the young emerging scene (Korakrit Arunanondchai, Theaster Gates…). Finally,photography and photojournalism complete this singular panorama, reflecting a personal history made of encounters and shared life moments.

Martial RaysseUlysse, why do you come so late poor fool, 1966 Acrylic and flocking on canvas - 12 panels de 50 x 65 x 2,5 cm chacun (390 x 160 cm) © Collection Carmignac /Adagp, Paris 2017

Jean-Michel BasquiatFallen Angel, 1981Acrylic on canvas - 167.5 x 198 x 3 cm © Collection Carmignac / The estate of Jean Michel Basquiat/Adagp, Paris 2017

Andy Warhol – Mao, 1973Synthetic polymer paint and silkscreen ink on canvas – 127 x 107 cm © Collection Carmignac / The Andy Warhol Foundation for the visual Arts. Inc. /Adagp, Paris 2017

Gerhard RichterGrüner Strich (Green Stroke), 1982Oil on canvas - 200 x 320 cm© Collection Carmignac / Gerhard Richter 2017

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• AES + F• Doug Aitken• El Anatsui• Sigurdur Arni Sigurdsson• Korakrit Arunanondchai• Ayman Baalbaki• Lee Bae• John Baldessari• François-Marie Banier• Miquel Barceló• Jean-Michel Basquiat• Anne-Catherine Becker-Echivard• Valérie Belin• Massimo Berruti• Jeremy Blake• Alighiero Boetti• Olaf Breuning• Ryan Brown• Alexander Calder• Maurizio Cattelan• Francesco Clemente• Andres Compagnucci• Georges Condo• Nicola Costantino• Arturo Cuenca• Felix Curto• Lottie Davies• Philippe De Gobert• Willem de Kooning• Anne Deniau• Marlene Dumas• Ed van der Elsken• Elger Esser• Liam Everett• Garry Fabian Miller• Urs Fischer• Bernard Frize• Theaster Gates• Os Gêmeos• Christophe Gin• Jack Goldstein• Artia Golestani• Wayne Gonzales

• Joe Goode• Douglas Gordon• Eberhard Grames• Deniz Gul• Andreas Gursky• Robin Hammond• Keith Haring• Jenny Holzer• Zhang Huan• Xiaoliang Huang• Fabrice Hyber• Jus Juchtmans• Wu Junyong• Yevgeni Khaldei• William Klein• Yves Klein• Jeff Koons• Josef Koudelka• Guillermo Kuitca• Oleg Kulik• David LaChapelle• Rosemary Laing• Dinh Q. Lê• David Levinthal• Roy Lichtenstein• Peter Lindbergh• Marcos Lopez• Isaac Lythgoe• Marchand & Meffre• Edgar Martins• Sergey Maximishin• Adam McEwen• Jin Meyerson• Eman Mohammed• Davide Monteleone• Horst Münch• Yoshimoto Nara• Shirin Neshat• Xavier Noiret-Thomé• Albert Oehlen• Marilène Oliver• Martin Parr• Philippe Pasqua

• Yan Pei-Ming• Pierre et Gilles• Vincente Pimentel• Afshin Pirhashemi• Paulo Nimer Pjota• Liliana Porter• Alex Prager• Richard Prince• Walid Raad• Carl Randall• Martial Raysse• Gerhard Richter• Herb Ritts• Susan Rothenberg• Miguel Rothschild• Sterling Ruby• Thomas Ruff• Edward Ruscha• Lizzie Sadin• Hervé Saint-Hélier• Makoto Saito• Hans-Christian Schink• Tazio Secchiaroli• Leang Seckon• Cindy Sherman• Kazuo Shiraga• David Spiller• Hanibal Srouji• Newsha Tavakolian• Yann Toma• Marjan Teeuwen• Li Tianbing• Günther Uecker• Vanessa von Zitzewitz• Andy Warhol• Bradford Washburn• Chen Wei• Kai Wiedenhöfer• Pavel Wolberg• Christopher Wool• Junyong Wu• Russel Young

LIST OF ARTISTS IN THE COLLECTION

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5. The inner island

It is a dual journey, both physical and mental, one that lies at the border and marked by several thresholds.

- The other side: The visit begins with the crossing. The visitor leaves the continent, and sails off to an island. The mental journey begins at that point.

- The walk: Arriving at the port, there are 680 steps to take; the body drifts aimlessly, in the ancient and mystical sense of the term, as if in a quest to solve a mystery.

- The forest: Porquerolles is a Mediterranean forest in the middle of the sea. The journey starts and ends with the forest. An inner landscape whose etymolo-gical meaning is: “in the distance.” The Fondation is nestled at the foot of the forest.

POINTE DU LEQUIN PISTE DE NOTRE DAME CHEMIN DU STADE SÉMAPHORE FONDATION CARMIGNAC CHEMIN DES VIGNES

Photo: Adrien Chevrot

Photo: Patricio Estay

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- The ticket office: It is a threshold. Visits are limited to 50 people per half-hour. That way, it is possible to find oneself alone in front of an artwork. Open from 10 a.m. until sunset.

