PAID ENTRY | Beaux-arts de Paris

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.

Act 4 of the Theatre of Exhibitions is created by the third class of 2021-22 of the "Artists & Exhibition Professions" program at the Beaux-Arts de Paris. Fifteen student artists from the School work in groups with six curators associated with the program to accompany and develop exhibition projects. But more than exhibitions in the strict sense of the word, it is above all a process, a research and a sharing of ideas.

Act 4 will be punctuated by numerous events: a speed dating for single artists, concerts, performances, readings... A common booklet, bilingual, gathers them to present them.

With the support of the curators of the collections.

The visual identity was designed by Margot Bernard and Caroline Rambaud, students in the program.

Cultural programming in the context of the exhibition :

Wednesday, April 6th
6:30 pm Discussion with Alice Dusapin, researcher, curator and editor about the book Wolfgang Stoerchle: Success in Failure
As part of Misfire

7:45 pm Nefeli Papadimouli performance with 6 performers 30min
As part of Mais pour me parcourir enlever tes souliers

Wednesday April 13th
7:30 pm Performed visit Sharing Partage d'une passion pour le dessin by Emmanuel van der Elst, student at the Beaux-Arts de Paris (approx 15 min)

Wednesday, April 27th
6:30 pm Guided tour of the exhibition Partage d'une passion pour le dessin by Daniel Schlier, artist and teacher at the Beaux-Arts de Paris

6:30 pm Discussion between Matthieu Quinquis, International Observatory of Prisons (OIP); Julie Ramage, artist and Ines Giacometti, lawyer
As part of Mais pour me parcourir enlever tes souliers

7:30 pm Performed visit Sharing Partage d'une passion pour le dessin by Emmanuel van der Elst, student at the Beaux-Arts de Paris (approx 15 min)

MISFIRE

The Misfire exhibition welcomes works that explore the aesthetic, emotional and subversive potential of failure, whether intentional or unintentional, both in their creative process and in their critical reception. Although the experience of failure occupies a central place in the academic and professional careers of artists trained at the Beaux-Arts de Paris, its traces are discrete in the history of a school marked, both in its competition system and in its architectural decor, by the exaltation of the successes of its "great masters.

Oscillating between the negative emotions traditionally associated with it and the political recuperations that can emanate from it, its ambivalent nature nevertheless incites us to reconsider its impact on both the materiality of the works and the psychology of their authors. Deployed within a scenic space thought as unstable and degenerative, the experiments carried out by the artists gathered in this exhibition invest at different scales the "poetics of the failure": technical failures, repeated failures, individual and mutual sabotages, feigned amateurism, act of political idleness, hijacking of unfinished works or abandoned by their authors, parasiting of the devices of evaluation and legitimization of artistic value...

These undisciplined gestures thus draw multiple counter-productive strategies which put in rout the discourses, the norms and the social representations around the virtuosity and the institutional recognition of the artists. Witnesses of failures as much tested and dis-simulated as assumed and sublimated, these works question the injunctions to success, efficiency and constant attractiveness maintained by an ultra-competitive art world in which no creative impasse seems possible.

Based on an idea by Vincent Enjalbert, associate curator of the program, with the help of Glenn Espinoza, Yanma Fofana, Charline Gdalia, Jean-Baptiste Georjon, Clarisse Marguerite and Caroline Rambaud, students in the "Artists & Exhibition Professions" program.

Artists presented: Geneviève-Charlotte d'Andréis, Atelier Populaire, Antony Béraud, Valentin Bonnet, Jean-Louis Brian, Gwendal Coulon, Honoré Daumier, Gabriel Day, Clément Erhardy, Andreas Février, Jef Geys, Lisa Lavigne, Corentin Leber, Adrien van Melle, Pierre Merigot, Juliette Peres, Loïs Szymczak, Sophie Torrell and anonymous.

Scenography imagined with Noémie Benlolo, Sara Negra and Thelma Vedrine, students of ENSA Paris-Malaquais.

LE MÉTIER DE VIVRE

Some of the objects in the Paris Fine Arts collection, almost a thousand years old, take us back to times when a different history of creation presided.

