The Pernod Ricard Foundation and the Beaux-Arts de Paris renew their collaboration for 2022-2023. Lucille Léger, 2021 graduate of the Dominique Figarella workshop, presents her installation Tipping edges as part of the "L'Avancée" programme.
Located in the heart of the café-library of the new Pernod Ricard Foundation, l'Avancée is a hanging space dedicated to emerging artists, a way of extending the exhibition space into the living space.
Pernod Ricard Foundation
1, cours Paul Ricard
75008 Paris
Exhibition conceived by the French Academy in Rome - Villa Medici and the Beaux-Arts de Paris, with the support of the Musée national d'art moderne - Centre Pompidou, Paris. A first part, including a selection of ancient works from Italian collections, was presented in Rome from March to May 2022. This second Parisian part was established on the basis of the collections of the Beaux-Arts de Paris and other French and European institutions.
Bringing together more than one hundred and fifty original works from the Renaissance to the contemporary period, Gribouillage / Scarabocchio highlights one of the most repressed and least controlled aspects of drawing practice. By addressing the multiple facets of "scribbling",
the exhibition reveals how these experimental, transgressive, regressive or unintentional graphic gestures can be used to
transgressive, regressive or liberating, which seem to obey no law, have always punctuated the history of artistic creation.
By proposing new comparisons between the works of the masters of early modernity - Leonardo da Vinci, Raphael, Michelangelo, Bernini... - and those of major modern and contemporary artists - Jean Dubuffet, Henri Michaux, Helen Levitt, Cy Twombly, Jean-Michel Basquiat, Luigi Pericle... - the exhibition blurs chronological classifications and traditional categories (margin and centre, official and unofficial, classic and contemporary, work and document) and places the practice of doodling at the heart of artistic making.
Curators: Francesca Alberti, Director of the Department of Art History at the French Academy of Rome - Villa Medici, Associate Professor at the University of Tours, CESR
Diane Bodart, Professor of Art History at Columbia University (David Rosand Chair in the History of Italian Renaissance Art)
Associate curators: Anne-Marie Garcia, heritage curator, responsible for the collections of the Beaux-Arts de Paris and Philippe-Alain Michaud, art historian, heritage curator at the Musée national d'art moderne - Centre Pompidou.
Set design: Isabelle Raymondo
Lighting design : Virginie Nicolas (Concepto)
Set design and furniture : Version Bronze
Exhibition with the support of the Association Orphée, Flos, RATP.
CATALOGUE
The exhibition catalogue, which brings together 300 of the works exhibited in Rome and Paris, is published in Italian and French versions, co-edited by Beaux-Arts de Paris éditions and the Villa Medici. This reference publication offers a richly documented synthesis of the two exhibitions.
Number of pages: 400
Price incl. VAT: €39.00
Directed and introduced by the curators of the exhibition, Francesca Alberti and Diane Bodart, it contains seven chapters and brings together unpublished contributions by numerous authors whose essays and notes shed light on the works and extend the research work.
Authors of the essays: Francesca Alberti, Diane Bodart, Emmanuelle Brugerolles, Baptiste Brun, Angela Cerasuolo, Hugo Daniel, Vincent Debaene, Dario Gamboni, Tim Ingold, Giorgio Marini, Philippe-Alain Michaud, Anne Monfort-Tanguy, Mauro Mussolin, Gabriella Pace, Maria Stavrinaki, Nicola Suthor, Alice Thomine-Berrada, Barbara Wittmann.
Authors of the notes: Marco Simone Bolzoni, Emmanuelle Brugerolles, Cristina Cilli, Anne Marie Garcia, Gloria Guida, Mauro Mussolin, Federica Rinaldi, Carla Subrizi, Meta Valiusaityte.
Graphic designer: Mauro Bubbico.
Affiche GRIBOUILLAGE / SCARABOCCHIO De Léonard de Vinci à Cy Twombly
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: 5 €, 10 € or 15 €. Contribute according to your means, your passion and your desire for commitment!
Ticketing on site only.