- The villa: At the heart of a national park, on a listed site; new constructions are not authorized on the land. This constraint led to the creation of an exhibi-tion space underneath the ground surface. From the outside, the house has barely changed.

- The guard: On the doorstep, like an obstacle that needs to be overcome, a sculpture of Alycastre, Por-querolles’ legendary dragon, guards the site.

- The bookstore: Upon entering, the visitor discovers the sea through an “Ideal Bookstore”, a symbolic place where artists offer visitors a selection of books that they could take with them on an island.

- The ritual: The visit is ritualized; visitors walk with their bare feet, after having savoured a plant-based drink.

- The descent underneath the surface: The walls expand and extend across 2,000 square meters of exhibition spaces. Natural light, filtered through an aquatic ceiling, illuminates the spaces as it would the seabed. It is the site of the temporary exhibition, which delves into the Carmignac collection each year through a specific topic.

- The ascent to the ground: Once outside, the visitor discovers the gardens designed by the landscaper, Louis Benech, which highlight the pioneering species that are characteristic of the island.

The reception and the bookstore (designed by Agent M)

Sketch of the inner island

The ritual space: removal of shoes and plant-based drinks (designed by Agent M)

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- The North sculpture garden: The outdoor areas are filled with artworks from specific commissioned pro-jects or artist’s residencies. In the North, in an agri-culturally inspired area (an orchard, or a vegetable garden), immersive artworks such as a mirror maze lead to wells, like invitations to go back beneath the floor area. The giant canes serve as green picture rails to enhance the unveiling effect of the artworks.

- The South sculpture garden: This is the bushy area inhabited by figurative sculptures: faces, busts and representations of nature, welcoming, or else cruel.It is mankind and its presence in the world. The floor is covered with fragile and protected species – acting as a space devoted to raising awareness.

- The edge of the woods: The visitor progressively disappears in the forest, an area less affected bycivilization. Three alchemists, the sculpture of threeinnocent children with closed eyes, guard the wooded areas.

- The forest: In the middle of the forest are clearings. You leave the surface to gaze at the sky. It is the site of installations, temporary artworks and performance art pieces around the theme of trance, broadly spea-king, like a crossing from one state to another.

- The land: At the end of the journey, the visitor has the opportunity to savor a glass of wine from the vineyard, and to sit under the pine trees for a meal made of seasonal produce supplied by the island’s agro-ecological association.

- The sea: After the visit, it is recommended to take 200 steps and dip into the sea. An opportunity to re-live the oceanic experience, that loss of ego in the sur-rounding immensity.(Photo: Adrien Chevrot)

North garden view - Watercolor: Fabrice Moireau

Villa’s view from the South garden (Photo : Marc Domage)

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At first, there was a farm, seen in “Pierrot le fou”, theJean-Luc Godard movie. In the 1980s, Henri Vidal, anarchitect and inventor of reinforced earth, transformed the farm into a villa. Invited to the wedding of one of his daughters, Édouard Carmignac fell in love with the estate. He subsequently imagined turning it into a place dedicatedto the arts. This project has unfolded over the last few years, thanks to the involvement of Atelier Barani for the design,and the GMAA agency for the project’s adaptation andextension.

6. The architecture

Vue du mas avant les travaux. Les contours restent inchangés.

The site

The island of Porquerolles is a true natural monument, listed as an “outstanding area” and located at the heart of a national park; its preservation as a heritage and environmental site is an essential element of the project’s conceptual approach. The site is a natural area listed in the Natura 2,000 perimeter with a regulatory setup that prohibits any additional construction.

For the creation of the contemporary art foundation,an extension to an existing Provençal villa was proposed. The question was how to meet the building’s preservation and de-modernization requirements without losing the spirit of the original site: how to ensure a spatial configuration and an architectural language that are integrated with the building, all the while showing its contemporary character. The project has focused on preserving the construction’s existing footprint – highlighting evidence of its prior occu-pation and its history in the area.

As such, it has made it possible to reconnect with the site’s geography as well as its history. The entire project has cleared 2,000 square meters of space beneath the natural surface of the site, without modifying the contours of the house or the existing landscape. The Fondation is thus integrated with the area’s natural topography and the footprint of the villa, exposing only a few opaque walls in local stone as well as arranged and planted terraces. Openings in the structure allow glimpses of views of the landscape, providing a sense of direction by letting natural light into the museum.

The architectural project

The objective is to harmonize the outside surroundings to ensure the project’s architectural and functional cohe-rence, while encouraging its integration in the natural context of a classified site. The project closely and effec-tively combines three dimensions: landscape, museo-graphy and architecture, creating a subtle exchange between nature and the built environment. Complex in its conception, the site partially creates the museography, and partly follows it. The construction remains invisible. It is conceived as a technically complex and discreet system that distributes the spaces and the occupied and vacant areas by closely combining an open plan layout and open facades. The result is commensurate with this approach: a sober and unpretentious architecture that is not atte-tion-seeking. The fluidity of the spaces is meant to facili-tate the itinerary and to include all of the arts (painting,sculpture, photography…).

