EXPOSITIONS | 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)

The four exhibitions of Act 3 have in common a love of the living. They demonstrate a desire to experiment with other ways of being attentive to the complexity and intensity of life, and to speculate on the future. Each of them proposes to bring the School's collections into dialogue with the outside world in its own way.

Speed Dating proposes a meeting between the painters of the Nina Childress studio at the Beaux-Arts de Paris and those of the Beaux-Arts de Dresden (HfBK). Emblematic works from the collections of the Beaux-Arts de Paris, awarded in the context of the Torso competition created in 1784 and the Jauvin d'Attainville prize founded in 1877, disrupt this meeting. Acqua Alta writes the scenario of a future immersed under water, after the apocalypse. In a contaminated world where the living would have flourished again, A Single violet transplant follows the advice of Silvia Federici, academic, teacher and activist: "The mistake is to give ourselves unattainable goals and always fight 'against' rather than trying to build something". Finally, The Call draws the landscape left by a pack of artists. Between the forest and the hut, these are presences/absences that invite you to wander.

Act 3 of the Theatre of Exhibitions is created by the third class of 2021-22 of the "Artists & Exhibition Professions" course at the Beaux-Arts de Paris. Fifteen student artists from the School are working in groups with six curators associated with the programme to support 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 3 will be punctuated by numerous events: speed dating for single artists, concerts, performances, readings... A common bilingual booklet will bring them together to present them.

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

Practical information :

Opening on Wednesday 2 February 2022 from 6pm to 9pm
A health pass and a mask must be worn.

A Single Violet Transplant

Between you and me, we know very well that it is a much bigger desert crossing than we are led to believe. You planted a large poisonous meadow, surrounded by purple and spit on the ground. You are also the mother of every flower we see in this contaminated field.

When I ask you why you chose this colour, you tell me that it is not even a primary colour and that this colour is therefore not often found in nature. You chose purple because it's a colour on the edge of the rainbow, it makes me think of us. You explain to me that the image is stronger than the language, it is true for you who speak with dragonflies and bees. You can hear the electrical rumours of each insect, the same as those of the welds on metal. The falls and aspirations of ruined architectures, the sound of the rails trying to warn you.

You explain to me that the dream of every artist is to create something that changes the way someone functions, I am deeply convinced of this. You know your works only in your dreams and yet you know that they will see the light of day.

They are your daughters and your white hair, they are the great muffled cries of pain. They are the nettles that grow at the foot of the big wastelands near the social housing.

Your hands are dirty from wax and plaster, and you leave your shoes lying around. But the ghosts of yesterday you replace one by one. You watch the rain wash your hands, you know that thanks to your work everything will be clear, that the steel barriers are already beginning to be eaten away by the soft wax. No miracle, only step after step. The beating of the wings of gynandromorph butterflies washing out the vicious air that men spit out.

I receive a photograph of a heart transplant, a heart that continues to beat in a small plastic box. After this operation, the body continues to function but it functions differently. You kept talking to me about this image of a purple transplant, you didn't even think that it also meant potting violets even though you speak English.

Based on a proposal by Emma Passera, curator associated with the "Artists & Exhibition Professions" programme, with Anousha Mohtachmi and Clara Midon, students in the programme.
Artists presented: Sofia Bonilla, Inès Cherifi, Mimosa Echard, Victor Gogly, Lucas Hadjam, Dylan Maquet, Clara Midon, Anousha Mohtashama, Winnie Mo Rielly, Francisco G. Pinzon Samper, Sequoia Scavullo and an anonymous person.

Acqua Alta

Paris 2019,

The Defence Innovation Agency, the Armed Forces Staff, the Directorate General for Armaments, International Relations and Strategy are all out of ideas. What will the world look like in thirty years? And in sixty years? Where will the threat come from? From the sea?

Yes, probably. The waters have already begun their slow and terrible rise. Who can say what will happen when the face of the continents changes? No one can. Unless a tiny portion of the population can show foresight.

So, answering the call, science fiction authors and artists join the group of scientific and military experts already assembled. The team is complete. The mission's code name: Acqua Alta. Their goal? To write scenarios, produce artefacts and, above all, to undermine the army by predicting the future of war and revolution. Together they are writing the scenario of what will happen when the oceans and seas invade the shores of our continents. The meeting has just ended, everyone is catching their breath by the coffee machine.

The exhibition is inspired by real events.

Based on a proposal by Grégoria Lagourgue, curator associated with the course, accompanied by Jean-Baptiste Georjon, Mara Thevenet, Caroline Rambaud, Clarisse Marguerite, Joséphine Berthou, Amandine Massé and Margot Bernard, students in the "Artists & Exhibition Professions" course.
Set design by Julien Calas, Coralie Coralie Gérardin and Raphael Tétreault-Boyle, students of the École supérieure d'architecture Paris-Malaquais.
Artists presented: Clarisse Aïn, Gilad Ashery, Quentin Chambaz, Armand Corcelles, Frederik Exner Carstens, Anna Massiot, Para Data, Chloé Cordiale, Mathieu Sauvat, Liv Shulman, Radouan Zeghidour and others.

