Detail, Tania Gheerbrant, It’s raining today, prologue, wood, skai, gold aluminium, glass lense, tablet, video, color 3’ in loop / pic : Salim Santa Lucia
Come here, Cum here, Com ear, Comme hier, peinture, maquillage, crayon sur bois, chaise Emmanuelle, serviette de bain Playboy, Sculpture de Rafael Moreno, pour l'exposition Coucoun Xplosion à la galerie Frappant à Hambourg
Pascal Rousseau, a specialist in the historical avant-gardes and professor of art history at Beaux-Arts de Paris, is the winner of the Pierre Daix Prize for Hypnosis. Art et hypnotisme de Messmer à nos jours published by Beaux-Arts de Paris éditions in co-publication with the Musée d'arts de Nantes.
Pascal Rousseau presents in this book how hypnosis has always fascinated artists and intellectuals. In it he exposes the surrealists but also contemporaries from Freud to Lacan. The book also received the 2021 art book award.
The Rome of the 17th century is presented through thirty-four sheets selected from the masterpieces of the collection of the Beaux-Arts de Paris. These drawings allow us to measure the importance of the Baroque spirit, around the most important personalities of the century: Bernini, Peter of Cortona, Salvator Rosa or Carlo Maratti.
Once settled and protected by illustrious families, the artists sought to impose their style, which spread thanks to the vitality of their workshops. The exhibition also highlights their students and collaborators, who, like Ciro Ferri or Giuseppe Passeri, proved to be talented draftsmen.
Religious or mythological scenes, landscapes, decorative and architectural projects, preparatory sketches for large-scale decorations or easel paintings, and sheets intended for passionate amateurs, all bear witness to the extraordinary activity of these artists in all fields of creation.
Curator: Emmanuelle Brugerolles
Practical information :
The Baroque in Rome
Thursday February 3 - Sunday April 24, 2022
Cabinet des dessins Jean Bonna, 14 rue Bonaparte, Paris 6e
Wednesday to Sunday 1pm - 7pm
2 €, 5 € or 10 € you choose!
The ticket office in charge invites each visitor coming to discover an exhibition at the Beaux-Arts de Paris to choose his or her entrance ticket from among 3 proposed rates: 2 €, 5 € or 10 €. Contribute according to your means, your passion and your desire for commitment!
Free of charge (on presentation of a valid receipt):
• under 18 years old
• students and teachers of the National Higher Schools of Art and Architecture of the Ministère de la Culture
• students from member institutions of the University of Paris-Sciences-et- Lettres (PSL)
• students of the École du Louvre
• holders of the Ministère de la Culture card
• Amis des Beaux-Arts de Paris
• card holder : Maison des Artistes, ICOM, ICOMOS, Association française des commissaires d’exposition (CEA)
• journalists
• jobseekers, recipients of minimum social benefits
• civilian disabled and war-disabled (with an attendant)
It's not a threat, it's a promise by Lou Ferrand and Lila Torquéo
The Modern Hero's Skin by Alice Thomine-Berrada, Anna Oarda, and Daniel Galicia and Nadine Murgida
Points. by Paul-Emile Bertonèche and Andreas Février with the help of Daniel Galicia, on an original idea by Alexandre Leducq
Replications Japonisme 2021 by Clélia Zernik, Anne-Marie Garcia and Alice Narcy
4 new projects from Act 2 of the second season of Le Théâtre des Expositions
From Thursday 1 December 2022 to Sunday 4 December 2022
1:00pm - 7:00pm
Librairie des Beaux-Arts de Paris
13 quai Malaquais, 75006 Paris
ENTRÉE LIBRE
Private Christmas sale at the Beaux-Arts bookshop in Paris
From Thursday 1st to Sunday 4th December 2021
Books, posters, prints, postcards, gift items at exceptional prices.
Among the latest publications: Memoirs of John Giorno, Baalbek, Le grand voyage au Liban, Félicités 2022 - Pour en finir encore, Les Louanges de Raban Maur, Eva Jospin, dessins pour un jardin, Respirer l'ombre de Giuseppe Penone, 1081 Peintures de Nina Childress...
From Thursday 9 December 2021 to Saturday 18 December 2021
1:00pm - 8:00pm
Librairie des Beaux-Arts de Paris
13 quai Malaquais, 75006 Paris
ENTRÉE LIBRE
Private Christmas Sale at the Fine Arts Bookshop in Paris
From Thursday 9 to Saturday 18 December 2021
Books, posters, prints, postcards, gift items at exceptional prices.
Among the latest releases: Breathing in the shadow by Giuseppe Penone, Patrick Faigenbaum's coloring album, 1081 Paintings by Nina Childress, Reflection on color by Carlos Cruz-Diez, Humor! by Georges Wolinski...
In order to pay tribute to Huang Yong Ping who passed away in October 2019 and on the occasion of the exhibition Is Paris Burning? 2019 by Huang Yong Ping and Shen Yuan, an exceptional round table is organized by the gallery kamel mennour and the Beaux-Arts de Paris.
