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Press Kit13.06 > 05.11.14

centrepompidou-metz.fr

en par tenariat média avec

BAT_DP_COVER_v1.indd 3-4 09/05/12 11:56

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Simple ShapeS

1. General Presentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 02

2. structure of the exhibition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 03

3. interview with Jean de loisy, Pierre-alexis duMas and laurent le bon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 06

4. list of the artists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 08

5. lenders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 09

6. echoinG "siMPle shaPes": "siMPle Gestures" . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

7. credits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

8. centre PoMPidou-Metz and fondation d'entrePrise herMès . . . . . . . . . . . 14

9. Partners . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

10. visuals for the Press . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

contents

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siMPle shaPesfrom 13 June to 5 november 2014

Galerie 2

1.General Presentation

The exhibition Simple Shapes brings to the fore our fascination with simple shapes, from prehistoric to contemporary. It also reveals how these shapes were decisive in the emergence of the Modern Age.

The years between the 19th and 20th centuries saw the return of quintessential shapes through major universal expositions which devised a new repertoire of shapes, the simplicity of which would captivate artists and revolutionise the modern philosophy. They introduced, within the evolution of modern art, both an alternative to the eloquence of the human body and the possibility that shapes could be a universal concept.

Nascent debates in physics, mathematics, phenomenology, biology and aesthetic had important consequences on mechanics, industry, architecture and art in general. While visiting the 1912 Salon de la Locomotion Aérienne with Constantin Brancusi and Fernand Léger, Marcel Duchamp stopped short before an aeroplane propeller and declared, "Painting is dead. Who could better this propeller?"

These pared-down, non-geometric shapes, which occupy space in a constant progression, are no less fascinating today. Minimalist artists such as Ellsworth Kelly and Richard Serra, spiritualist artists such as Anish Kapoor, metaphysical artists such as Tony Smith, or poetic artists such as Ernesto Neto are as attentive to simple shapes as were the inventors of modernity.

The exhibition draws on the senses to explore the appearance of simple shapes in art, nature and tools. This poetic approach is balanced by an analytical view of the twentieth century's history.

It connects scientific events and technical discoveries with the emergence of modern shapes. Subjects pertaining to industry, mechanics, mathematics, physics, biology, phenomenology and archaeology are equated with objects from art and architecture, which are in turn set alongside their ancient predecessors and natural objects.

The Fondation d'entreprise Hermès is joint producer and patron of Simple Shapes.

A catalogue accompanies the exhibition.

Curator:Jean de Loisy, President of Palais de Tokyo

Associate curators:Sandra Adam-Couralet, independent curatorMouna Mekouar, independent curator

Exhibition design:Laurence Fontaine

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Simple ShapeS

2.structure of the exhibition

1. before shaPe

There are no simple forms in this initial group. Instead, it introduces one of their characteristics: the emergence of the latent form within a still disorganised matter. Movements, silhouettes, faces push their way to the surface, caught in the act of transformation; not yet fully formed but already instilled with life. The works in this section display an energy that shapes the world, stirs its fecundity, accentuates its evolutions. Ritual objects, sculptures, photographs or drawings, they neither duplicate reality nor represent the visible, but mimic or question the vital force that pulsates within all things.

2. the Moon

The mechanism of the world follows a mysterious dynamic, made evident to us by the very simple form of the Moon. Since the dawn of time, Man has contemplated the Moon whose constant transformation has produced multiple legends. Celebrated by poets, hinted at in ceramic, painted, observed, photographed and ultimately brought within reach, it is the very first simple form. Whether the poet’s metaphorical Moon or the scholar’s algebraic Moon, it suggests an autonomous process of transformation which characterises form as a suspended state, a hiatus in time.

3. flux

Form, any form, is a transitional state, a temporary stabilising of matter. A diffusional, expansive energy, it is the materialisation of a permanent activity that resonates deep within elements: stone, fire, air, water. It is this discernible vitality which the monk must meditate, or the artist whose gestures, breathing and rhythm will align to express the vibrations of the cosmos as he experiences or imagines them. Many spiritual doctrines take root in the belief that a concordance exists between objects, beings and the world including, in the early modern era, the Gnostic and theosophical movements inspired by Oriental philosophies.

4. who could better this ProPeller?

Forms created by the constraints imposed on them; forms adapted to the forces they exert in order to perform their function. The product of technique, they are beautiful because they are the perfect fulfilment of a need. Primitive tools such as a bow or a boomerang already display the perfection which, in the nineteenth and twentieth centuries, would be that of aero-mechanical engineering, and would captivate artists. At the 1912 Salon de la Locomotion Aérienne with Constantin Brancusi and Fernand Léger, Marcel Duchamp would thus stop short before an aeroplane propeller and declare that "Painting is dead. Who could better this propeller?" Part of the appeal which simple forms held for artists in the twentieth century comes from this fascination with lines that eschew subjectivity; which appear to mould themselves to the forces imposed on them.

5. breath

The expression of life, breath gives form to glass in its temporary molten state. Because of the symbolic nature of this vulnerable substance, this operation takes on vital meaning as soon as these two fragile elements are combined. To create a three-dimensional form using breath is to inject the content of our own body into the object, so as to give it its final shape. It is, by virtue of its plastic qualities, as though suspended between material and immaterial.

6. to contain

To contain is to mould the properties of a content with form, or rather to stretch or swell so as to duplicate the precious weight held in check. Form symbolises how emptiness and fullness are mutually engendered; how surface tension is determined by the nature of what is inside and by the effort made to prevent it from spilling outside its contours. The dynamic simplicity of archaic forms provides modern silhouettes with a repertoire suited to industrial processes.

7. to cut

To cut is a symbolic act whose importance is underscored by the quality of the objects associated with it. They are both tools and emblems that derive their prestige from the finite nature of the act they are designed to perform. Symbolising the original decision, the separation between day and night, life and death, determinate and indeterminate, intimate and cosmic, the blade – and the cut it makes – is a simple form with a powerful theological and political content which, after the Second World War, enabled art to break free and found a new aesthetic.