View of the mas before the works (Photo : Lionel Barbe)

View of the mas fter the works (Photo : Lionel Barbe)

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An aquatic ceiling: source of light

Inside the villa, the spaces expand and extend in the shape of a cross. The underground space is a series of exhibition rooms. The fluid spaces are divided by cornices that organize and structure the volume carefully instead of partitioning it. They create an atmosphere conducive to museography through the importance given to light; the project evokes the “clever, proper and splendid play of spaces gathered under the light” (Le Corbusier).

The role of light is central: light sublimates the volume; it is an emanation of nature.

In the center of the museum is an aquatic ceiling, a body of water built into the construction that lets in natural light and illuminates these underwater spaces. Dotted with speckles and reflections, the zenithal light becomesquasi-liquid. Water and light are fully-fledgedarchitectural elements here. They structure the building. We thus find ourselves in the presence of an architecture that plays with our senses.

Inside, particular attention is given to the coexistence of “spaces with different purposes”: exhibition rooms,reception areas, boutiques.

The ensemble is organized within a free, ample and luminous space: exhibition rooms whose layout provi-des great flexibility for hanging. On the ground floor, the exhibition spaces open up to the outside via a large terrace. The interpenetration of spaces and ease of cir-culation help “deflect attention from” the architecture, which is designed to encourage visitors to concentrate on the artworks. The visitor will be free to walk around mo-numental spaces punctuated by visual openings onto the vineyards.

In a sober gesture, integrated into the natural surroun-dings, the building meets all museum standards from a technical standpoint, enabling the Fondation to accom-modate even large-scale artworks in optimal conditions. The project offers a “double museography”: one through the architecture, hemmed in and enclosed by walls, and the other through the gardens: outdoors, and in a re-markable natural site.

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Founded in 1990, the GMAA agency has a total of five associates and more than 30 employees based in Geneva, Paris and the Rhô-ne-Alpes region. The architects responsible for the project, Mouktar Feroudj and Sébastien Bilodeau, are particularly committed to environmental sustainability. In addition to incorporating the “Mi-nergie” and ”Breeam” certificates, the agency conducts prospective research that enriches this physical architectural practice.

Main contributorsArchitects: GMAALandscaper: LOUIS BENECHDesign boutique, reception areas, and signage: AGENT MScenography: DUCKS SCÉNOLighting: LES ECLAIREURSGeneral contracting: LÉON GROSSE – SENEC

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View of the exhibition spaces (Photo : Marc Domage)

During the creation of the Villa Carmignac, Edouard Carmignac entrusted Agent M, the Paris architecture and design agency, with the task of designing special furniture for the different indoor spaces: the ticket office and bookshop/boutique, a “bare-foot” space, and benches that are aligned with the contours of the landscape.

For the outdoor spaces, the agency created asteel-and-mirror welcome sign, a Corten steel gate at the entrance to the site, and benches and signage designed in close collaboration with the landscape designer Louis Benech.

The materials used for the interior were conceived to blend in with the Mediterranean light; the furniture follows the contours of the surrounding landscape and becomes more refined in the exhibition rooms: the base of the benches fades into the layout and the seals of stone. To comply with the building’s architecture, Agent M created corporate identity guidelines, where wall texts, plates and information documents add up to a coherent whole.

In the garden, cut tree trunks removed with help from the Port-Cros national park’s “Green berets” were used to create the seating areas of the sculpture garden, whose nocturnal illuminations highlight the woodland trails as well as the Mediterranean-inspired garden arches.

Particular attention was also paid to the lockers and bicycle docking stations with a view to integrating them in the forest, near the main path and in harmony with the welcome sign and gate.

_Recognized for its site-specific and high-value-added inter-ventions on major projects, Agent M recentlyworked on #cloud.paris, the Edouard VII historicaldistrict, and the signage of the national monument of the future Hôtel de la Marine, and works closely with artists in developing their output. For this project, the agency collaborated with Sammy Rio, laureate of the international Design Festival,« Design Parade », in 2015.

7. Design of the interior and exterior spaces

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The gate (Photo : Agent M)

The deposits (Photo : Agent M)

The eucalyptus benches (Photo : Agent M)

8. The garden

The garden was designed as a “non-garden”, a natural place in which we committed to create an equilibrium through subtraction and protection rather than addition.

In this way, endemic plants were preserved; from the plentiful Cistuses, to the Hyères’ lavender trees, to more rare and protected species such as the Needle-leaved Broom and the Serapias, one of the most beautiful orchids.

Numerous olive trees were replanted over the land to preserve its agricultural essence, and a small vineyard has been added in the northern plain. Near the house built in the 1980s, exotic trees likejacarandas have been added to the exotic vegetation that has been present on the site for decades:Eucalyptus, Mimosa and various Cistrus trees (tangerines, oranges, lemons…).