The books of hours, secular works structuring the day of the faithful through prayer, are aggregates of a medieval society governed by the order of religion and daily life. Made by several hands by scribes, copyists and illuminators, these objects tell us about a period when art conformed to the laws of use and the collective, and the artist to the ranks of the artisan and the anonymous. From the collaborative and horizontal character of these monastic books the exhibition draws a model for thinking about the development of the artist's craft and the activity of its forms. Imagining a space that takes the form of a workshop-housing, the exhibition invites several students from the wood base of the Beaux-Arts de Paris to group together in the manner of a corporation, to conceive works where furniture, real estate, sculptures and structures are amalgamated. If the development of art has made the thought and the subject prevail over the hand and the object, these artists are gathered here because, to the detriment of the posture of the designer, they choose to renew with the historical position of the builder, and to play with the more contemporary one of the decorator. Behind this decompartmentalization of functions, they claim their belonging to a large society of producers in which they can merge in order to make new fields of action and expression for their forms. An exhibition of works by students, graduates and professors of the Beaux-Arts de Paris, Le Métier de vivre also presents works by William Morris. A proponent of design, this nineteenth-century artist, also inspired by the medieval production system, worked to bring together the decorative arts and the fine arts, design and production, beauty and utility, in order to imagine a new art of making and living. This dialogue between creations and creators, beyond the times or disciplines, allows to consider the artist's job as the one who can by the use and the work, unite in the workshop of the world ... art and life.

Based on an idea by Raphaël Giannesini, curator associated with the program, with the help of Yanma Fofana, a student in the "Artists & Exhibition Professions" program. With the support of the curators of the collections.

Artists presented: Pascal Aumaitre, Ludovic Beillard, Marion Chaillou, Xolo Cuintle, Ann Daroch, Jonh Henry Dearle, Francisco G Pinzón Samper, Ninon Hivert, Maître de Jacques de Besançon, Maëlle Lucas-Le Garrec, Matteo Magnant, William Morris, Kiek Nieuwint, Eliott Paquet, Charlotte Simonnet, Raphael Sitbon, William Arthur Smith Benson, Luca Resta, Constantin Von Rosenschild, Philip Webb.

Scenography imagined with Roxanne Bernard and Nour El Blidi, students of the ENSA Paris-Malaquais, and the complicity of the wood base of the Beaux-Arts of Paris.

MAIS POUR ME PARCOURIR ENLÈVE TES SOULIERS

Mais pour me parcourir enlève tes souliers¹ engages a critical reflection on the spatialist conception that considers architectural forms as determining the organization of social practices. Invested with an operational and normative function capable of ensuring the quasi-natural regulation of human behavior, architectural devices would constitute "forms of organization of space, intrinsically carrying good social practices"².

This spatial conception finds its paroxysmal expression in institutions such as the school, the hospital or the prison, where it is a question of avoiding any movement of crowd or confusion, while "raising" the souls and the spirits. Thus, in the prison universe, a separative and cellular logic is imposed, supposedly invested with qualities of its own, capable of punishing, neutralizing, dissuading, and healing individuals in order to better reintegrate them into society later on. Their punishment is as if spatialized, the architectural devices constantly re-evaluated to constrain their bodies and limit their possible exchanges.

The exhibition brings together works that are like so many detour techniques to get out of these sometimes authoritarian spatial conceptions. Faced with fixed spaces, it is a question of exploring moving, adaptable, or even living spaces. Within this exhibition, the artists conceive the writing of space as a score, constantly to be reinterpreted.

1. Title borrowed from Jean Genet in his poem La Parade, 1948

2 Levy J., Lussault M. (2003), Dictionary of geography and space of societies, Paris

Based on an idea by Violette Morisseau, curator associated with the program, with the help of Zoé Bernardi and Amandine Massé, students in the "Artists & Exhibition Professions" program.

Artists presented: Pauline Rose-Dumas, Jules Goliath, Liên Hoang-Xuan, Bahar Kocabey, Raphaël Maman, Amandine Massé, Eadweard Muybridge, Nefeli Papadimouli, Giambattista Piranesi, Julie Ramage, Fabrice Vannier, Chloé Vanderstraeten

Scenography imagined with Marine Henninot and Mathilde Josse, students of ENSA Paris-Malaquais.