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8. beyond GeoMetry

Geometry studies, ex nihilo, the properties of space by expressing in numerical form the relationships between point, line, plane and volume. A mathematical and symbolic instrument, geometry serves to depict, calculate and understand how the world is organised and the properties of things. Since the Neolithic age, Man has invented complex forms to express combinations and figures that would become the basis for creation, the best-known example being the five Platonic solids. While artists in the twentieth century believed that geometry, because of its apparent objectivity, could be the path towards a new and universal art, Euclidian geometry is here referred to from a different perspective. Simple forms appear to belong not to the mental permanence of concepts but to the dynamic of life. Their presence is influenced by evolutions in geology and advances in non-Euclidean geometry. They invite us to venture beyond traditional geometry.

9. shaPes-forces

Forces mastered by new material physics and the subsequent possibilities thrown open by the ingenuity of engineers were of critical importance to art. Whereas proportion had always been central to architecture, construction now revolved around analytical reasoning, the Eiffel Tower being an iconic example. New materials such as iron, steel and reinforced concrete, the feat these constructions represent, as well as economies in materials and means produce effects of constraint, tension and balance, and the new emotions they convey became an inspiration for artists.

10. MatheMatical shaPes

By giving form to functions that reveal the invisible movements and physical consequences of their calculations using mathematical objects first described in the 1870s, scientists invented an unexpected repertoire of forms that prompted a sudden shift in artistic references, an abstraction prior to abstraction. Artists' interest in mathematics goes far back, to the invention of perspective. In the twentieth century, mathematicians' new hypotheses gave credence to the ideas of the cubists, constructivists and surrealists. As this desire to represent imperceptible dynamics grew, new simple forms emerged.

11. nature, bioMorPhisM

Since Aristotle, and more specifically over the last two centuries, living things, the life cycle of plants, their morphogenesis, cellular development, diversity, reproduction and decline have given rise to biological studies, illustrations and photographic representations which identify and develop models for their essential stages. The physiological mechanisms of plants' cellular and molecular functioning were described in the early twentieth century. Artists took inspiration from this new repertoire of forms, seizing upon the leaf's contours, pliancy, decorative or symbolic value, or the maturation of a piece of fruit. These are analogies, not representations, which give a newly poetic form to the principles that presided over their creation.

12. GeneratinG shaPes

The forces of fertility are often symbolised by forms that are associated with generation and the sacred. The cosmic egg, lingam and standing stones express causal principles that are worshipped in numerous religions. The forms which represent them are pure, perfect - like the ovoid form of the egg - and transitory, because they contain life in evolution. Artists of every period have seized upon these forms and made them the subject of symbolic reflection, even though the fundamental principles of fertilisation and embyrogenesis were not understood until the nineteenth century.

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13. huMan silhouettes

Ancient civilisations offer many examples of how the human body can be depicted with extraordinarily simplicity, whether Cycladic heads or the silhouettes of predynastic Egypt. These pure forms immediately captivated western artists when they were rediscovered at the very end of the nineteenth century. Sculptors such as Constantin Brancusi and Alberto Giacometti reproduced Cycladic idols whose stylised, dynamic contours are a condensation of the human form. By representing the body in its most essential aspect, the artist forgoes the notion of identity in favour of a synoptic expression of human vitality. Silhouettes and faces no longer represent a single individuality but humanity as a whole.

14. aniMal silhouettes

These animal silhouettes contain and condense the impression of speed associated with their representational form. Certain oceanic stones, in their natural or barely transformed state, embody power and sacred energy in their pure, zoomorphic line, the repository of an ancestor or a divinity. This energy, which defies the image and takes over space, enables the artist to capture its principle through elision, conserving only the alert and powerful efficiency of life. The simple or simplified form suggests the animal as it leaps or flees. It relates movement in exactly the opposite way to chronophotography which, in the late nineteenth century, multiplied the number of views to capture the many details of the animal in motion.

15. obJects with Poetic reaction

There is an imperceptible stage at which the mind spontaneously completes the as yet still absent form. This is the fragile moment when a stone is still completely a stone, yet already something else; the moment when it is both matter and form. The stones which Charlotte Perriand collected are symptomatic of those objects which from ordinary become "objects of poetic reaction", to borrow Le Corbusier's phrase, because they contain analogical and metaphorical propositions. Whereas found objects are eroded by nature, used objects are eroded by the forces that pitilessly fashion them. New forms appear, intended as the perfect tool, shaped through repeated gestures, carved through matter rubbed against matter. Through the very weakening inflicted by time, the form grows stronger. It relates the persistence of time on matter that elicits emotion, and the ghosts of those who used them appear in the ultimately rarefied material.

16. weiGht of thinGs

Certain forms appear to result exclusively from the destiny of the substance from which they are made and which, allowed to move freely in space and time, is frozen where it falls. This section shows forms which, like a dress whose elegant drape we admire, through the effect of gravity, create new figures. In doing so they show how the materials that compose them resist or accommodate the laws of physics.

17. eniGMas

The form offers itself fully, in all its simplicity. Nothing is withheld, yet whoever contemplates it cannot help but see in it a symbol, a carefully composed mystery, an enigma. There is an order, it seems, to its facets yet these mute figures continue to greet us with haughty silence, refusing to deliver the solution. Astonished by such enduring fascination, we read a primordial complexity into this simplicity, as though the very necessity which seems to have presided over their creation had instilled in them an essential revelation which could never be put into words, and which is the ultimate explanation of their power of attraction.

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How did the Simple Shapes project come about?

Pierre-Alexis DumAs: From the very beginning of the Hermès foundation, we wanted to work with cultural establishments on the conception of an exhibition. It's important for us at the Foundation to be able to develop projects and bring them to fruition. The exhibition is the result of our meeting Jean de Loisy, and the discussion that followed on this notion of the simple shape.

lAurent le Bon: It's actually a triangle… Jean de Loisy, who'd had this idea in mind for a while, mentioned it to me just as we, at Centre Pompidou-Metz, were putting together a programme of themed exhibitions that would consider art history from a particular perspective. The project then came together around the Fondation d'entreprise Hermès, almost three years ago.

JeAn De loisy: That's right. I'd spoken to Laurent Le Bon about this idea which was going through my mind. When I met Pierre-Alexis Dumas, it was still just an intention which had yet to take shape. It came up in the conversation, and the exhibition developed on three pillars: art, the hand (the tool, if you will) and nature.

What is a simple shape?

J. L.: Certain shapes give the impression they have an inner energy. They go beyond their geometric definition without losing their unity.