The trees and shrubs in the South have been landscaped in order for the artworks to appear and disappear depending on the vantage point. In the North park, the works are framed by giant canefolding screens.The Eastern terrace is the only tranquil and flat space, offering a view from the villa towards the vineyards through the green oak trees. The grass walkways are either mowed or made of compacted soil and will change appearance with the seasons.

_Louis Benech graduated with a degree in law before deciding to work in England as an agricultural worker, finally breaking into garden design in 1985. In 1990, he was commissioned with Pascal Cribier and FrançoisRoubaud to restore the ancient part of the Tuileries Gardens. Since then, he has worked on many establishedand historic gardens, such as the Elysée Gardens and the Quai d’Orsay (both in Paris), Courson (south-eastof Paris), Pavlovsk’s rose pavilion (St Petersburg), the Gardens of the Achilleion (Corfu), the main square of theNational Archives in Paris ; the park at Chaumont-sur-Loire or a contemporary garden for the Château deVersailles (the Water Theatre Grove).

View of the olive plantation from the terrace (Watercolor: Fabrice Moireau)

Louis Benech – LandscaperExcerpts from the note of intent

The philosophy behind this project is to respect and make known the singular local bio-diversity, thereby present and preserved thanks to the work of the Port-Cros National Park…

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Cistes

LavandulasSerapias

Villa’s view from the garden’s entry (Watercolor : Fabrice Moireau)

Among those rare and endemic species of the island...

(Photos : Marc Domage)

A protected area

Fondation Carmignac is located on Port-Cros National Park’s area, which is a classified site. Around you, a great diversity of flora and fauna flourishes in a fragile and preservedecosystem. Look around and appreciate, as the landscapeartist Louis Benech imagined to highlight the sometimesdiscreet endemic and pioneer species of the island. In order to preserve these delicate and graceful species,Fondation Camignac created walking paths in the SouthGarden, to distinguish blooming areas. The North garden and its orchard, the surroundings of the Villa and their olive grove are open to walk freely, wander and pick fruit and (according to seasons): peaches, arbutus, cherries, pears, apples, oranges, apricots, blackberries, persimmons...

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Created in 1963, Port Cros’s National Park occupies 1700 acres of emerged earth and 2900 acres of maritime surface. It is the oldestmarine park in Europe and France.The National Park is protected by a specific regulation required toprotect this fragile area, to respect various users and to prevend risks.Porquerolles’s island may be discovered on foot or by bike. Dogs mustbe kept on leashes throughout trailwalks and paths.No fire and smoking are allowed outside of the village to preventdestructive fires and to keep the beaches clean.To get more informations about the National Park’s regulation :www.portcros-parcnational.fr

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1. Miquel Barceló, Alycastre, 2018.© Miquel Barceló - Adagp, Paris, 2018 - Fondation Carmignac Photo : Marc Domage

9. Commissionned artists

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Miquel Barceló Alycastre, 2018Bronze with patina321 x 247,4 x 268,4 cm3,21 x 2,47 x 2,68 m

Welcoming visitors at the entrance to the Villa Carmignac, this imposing sculpture by the Spanish artist Miquel Barceló is inspired by themythical figure of the Alycastre, the legendary dragon of Porquerolles. The myth narrates that Ulysses, on the road to Ithaca, ran ashore on a beach of the island and had to fight the animal, which had been sent by Poseidon. Conquered by the hero, the noble creature asked that this place bear his name. Half skull and half sea monster, this sculpture by Miquel Barceló appears to guard the Villa. It recalls both the mythological universe of the Odyssey and the world of piracy that raged for a long time on the island, the many caves of the island would have been used to hide the loot. These are also popular themes ofexploration for the Spanish artist who ispassionate about cave art and the seabed, a recurring motif in his work.

Janaina Mello Landini Ciclotrama 50 (wind), 201820 m of blue polyethylene and polyester nylon rope diameter 22mm and around 4100 brass nails, one marble cleat and one marble winch.5 x 2,5 x 3,2 m

The Brazilian artist Janaina Mello Landini weaves and decorates space the way someone twists and unravels a piece of rope. Known for her large site-specific installations, which she has been developing for the past eight years and naming Ciclotramas, she seeks to create works that capture experience and redefine spaces through a network of paths, movements and flows made up of interconnected and interdependent entities. The entanglement of ropes and nylon threads, which Janaina Mello Landini unravels, weaves and rearranges, creates a physical tension across imaginary networks. The choreography created by the coiling and intertwining of strands that at times float in space and at other times are attached to props produces an organic whole. Reminiscent of such natural elements as plant roots, nerve endings or microscopic structures, the Ciclotramas strive to recreate a kind of social mapping of individual networks that evoke the infinite interconnections and interdependencies of our existence across different living systems.

Bruce NaumanOne Hundred Fish Fountain, 2005Sculptures of fishes in bronze, steel and metalBronze, steel and metal76,2 x 85,3 x 0,2 m

This permanent work exists within the context of the animal sculptures that Bruce Nauman has been making since Carousel (1988). The hybrid and tragic creatures of early years have given way to realism and life. The seven types of fish perfectly represented here are those that the artist used to fish as a child: catfish, salmon, seabass, whitefish…. Repetition, noise, silence and the impenetrability of the installation gives this work a particular sense of life. One Hundred Fish Fountain, a work that resonates in this insular setting, instilling the human condition with both gaiety and gravity.

