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.
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
The exhibition will be closed during the Christmas holidays from 17 December to 3 January inclusive. It will reopen on Wednesday 4 January.
Baalbek, an emblematic site on the Bekaa plain in northeastern Lebanon, attracted two young architects in the 19th century who were residents of the French Academy in Rome: Achille Joyau and Gaston Redon.
As part of their "Envois", exercises imposed on the winners of the Prix de Rome in which they had to propose a restoration of an ancient monument, they drew with watercolors and rendered with scrupulous fidelity the beauty of these ruins surrounded by high walls and the arid and mountainous environment that surrounds them. The twenty-five unpublished works presented in this exhibition are unique testimonies of the archaeological site which was not excavated until 1898.
The site of Baalbek remains to this day a major archaeological jewel of Lebanon.
Admired by Lamartine, Châteaubriand and Flaubert, Baalbek, an emblematic site of the Bekaa plain in Lebanon, attracted in the 19th century two young architects who were then boarders at the French Academy in Rome - Villa Medici: Achille Joyau in 1865 and Gaston Redon in 1887. As part of their "Envois", school exercises imposed on the Prix de Rome laureates, they were given the task of studying an ancient monument and proposing a restitution, i.e. a restoration.
Joyau and Redon decided to venture out of Rome and discover this mythical place in Lebanon. Before reaching it, they each made long journeys by caravan or on horseback, crossing difficult roads and staying, depending on their route, in Alexandria, Cairo, Memphis, Jerusalem, Damascus or even Smyrna.
Celebrated for its gigantism, Baalbek seduces by the originality of its Greco-Roman architecture enriched with Semitic and Oriental elements. The stays of Joyau and Redon, which varied between five and ten months, allowed them to draw up a precise state of the ancient monuments through superb watercolor sketches. Their drawings reflect with scrupulous fidelity the beauty of these ruins surrounded by high walls, but also the arid environment that surrounds them with the high mountains of the Anti-Lebanon in the background.
Their approach, close to that of an archaeologist, carefully restores the numerous buildings that made up the sanctuary, as well as their various architectural elements, including the layout of the walls, the entablatures and the capitals of the columns. To this description is added the sensitivity of the artists towards the materials used, the vegetation that invades the ruins in a disorderly manner, the bright blue sky.
The graphic qualities of these works reveal the watercolor talents of these young architects and are unique testimonies of the site of Baalbek, which only had its first archaeological excavations in 1898.
Curated by Emmanuelle Brugerolles and Corisande Evesque.
Joseph-Louis-Achille Joyau (1831 – 1873) Temple d’Héliopolis, état actuel, façade latérale sud [à gauche : détail ; ci-dessous oeuvre entière] Graphite, plume, encre noire et aquarelle sur papier entoilé, 0,8 x 3,2 m
Joseph-Louis-Achille Joyau (1831 – 1873) Temple d’Héliopolis, état actuel, façade latérale sud [à gauche : détail ; ci-dessous oeuvre entière] Graphite, plume, encre noire et aquarelle sur papier entoilé, 0,8 x 3,2 m
Joseph-Louis-Achille Joyau (1831 – 1873) Temple d’Héliopolis, état actuel, façade principale Graphite, plume, encre noire et aquarelle sur papier entoilé, 0,6 x 1,4 m
Gaston-Fernand Redon (1853 – 1921) Héliopolis. Temples de Baalbek, plan de restauration à 0 m 01 p.m., élévation restaurée des façades des temples. Graphite, plume, encre noire et aquarelle sur papier entoilé, 1,3 x 3,2 m
Joseph-Louis-Achille Joyau (1831 – 1873) Vue du temple d’Héliopolis à Baalbek Graphite et aquarelle, 0,15 x 0,5 m
Joseph-Louis-Achille Joyau (1831 – 1873) Rue au Caire Pierre noire, lavis d’encre de Chine, rehauts de gouache blanche et beige sur papier bleu, 0,35 x 0,23 m
BILLETTERIE RESPONSABLE
2, 5 ou 10 €, c’est vous qui choisissez !
La billetterie responsable invite chaque visiteur venant découvrir une exposition aux Beaux-Arts de Paris à choisir son ticket d’entrée parmi 3 tarifs proposés : 2 €, 5€ ou 10 €. Contribuez selon vos moyens, votre passion et votre désir d’engagement !
Gratuité (sur présentation d’un justificatif en cours de validité) :
• moins de 18 ans
• étudiants et enseignants des écoles nationales supérieures d’art et d’architecture du Ministère de la Culture
• étudiants des institutions membres de l’Université Paris-Sciences-et- Lettres (PSL)
• étudiants de l’École du Louvre
• titulaires de la carte du Ministère de la Culture
• Amis des Beaux-Arts de Paris
• détenteur des cartes : Maison des Artistes, ICOM, ICOMOS, Association française des commissaires d’exposition (CEA)
• journalistes
• demandeurs d’emploi, bénéficiaires des minima sociaux
• handicapés civils et mutilés de guerre (avec un accompagnateur)
At the initiative of the Beaux-Arts de Paris, Felicità Milieu des choses invites the thirty-five artists Felicità 2020 and 2021 of the Beaux-Arts de Paris to offer a very personal reading of the environment and its edges, on a proposal by the artist and curator Thomas Fougeirol.