P.-A. D.: I would say the simple shape results from a sum of constraints which are imposed on the material. It is the minimum equilibrium between constraints and function; a mystery, and a constant source of wonder and emotions.l. l. B.: I'm tempted to explain simple shapes by antithesis.

They are neither simplistic, nor negative, nor rapid, nor minimalist. They are, perhaps, in fact highly complex shapes beneath a seemingly simple appearance.

J. L.: The simple shape is determined by the artist's arbitrary choices and by the rules of physics. It is always caught between the two, and this tension is central to the exhibition.

Modern artists have seized upon these shapes, but where do they originate?

J. L.: Historically speaking, these shapes were very much in evidence in archaic societies, then disappeared in the west around the fifth century B.C. They then reappeared – and in this respect the subject is modernity – in the late eighteenth century under a threefold influence. Firstly the archaeological discoveries which fascinated artists, from Egyptomania to the important excavations undertaken in Greece in the nineteenth century, one consequence of which was the rediscovery of Cycladic civilisation. Then technology and all that engineers were able to achieve, Eiffel being a foremost example, as well as a sort of gnosticism which sparked renewed interest in primordial shapes that express the relationship between man and the cosmos. Lastly mathematics and science, particularly biology which at that time was especially focused on the growth of bones, cells, plants, etc. There are some very precise references whereby such and such a biologist influences Henry Moore, or one or other engineer Brancusi.

P.-A. D.: The re-emergence of simple shapes is also linked to disciplines such as anthropology, with the discovery of other cultures and an influx of objects from Oceania or Africa, for example.etc.

3.interview with Jean de loisy,

Pierre-alexis duMas and laurent le bon

Jean de loisy, President of Palais de toKyo and curator of the exhibition siMPles shaPes

Pierre-alexis duMas, President of fondation d’entrePrise herMès laurent le bon, director of centre PoMPidou-Metz

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Simple ShapeS

J. L.: Absolutely! The rediscovery of these archaic societies…

P.-A. D.: …certain of which are still alive. Every culture has its archetypal shapes which have come through the centuries as small objects, forming an unbroken thread. It's fascinating.

J. L.: That's one reason these shapes are so captivating. They are the present aspect of what is generally a very ancient memory.

How did this exhibition fit with programming at Centre Pompidou-Metz?

L. L. B.: Simple Shapes will coincide with our fourth anniversary. It's more than a symbol; since Masterpieces? in our first year, each summer has been marked by a major event on a specific theme. Simple Shapes is a part of this polyptych which, I think, is gradually forging our identity as part of the Lorraine region.

How is the Fondation d'entreprise Hermès contributing to the organisation of this exhibition?

L. L. B.: This is a long-term partnership and a project centred on dialogue. The Foundation is attentive and has been present from the moment we put the very first ideas on paper. I believe the future of cultural adventures lies with strong, ethical publicprivate partnerships.

P.-A. D.: This idea of a collective work is extremely important to us at the Foundation. We are an active contributor to the project at Centre Pompidou-Metz but with no involvement in artistic content or programming. It's highly motivating at a time when we are working to promote a form of patronage that is as virtuous as possible, meaning one that is truly in the public's interest.

The exhibition design emphasises sensations. What prompted this choice?

J. L.: Because works which have simple shapes appeal directly to the collective sensibility, even if their particular theoretical or historical background can be complex.

L. L. B.: It's also a very structured layout which draws on Centre Pompidou's rich collections. Each section has its strengths: if one were missing, the whole architecture would collapse. The same is true of the two hundred works in the exhibition: there isn't a single one that could be easily replaced by another.

P.-A. D.: Certain shapes are deeply moving. There are several ways to approach the exhibition; most of all though, it will inspire contemplation. I cannot imagine that anyone will be indifferent to the works on show.

J. L.: Whether it's an Arp, a Matisse, a Brancusi: these are inaugural shapes. Brancusi's Bird in Space is an example. Such a shape had never been seen before, yet it feels incredibly familiar. We aren't surprised by what we see and still we cannot take our eyes off it. We can say the same of the moon or the sea: these are shapes that hold our gaze.

Is there a universal quality to the exhibition?

J. L.: The utopia which underpinned the invention of the simple shape, in the 1910s and 1920s, developed as part of the hypothesis that a universal modernity did exist. This will be very much in evidence in the exhibition: every culture is mentioned at some point or other, not because we want to give an exhaustive view, but because a Japanese bowl, an Egyptian vase, an Iranian shape or a Syrian idol will feature in the same way as a modern work. An axe which has been polished in New Zealand, the Pyrenees or the Negev desert is almost the same. There is an attention to shape which all cultures share.

Is the concept of beauty part of the exhibition equation?

J. L.: In this instance we're looking at a very particular, calm beauty; one that appears as obvious to us as a piece of fruit. More than beauty, I prefer the theme of fascination in the sense that we should be moved by something which seems devoid of complexity. The simple shape affects us with an evident modesty: the artist's ego is absent. Of course we recognise an Arp, but were we to place it next to a Brancusi and an archaic Greek sculpture, the difference would be hard to spot. This is why the foremost artists have approached the simple shape knowing they must relinquish a part of their personality

P.-A. D.: The individual gives way to an archetypal shape, using their talent to bring a shape into the world. In my mind, beauty is very much present but it constantly eludes us.

What do you hope to convey to the public?

J. L.: I want the public to think about why they are fascinated by these shapes. There is something that is beyond intellectual comprehension, something which can only be grasped intuitively

P.-A. D.: I hope this exhibition will intrigue people and invite them to reflect on the question of form. We live in a material society, surrounded by objects, and so it seems healthy that we should look again at form.

J. L.: The exhibition stages a conversation between artists up to twenty thousand years apart. What matters is to show how, using different techniques, they continue to ask themselves the same fundamental questions about man's presence among matter, the universe and nature, and that they can answer these questions with different shapes.

This article first appeared in Le Monde d’Hermès, n° 64, January 2014.Interview by Marylène Malbert.