Miquel BarcelóNot yet titled, 2018Mixed media on canvas15,2 x 3,5 m

The idea for this extraordinary painting, specially commissioned for the Porquerolles site, came to the Spanish artist Miquel Barceló after a swim on the island. The octopus he saw when diving finds itself in this monumental aquatic landscape, amongst representations of other specimens, also oversized. All are bathed in natural light and seem to evolve serenely in the enveloping canvas. The work joins another painting by Barceló in the collection, also on the theme of the seabed, a passion particularly conducive to experimentation for this artist.

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2. Janaina Mello Landini, Ciclotrama 50 (wind), 2018.© Janaina Mello Landini - Fondation Carmignac Photo : Janaina Mello Landini

3. Bruce Nauman, One Hundred Fish Fountain, 2005.© Bruce Nauman - Fondation CarmignacPhoto : Marc Domage

4. Miquel Barceló, Not yet titled, 2018© Miquel Barceló - Adagp, Paris, 2018 Fondation CarmignacPhoto : Marc Domage

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Michel RedolfiSpeed of Silence, 2018Sensorial and sound sculpture

Invisible and without audible materialization in space, Michel Redolfi’s artwork is a sound sculp-ture that appears once we stay on it, facing the garden and the vineyard. Intimate and unique, it takes the shape of the visitor’s body, as an answer to every morphology, density and aqua-city. It is important to be barefoot. The listener becomes is own listening space, becoming one with the ground and the surrounding nature. The sound sequences of Speed of Silence are multi-ples “ silences éloquents” captured in the deserts or depths of the sea by the artist and composer. With his work 4’33, John Cage had given a dura-tion to silence. Michel Redolfi gives him a speed, 1 450m/s, the one of the transmission of sound in water and therefore in the body, composed by 70% of fluids. A lightning speed.

Tom SachsBonsai, 2018Bronze16,5 x 2,31 x 1,45 m

Installed on a terrace but visible only from the interior space of the Villa Carmignac, Bonsai re-calls the shape of the famous Japanese tree. Ex-cept that at the end of its branches grow dozens of cotton buds and toothbrushes. This sculpture in bronze is a variation of the one presented in 2016 at Noguchi Musuem in New York during the exhibition “ Tom Sachs, Team Ceremony. Composed by objects used by humans for clean their body at the deepest, Bonsai returns to the ritual of purification expressed during the tea ceremony. With this sculpture, representative of the art of diversion by Tom Sachs, the American artist once again, plays with the conventions and objects of devotions, celebrating the trivial and common until he processes of production of the artwork.

Jacob HashimotoThe impermanent, shattered peace between future and past, all written in the sky, 20182.500 kites

This installation is a new sitespecificinstallation made especially for the Carmignac Foundation, made up of thousands of individually made bamboo and paper kite elements.Working in large-scale abstract paintings, Hashimoto wanted a device to break through the two dimensional media of the picture plane and into the physical space of the viewer. He views kites as a democratic object; at its most basic level, a kite and therefore the artwork, is a toy. In the same way leaves on a tree develop into a grand forest canopy, Hashimoto’s kites cascade from brackets on the ceiling to create enormous, undulating, and encompassing clouds, or rhythmic anddynamic oceanscapes, or mountains. The work is a dialogue between the spatial considerations of sculpture and the pictorial devices of painting. With influences as varied as video games (Atari, Minecraft and Mario Brothers, most specifically), which can be seen in the modular, cell-like, pixel-like pieces that form the overall pictorialcomposition.

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7. Tom Sachs, Bonsai, 2018© Tom Sachs -Fondation CarmignacPhoto : Marc Domage

6. Michel Redolfi, Speed of Silence, 2018© Michel Redolfi - Fondation CarmignacPhoto : Marc Domage

5. Jacob Hashimoto, The impermanent, shattered peace between future and past, all written in the sky, 2018© Jacob Hashimoto - Fondation CarmignacPhoto : Marc Domage

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10. The garden and its artworks

Artists from all over the world had been selected to create artworks especially inspired by the place.They spent some time on the Porquerolles’s islandin order to be soaked and to imagine sculptures inresonance. They have to be discovered in the gardenbecause they play with nature and our senses. Thesurrounding sculptures each question our presence in the world in their own way.

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Jeppe HeinPath of Emotions, 2018Mirror-polished stelesScale : 15m – 214 stelae

Shimmering through the canes of Provence from the North garden, the glistening labyrinth of the Danish artist Jeppe Hein, well-known for his immersive and minimal interventions, calls the traveller like a siren’s song. Whilst its height remains the same everywhere, that of the interior path varies, giving the impression of a moving landscape. To this game of surfaces is added a game of mirrors, accentuating the disturbances of spatial perception. The visitor is thus lost in his own reflections. The work has several entrances, like so many incisions in its round formreminiscent of the achillea, a flower that grows in the meadow where it is installed. In the centre, a mise en abyme infinitely prolongs this game of surfaces. With its unusual perspectives, Path of Emotions offers another way to experience the environment.