LE PARTAGE D’UNE PASSION POUR LE DESSIN

Le Partage d'une passion pour le dessin unveils an exceptional group of 90 drawings, which entered the School's collections thanks to the generosity of the association "Le Cabinet des amateurs de dessins des Beaux-Arts de Paris". The exhibition is organized on the occasion of the 15th anniversary of the association, which has acquired more than 200 masterpieces since 2006. The exhibition is organized by school, Italian, Nordic and French through the centuries. Drawings by Eugène Delacroix, Jean-Honoré Fragonard, Jean-Baptiste Greuze, Gerrit Van Honthorst, Giuseppe Penone and Simone Peterzano will be presented. The exhibition ends with a selection of the winners of the Contemporary Drawing Prize, including Marcella Barceló, Tiziano Foucault-Gini and Manon Gignoux.

Curated by Emmanuelle Brugerolles and Raphaëlle Reynaud, mediation by Margot Bernard, Caroline Rambaud, Hugo da Silva, Amandine Massé and Clarisse Marguerite, students of the program.

Since 2005, when it was founded, the association "Le Cabinet des amateurs de dessins des Beaux-Arts de Paris" has been actively involved in enriching the graphic collections of the Beaux-Arts de Paris.
In more than fifteen years, it has been able to complete the collection by acquiring major works by artists who were previously absent from the institution.
Faced with an existing market and modest means, the association, made up of collectors but also of dealers, has been able to choose drawings of great quality, tinged with a certain originality, encouraging students to come and discover them on the occasion of exhibitions organized in the Cabinet des Dessins. She has not hesitated to contribute to an acquisition from the Fonds du Patrimoine du Ministère de la Culture, as in the case of the drawing by Gerrit Van Honthorst presented in this release.
Its eclectic tastes touch all schools but also all centuries, without forgetting contemporary drawing. In 2013, the association created a contemporary drawing prize for a young artist from the Beaux-Arts de Paris, whose work is offered to enrich the school's collection.
Sensitive to the transmission and knowledge of the plastic arts among young people, it has set up for more than a dozen years a pedagogical project with schoolchildren from the academies of Créteil and Versailles, allowing their pupils to discover the beauties of an Italian, French or Nordic sheet, with its techniques and its particularities.
The association le Cabinet des amateurs de dessins, chaired by Daniel Thierry since 2015, wished to unveil this year a part of these acquisitions during an exhibition that will be held from March 22 to April 24 at the Palais des Beaux-arts.

Mais pour me parcourir enlève tes souliers

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)

For the first time, until 2022, the program of the Palais des Beaux-Arts is entirely conceived, developed and implemented by the students of the "Artists & Exhibition Professions" program and the young curators in residence at the Beaux-Arts de Paris.

Teen Spirit, Fait divers, Écoute voir, Aura par procuration and pendant que d'autres écrasent des nuits encore moites, the original projects of the Théâtre des expositions are presented from October 15 to November 21, 2021.

Each in its own way, these exhibitions traverse time by confronting heritage works from the School's collections with contemporary works by faculty and students.

This joyful experimental laboratory brings into play the very principle of exhibition with forms that are still unspecified, sometimes confusing.

Le Théâtre des Expositions is developed and produced by the first two classes of the "Artists & Exhibition Professions" program:

Class of 2019/2020: Lina Benzerti, Brune Doummar, Milana Dzhabrailova, Sarah Konté, Corentin Leber, Chongyan Liu, Victoire Mangez, Bram Niesz, Yannis Ouaked, Violette Wood, Kenza Zizi.
2019/2020 Curators in Residence: Simona Dvořáková, Marie Grihon, César Kaci, Alice Narcy, Esteban Neveu Ponce.

Class of 2020/2021: Soraya Abdelhouaret, Paul-Emile Bertonèche, Yucegul Cirak, Andreas Fevrier, Daniel Galicia, Alexandre Gras, Raphael Guillet, Thibault Hiss, Hélène Janicot, Elladj Lincy, Anna Oarda, Céleste Philippot, Océane Pilastre, Libo Wei.
Curators in residence 2020/2021: Noam Alon, Antoine Duchenet, Lou Ferrand, Céline Furet, Juliette Hage, Lila Torqueo.

