PRESS KIT CONTENTS. Press release page 3. A message from the Mayor of Málaga page 5. A message from the President of the Centre Pompidou - PDF

2 PRESS KIT The invites the public to experience the Centre Pompidou through its large and varied collection, its excellent programme, its mix of artistic disciplines and its innovative mediation programmes

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2 PRESS KIT The invites the public to experience the Centre Pompidou through its large and varied collection, its excellent programme, its mix of artistic disciplines and its innovative mediation programmes designed for all audiences. CONTENTS Press release page 3 A message from the Mayor of Málaga page 5 A message from the President of the Centre Pompidou page A message from the Ambassador of France in Spain page 6 1 / A journey through the art of the 20th and 21st centuries page 7 2 / A programme of temporary exhibitions and events open to all disciplines page 14 3 / A multidisciplinary territory page 15 4 / Fostering dialogue and arousing curiosity page 17 Providing keys to understanding 5 / Málaga page 20 Going all out on culture and museums 6 / List of works exhibited page 22 5 March 2015 direction de la communication et des partenariats Paris cedex 04 director Benoît Parayre telephone +33 (0) PRESS RELEASE THE CENTRE POMPIDOU PRESENTS THE FIRST POP-UP POMPIDOU, IN MALAGA The first Pop-Up Pompidou will open to the public in Málaga, Andalusia, on March The will be staying for five years in the Cubo, a cultural centre built on the city s habour in 2013 and adapted to host the Pop-up Pompidou. It will offer a very wide public a chance to experience the Centre Pompidou through its large and varied collection, its excellent programme, its mix of artistic disciplines and its innovative mediation programmes. Málaga, Picasso s native city, has made culture and museums the focus of a new era in its development. The city s current dynamic thrust is based on the creation and establishment of top-quality cultural events and museums. Málaga possesses a wealth of cultural assets: the third largest offer in Spain after Madrid and Barcelona. In Málaga, the Pop-Up Pompidou will provide a permanent circuit of several dozen works chosen from the Centre Pompidou s incomparable collection, inviting audiences to a journey through the art of the 20th and 21st centuries. It will present two to three themed or monographic temporary exhibitions each year, devised by the Centre Pompidou s curators and drawn from the various segments of the collection (including photography, design, architecture and video). The Pompidou experience will also take the form of multidisciplinary programmes devoted to dance, performance, the spoken word and cinema, and the aid provided by mediation set-ups, designed for younger audiences in particular. A strategic project initiated by Centre Pompidou President Alain Seban, Pop-up Pompidous are designed to display the Centre Pompidou collection, and more broadly, to create or consolidate new networks abroad, and attract new audiences in France and throughout the world. This concept draws on all the experience, innovations and success of the Mobile Centre Pompidou: an experimental project which travelled around France between October 2011 and September 2013, attracting some 250,000 visitors. Pop-up Pompidous will further the cultural decentralisation initiative embodied in the Mobile Centre Pompidou, and become the spearhead of the institution s international development. 4 They can be set up in existing museums, museographic or heritage venues as yet without a programme or currently being transformed, and also venues that are not dedicated to culture and are in the process of being re-qualified. Working hand-in-hand with local cultural networks, the Pop-up Pompidous will thus act as a leaven or a cultural driving force. A MEANS OF FURTHER EXPANSION FOR THE CENTRE POMPIDOU Outside France, Pop-up Pompidous will be the means for establishing new connections with emerging contemporary art scenes, thus furthering the development and influence of the Centre Pompidou collection one of the world s two largest in modern and contemporary art, with nearly 100,000 works. They will help to consolidate the Centre Pompidou model by further highlighting its extraordinary collection, expertise and values. They will also foster more enduring relations than those permitted by classical temporary travelling exhibitions, by generating new resources in new territories of artistic globalisation. In France, this open-minded, federative project aimed at decentralisation will reach out to audiences through a close partnership with local authorities, cultural players and associations. Cities wishing to host a Pop-up Pompidou will soon be able to apply. The Centre Pompidou will thus be able to share the nation s rich modern and contemporary art collections and implement its mission of public service throughout France, reflecting the ambition of the Ministery of Culture and Communication, for the national collections to be enjoyed by an ever-wider audience. 