Free of charge (on presentation of a valid receipt):
• under 26 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)
In association with the École des Beaux-arts de Paris and the "exhibition professions" course, from October to July 2023, an artist is invited to occupy this gallery space for two months. Each inauguration is an opportunity for a privileged exchange between the young artist and the public. Each artist will receive professional and critical support.
With this initiative, the Pernod Ricard Foundation strengthens its role in the young artistic scene in France.
Juliette Barthe is in her third year at the Ecole des Beaux-Arts in Paris in Stéphane Calais' studio. She is the winner of the Prix 2022 of the Crous gallery.
"Juliette Barthe's painting is a return to the sources, a resurgence of pictorial abstraction in its most primitive nature, and in the pure expression of Kandinsky's "inner necessity". It is an outpouring from the depths of the artist's soul that meets the canvas and explodes on contact..." Andréanne Béguin, November 2022 (extract)
Practical information
Located in the heart of the café-library of the new Pernod Ricard Foundation, l'Avancée is a hanging space dedicated to emerging artists, a way of extending the exhibition space into the living space
Exhibition visible until June 10th
Pernod Ricard Foundation
1, cours Paul Ricard
75008 Paris
L'Avancée is a hanging wall dedicated to emerging artists and a way of extending the exhibition space into the living space. During the year 2022-23, the Foundation is partnering with the École des Beaux-Arts de Paris and the "exhibition professions" programme. Every two months, from October to July, a student will be invited to take over this gallery and to accompany his or her display with an exchange with the public.
Francisco G. Pinzón Samper, a student at the Beaux-Arts de Paris in Mimosa Echard's studio, proposes a three-piece composition for L'Avancée, entitled Talia's shirt, The astral chart of Siddhartha and Untitled.
On the occasion of the opening, a performance and a show will take place with Dahl
ia Rebecca and Aurélien Vieillard, students at the Beaux-Arts de Paris.
Practical information
Located in the heart of the café-library of the new Pernod Ricard Foundation, l'Avancée is a hanging space dedicated to emerging artists, a way of extending the exhibition space into the living space
Pernod Ricard Foundation
1, cours Paul Ricard
75008 Paris
Free admission
Image: (c) Francisco G. Pizon Samper, Talia's shirt (detail), 2022
The Pernod Ricard Foundation and the Beaux-Arts de Paris renew their collaboration for 2022-2023. Charlotte Simonnet, a 3rd year student at the Atelier Tatiana Trouvé, presents her installation Coutures as part of the "L'Avancée" programme.
Located in the heart of the café-library of the new Pernod Ricard Foundation, L'Avancée is a hanging space dedicated to emerging artists, a way of extending the exhibition space into the living space.
"My work Coutures is made of concrete iron imitating the movement of a rope. It sews the wall from which it emerges, forming loops of different sizes before falling to the ground. This concrete iron is treated to have a black colour with some violet reflections.
This installation is a gesture evoking the construction of a place, of an architecture. By coming out of the picture rail, the concrete iron makes an invisible form visible. The gesture of sewing then evokes a way of linking the underside with the top. A game of illusion is created by the contrast between the rigidity of the metal and the rounded, supple shapes of a rope."
Charlotte Simonnet
Pernod Ricard Foundation
1, cours Paul Ricard
75008 Paris
Pour en finir encore* presents the eighteen artists who obtained their National Superior Diploma of Plastic Arts from the Beaux-Arts de Paris with the Congratulations of the Jury. The exhibition, curated by Béatrice Josse, reflects the generosity and economy of means that characterise the pieces produced by the artists awarded the Congratulations in 2022. The modesty of the materials rhymes with the power of the gestures and intentions of a generation forced to repair. An ode to the collective at a time of identity withdrawal and global conflict, the exhibition gives meaning and hope for a brighter tomorrow. After two years outside the walls, the exhibition Les Félicités is back in the large halls of the Palais des Beaux-Arts and offers a dialogue with the prestigious history of the site.