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51. Jean Denant, La Traversée, 2018.© Jean Denant - Fondation Carmignac

3. Jeppe Hein, Path of Emotions, 2018.© Jeppe Hein - Fondation CarmignacPhoto : Jean Picon

5. Wang Keping, LOLO, 2018.© Wang Keping -Fondation CarmignacPhoto : Marc Domage

Wang KepingLOLO, 2018Bronze4 x 2,70 x 2,55 m

A bronze sculpture by Wang Keping created from a smaller work in wood, LOLO expresses a femininity, that is at once simple and original as sought by the artist. To create it, Wang Keping used two shapes of the letter ‘L’ and two shapes of the letter ‘O’, which gave the work its title. The representation of women has been a constant preoccupation for the Chinese artist since his move to Paris in 1983. His sculptures of soft,generous, maternal and sensual forms recall both African statuary and the work ofBrancusi. A leading figure of the Chinese artistic avant-garde and early opponent of theCommunist regime, friend and contemporary of Ai Weiwei, Wang Keping continues with his works on the naked female body which is still a taboo subject in China, another form of artistic protest dedicated to the representation of beauty and feminity.

2. Alexandre Farto AKA Vhils, Scratching the surface Porquerolles, 2018.© Vhils - Fondation CarmignacPhoto : Marc Domage

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Gonzalo LebrijaAvion / Airplane, 2018Corten steel7 x 6 x 2,7m

Avion is a giant corten steel replica of asmaller paper model made in 2001 during a contest to launch paper planes from the top floor of a building in Guadalajara, Mexico, which had been organised by Gonzalo Lebrija. After having filmed the paper planes, and then havingexhibited them unfolded in 2015 in his parisian gallery, the Mexican artist, fascinated by the poetry of flight, has created this monumental structure for the Porquerolles site. Landed in the forest and facing vineyards, Avion intrigues with its sense of disproportion, absurdity, melancholy and the strangeness of its presence in thislandscape. We are surprised to imagine its trajectory, its path. With this steel paper plane, the Mexican artist plays with the space between power and vulnerability, both underlying themes

Alexandre Farto AKA VhilsScratching the surface Porquerolles, 2018Carved facades2 x 6,50 x 2,20m

After travelling the world and placingrevolutionary stencils across the globe, Alexandre Farto, AKA Vhils, arrived inPorquerolles. The Portuguese artist wascommissioned to work on the small house of the North garden, seen in ‘Pierrot le Fou’, the film by Jean-Luc Godard, and began scraping andcarving its facades with chisel and jackhammer to make faces appear in them. The inhabitants of Porquerolles may recognize the people who have inspired the artist. The walls watch and attract us. Inside the shed, a well plunges deep into the bowels of the island, inviting the visitor to look below the surface. Scratching the surface Porquerolles, or how to make visible the invisible, give a new meaning to what surrounds us.

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4. Gonzalo Lebrija, Avion 2018.© Gonzalo Lebrija - Fondation Carmignac Photo : Jean Picon

8. NILS-UDO, La couvée, 2018.© NILS-UDO - Fondation Carmignac – Photo : NILS-UDO

6. Olaf Breuning, Mother Nature, 2018.© Olaf Breuning - Fondation CarmignacPhoto : Marc Domage

7. Tom Friedman, Untitled (Peeing Figure), 2018. © Tom Friedman - Fondation Carmignac Photo : Marc Domage

Jean DenantLa Traversée / The Crossing, 2018Mirror-polished stainless steel 8 x 3,5m

Set against the wall of the villa Carmignac facing the garden and the sea, La Traversée / TheCrossing follows the shape of the Mediterranean Sea that is reflected in it. Visitors discover the work on leaving the exhibition, in the open air filled with the scents of the nearby flora and the sound of the sea. Linking between the inside and the outside, this work by the artist Jean Denant from Sète changes constantly throughout the course of the day, depending on the light and the weather. This mise en abyme transforms the sea into a real tableau vivant and makes each visitor who is reflected in it a subject of the play. With LaTraversée, the viewer is immersed in JeanDenant’s work before bathing in the actual sea, which is recommended at the end of the visit.

Olaf BreuningMother Nature, 2018Steel and aluminium3,95 x 2,95 x 0,35m

This monumental sculpture was created from an existing drawing by the Swiss artist OlafBreuning. The journey from the second to the third dimension, on this scale and in this environment, completes the work’s caustic and offbeatcharacter. Faithful to the irony that characterises his work, the artist does not hesitate to install a monstrous, devouring Mother Nature in the middle of a protected natural area. ‘I am Mother Nature and I will eat you’. The message is clear,preventative, in bright red. Mother Nature warns us about herself – a nurturing mother who has been exploited for too long and who may turn against her own children. Nature always reclaims her rights. She seems to tell us, men just need to behave well.