L'Appel

"I cry wolf.
Wolf are you there, can you hear me?

The exhibition The Call takes the title of Jack London's 1903 short story: The Call of the Wild. It is the epic story of a driving dog in the Great Arctic North, during which the crossings of the wild forests awaken in him his wolf instinct.

The call manifests itself in an immaterial and sensitive way. It is the feeling of being traversed by an invisible and indescribable element. In the story, the call is the howling of the wolf. It provokes an unalterable force in the dog, which mobilises him to follow the pack, whose every yap draws him in. It is like the need to return to the primitive.

In the exhibition, the dogs are alone, melancholic, on the prowl or gathered during a hunt in the heart of the woods. The posture of the dog is summoned by a muffled call of the wolf between the photographs, as if it were hiding somewhere. The same is true of the presence of other wild animals: vaporous or hidden.

Finally, the human presence is also real, although at first sight it is not apparent. For behind the dogs, and behind the wolves themselves, there is someone. The forest and all that it envelops beckon us. Its silence is a lure because the call, however mysterious, also comes from simple movements, brushes, glances and shivers. Alone in the woods, all eyes are on us and we are all looking at them too: visibly invisible.

Based on a proposal by Eugénie Touzé, associate curator of the course, assisted by Margot Bernard, Zoé Bernardi, Amandine Massé and Fanny Irina Sinecoin, students in the "Artists & Exhibition Professions" course. With the collaboration of Anne-Marie Garcia, curator of photographs and prints, responsible for the collections at the Beaux-Arts de Paris.
Artists presented: Dorine Bernard, Margot Bernard, Mathilde Cazes, Louise Covillas, Myriame El Khawaga, A. Foncelle, Pauline de Fontgalland, Agnès Geoffray, Victor Giannotta, Arthur Guespin, Hélène Janicot, Henri Langerock, Luc-Andréa Lauras, Vincent Laval, Louise Le Pape, Jules Lobgeois, Tamara Morisset, Céleste Philippot, Alexandre Poisson, Eugénie Touzé, and anonymous artists

Speed Dating

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 (HfBK).

Designed especially for the exhibition, the paintings are associated in diptychs of the same format in order to initiate a fertile dialogue between French and German studios. Although these combinations may seem formal at first glance, they are part of an "aesthetic of the encounter", in which each meeting ends up revealing unsuspected facets of the paired paintings. Their possible complementarity is the result of a collaborative curatorial experiment lasting several days which aims to test the intertwining of their respective references, styles and techniques.

In an exhibition space conceived as a romantic arena that is constantly reconfigured, the spectators become the witnesses - and sole judges - of relationships that can be both promising and doomed to failure.

Works from the collections of the Beaux-Arts de Paris, winners of the Torso competition created in 1784 and of the Jauvin d'Attainville prize founded in 1877, take part in these exchanges and offer a transhistorical vision of the treatment of a motif that is imposed but constantly reinterpreted over the centuries.

Based on a proposal by Vincent Enjalbert and Violette Morisseau, associate curators of the course, accompanied by Charline Gdalia, Clarisse Marguerite and Fanny Sinedin, students in the "Artists & Exhibition Professions" course.
Atelier Nina Childress, Beaux-Arts de Paris: Eilert Asmervik, Juliette Barthe, Adrien Boris, Marius Buet, Louis Clozier, Carolina De La Roche, Anabel Dubois Gance, Blair Ekleberry, Mina Ferrari, Olivier Lepront, Violette Malinvaud, Marie-Cécile Marques, Samya Moineaud, Laure Pinard, Mathilde Puig, Lou Olmos Arsenne, Rose Ras, Angèle Rose, Lea Simhony and Gabrielle Simonpietri.

Hochschule für Bildende Künste, Dresden : Sofia Antoniadou, Anna Ditscherlein, Lena Dobner, Nima Emami, Carolin Israel, Eric Keller, Joo Young Kim, Jana Lütkewitte, Maria del Mar Sánchez Expósito, Lena Melis Koneberg, Annike Nannt, Lucas Oertel, Katrina L. Pennington, Ana Pireva, Aren Shahnazaryan, Sarah Steuer, Lea Tofharn, Quang Tran, Jan Christoph Wagner, Felina Wießmann

With Mohammed Abou-Kalam, Louis Anselme Grosdidier, Suzanne-Emma-Aline Deguy and René-Marie-Joseph Castaing.