5 A MESSAGE FROM THE MAYOR OF MÁLAGA Over the past few years, the city of Málaga has undergone major development in all sectors, particularly that of culture, thus strengthening the city s national and international reputation. Lying in a magnificent natural setting, with a population of nearly 600,000, Málaga is the capital of the Iberian Peninsula s leading tourist region, and one of the most important in Europe. It acts as a bridge between Europe and North Africa, and shares the Mare Nostrum (Mediterranean) with the latter, as only a few kilometres separate the two coasts. In addition, it possesses excellent infrastructures (a motorway network, an airport with more than 100 international links, a high-speed railway station and a cruise ship terminal) connecting it with all destinations. These assets make it open, welcoming and receptive a reality reflected in its art, culture, traditions and sense of hospitality. 3,000 years of history lie behind this extremely modern city, which possesses magnificent remains of the cultures and civilisations that forged the Europe of today: Phoenician, Roman, Arab and Christian. Today, Málaga possesses around 30 museums, including the outstanding Picasso museum, the Casa Natal and the center of contemporary art and Carmen Thyssen museum. These are a driving force for the economy and tourism, and an essential element in the culture, education and creation of contemporary society values for future generations of Málaga-dwellers. Málaga is also an international yardstick in terms of research and innovation and emerging technologies as witness the Club Málaga Valley and Smartcity projects. Málaga is a notable forerunner in sustainable development, having successfully combined technological development with respect for the environment, thus offering a better quality of life to its citizens and visitors. The Málaga City Hall has provided an iconic building known as El Cubo ( the Cube ), located on the harbour (Quay no. 1), as the home for the Centre Pompidou. This location is an excellent entry and crossing point for the many tourists visiting the historical centre. In addition, the port zone, now integrated into the city, has become a genuine area for relaxation, leisure, good food and cultural events of all kinds, making it one of the districts most visited by tourists and the inhabitants of Málaga and its surrounding region. The set up within El Cubo undeniably emphasises the social and cultural calling of this zone, which will continue after the Centre Pompidou has left, since the cultural purpose of this building was written into the sale agreement signed in 2004 between the port and the city council. This new cultural presence in the city will be an outstanding example of private-public collaboration. FRANCISCO DE LA TORRE PRADOS Mayor of Málaga 6 A MESSAGE FROM THE PRESIDENT OF THE CENTRE POMPIDOU The Pop-up Pompidou is a new concept: one that I believe to be extremely promising for the Centre Pompidou, and decisive for its future. The idea is to present a few dozen works from the museum s modern and contemporary collections for three to four years at existing venues in France and abroad, providing an overview of 20th and 21st century art, together with temporary exhibitions highlighting all segments of the collection, and activities for younger visitors. The experience acquired in terms of mediation designed for new audiences, with tools developed through the mobile Centre Pompidou, and for teenagers, with the strategic Studio 13/16 project, will naturally come into play. The Pop-up Pompidou is first and foremost part of a strategy based on cultural decentralisation and the development of the collection managed by the Centre Pompidou. It has been illustrated on varying scales through various projects since 2007: the Centre Pompidou-Metz, of course, a real pioneer that broke new ground and notably inspired the Louvre Lens; the mobile Centre Pompidou, which reached out to over 246,000 visitors, providing many of them with their first ever museum experience ; Un jour, une œuvre : an initiative on a smaller scale that continues to acquire a following, where a work is exhibited for a day, and its creator invited to present it, in a non-museum venue in the Paris region. With this simple and innovative programme, we have introduced works from the collection, with guest appearances from their creators, to audiences in city halls, shopping centres and even prisons. This is the ideal time for agile, imaginative projects. We can take initiatives that continue along this path without needing to construct any new buildings. The Pop-up Pompidou is one of them. It gains from all the experience acquired with previous projects, and gives a fresh impetus to one of our original callings: providing access to the art of our time to as many people as possible. The globalisation of the art scene is central to our actions: this is the key challenge for a contemporary art museum in the 21st century. We need to open out in every way to the international scene, particularly