Michelangelo Pistoletto was born in Biella in 1933. In the sixties he was a true source of inspiration and protagonist of the Arte Povera artistic movement. We remember some of his main projects developed during his long career: Quadri specchianti (Mirror Paintings) 1962, Oggetti in meno (Objects in less) 1965-66, Venere degli stracci (Venus of the rags) 1967, Le Stanze (The halls) 1976, L'arte assume la religione (Art takes on religion) 1978, Progetto Arte (Art Project) 1994, Terzo Paradiso (Third Heaven) 2003.
The Theatre of Exhibitions is a program at the Palais des Beaux-Arts entirely conceived, developed and implemented by students and curators of the "Artists & Exhibition Professions" program at the Beaux-Arts de Paris.
Ce n’est pas une menace, c’est une promesse, La Pelure du héros moderne, Points. et Répliques Japonisme 2021 are the new projects of Act 2 of the second season of the Exhibition Theater and are presented from December 9, 2021 to January 8, 2022.
A fanzine, clothing in all its states, works hidden behind QR codes, an embroidery workshop, a ping pong game with Japanese prints are some of the proposals that we will find in this new act.
These exhibitions, each in their own way, cross time by confronting heritage works from the collections with contemporary works by professors and students of the Beaux-Arts de Paris, and other invited artists.
This joyful experimental laboratory puts into play the very principle of exhibition with forms still unspecified, sometimes confusing.
The Beaux-Arts de Paris would like to thank its partners for the Exhibition Theater and the "Artists & Exhibition Professions" program: the Bredin Prat Endowment Fund for Contemporary Art, Altarea, Moët Henessy, the Friends of the Beaux-Arts de Paris Association and the Palais de Tokyo.
Practical information :
Opening on Wednesday, December 8, 2021 from 6 to 9 pm
Closing of the exhibition on December 25, 2021 and January 1, 2022 and closing on December 24 and 31 at 5 pm exceptionally.
According to the regulation in force since July 21, you will be asked to show a health pass or a proof of negative RT-PCR or antigenic test less than 72 hours old at the time of the control. Wearing a mask is mandatory.
Ce n'est pas une menace, c'est une promesse
In her work Open the Kimono, Lutz Bacher, an American artist working under a pseudonym, furiously gleans snippets of words from "television, commercials, movies, news, radio, novels, airplanes, subways, sidewalks and elevators. Thus isolated, these clichés sound like sentences or precepts, which haunt and at the same time liberate. It's not a threat, it's a promise; the ambiguity of the formula, of the negation that becomes affirmation and the possible reversibility of the terms contaminate the political speech as much as the speech of love.
A threat, a promise; this is the ambivalence that the proposal explores, wishing to embrace the plasticity of language and its possible twists. The academic and panoptic space of the Palais des Beaux-arts, which has been hosting the Theatre of Exhibitions for the past year, is adorned here with an almost domestic, yet elliptical, decor. Tumultuous voices are scattered and blurred, leaving the stage to close in on an eponymous publication.
Gathered around an affective community of student artists and graduates of the School, and inspirational figures of which Kathy Acker is a part, we also seek, by taking language as our main material, ways of saying and writing the non-precious, the grating, the discordant, the subverted: in her image, she who "loved to play with verbal matter, to build slums and mansions, to demolish banks and half-rotten buildings, and even buildings she herself had built, to turn them into never-seen, even unseen gems."
There are militant commitments which, through their tools, reveal the chilling contempt for the threats and false promises of political speech. Act Up-Paris' commitment is built with textual, discursive and graphic instruments, signs of a relentless struggle against governmental responses to the HIV/AIDS virus. The archives intermingled with the artists' contributions aim to make visible the presence of the association in the School, which remains unknown to students even though it maintains a strong link with the institution, since the latter has hosted its weekly meetings since 1994.
The presence of a collective library in the Palais des Beaux-Arts leads to a paradox - that of accessing intimacies, sometimes deviant, in a constrained institutional space. All the elements of this scene, from the contents of the edition to the furniture in presence, have value of clues. They tell, one by one, an alternative story, which holds less the latency of a threat than the announcements of a promise.
Based on a proposal by Lou Ferrand and Lila Torquéo, curators of the "Artists & Exhibition Professions" program.
With contributions from Kathy Acker, Act Up-Paris, John D. Alamer, Carmen Alves, Arthur Dokhan, Gabriel Gauthier, Nastassia Kotava, Ultra F. Le Meme, Rafael Moreno and Emma Vallejo.
La pelure du héros moderne
Since the beginning of time, man has been confronted with the need to cover himself and to make objects, from the house to the clothes, intended to protect him, materially or symbolically.
In the XIXth century, with the effects of the Industrial Revolution, the bases and the modalities of this practice knew an important evolution. The industrialization upset the methods of production of these objects, whereas the emergence of the individuality with Romanticism, then the discovery of its complexity with the psychoanalysis, renewed their symbolic dimension. One also discovered, thanks to the development of the historical and archaeological sciences, their founding cultural character.
When Baudelaire sought in his famous account of the Salon of 1846 to seize what characterized the modernity, he conferred on the dress the determining role of "skin of the modern hero". This powerful formula, which gave its title to this exhibition, announces the importance that (re)clothing will acquire in the twentieth century in the renewal of artistic practices based on the exploration of the boundaries between the visual and living arts.