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4.list of artists

A ARP JeAN

B BACKeR Jacob AdriaenszBÉOTHY Étienne (Béöthy István, dit)BILL MaxBLOSSFeLDT KarlBRANCUSI ConstantinBRASSAÏ (Gyula Halász, dit)

C CAGe JohnCÉSARCÉZANNe PaulCORMÉRY Jean-FrançoisCOUTURIeR MarcCRUZ-DíeZ Carlos

D DOMINICIS (De) GinoDUCHAMP MarcelDÜReR Albrecht

E eLIASSON OlafureVANS Walker

F FONTANA LucioFRITSCHeR Susanna

G GABO NaumGeSSHIN WadaGIACOMeTTI Alberto

HHePWORTH Barbara

J JANSSeNS Ann Veronica

K KAPOOR AnishKeLLeR FRÈReS (Jean-Balthazar andJean-Jacques Keller, dits)KeLLY ellsworthKLeIN YvesKRULL GermaineKUPKA (František Kupka, dit)

L Le CORBUSIeR (Charles-ÉdouardJeanneret-Gris, dit)Le RICOLAIS Robert

M MAN RAY (emmanuel Rudzitsky, dit)MAPPLeTHORPe RobertMAReY Étienne-JulesMATISSe HenriMCCALL AnthonyMCCRACKeN John MCeLHeNY JosiahMOHOLY-NAGY LászlóMOKUAN ObakuMOORe Henry

NNeTO ernestoNeU PatrickNeWMAN Barnett

P PAIK Nam JunePeRReT FRÈReS (Auguste and GustavePerret, dits)PeRRIAND CharlottePeVSNeR Antoine

R ReDON OdilonRICHTeR GerhardROMe De L'ISLe (de) Jean-Baptiste LouisROSSO Medardo

SSAULNIeR emmanuelSALVIATI FrancescoSCHeIDeGGeR ernstSCHWITTeRS KurtSÉRUSIeR PaulSeTSUDÕ JounSICILIA José MaríaSMITH TONYSTeICHeN edwardSTRÜWe CarlSUGIMOTO Hiroshi

T TILLMANS WolfgangTOSANI PatrickTSAI Charwei

U UFAN Lee

V VeRDIeR Fabienne

W WeSTON edward

Y YONeZAWA Jiro

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5.lenders

GerMany

berlin

Neugerriemschneider

Universität der Künste

hanover

Sprengel Museum Hannover, Sammlung NORD/LB in der Niedersächsischen

Sparkassenstiftung

coloGne

Die Photographische Sammlung/SK Stiftung Kultur

belGiuM

antwerP

Collection Sylvio Perlstein

united states

chicaGo

The Field Museum

los anGeles

Centre Pompidou Foundation

new yorK

American Museum of Natural History

Andrea Rosen Gallery

Collection Bobbie Foshay

Courtesy Tanya Bonakdar Gallery

Collection Gian Enzo Sperone

Sperone Westwater Gallery

The Museum of Modern Art

france

aviGnon

Musée Calvet

claMart

Fondation Arp

concarneau

Musée de la Pêche

les eyzies-de-tayac

Musée national de Préhistoire

lyon

Bibliothèque municipale de Lyon

Musée des Confluences

Musée du quai Branly

Musée national des Arts asiatiques Guimet

Musée Rodin

Muséum national d’histoire naturelle

SAGE Paris

Metz

Musée de la Cour d’Or

Paris

Archives Perriand

Bibliothèque nationale de France

Centre national des arts plastiques

Centre Pompidou

César Estate

Cinémathèque française

Cité de la Musique – musée de la Musique

Cité de l’Architecture et du Patrimoine

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Collection André Magnin

Collection Antoine de Galbert

Collection David Fleiss

Collection FAJ

Collection Galerie Maeght

Collection Jean-Christophe Charbonnier

École nationale supérieure des Beaux-Arts

Fondation Alberto et Annette Giacometti

Fondation d'entreprise Hermès, for the work Souffle, created on special

order by Susanna Fritscher, with Les Cristalleries Saint-Louis

Fondation Le Corbusier

Galerie Chantal Crousel

Galerie Kamel Mennour

Galerie Le Minotaure

Galerie Mor.Charpentier

Galerie Thaddaeus Ropac

Galerie Tornabuoni Art

Institut Henri-Poincaré

Les Arts décoratifs

Mingei Arts Gallery

Musée Cernuschi, musée des Arts de l’Asie de la Ville de Paris

Musée d’Art moderne de la Ville de Paris

Musée des Arts et Métiers – Cnam

Musée d’Orsay

Musée du Louvre

saint-GerMain-en-laye

Musée d’Archéologie nationale et Domaine national de Saint-Germain-

en-Laye

sÉlestat

Frac Alsace

toulouse

Les Abattoirs

united KinGdoM

leeds

Leeds Museums and Galleries

london

Lisson Gallery

Tate

The Petrie Museum of Egyptian Archaeology

University of the Arts London –Archives and Special Collections Centre –

London College of Communication

oxford

Ashmolean Museum of Art & Archaeology

Perry Gree

The Henry Moore Foundation

switzerland

Geneva

Collection Ahrenberg

zurich

Fondation Hubert Looser

Galerie Gmurzynska

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Simple ShapeS

The mind makes the hand, the hand makes the mind. The gesture which does not create, the empty gesture, provokes and defines the state of consciousness. The gesture which creates exerts a continuous action on inner life. The hand wrenches the sense of touch from its merely receptive passivity and prepares it for experience and action. It teaches man to conquer space, weight, density and quantity. It fashions a new world and leaves its imprint everywhere upon it. It pits itself against the matter it transforms, the shape it transfigures. Educator of man, the hand multiplies him in space and time.

Henri Focillon, In Praise of the Hand (1934)

6.echoinG siMPle shaPes :

siMPle Gesturesfrom 18 september 2014 to february 2015

la Grande Place, MusÉe du cristal saint-louis

Beginning September 18th 2014, La Grande Place, Musée du Cristal Saint-Louis in Saint-Louis-lès-Bitche will present Simples Gestures as a counterpoint to Simple Shapes.

Simples Gestures highlights man's ability to invent or repeat gestures from which a work, dance, language or other will originate. In doing so, it emphasises the importance of Action when creating a form.

The exhibition is staged inside Cristalleries Saint-Louis whose mastery of the art and techniques of crystal is beyond compare. Whereas Simple Shapes focuses on the fascination exerted by the objects themselves, Simple Gestures will instead bring to the fore the ephemeral lines drawn by man in the course of this Action.