Le Théâtre des Expositions is activated by a live program: performances, concerts, readings, screenings, two-voice visits, sound interventions or radio transmissions.

Radio Bal, the web radio of the students of the Beaux-Arts de Paris, carried by Lou Olmos Arsenne and Pierlouis Clavel will broadcast regularly in podcast in connection with the Theater of the exhibitions. Among the programs offered will be the quasi-interviews of arthur dokhan, a 5th year student, according to the principle: "everyone knows the answers to my questions. start nowhere, talk about everything, and end there".

Le Théâtre des Expositions is sponsored by Altarea, Moët Henessy and the Association des Amis des Beaux-Arts de Paris.

* Created in 2019, the "Artists & Exhibition Professions" program is directed and coordinated by the exhibitions and public services departments. It allows 3rd and 4th year students to train in production, management, scenography, mediation and all professions related to the presentation and dissemination of art. As part of this training, a residency is offered to young curators who can work for a year at the Beaux-Arts de Paris. The "Artists & Exhibition Professions" program at the Beaux-Arts de Paris is designed in partnership with the Palais de Tokyo.

Acte 1

Teen Spirit

Adolescence begins, but it is not easy to formulate its end. Does it even have an end?

It is a period during which a need to claim our identity takes hold of us in a very intense way. It is a time of life filled with passions, and not only with love. A lot of things are intertwined and we feel the need to assert ourselves, both in our thoughts and in our appearance. It is as much a need to identify with certain things, as a need to distinguish oneself from others. This often translates into a desire to show who we are - who we want to be, but also what we feel, by staging.

Through social networks, in one's own room which then becomes an intimate sanctuary where many things happen. Some details of adolescence haunt us and are actualized through our current self. Memories and artifacts are superimposed on the fictional or real stories conveyed by the works presented.

Evocations of an adolescence whose emotions have permeated the practices of the invited artists.

Based on a proposal by Céline Furet, resident curator at the Beaux-Arts de Paris, in collaboration with Arthur Dokhan, Morgane Ely, Nicole Mera, Molten_c0re (Lucas Hadjam and Baptiste Pérotin), Chalisée Naamani, Maëlle Poirier, Léa Scheldeman, Hélène Tchen & Laure-Anne Tchen, invited artists.

Fait divers

This exhibition borrows its form from that of a news item. A closed structure which, according to Barthes, refers formally to nothing but itself. It dares to thwart this thematic framework that usually begins and crosses the construction of an exhibition to guide it and signal, distinctly enough, that it opens (like a breach) on a speculative reverse. When it overflows a little too much on the essential of what constitutes an exhibition, it supplants the works, and by extension, the artists.

Here, the curator wants the public to take the risk of deliberately losing this red thread, this Ariadne's thread, in order to consider only the "closed circuit of the exhibition" (the exhibition enclosed in its own terms) by working on the types of relationships that, between the works and their organization in the space of the room, allow it to take shape, to become a body and to stand up. It is a way of putting the work of the artists and his own to the test, in an exhibition that applies itself to inventing and then revealing by clues its own logic. This exhibition becomes a knot or, failing that, a bag of knots, a kind of situation that holds on itself, that contains itself.

Based on an idea by Antoine Duchenet, resident curator of the "Artists & Exhibition Professions" program, with the collaboration of Helin Kahraman and Vilhelm Carlström (students at the École nationale supérieure d'architecture Paris-Malaquais).

Artists presented: Pierre Alferi, Marika Belle, Jérôme Boutterin, Gabriele Chiari, Camille Corréas, Marie de Brugerolle, Jordan Derrien, Juliette Green, Airwan Groove, Ann Veronica Janssens, Romain Moncet, Romain Quattrina, Nicolas Quiriconi, Pauline Rima, Sophie Rogg, Alejandro Villabona

Écoute voir

"It may not be the first time, but it is always surprising to be challenged by a painting, where the author has chosen to include a statement, whatever it may be. Whether the painting tells itself or echoes the prose of the world, whether it questions the act of seeing and representation, whether it questions the existence of the viewer or takes the viewer as a witness to his own, whether it projects the viewer (his opposite number) into the imaginary without resorting to the image, it is always to him, to us, that it addresses itself. Whatever the adopted register - serious or funny, poetic or trivial, charming or provocative -, such a painting arouses a situation of reflexivity and without playing the mirror, it looks at me, that is to say that it returns my glance as much as it concerns me. Even more than another, a painting which speaks waits for an answer; refusing the detour, it does not allow the dodge. Guitemie Maldonado.

