Histories of modernologists.
Marjolaine Lévy has a doctorate in contemporary art history from the University of Paris-Sorbonne (Paris IV), is an art critic and teaches art history at EESAB (Rennes) and Ensad (Paris).
HELL NO* meeting with the artist Tarek Lakhrissi in the presence of Madeleine Planeix-Crocker and Fabrice Bourlez, coordinators of the Troubles, Dissidences and Aesthetics chair.
Since the beginning of March, a surprising and monumental architectural element has taken place in the Cour Bonaparte. It is a cornice, which comes from one of the most sumptuous tombs of the French Renaissance, that of the Constable Anne de Montmorency. This cornice, which is a legacy of Alexandre Lenoir's museum, has been in the School's walls for more than two centuries, feeding the curiosity of artists.
Richly illustrated, this second volume offers a panorama of all the works acquired over the last five years by the association. Under the direction of Emmanuelle Brugerolles, the book is enhanced by more than two hundred illustrations. Twenty-two art historians analyze the drawings that make up the richness of this collection.
Contributions from: Jean-Baptiste Delorme, Corisande Evesque, Angélique Franck-Niclot, Pierre Georgel,David Guillet, Blanche Llaurens, Anne-Cécile Moheng, Benjamin Peronnet, Baptiste Roelly, Nicolas Schwed
Misfire, Le Métier de vivre, Mais pour me parcourir enlève tes souliers and Le Partage d'une passion pour le dessin... The exhibitions of Act 4 summon the physical properties of the works, their capacity for transformation, for displacement, the power of a form to propagate itself in another, its capacity to make deliquescence. Spatial constraint and notion of failure, role of the making and its function, the presented exhibitions imagine the porosity of the spatial and collective norms.
William Kentridge is one of today's most prominent contemporary artists. He works in a multitude of media: drawing, writing, film, performance, music, theater, and collaborative practices, to create artworks that are rooted in politics, science, literature, and history, while maintaining space for contradiction and uncertainty.
This important remnant of the French Renaissance, due to the architect Jean Bullant and from the Musée des Monuments Français, had been arranged since the second half of the nineteenth century in the Lenoir garden.
His removal is essential so that companies can access the Torpanne arch, which must be dismantled for restoration.
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)
As part of the Exhibition Theater - Season 2, Act 3, come and attend an exceptional evening during your visit to the exhibition.
The exhibition Speed Dating is the result of pictorial encounters framed by a protocol imagined between the students of the Nina Childress studio at the Beaux-Arts de Paris and the Beaux-Arts de Dresden.
Cette classe préparatoire publique prépare, durant un an, des élèves issus de la diversité sociale, géographique et culturelle aux examens et concours d’entrée dans les établissements supérieurs d’enseignement artistique (95% taux de réussite).