The artists chosen for this exhibition show how a gesture can become music, dance or sculpture…

Curators :Jean de Loisy, President of Palais de TokyoSandra Adam-Couralet, independent curator

Since 2008, Fondation d’entreprise Hermès has initiated exhibitions in its six gallery spaces (Brussels, Berne, New York, Singapore, Seoul, Tokyo). Simple Gestures will be the first in a programme of exhibitions at La Grande Place, Musée du Cristal Saint-Louis in Saint-Louis-lès-Bitche. Each year, the Foundation will propose two exhibitions whose main focus will be contemporary creation. Thematic group shows for the most part, they will consider glass or techniques, although the door will remain open to other themes.

Fondation d’entreprise Hermès will invite a cultural institution in the Lorraine region to curate three consecutive exhibitions in this space.

Centre Pompidou-Metz is the guest institution for 2014 and 2015.

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exhibitionCurator Jean de Loisy

Associate curators Sandra Adam-Couralet

Mouna Mekouar

Project manager Éléonore Mialonier

Scenographer Laurence Fontaine

Lighting Design Julia Kravtsova and Vyara

Stefanova

Graphic design Atelier Bastien Morin,

Gilles Beaujard, Julie Lecœur

[Julie Gilles]

fondation d'entrePrise herMèsThe Fondation d’entreprise Hermès supports people and organisations seeking to learn, perfect, transmit and celebrate the skills and creativity that shape and inspire our lives today, and into the future. Guided by our central focus on artisan expertise and creative artistry in the context of society’s changing needs, the Foundation’s activities explore two complementary avenues: know-how and creativity, know-how and the transmission of skills.

Pierre-Alexis Dumas President

Catherine Tsekenis Director

Claire Avignon Executive Assistant

Blandine Buxtorf-D’Oria Head of project

Frédéric Hubin Head of Editorial Image and

Publications

Clément Le Duc Head of project

Sacha Menasce Public Relations Manager

Clémence Miralles-Fraysse Head of project

Manon Renonciat-Laurent Head of project

SIMPLE ShAPES TEAM

Pierre-Alexis Dumas President

Catherine Tsekenis Director

Manon Renonciat-Laurent Head of project

Frédéric Hubin Head of Editorial Image and

Publications

Sacha Menasce Public Relations Manager

PRESS

Philippe Boulet Press Officer

Ina Delcourt International Press Office

Annelise Catineau-Franchet Head of Internation Press

Caroline Schwartz-Mailhé Head of France Press

centre PoMPidou-MetzCentre Pompidou-Metz is an Établissement Public de Coopération Culturelle (public establishment for cultural cooperation) whose founding members are the French State, Centre Pompidou, the Lorraine Region, Communauté d’Agglomération de Metz Métropole and the City of Metz.

BOARD OF DIRECTORS

Alain Seban

President

Jean-Marie Rausch Honorary President

Jean-Luc Bohl Vice President

Metz Métropole RepresentativesJean-Luc BohlPresident

Arlette Mathias Vice President

Margaux Antoine-FabryCommunity Councillor

Patrick GrivelAssociate Councillor

Hacène LekadirCommunity Councillor

Pierre MuelAssociate Councillor

Patrick ThilCommunity Councillor

Centre Pompidou RepresentativesAlain Seban President

Denis BerthomierGeneral Director

Jean-Marc Auvray Director of Financial and Legal

Affairs

Bernard Blistène Director of Cultural Development

Catherine Guillou Director of Visitor Services

Brigitte Léal Deputy Director of National

Museum of Modern Art and

collections curator

Lorraine Region RepresentativesNathalie Colin-OesterléRegional Councillor

Josiane Madelaine Vice President

Jean-Pierre Moinaux Vice President

Rachel Thomas Vice President

Roger TirlicienRegional Councillor

State RepresentativeNacer MeddahPrefect of Lorraine Region, Defence

and Security Area of Eastern

France (Zone de Défense et de

Sécurité Est), and Moselle

City of Metz RepresentativesDominique GrosMayor of Metz, home city of the

Establishment

William SchumanAssociate Councillor

Qualified ContributorsFrédéric LemoineChief Executive Officer of Wendel

Patrick WeitenPresident of Moselle Department

Council

Staff Representatives Djamila ClaryChargée des publics et du

développement des ventes

Élodie Stroecken

Chargée de coordination du pôle

programmation

éQuIPE DuCEnTRE POMPIDOu-METz

ManagementLaurent Le Bon Director Claire Garnier Personal Assistant and Project

Coordinator

General Secretariat Pascal KellerInterim Secretary General

Hélène de Bisschop Legal Advisor

Émilie EnglerSecretarial Assistant

Anne HorvathSecretarial Assistant

Cécilia Zunt-Radot Chargée de mission auprès du

Directeur et du Secrétariat général

Department of Administration and Finance Rodolphe di SabatinoHead of Department

Jérémy FleurChief Accountant

Mathieu GrenouilletAccounts Assistant

Audrey Jeanront Human Resources Management

Assistant

Alexandra MorizetPublic Contracts Coordinator

Véronique MullerAccounts Assistant

7.credits

Simple ShapeS iS a Centre pompidou-metz and Fondation d'entrepriSe hermèS CoproduCtion.

13

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Department of Building Maintenance and Operation Philippe HubertTechnical Director