Based on an original idea by Sylvie Fanchon and Camila Oliveira Fairclough, adapted for Le Théâtre des expositions by Guitemie Maldonado, professor at Beaux-Arts de Paris and Céline Furet, resident curator at Beaux-Arts de Paris, accompanied by Yucegul Cirak, Andréas Fevrier and Océane Pilastre, students of the "Artists and exhibition professions" program, Emmanuelle Brugerolles, general curator of heritage in charge of the drawings collection at the Beaux-Arts de Paris, as well as Emilien Dreno and Eliott Petit, students at the École nationale supérieure d'architecture Paris-Malaquais, in charge of the exhibition scenography.

Aura par procuration

In Art and Agency, the anthropologist Alfred Gell develops a principle of qualification of the objects of art based on the concept of agentivity, that is to say the power of supposed action of an object, consequence of all the intentions deposited in him: that of the artist, the curator, the spectator, the institution, the collector... A way of examining the power of fascination of the work, henceforth related to the whole of the interactions which preside over its appearance.

But this magnetic or auratic power of the art object can be increased by a certain number of devices and apparatuses. They can be material: architectures, pedestals, showcases, exergues, protections... or immaterial: rumors, criticisms, prohibitions, warnings, ceremonies, pedigrees...

Aura par Procuration, which wants to be an exhibition of these devices and apparatuses, highlights the role of the exhibition and more generally of all that surrounds the work, sublimates it and qualifies it.

Based on an idea by Thierry Leviez, head of exhibitions, developed and realized by Antoine Duchenet, curator in residence, Soraya Abdelhouaret, Paul-Emile Bertoneche, Alexandre Gras, Elladj Lincy, Anna Oarda, Océane Pilastre and Céleste Philppot, students in the "Artists & exhibition professions" program. With the advice of Alice Thomine Berrada, curator of sculptures and paintings, and Emmanuelle Brugerolles, curator of drawings at the Beaux-Arts de Paris

pendant que d'autres écrasent des nuits encore moites

Everything is possible once night falls. Darkness offers the moment when man merges with animal. The shadows mingle in a humidity so heated that it becomes steam. The rules cancel each other out. The laws are swept away with a wave of the hand. The night becomes at the same time a moment and a place: a precise time which exists only in reverse of the day, but also a place, that of a heterotopic elsewhere where clandestinity, underground alliances and outlaws reign. Because of the darkness, it defies order and surveillance.

Outside, there are perhaps nights that take place elsewhere.

It is this second zone that the exhibition is about, while others crush nights that are still moist, that of illicit meetings, networks and forbidden businesses. Each one is suspicious as soon as it seems to thwart something by wandering in the night. What are we looking for if not mistrust? The nocturnal encounter can inevitably become a brutal meeting.

Because of the lack of light, the night closes the eyes: the law is no longer an authority and order has deserted the public space. It thus allows a reversal of the traditionally established power relationships and the constitution of a space of freedom and cunning. Those who flee, those who burn, those who sell, those who should not be there but who are there because they are not elsewhere, these illegal immigrants, these deserters, these stateless people, those who resist and oppose control, the norm, and domestication, this night is for them.

Then things can begin.
Each of the artists' works in the exhibition explores this imaginary fantasy linked to the night and the figure of the outlaw. They all contain a certain form of violence, contained or excessive, which manifests itself here with the help of weapons or the desire to burn. Thus, they evoke in their own way the question of the underground, the wandering, the strategies of escape and the reversal of usually integrated relations of force.

Artists presented: Jade Boudet, Tristan Chevillard, Clédia Fourniau, Jean-Charles Hue, Victoire Inchauspé and Emma Passera.

Curator: Juliette Hage, curator in residence at the Beaux-Arts de Paris.

A fanzine, created from the artists' work, completes the exhibition. It was produced by the duo stein.zine (Delphine Bachelard & Elie Olivennes) at the invitation of the curator.