A panorama of a transitional state of art at the end of the Beaux-Arts de Paris, Pour en finir encore is conceived as a moment of stimulation, activation of potential and confrontation. The exhibition is accompanied by a programme of invitations and round tables. It will deal with commitment within the Fine Arts, collective and editorial practices, and the reception of refugees. These are all subjects that resonate with current events and which the Félicités have taken up brilliantly in their work. A publication accompanies the exhibition.
*Borrowed from Samuel Beckett
Félicités 2022
Among the 100 students graduating in 2022, 18 received the Congratulations of the jury co-chaired by Béatrice Josse, independent curator and Étienne Bernard, director of FRAC Bretagne, and composed of the artists Renaud Auguste-Dormeuil, Tarek Lakhrissi, Eva Nielsen, Chloé Quenum and Évariste Richer.
Ali ARKADY
Ece BAL
BORGIAL
Sacha CAMBIER
Juliette CORNE
Pauline-Rose DUMAS
Pauline de FONTGALLAND
Daniel GALICIA
Dora JERIDI
Régis MOUSSA
Emma PASSERA
Clément PÉROT
Mathilde ROSSELLO-ROCHET
Sequoia SCAVULLO
Sergiu UJVAROSI
Joris VALENZUELA
Jack VICKERY PEREZ
Rayan YASMINEH
Curator
Curator, author and artistic director, Béatrice Josse develops multidisciplinary programmes at the crossroads of visual arts, performance, dance, writing and design. Trained in law and art history, her career has led her to rethink curatorial forms as well as institutions and collections. Director of the 49 Nord 6 Est Frac Lorraine in Metz (1993-2016), she initiated a remarkable collection centred on immateriality, performance and protocol pieces that was widely disseminated in Europe and Latin America. A pioneer in questioning gender, she contributed to the feminisation of the collection and to the programming of international artists and events rooted in the region (festivals, writing residencies, scientific and philosophical conferences, etc.). At the MAGASIN des horizons in Grenoble (2016-2021), she instils collective, performative, vernacular and possibly therapeutic artistic practices for the institution. At the origin of the redesign of the professional training within the art centre, her research now directs her towards more collective practices linking art, ecology, society and transmission.
Catalogue
The exhibition is accompanied by a catalogue in French.
Preface by Alexia Fabre and text by Béatrice Josse.
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)
The exhibition will be exceptionally closed on Thursday 10 November 2022 due to the social movements. We will welcome you as usual on the following day. We apologize for this inconvenience.
As part of PhotoSaintGermain, the Beaux-Arts de Paris presents Poltergeists: esprits frappeurs, esprits frappés, a group exhibition of student artists and recent graduates of the school.
The exhibition aims to show the diversity of photographic writing in the current image community. Poltergeists: esprits frappeurs, esprits frappés is thus a metaphor for our fears and desires, a kind of collective unconscious that affects our reading of the world and, in turn, is also affected by our ways of acting.
As the philosopher Michel de Certeau writes, "The mind invents creative forms of resistance to cope with the pressures of modern life, and ghosts are one of them."
Opening on 3 November from 5pm to 9pm
With the artists:
Lara Al-Gubory, Ali Al-Khalidi, Lina Benzerti, Sixtine de Thé, Emma Derieux-Billaud, Clément Erhardy, Nina Fiorentini, Alexis Gavriloff, Manon Gignoux, Valentin Gillet, Rusnė Gocentaitė, Eric Godin, Isabella Hin, Sanggu Kim, Winca Mendy, Martin Poulain, Maryam Pourahmad, Ayako Sakuragi, Colombe Thaller, Alexandra Willis, Alžběta Wolfova, Misha Zavalnyi,
Performances by Margot Bernard and Alexandre Curlet
Thursday 3 November at 6.30 pm and 8 pm
Thursday 10 November at 7pm
Thursday 17 November at 7pm
Curated by Alain Berland and Alžběta Wolfova
With the support of Neuflize OBC
Isabella Hin Fight or Flight, photogramme, 2022 impression lambda Courtesy Le Fresnoy-Studio National des Arts Contemporains
Alexandra Willis, The Crowd, 2022 Photographie numérique
Emma Derieux-Billaud La salle de bain numéro 2, 2022 Photographie numérique
Alžběta Wolfová Greffe I, 2022 Rayogramme 114 x 105 cm
Ali Arkady Between two memories, 2022 Monolithography 3,5 x 4,5 cm
Alžběta Wolfová Livrée, 2022 photogramme sur papier Kodak brillant, pièce unique, 72 x 85 cm
The Beaux-Arts de Paris are pleased to welcome with Paris+ by Art Basel the project of Omer Fast and the gallery gb agency within the Sites sector of the modern and contemporary art fair.