"Each artist is a milieu around which multiple ecosystems gravitate, the result of a personal history and different socio-cultural contexts. How sensitive are we to other environments, to others in their environments? The world is full of objects and connections are made at lightning speed, the artist must slow down to make other things, other events with a deep and intimate resonance. The skin, the texture of these things and performances are like drums, they materialize deep sounds.
If some artists think of the thing as a target to be reached by planting its arrow in its middle, others explore its edges." Thomas Fougeirol
Organized outside the walls, the exhibition Felicità Milieu des choses is the result of a collective work. The works and performances have been imagined to take over the large 1,800 m2 plateau of POUSH in Aubervilliers.
Among the 94 students who graduated in 2020, 14 were congratulated by the jury presided by Béatrice Gross and composed of Marc Bembekoff, Mohammed Bourouissa, Emilie Renard and Barthélemy Toguo.
Kenia Almaraz-Murillo, Amie-Sarah Barouh, Thibaut Bouedjoro-Camus, Audrey Carmes, Diane Chéry, Gabriel Day-Boulongne, Théo Krief, Gaspard, Elsa Michaud, Chalisée Naamani, Keijiro Nagamine, Winnie Mo Rielly, Robin Rozenkranc, Lucas Tortolano.
Congratulated 2021
Among the 123 students graduating in 2021, 21 were congratulated by the jury chaired by Thomas Fougeirol and composed of Alexandra Baudelot, Aude Cartier, Gaëlle Choisne, Marianne Lanavère, Julia Marchand, Myriam Mihindou and Matthieu Poirier.
Chadine Amghar, Barbana Bojadzi, Lucas Bouan, Félix Bouttier, Javier Caro Temboury, Clara Champsaur, Clément Courgeon, Pauline d'Andigné, Darya Danilovich, Elisa Florimond, Clédia Fourniau, Juliette Green, Konstantinos Kyriakopoulos, Halldora Magnusdottir, Dylan Maquet, Hedi Nabil, Louise Rocard, Eulalie Thebault Maviel, Eugénie Touzé, Chloé Vanderstaeten, Constantin Von Rosenschild Paouline.
Practical information
Subway : line 7 station Fort d'Aubervilliers
Bus : 152, 330, N42
Bicycle : vélib station at 3 mn walking distance
As part of "Delacroix and colour", a new presentation of the collections, the Musée national Eugène-Delacroix has invited student artists from the "Artists and Exhibition Professions" course at the Beaux-Arts de Paris to take over the painter's room to revive the spirit of the place using contemporary works.
"Pièce, habitation, abri" is a project in dialogue with the museum, the artist-curators Fanny Irina, Amandine Massé and Caroline Rambaud, who propose a selection of works by young artists from the School and reactivate an imaginary room. In this room, where one has the impression that traces of a former presence remain, the artists sow their memories, some of them calling on the imagination, others inhabiting the place for the duration of a reverie.
Practical information
Eugène Delacroix National Museum
6 rue de Furstemberg, Paris 6
Reservation recommended on the website http://www.musee-delacroix.fr/fr
The Centre des monuments nationaux and the Beaux-Arts de Paris are joining forces to present an exhibition entitled "The Witch, the Jester, the Sentinels, the Ghost and the Princess", produced by students in the "Artists & Exhibition Professions" programme in the dungeon of the Château de Vincennes. The curator is the student-artists of the course: Joséphine Berthou, Charline Gdalia, Jean-Baptiste Georjon and Clarisse Marguerite.
The Château de Vincennes is the ideal setting for this exhibition, which questions the symbolic characters of the tale and the stereotypes associated with this literary genre. Through this project, which uses the dungeon of the Château de Vincennes as a fictional setting, the students of the Beaux-Arts de Paris question the traditional narrative models of fairy tales and the collective memory. Throughout the visit, the spectator is plunged into a magical universe where contemporary art comments on the images created by centuries of history.
Each area of the castle is dedicated to a typical character from the tale: the chemin de la ronde, for example, is devoted to the figure of the sentry. 46 works by artists from the Beaux-Arts de Paris, selected in response to a call for projects, will be presented in a predefined format, with reference to the guards of Charles V. At the time, a hundred or so men in the service of the King populated the covered way. Together, they ensured his protection by preventing anyone from entering the keep. Today, the ghosts of these guards continue to inhabit the corridors...
Other works, inspired by archetypal figures, are scattered throughout the castle keep. The character of the witch appears on the "cursed lawn", the jester is embodied in the council chamber, the princess resides on the second floor of the tower and the ghost haunts the ground floor. Plastic and performance works meet and dialogue with each other, like the life-size game of geese drawn on the grass by Clarisse Marguerite, which will serve as the basis for Chloé Poitevin's performance on the opening day. The giant board will allow her to draw the contours of her magical universe, where, through a work on costume and its symbols, she will revisit the characters of the tale to activate their stereotypes.
Artists exhibited: Juliette Barthe, Amélie Bigard, Joséphine Berthou, Sacha Cambier, Caroline Delhom, Nathan Ghali, Charline Gdalia, Jean-Baptiste Georjon, Anna Giner, Yvan Ivanovic, Maya Kafian, Léa Le Floch, Lena Long, Clarisse Marguerite, Nicole Mera, Nos Lèvres Révoltées, Chloé Poitevin, Loïs Saumande, Alisson Schmitt, Liv Schulman, Masha Silchenko