11. Ed Ruscha, Sea Of Desire, 2018.© Ed Ruscha - Fondation CarmignacPhoto : Marc Domage

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Ed Ruscha Sea Of Desire, 2018Painting on metal panel5 x 12 m

Providing the title to the inaugural exhibition of the Fondation Carmignac, Sea Of Desire awaits visitors who venture into the woods. This work,reproduced here in monumental dimensions, offers a gateway to California, a place whosenatural light is appreciated by the artist, just as other artists appreciate the light of Porquerolles. The chosen structure, a billboard typical ofAmerican roadscapes - and the surroundingforest of pine trees, contribute in thisdisplacement. The phrase ‘sea of desire’, forming a landscape of its own, stands out against aneutral background of setting sun. Nested in the heart of the forest, it seems to contain the original riddle.

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Jaume PlensaThe three Alchimists, 2018Bronze 4 x 1,40 x 1,30m

Like the giant Moai of Easter Island, JaumePlensa’s The three Alchemists seem to watch over Porquerolles. The three child faces await thevisitor at the edge of the woods, in a soft and powerful face-to-face meeting. With their eyes closed and serene expression, their presence calms the tempo. According to the artist, as beings endowed with a high level ofconsciousness, they are the guardians of knowledge forgotten by men. Their shape, stretching towards the sky gives them a special, almost mystical, aura. As perfect alchemists, they transform the reality of the visit into a poetic, miraculous fiction. In line with the Spanish artist’s monumental works recently installed in the US or the Netherlands, the silent presence of these three heads is an invitation to contemplation, reflection and introspection.

Ugo Rondinone Four seasons, 2018Aluminium2,40 m

Symbolising the four seasons and placedaccording to the four cardinal points, these expressive and playful heads by Ugo Rondinone recall the twelve sculptures that the Swiss artist has installed around the water basin of theTuileries garden in Paris in 2009. In silverpatinated bronze, they represented the twelve months of the year. Evoking in the same way the inexorability of passing time and the cycle of the seasons, Rondinone’s work in Porquerollesintrudes among the olive trees. These strange idols, which have as much in common withcarnival masks as with primitive statues, make us smile as much as they intrigue or even worry. Placed at their centre, we experience a singular, strange, and dreamlike communion.

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189. Jaume Plensa, Les Trois Alchimistes, 2018. Jaume Plensa © Adagp, Paris, 2018Fondation Carmignac - Photo : Marc Domage

10. Ugo Rondinone, Four seasons, 2018.© Ugo Rondinone - Fondation Carmignac Photo : Marc Domage

NILS-UDOLa couvée / The brood, 2018White Carrara marble12 x 12,5m

Hidden in the forest, the five giant eggs made of white Carrara marble by NILS-UDO wait to be hatched by the gaze of visitors who venture into the South garden. This work follows a series of other nests recently installed in Val di Sella in Italy by the German artist, world famous for hisphotographs and installations in nature and urban landscape. NILS-UDO is obsessed with the form and symbolism of the nest, as the firstshelter, matrix and refuge. Evoking possible cycles of birth and rebirth at the end of the journey, thissculpture imposes on the viewer its scale and rhythm – those of nature and life. In harmony with its environment, as in all of NILS-UDO’s works (an artist at the forefront of the « Art in Nature »movement), La couvée/The brood invites - or even insists upon - a sense of calm, deceleration and quietness.

Tom FriedmanUntitled (Peeing Figure), 2018Stainless steel 2,43 x 7,6 x 6,8m

This work by the American artist Tom Friedman awaits the visitor at a turn in the pathy, hidden behind a tree. It represents, as its title indicates, a man urinating, pants down. Originally created from everyday consumer products made ofaluminium, this version was cast in steel,retaining all the original details. Unexpected in this context, the sculpture by the American artist who recently installed on Park Avenue a giant made of the same material staring up at the New York sky (Looking Up) surprises. Incongruous and even provocative, it questions our position as assumed voyeur. Stainless, it appears fragile. Playing with these contrasts, Tom Friedman plays with his audiences’ predicted reactions and invites us to go beyond, and to be wary of, first impressions.

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Dates and opening hours

• In 2018, open to the public from June 2nd to November 4th.

• The following years: from the beginning of April to early November.

• Throughout those periods, open daily from 10 a.m. until sunset.

June : 10am - 8pm July : 10am - 8pm August : 10am - 8pm September : 10am - 7pm October : 10am - 6pm November : 10am - 6pm

Services

• The bookstore will propose a selection of books, made by exhibited artists.• Wine-tasting of the adjoining estate’s own vintages, accompanied by a light, healthy and local catering service.

Located in the Var, in the Provence-Alpes-Côte d’Azur region, Southern France, the 7-kilometer-long, 3-kilometer-wide Porquerolles Island is part of the Hyères municipality and of the Port-Cros National Park. It is accessible by boat (a 15 minute crossing) and can be visited by foot or on bicycle. The site is at 680 steps from the port and the village, and 260 steps from the beach.