The Karla exhibition is built on archetypes in which masks, ghosts and characters tell stories of the past that illuminate the present, time loops between documentary and fiction.
Karla's face, 2020 (video hologram) floats in a room. The real Karla works at filtering offensive images and texts for an internet giant. Her anonymous testimony is replayed by an actress whose face has been scanned to convert each of her expressions and emotions into digital data.
The progressive morphing seems to accompany the fragile construction of the story. Karla, both witness and ghostly presence, tells of her role and her eternal mission to suppress ever more unbearable images. An installation of drawings endlessly replays a self-portrait by Max Beckmann from 1917: copies of copies exhaust the artist's traumatised face, one eye open and the other closed.
Whether they delete or make visible on digital platforms, whether they transgress the boundaries of the living and the dead, Omer Fast's characters provoke systems of power. The artist fictionalises what he sees of our world, its transformations and aspirations. Together, these elements respond to the 16th century sculptures on permanent display in the Chapelle des Petits-Augustins and explore the inherently ambiguous nature of concepts such as authenticity, time and reality.
Hélène Janicot, a 5th year student, is the winner of a production grant from Rubis Mécénat in partnership with the church of Saint-Eustache and the Beaux-Arts de Paris. She exhibits a work in three stations installed in the heart of the church. Curated by Audrey Illouz.
Hélène Janicot's project for the church of Saint-Eustache is articulated around three stations. The first one opens the path and tests the force of attraction. The artist pushes an architectural motif emblematic of the Gothic church to the point of purity: the pillars that underlie the collateral and invite elevation. Hélène Janicot redraws the octagonal structure by means of metallic wires. A second station offers a completely different relationship of scale: a transparent slab reveals a hole. Reminiscent of an archaeological dig, the hole also refers to the beginning and the fall of bodies. In the Saint-Louis chapel, she proposes a last station and takes in the concrete the prints of her own kneeling body.
With this first in situ project, the artist approaches the very essence of the place through a series of refined but tense gestures, and invites us to a physical and sensitive experience that puts the body and the mind in motion.
The Pernod Ricard Foundation and the Beaux-Arts de Paris renew their collaboration for 2022-2023. Clédia Fourniau, 2021 graduate, inaugurates the second season of the "L'Avancée" program with her paintings in the heart of the café-library.
Located in the heart of the café-library of the new Pernod Ricard Foundation, l'Avancée is a hanging space dedicated to emerging artists, a way to extend the exhibition space into the living space.
"The eye dances across the canvas, from the center to the sides, caught up in the undulations of a pictorial body that is nonetheless motionless. There is, in each work of Clédia Fourniau, a succession of colored layers that calls to dive into the depth, or rather to go up to its surface, towards the opening on which is superimposed a translucent stratification of resins.
Mirroring, this surface reflects by fragments the body of the observer: subtle setting in abyss of the image which reflects itself - which thinks itself - and which reflects the image which questions it - ourselves -. A reflection which goes until leaving the frame, and taking a new dimension, in that the matter stretches its consistency to leave apparent its margins and redefine new contours... Or how to question, of more beautiful, this "reflexive device" and identity of the support which, like the bottom, often passes unnoticed.
Clédia Fourniau uproots the fundamentals to better understand the components and deployments: the object that makes work, the work that is object, the whole that is art. Thorny reflection, even existential, in the immaterial era of the metaverse and the NFT.
Anne-Laure Peressin, art critic
Pernod Ricard Foundation
1, cours Paul Ricard
75008 Paris