Mouhamadi Assani-BacarAV and IT Assistant

Christian BertauxHead of Building Maintenance

Sébastien BertauxChief Electrician

Vivien CassarTechnical Coordinator

Jean-Philippe CurrivantLighting Technical Agent

Christian HeschungHead of Information Systems

Stéphane LeroyOperation Manager

André MartinezHead of Security

Jean-David PuttiniPainter

Department of Communications and Development Annabelle TürkisHead of Department

Charline BurgerCommunication and Events Officer

Noémie Gotti Communication and Press Officer

Marie-Christine HaasMultimedia Communications Officer

Anne-Laure MillerCommunication Officer

Amélie WatiezCommunication and Events Officer

Department of Production Olivia DavidsonHead of Department

Charline BeckerProject Manager

Alexandre ChevalierGalleries Registrar

Jean-Pierre Del VecchioSystems and Networks

Administrator

Jennifer GiesProject Manager

Christine Hall AV and IT Technical coordinator

Thibault LeblancLive Performance Technician

Éléonore MialonierProject Manager

Fanny MoinelProject Manager

Marie PessiotLive Performance Production Officer

Irène Pomar-Marcos Project Manager

Marianne Pouille

Works Manager

Julie SchweitzerProject Manager

Jeanne SimoniProject Manager

Amandine SuchProduction Assistant

Department of Programming Hélène GueninHead of Department

Claire BonnevieEditor

Géraldine CelliAuditorium Wendel and Studio

Programming Officer

Hélène Meisel Research and Exhibition Officer

Alexandra MüllerResearch and Exhibition Officer

Dominique OukkalManufacturing Coordinator

Élodie StroeckenCoordination Assistant

Pôle publics

Aurélie DablancHead of Department

Fedoua BayoudhVisitor Relations and Tourism

Officer

Djamila ClaryVisitor Relations and Sales Officer

Jules ColyVisitor Relations, Information and

Accessibility Officer

Anne-Marine GuiberteauYouth Programming and

Educational Activities Officer

Benjamin MilazzoVisitor Relations and Membership

Officer

Anne Oster Schools Relations Officer

AccountantJean-Eudes Bour

TraineesMorgane Bielmann

Élise Blin

Marie-Claire d’Aligny

Mélissa Hiebler

Mélodie Saillard

Sophie Smenda

external service ProvidersMuseographic Layout Lumidéco : Bruno Ischia and his

team

Painting

Debra Frères : Jacques Debra

and his team

Electrical Set-up and Lighting Cofely Ineo GDF Suez : Christophe

Lere and his team

MPM Équipement : Laurent Capron

and his team

AV Installation JCD Groupe : Fréderic Pernot and

his team

Cottel : David Cottel and his team

Shipping and Packing André Chenue S.A. : Julien Da Costa

Noble and his team

hanging Services Artrans Axal : Pierre Heinrich and

his team

Installation, framing and basing Version bronze : Patrick Ribeiro and

his team

Constat d'état des œuvres Pascale Accoyer

Élodie Aparicio-Bentz

Artwork Insurance Blackwall Green : Robert Graham

and his team

Inspection Dekra Industrial : Émilie

Grandclaudon

Security Groupe SGP

Fire Safety Service départemental d’Incendie et

de Secours de la Moselle

Mediation Phone Régie

nettoyage Lustral

friends of centre PoMPidou-MetzFriends of Centre Pompidou-Metz is a non-profit organisation whose purpose is to accompany the Centre in its cultural projects, and to enlist the support of the business world and private individuals who wish to make their contribution.

Jean-Jacques AillagonFormer Minister of Culture

President

Ernest-Antoine SeillièreVice President

Philippe BardPresident of Demathieu & Bard

Treasurer

Lotus MahéSecretary General

Lisa CartusAssistant to the Secretary General

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14

8.centre PoMPidou-Metz and

fondation d'entrePrise herMès

Centre Pompidou-Metz and Fondation d'entreprise Hermès have joined together to devise and produce Simple Shapes.

Centre Pompidou-Metz is the first offshoot of a major French cultural institution, Centre Pompidou, in partnership with regional authorities. An independent body, Centre Pompidou-Metz benefits from the experience, expertise and international reputation of Centre Pompidou. It shares with its older sibling values of innovation and generosity, and the same determination to engage a wide public through multi-disciplinary programming.

Centre Pompidou-Metz produces temporary exhibitions which draw on loans from the holdings of Centre Pompidou, Musée National d'Art Moderne. With more than 100,000 works, it is the largest collection of modern and contemporary art in Europe and the second largest in the world.

Centre Pompidou-Metz also develops partnerships with museums around the world. A programme of dance, music, films, lectures and children's workshops further explore themes raised in the exhibitions.

www.centrepompidou-metz.fr

Fondation d'entreprise Hermès is concerned with the creativity man employs to shape an object, a tool or an artefact. The Foundation and Centre Pompidou-Metz have therefore joined together to give a wide audience a new view of objects in their purest shape, and of the creative energy released through the interaction of man and nature.

Fondation d’entreprise Hermès supports people and organisations seeking to learn, perfect, transmit and celebrate the skills and creativity that shape and inspire our lives today, and into the future. Guided by a central focus on artisan expertise and creative artistry, the Foundation’s activities explore two complementary avenues: know-how and creativity, know-how and the transmission of skills.

The Foundation develops its own projects: exhibitions and artists' residencies in visual arts, the New Settings programme for the performing arts, the Prix Émile Hermès international design award, the Skills Academy, and projects in favour of biodiversity. It also supports partner organisations working in these areas around the globe.

The Foundation's unique mix of programmes and support is rooted in a single, underlying belief: Our gestures define us.

www.fondationdentreprisehermes.org

15

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Centre Pompidou-Metz is the first offshoot of a major French cultural institution, Centre Pompidou, in partnership with regional authorities. An independent body, Centre Pompidou-Metz benefits from the experience, expertise and

international reputation of Centre Pompidou. It shares with its older sibling values of innovation and generosity, and the same determination to engage a wide public through multi-disciplinary programming.

Centre Pompidou-Metz produces temporary exhibitions which draw on loans from the holdings of Centre Pompidou, Musée National d'Art Moderne. With more than 100,000 works, it is the largest collection of modern and contemporary art in

Europe and the second largest in the world.

Centre Pompidou-Metz also develops partnerships with museums around the world. A programme of dance, music, films, lectures and children's workshops further explore themes raised in the exhibitions.

Financial support is provided by Wendel, its founding sponsor.

G R A N D M E C E N E D E L A C U LT U R E

9.Partners

of centre PoMPidou-Metz

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16

Founding Sponsor

Wendel, Founding Sponsor of the Centre Pompidou-Metz

"A Founding Sponsor since 2010, Wendel is extremely proud to pledge its fiveyear commitment to the Centre Pompidou-Metz, an initiative which will enable the company to support a flagship project for the Lorraine region, birthplace of the Group and its founding families. We wanted this partnership to adhere to our corporate values of long-term investing, which is a synonym for loyalty and solidarity in our commitments, innovation, which we believe is key to creating not only economic value but also human and artistic activities, and the ambition to step up our international influence in a French region located in the heart of europe," highlighted Frédéric Lemoine, President of Wendel’s executive Board, and ernest-Antoine Seillière, Vice President of the Friends of the Wendel Foundation and a benefactor of the Centre Pompidou-Metz.