emerging scenes, and spread our influence throughout the world. Today, this open-mindedness is given shape by our successful policy of extra-mural exhibitions, which welcomed 667,000 visitors all over the world in More broadly, it needs to foster an increasingly dynamic management of the collections, and provide ever-more open interpretations of the history of modern and contemporary art. The Pop-up Pompidou reflects all these aims and gives structure to this impetus. It enables the Centre Pompidou to be present everywhere in the world, and to forge global networks of partnerships and collaborations with the aim of enriching the collection. In this way, by reflecting the new global reality of contemporary creation, it will remain genuinely universal, and maintain the Centre Pompidou s position as one of the 21st century s top three modern and contemporary art museums. The first Pop-up Pompidou will be set up in 2015 in Picasso s native city, Málaga, which is making culture and museums central to a new chapter in its development. We see this first embodiment as a laboratory that will naturally help us to try out and refine our ideas. We also see it as a showcase for a concept that I hope will develop all over the world. This is why, in close partnership with the city council, and with the goodwill and determination of its mayor, Francisco de la Torre Prados, the Centre Pompidou will be giving the very best of itself in Málaga. ALAIN SEBAN President of the Centre Pompidou 7 Ambassade de France en Espagne A MESSAGE FROM THE AMBASSADOR OF FRANCE IN SPAIN What a beautiful symbol to choose this great city of Andalusia - where Picasso was born - for the first inauguration of the Centre Pompidou Provisoire abroad! I m delighted by this happy ending and I wish to congratulate everybody that has made this great project possible. Malaga was not chosen by chance; it is the result of the common bet of the Mayor of Malaga and the President of the Centre Pompidou on culture and modernity. Everybody knows how central the Centre Pompidou is to our cultural life and its contribution to contemporary creation in France. And we all welcome Malaga s ambition: far from contenting herself with the assets offered to her by history and geography, Malaga goes on attracting renowned museums, such as the Picasso Museum, the Contemporary Art Centre or the Thyssen Museum to increase its international reputation. I have no doubt that the installation of the Centre Pompidou in the Cubo, situated on the busiest costal street of Malaga, will give the city a tremendous visibility. I m also convinced that this will be yet another reason to visit this beautiful Andalusian city. And I m happy that this project will contribute to bring together even more French and Spanish people. I sincerely wish full success to this new and beautiful Franco-Spanish adventure. JÉRÔME BONNAFONT Ambassador of France in Spain 8 1 /A JOURNEY THROUGH THE ART OF THE 20TH AND 21ST CENTURIES In Málaga, a permanent themed circuit presents a selection of around 90 works from the Centre Pompidou collection. There are several things at stake with this inaugural permanent exhibition presented in the». Through a varied overview representative of the Centre Pompidou collections, it aims to show the many facets of modern and contemporary representation; to restore its fragmented image, through the way artists looked at the Other and themselves and the way the avant-gardes systematically deconstructed narrative and vision, and to reflect the mirror of the image back to the viewers, thus immersing them in the imagination of their times, says Brigitte Leal, who is head heritage curator and assistant director at the Musée National d Art Moderne, and curated the display selected from its collections. For two and a half years, this display of a selection of works from the centre Pompidou collection can be seen in an area of 2,000 m². Five main themes are covered in the circuit: metamorphoses, self-portraits, the man without a face, the political body and the body in pieces. El Cubo LEVEL -1 AUDITORIUM PERMANENT CIRCUIT METAMORPHOSES Picasso broadened the possibilities and boundaries of the portrait more than any other artist. He redefined it as a subjective, ambivalent transcription, like a challenge to resemblance. The portrait, reflecting the artist s emotion on seeing his model, was subjected to modern transformations of identity, and was the source of metamorphoses. Liberated from any realistic reproduction, it was conceptualised and codified according to the model. This fundamental transformation of the portrait, foreshadowed by Cubism, found its full expression in the Thirties under the influence of Surrealism s notion of convulsive beauty, itself fed by Freudian concepts of the unconscious and subconscious. Full of concrete or symbolic allusions to the personalities represented, portraits became visual metaphors versatile, phantasmagorical, erotic images full of humour and imagination. 