11. Preparing your visit

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Entry Fees

Full price : 15 euros

Reduced price : 10 eurosJobseekers and welfare beneficiaries, disabled persons, artists (Maison des artistes and AGESSA), teachers.

Young price : 5 euros 12 – 26 years

Free Children up to 11 years old (included), Porquerolles residents (upon registration) and press card upon presentation of an ID.

Address

Villa CarmignacÎle de Porquerolles

83400 Hyères, France

Access

Airport : Toulon – HyèresTrain station : Hyères or ToulonShuttle : TLV www.tlv-tvm.comHyères’s tourism office :www.hyeres-tourisme.com

Guided tours, hosts and cultural mediation

-From Tuesday to Sunday, the cultural mediation’s team is available to help you have an optimal experience of the site thanks to a free, guided tour at 2 pm (based on prior registration).

-Free guided tours followed by workshops are also proposed to school groups, every morning between 10 am and 12 pm, if reserved in advance. From primary to secondary school, each age group is welcomed differently based on their age. Active collaborations with educational programs are encouraged.

-Family visits are offered every weekend in the mornings, in a spirit ofmultigenerational exchange.

The young price of 5 euros but alos the free admission policy for thoseunder 12 years old aims to expose younger generations to contemporary art.

A site map, guidelines and an invitation to experience the site accompany visitors during their itinerary.

For more infomations, please contact :reservation@villacarmignac.com

Domaine de la Courtade’s vineyard

Porquerolle’s Island has known important agricultural altera-tions at the beginning of the 20th century because 200 hec-tares of vines were implanted in order to protect the island from fire. The history of this vineyard begins in 1983 when the architect Henri Vidal decides to reclaim some pinewoods, begins the construction of the Villa and implants 35 hectares of vines on this mythological and fertile land. He creates from the beginning the vineyards and gives birth to the Domaine de la Courtade.

Classified with the appellation of Côtes-de-Provence and located on a naturally protected area, it was the first vi-neyard of the Island to be certified for Organic Agriculture by Ecocert.

Domaine de la Courtade undergo a revival thanks to Édouard Carmignac who acquired it in 2014. It is with Florent Audibert, director of the exploitation and oenologist and with Michel Couturier, the responsible of the cultivation that the new owner intends to reframe the vineyard by giving its prestige back.

Tickets

Reservations are made online and entries are limited to 50 people per half-hour, to offer close contact with the artworks. Tickets provide access to all of Villa Carmignac’s exhibition spaces and gardens.

We recommend that you reserve your tickets onFondation Carmignac’s website:www.fondationcarmignac.com

1950sÉdouard Carmignac spends his childhood in Peru. Today, the memory of flamboyant vegetation haunts the gardens of the Porquerolles site.

1960s-1970sThe aspirations and energy of those years permeate the collector’s spirit and his future acquisition choices. The Carmignac company will later host the musicians of the day (Rolling Stones, Neil Young, Lou Reed…) whose music infuses the spirit of the collection.

1984Édouard Carmignac spends time at the Factory in New York and meets Jean-Michel Basquiat, who paints his portrait. The “C” in a circle that the artist paints on canvas will later inspire Carmignac’s corporate logo.

1989Creation of Carmignac Gestion, the Fondation’s parent company.

1993Start of the collection with the acquisition of Gerhard Richter’s Grüner Strich (1982). The collection now includes six works by the German artist.

2000Birth of Fondation Carmignac. Set up to support contemporary creativity since then, the Fondation manages, promotes and now shares the Carmignac collection.

2002First acquisition of a work by Roy Lichtenstein, Fishing Village (1987). The collection now includes 15 works by the American artist (the most important private collection in France.).

2009Édouard Carmignac creates the Carmignac Photojournalism Award in response to the crisis in the media and photojournalism. Carrying a cash prize of 50,000 euros, the award aims to support a photojournalist conducting a photographic reportage that reflects reality in its complexity.

2010Exclusive patronage of the Jean-Michel Basquiat exhibition at the Musée d’Art Moderne de la Ville de Paris.

2017An exhibition of photographs of Libya by Narciso Contreras, winner of the 8th Carmignac Photojournalism Award, attracts more than 500,000 visitors to the Saatchi Gallery in London

2018Dedicated to the Arctic and chaired by climatologist Jean Jouzel, winner of the 2012 Vetlesen Award and co-winner of the 2007 Nobel Peace Award as Director of the IPCC, and under thepatronage of Minister Ségolène Royal, French Ambassador for the Arctic and Antarctic Poles, the 9th edition of the CarmignacPhotojournalism Award was awarded to Yuri Kozyrev andKadir Van Lohuizen. Their double polar expedition project, «Arctic: New Frontier», focuses on the consequences of the melting of the sea ice for the planet, and the medium-term prospect of its total disappearance.

Opening of the Fondation Carmignac’s site on the unspoiled island of Porquerolles on June 2, 2018.

12. Chronology

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