Wendel is one of the leading investment companies in europe, acting as an investor and professional shareholder, promoting the long-term development of companies which are global leaders in their sectors: Bureau Veritas, Legrand, Saint-Gobain, Materis, Stahl and Mecatherm.

Founded in 1704 in Lorraine, Wendel Group was committed during 270 years to the development of various activities, especially of the steel industry, before beginning a long-term investor in the late 1970s.

The Group is supported by its reference family shareholder, made up of more thanone thousand individual Wendel family shareholders, who are united in the familycompany Wendel-Participations, which owns 35% of Wendel.

Press Relations:

Christine Anglade-Pirzadeh : + 33 (0) 1 42 85 63 24 c.angladepirzadeh@wendelgroup.com

Christèle Lion + 33 (0) 1 42 85 91 27 c.lion@wendelgroup.com

www.wendelgroup.com

G R A N D M E C E N E D E L A C U LT U R E

17

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10.visuals

for the PressVisuals of works in the exhibition, amongst them the images below, can be downloaded at the following address: centrepompidou-metz.fr/phototheque

Login: presse Password: Pomp1d57

KuPKA (Kupka Krantisek, known as), Abstraction noir et Blanc [Black and White Abstraction], circa 1930-1933

Black and white gouache and graphite on paper, 28.3 × 28 cm Centre Pompidou, Musée national d’art moderne, Paris Gift from Ms eugenie Kupka, 1963

© ADAGP, Paris 2014 © Centre Pompidou, MNAM-CCI, Dist. RMN-Grand Palais / Jean-Claude Planchet

Pyramidion of Ben-neben-sekhaef, Egypt, 21st Dynasty, 1069-945 B.C.

Limestone, 47 × 48 × 50.5 cm Department of egyptian Antiquities, Musée du Louvre, Paris

© Musée du Louvre, Dist. RMN-Grand Palais - © Georges Poncet

Constantin Brancusi, L'Oiseau dans l'espace [Bird in Space], 1936

Plaster, 183.5 × 14 × 15.5 cm Centre Pompidou, Musée national d’art moderne, Paris Bequest from Constantin Brancusi, 1957

© ADAGP, Paris 2014 © Centre Pompidou, MNAM-CCI, Dist. RMN-Grand Palais / Philippe Migeat

Charwei Tsai, Circle II

Colour video, silent, 56 seconds Courtesy of the artist and galerie Mor.Charpentier, Paris

© Charwei Tsai

Etienne Béothy (Beöthy Istvan, known as), Rythmes entrecroisés, 1937 [Interwoven Rhythms]

Amaranth wood, 115 × 27.3 × 26.5 cm Centre Pompidou, Musée national d’art moderne, Paris

© ADAGP, Paris 2014 © Centre Pompidou, MNAM-CCI, Dist. RMN-Grand Palais / Philippe Migeat

GE90 Design Team, Jet Engine Fan Blade (model GE90-115B), 2011

Composite fibre resin, polyurethane coating, titanium, 121.9 × 58.4 × 43.2 cm The Museum of Modern Art, New York

© 2014. Digital image, The Museum of Modern Art, New York/Scala, Florence

Barbara hepworth, Single Form, holly wood, 1937

Holly wood, 89,8 x 28 x 17,6 cm Leeds Museums and Galleries (Leeds Art Gallery)

© Bowness, Hepworth estate

Constantin Brancusi, L'Oiseau dans l'espace [Bird in Space], black marble, vers 1936

Centre Pompidou, Musée national d'art moderne, Paris

© Centre Pompidou, MNAM-CCI, Dist. RMN-Grand Palais / Jacques Faujour © Adagp, Paris 2014

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Man Ray (known as), Radnitzky Emmanuel, Objet mathématique [Mathematical Object], 1934-1936

Silver gelatine print, 30 × 24 cm Centre Pompidou, Musée national d'art moderne, Paris Bequest, 1994

© Man Ray Trust / ADAGP, Paris 2014 © Centre Pompidou, MNAM-CCI, Dist. RMN-Grand Palais / Georges Meguerditchian

Max Bill, unendliche Schleife, version IV, (1960-1961)

Grey granite from Wassen, 130 × 175 × 90 cm Centre Pompidou, Musée national d’art moderne, Paris Purchase by the State, 1962

© ADAGP, Paris 2014 © Centre Pompidou, MNAM-CCI, Dist. RMN-Grand Palais / Jacqueline Hyde

Yonezawa Jiro, Bridge, 2007

Bamboo, cane, cedar roots, lacquer, 21 x 103,5 x 13,6 cm Mingei Arts Gallery, Paris

© Photo Pascal Goetgheluck © Mingei Arts Gallery, Paris

Kandéla, 3Grèce, Ancient Cycladic I (3200-2700 B.C.)

Marble, 28 x 28 cm Department of Greek, etruscan and Roman Antiquities, Musée du Louvre, Paris Anonymous gift in memory of e. Bizot, 1993

© RMN-Grand Palais (musée du Louvre) / Tony Querrec

Anthony McCall, Line describing a cone, 1973

Cinematic installation, varying dimensions Collection of the artist

© Anthony McCall

Marcel Duchamp, Air de Paris [Air from Paris], 1919/1939

Miniature reproduction of the original, edited for la Boîte-en-valise Glass, 4 x 2,5 x 2,5 cm Collection David Fleiss, Paris Galerie 1900-2000, Paris

© Succession Marcel Duchamp / Adagp, Paris 2014

Barnett newman, untitled (The Break), 1946

India ink on rag paper pasted on canvas, 91,5 × 61 cm Centre Pompidou, Musée national d’art moderne, Paris Gift from Ms Annalee Newman, 1986, through Georges Pompidou Art and Culture Foundation

© 2014 The Barnett Newman Foundation / ADAGP, Paris © Centre Pompidou, MNAM-CCI, Dist. RMN-Grand Palais / Jacques Faujour

Top, Borneo Island, Dayak people, undated

Sculpted wood, height 13,5 cm, diameter 23 cm Centre Pompidou, Musée national d'art moderne, Paris Donation Daniel Cordier, 1989 ; location: Les Abattoirs, Toulouse