9 This Picassian model of extreme formal liberty is still found today, and has generated a number of pastiches and variations, like those of Antonio Saura, Gérard Gasiorowski and Erró, who have reinterpreted portraits of one of Picasso s chief models during the Thirties, the photographer Dora Maar, by drawing on the same repetitive, unrealistic and sometimes comical devices. The Picassian concept of a visual splits, supported by the use of collage, is also found in contemporary portraits of a protean, grotesque character, which deny any kind of idealisation and plunge deep into the troubled waters of contemporary sexuality, asserting with Antonio Saura that painting is life, totality in expansion, nothingness in everything, in deepest black. In total contrast to the painter s emotion before his model, Rineke Dijkstra focuses on the viewer s questions before a painting. His video installation I See a Woman Crying (The Weeping Woman) ( ) makes reference to Picasso s 1937 painting La femme qui pleure (London, Tate Gallery), simultaneously a portrait of Dora Maar and an allegory of the Spanish Civil War. We discover a painting (which is never shown on the screen) through the reactions of a young audience who make comments on it, and the emotions it arouses in them. Play with the triangular mirror, which activates the relationship between model, work and viewer, between object and subject, illusion and reality, emphasises the magic of specular representation. SELF PORTRAITS Realistic or fictional projections, a mirror of the same and of the other person within them: in the 20th and 21st centuries, artists self-portraits shattered the simplistic image of a unique self to explore all the aspects of otherness. Head-on confrontations that engaged artists relationships with their audience, emphasising their melancholic propensity (Julio Gonzalez, Last Self-Portrait, 1942), confronting their sexual bipolarity (Van Dongen, Self-portrait as Neptune, 1922; Ed Paschke, Joella,1973), or celebrating their creative power (Chagall, Dimanche, ), artists self-portraits were the most speaking emblems of their work (Tinguely, Self-portrait, 1988). A tragic or comic mask, a death s head whose tortured features disappear before our eyes (Francis Bacon, Self-portrait, 1971), the artist s self-portrait also embodies the disappearance of human integrity under the blows of history (Zoran Music, Self-portrait, 1988). THE MAN WITHOUT A FACE The First World War and its cortege of mutilated, blind ghosts transformed the image of man. Chirico s figures were anonymous mannequins with Antique style drapes, reflecting nostalgia for a lost harmony (Deux personnages, 1920). The tubular nudes of Fernand Léger, seemingly dipped in steel, were object figures similar to the industrial mechanical elements that compete with human activity (Femmes dans un intérieur, 1922). Their dehumanisation conveyed Léger s Cubo-Futurist message: For me, the human face and the human body are no more important than keys or bicycles [ ]. We should consider the human face not as a sentimental but as a plastic value. After the war, New Realists and Pop artists reinvented the image of modern man in a critical relationship with popular culture, underlining the alienation of the consumer. 10 Rineke Dijkstra I See a Woman Crying (The Weeping Woman), Tate Liverpool, Purchased in 2011 Rineke Dijkstra Max Ernst L imbécile (The Imbecile), 1961 Purchased by the State, Attribution: 1962 Adagp, Paris Picasso Pablo Le chapeau à fleurs (The Flowered Hat), 10/04/1940 Donated by Louise and Michel Leiris, 1984 Picasso Estate Francis Bacon Self-portrait, 1971 Donated by Louise and Michel Leiris, 1984 Francis Bacon Estate/All rights reserved/ Adagp, Paris Frida Kahlo The Frame attributed title: Autoretrato (Self-portrait), 1938 Purchased by the State, 1939 Attribution: 1939 Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F. / Adagp, Paris 11 The cadaverous mannequins of George Segal (Movie House, ), petrified in the banal everyday life of the city dweller, belonged to the iconography of American solitude immortalised by Edward Hopper morbid images which converged with the awareness of human precariousness and the enigmatic character of its representation. Starting everything from basics, as I see beings and things above all beings and their heads, their eyes on the horizon, the curve of the eyes, the watershed. I no longer understand anything about life, about death, about anything. (Alberto Giacometti) THE POLITICAL BODY Long absent from the artistic landscape, women established their alternative vision of the world, rebelling against the patriarchal order, through the image of their own staged bodies. The stereotype of the woman-object whose curved and polished body was for sale, like a car (Peter Klasen, 1967) was ridiculed by Orlan (Le baiser de l artiste. Le distributeur automatique ou presque no. 2, 1977/2009). Her parodies of the body/slot machine returned the contemporary Eros to its function as an everyday consumer object. Close to the individual mythologies movement, Annette Messager used a violent fictional
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