The exhibition brings together nearly a hundred works (drawings, prints, works, paintings, photographs) from the collection of the Beaux-Arts de Paris, where these issues became central with the establishment of a teaching of draping on the live model from 1864.
It also benefited from generous loans from Nadine Morlier (Galerie Le Cygne Rose, Paris) and works by Solène Rigou, Wan Lin Qin, Daniel Galicia, Sarah Abécassis, Marius Astruc, Léa Scheldeman, Manon Jacob and Victoire Marion-Monéger, graduates of the Beaux-Arts de Paris.
Exhibition by Alice Thomine-Berrada, curator of paintings, sculptures and objects at the Beaux-Arts de Paris, Anna Oarda and Daniel Galicia, students in the "Artists & Exhibition Professions" program and Nadine Murgida.
"." (Points)
"." is a bi-event exhibition deployed on December 8, 2021 and January 6, 2022 from the embroidery manuals held in the collections of the Beaux-Arts de Paris.
Already in the pages, perforated in order to transfer the patterns and motifs, embroidery is manifested as a gesture. It is thus a question of representing it in choreographic terms. Thus we can broaden our apprehension of embroidery, and finally grasp the "." as a rhythm.
The "." is a time marker, it closes and restarts a sentence, it suspends when it is an organ. It presides phonetically over the "point" and the "fist".
The proposal is to concentrate the exhibition in two events, its opening and its closing. It will be closed in the meantime, so as to integrate into the very structure of the exhibition, the double temporal relationship of the gesture "embroidery", and thus to question the value of the event as discontinuity in continuity, point in the line or the drawing.
It is also necessary to consider the social and cultural history of this practice - the embroidery patterns were often preceded by instructions for young girls, so many patriarchal injunctions to the "female destiny".
The embroideries are celebrated here, by the presence and the habitus, in what they were able to generate thereafter of affirmation, relational and resistance. A device is articulated in the center of the pieces presented, a participative work around which the public is invited to mobilize and converse.
The exhibition shows the resurgence of these ancient gestures, with all their individual and collective memories, in the works of contemporary artists - the framework and starting point of a collective history - each piece posing as the outline of a direction, a note in the rhythm.
Exhibition developed and produced by Paul-Émile Bertonèche and Andreas Février with Daniel Galicia, students of the "Artists & Exhibition Professions" course, based on an idea by Alexandre Leducq, curator of manuscripts.
With the artists : Myriame El-Khawaga, Juliette Peres, Caroline Rambaud, Pierre-Alexandre Savriacouty, Blancard Superstar & Loïs Szymczak.
With the scenographers and architects Romane Madede and Luna Villanueva.
Répliques japonisme 2021
In the theatrical sense, a replica is at once an appropriation, an actualization and a riposte. Seven invited artists will play the game of replication and bring their contemporary response to the masterpieces of the Japanese collections of the Beaux-Arts de Paris, adding a few tirades to the History of Japonism of which the School has been the theater.
Echoing a selection of 24 Japanese prints or accordion books chosen from the Tronquois collection of the Beaux-Arts de Paris, Laury Denoyes, Morgane Ely, Alice Narcy, Adoka Niitsu, Mariia Silchenko, Lucile Soussan and Alžbětka Wolfová respond with a contemporary work.
Based on an idea by Clélia Zernik, professor at the Beaux-Arts de Paris, with Anne-Marie Garcia, curator, responsible for the collections of the Beaux-Arts de Paris, Rym Ferroukhi, Pétronille Mallié and Soukaïna Jamai, scenographers, and Alice Narcy, curator of the "Artists & Exhibition Trades" program.
Ce n'est pas une menace, c'est une promesse
La pelure du héros moderne
"." (points)
Répliques japonisme 2021
RESPONSIBLE TICKETING
2, 5 or 10 €, the choice is yours!
The ticket office in charge invites each visitor coming to discover an exhibition at the Beaux-Arts de Paris to choose his or her entrance ticket from among 3 proposed rates: 2 €, 5 € or 10 €. Contribute according to your means, your passion and your desire for commitment!
Free of charge (on presentation of a valid receipt):
• under 18 years old
• students and teachers of the National Higher Schools of Art and Architecture of the Ministère de la Culture
• students from member institutions of the University of Paris-Sciences-et- Lettres (PSL)
• students of the École du Louvre
• holders of the Ministère de la Culture card
• Amis des Beaux-Arts de Paris
• card holder : Maison des Artistes, ICOM, ICOMOS, Association française des commissaires d’exposition (CEA)
• journalists
• jobseekers, recipients of minimum social benefits
• civilian disabled and war-disabled (with an attendant)
Giuseppe Penone, born in Italy in 1947, is associated with the Arte Povera movement. He constantly mixes two practices: sculpture and observation; they go hand in hand and organize his work.
An artist of international renown, he has had numerous solo exhibitions: Paris, Centre Pompidou, 2004; Venice Biennale, 2007; Château de Versailles, 2013; Florence, Les Offices, 2021; Paris, BNF, 2021.