© Centre Pompidou, MNAM-CCI, Dist. RMNGrand Palais / Jean-Claude Planchet

Robert Le Ricolais, Pre-tensionned Monkey Saddle, 1958

Lacquered and bent steel tube, tension cables, 18.5 × 53 × 55 cm Centre Pompidou Foundation Location: Musée national d'art moderne, 2010

© ADAGP, Paris 2014 © Centre Pompidou, MNAM-CCI, Dist. RMN-Grand Palais / Bertrand Prévost

José María Sicilia, The Instant, 2013

Gold (18 kt), bird song (nightingale), 3.50 x 12.20 x 7.50 cm

Courtesy from the artiste and Galerie Chantal Crousel, Paris

© Rebecca Fanuele

Anonymous, Steel piece for a plane, vers 1943

Silver gelatine print, 20,6 x 25,4 cm Centre Pompidou, Musée national d'art moderne, Paris

Bequest from Constantin Brancusi, 1957

© All rigths reserved © Centre Pompidou, MNAM-CCI, Dist. RMN-Grand Palais / Philippe Migeat

Rhyton, Italia (?), second half of Ist century A.C.

Mouth-blown glass ; height 20 cm, diameter 6 cm Department of Greek, etruscan and Roman Antiquities, Musée du Louvre, Paris Collection e. Durand, 1825

© RMN-Grand Palais (musée du Louvre) / Hervé Lewandowski

19

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Edward Steichen, Le Commencement du monde [The Beginning of the World], 1920

Silver gelatine print, 25,6 x 20,1 cm Centre Pompidou, Musée national d'art moderne, Paris Bequest from Constantin Brancusi, 1957

© Centre Pompidou, MNAM-CCI, Dist. RMN-Grand Palais / Guy Carrard © The estate of edward Steichen / Adagp, Paris, 2014

Karl Blossfeldt, Aristolochia clematitis. Aristoloche clématite, Pointe foliaire [Leaf Point]

Silver gelatine print, 30,1 x 20,1 cm Archives, collection Karl Blossfeldt, Université des Arts, Berlin ; location: Die Photographische Sammlung / SK Stiftung Kultur, Cologne

© L’Université des Arts de Berlin

Syros Group, head of a female figurine from Keros,Greece, ancient Cycladic II (2700-2300 B.C.)

Marble, 27 × 14 × 10 cm Department of Greek, etruscan and Roman Antiquities, Musée du Louvre, Paris Gift from Rayet, 1873

© RMN-Grand Palais (musée du Louvre) / Hervé Lewandowski

Constantin Brancusi, Le Poisson [The Fish], 1924

Bleached plaster, 13,5 x 43 x 2,5 cm Centre Pompidou, Musée national d’art moderne, Paris Bequest from Constantin Brancusi, 1957

Centre Pompidou, MNAM-CCI, Dist. RMN-Grand © Palais / Adam Rzepka © ADAGP, Paris 2014

Karl Blossfeldt, Equisetum hyemale. Prêle d’hiver, Extrêmité d’une jeune pousse [Winter horsetail. End of a Young Shoot], avant 1926

© L’Université des Arts de Berlin, Archives, Collection Karl Blossfeldt, en dépôt de longue durée à Die Photographische Sammlung/SK Stiftung Kultur, Cologne

© L’Université des Arts de Berlin

Jean Arp, Coquille formée par une main humaine [Shell formed by a human hand], 1935

Plaster, 47 × 74 × 43 cm Centre Pompidou, Musée national d’art moderne, Paris Seizure by the Customs Administration, 1996 ; location: Fondation Arp, Clamart

© ADAGP, Paris 2014 © Centre Pompidou, MNAM-CCI, Dist. RMN-Grand Palais / Adam Rzepka

Brassaï (Gyula halász, known as) Oiseau 2 [Bird 2], 1960

Black marble, 11 × 5.5 × 1.5 cm

Centre Pompidou, Musée national d’art moderne, Paris

© Centre Pompidou, MNAM-CCI, Dist. RMN-Grand Palais / Georges Meguerditchian © Brassaï estate

Odilon Redon, Le Boulet [The Ball], vers 1882

Musée d'Orsay, Paris Location: Musée du Louvres, Paris

© RMN-Grand Palais (musée d'Orsay) / Michèle Bellot

Jean Arp, Bourgeon [Bud], 1935

Plaster, 40,5 x 19 x 20 cm Centre Pompidou, Musée national d’art moderne, Paris Seizure by the Customs Administration, 1996 ; location: Fondation Arp, Clamart

© ADAGP, Paris 2014 © Centre Pompidou, MNAM-CCI, Dist. RMN-Grand Palais / Adam Rzepka

Man Ray (known as), Radnitzky Emmanuel, Lampshade, 1919-1954

Painted aluminium, 152,5 x 63,5 cm Centre Pompidou, Musée national d'Art moderne Bequest, 1994

© Man Ray Trust / ADAGP, Paris 2014 © Centre Pompidou, MNAM-CCI, Dist. RMN-Grand Palais / Jacques Faujour

Standing stone, Syria, Tell Brak, middle Bronze age (600-1400 av. J.-C.)

Basalt, 73 x 53 x 40 cm Department of Oriental Antiquities, Musée du Louvre, Paris Gift from Cdt Muller and father Poidebard, 1930

© Musée du Louvre, Dist. RMN-Grand Palais / etienne Revault

Mortar and pestle, Abri des Marseilles (Dordogne), Middle Magdalenian, (15th-14th millenniums B.C.)

Limestone, 34 × 28 cm Les eyzies-de-Tayac, musée national de Préhistoire

© MNP, Les eyzies, Dist. RMN-Grand Palais / Philippe Jugie

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notes

BAT_DP_COVER_v1.indd 3-4 09/05/12 11:56

Contacts presse

Centre Pompidou-Metz

Annabelle Türkis Responsable du pôle

Communication et Développement +33 (0)3 87 15 39 66

annabelle.turkis@centrepompidou-metz.fr

Noémie Gotti Chargée de communication et presse

+33 (0)3 87 15 39 63noemie.gotti@centrepompidou-metz.fr

Claudine Colin Communication

Diane Junqua+33 (0)1 42 72 60 01centrepompidoumetz@claudinecolin.com

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noémie Gotti Communications and press Officer+33 (0)3 87 15 39 63noemie.gotti@centrepompidou-metz.fr

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