“Centre Pompidou”

Museum in a Garage

Already the seat of the European Union, will Brussels soon be the new hub for contemporary art? In any case, it’s what Rudi Vervoort, patron of the Brussels-Capital region, has in mind. At the heart of the project is the iconic Citroën garage on Place de l’Yser. So what are the returns on this crazy bet?   There’s no longer any doubt that with the big – and rather extravagant-opening of the Louvre Abu Dhabi, last November, France has not quite finished establishing its cultural expertise and influence abroad. It is also clear that within the art world, the Centre Georges-Pompidou is truly enjoying the wind in its sails. After the success of its Iberian pop-up, which ran for five years in the Andalusian city of Malaga, the Parisian museum institution has surfed a wave of recognition and new partnerships, moving into Shanghai as soon as 2019, with Brussels on the horizon in 2020-2021. Nestled in the heart of the Belgian capital, at the crossroads between Place de l’Yser and the Quai de Willebroeck, the iconic Citroën garage has been chosen to become the future cultural and artistic hub of the “flat country”. Located on the edge of the canal, just a stone’s throw from Place Sainctelette, the garage was erected in 1933 following plans drawn up by André Citroën himself, who had ambitions to create the biggest car factory in Europe. The lovely glass palace, 21 meters tall, is characterized by a curved curtain façade, all built on 2 hectares of land. It would be nearly a century before the fate of the site changed course. In October 2015, the land was bought by the Society of Urban Planning (SAU), a real estate concern of the Brussels-Capital region, for €20.5 million, with the intention of making it the...

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Data: Hockney or brazen youth

After the Tate in London, and prior to the MoMA in New York, the Centre Pompidou in Paris is celebrating the artist’s 80th birthday. Landscapes, portraits and drawings show the incredible vitality of this British painter, the author of a dense, colourful, polymorphous body of work that is more sought after than ever – as figures show. A thin silhouette in front of a monumental work, David Hockney poses before The Arrival of Spring in Woldgate, East Yorkshire, a 2011 painting that the Briton recently donated to the Centre Pompidou. It’s Tuesday 27 September, and the 80-year-old artist, donning a cap as always, has a green cardigan and a raspberry-coloured tie… The painter has a knack for matching colours. He’s smiling of course. He also makes jokes, it’s almost a habit for him. Hockney, we all know, is good-natured. This donation marks the retrospective that the Beaubourg in Paris is devoting to the artist until 23 October. No less than the most spectacular retrospective, in the painter’s opinion, for visitors can see, the artist confided in July 2017 to Éric Dahan for the magazine Vanity Fair, “one hundred and sixty works including my biggest painting, currently conserved in Australia – Bigger Trees Near Warter ou Peinture sur le motif pour le nouvel âge post-photographique –, as well as small paintings from my youth that I painted in Bradford sixty years ago.” This donation also enriches a French collection that has left little room for the pop artist. But can we reduce, to this adjective alone, the work of this Briton who can be considered the spiritual son born of the Picasso-Matisse union, this master illustrator and genius of colours, this artist who championed hyperrealism at a period when abstract expressionism was the only path to salvation in painting? “Abstraction dominated everything...

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Centre Pompidou: pipe dreams

Delivered by architects Richard Rogers and Renzo Piano in 1977, the Centre Pompidou recently celebrated its 40th birthday. We retrace this museum, social and monumental adventure. An account of the “Pompidou touch”, an example of interdisciplinarity and cultural renown. The 40th birthday of the Centre National d’Art et de Culture Georges-Pompidou, in Paris, is a national event. The Centre Pompidou was quick to become a world icon, a symbol of France’s avant-garde spirit, supported by the French president Georges Pompidou, and known for its once contested architecture, designed by the Italian-British architectural duo, Richard Rogers and Renzo Piano. At the time, some compared the building to a supermarket… “All the better. People won’t be afraid of entering it,” Piano is said to have replied. “Pompidou wanted to reconcile France with the culture of his time, noting that while our country, under the influence of André Malraux, had turned to the arts with conviction, it experienced certain difficulties in taking in more recent innovations from contemporary creation,” observed the museum’s president from 1996 to 2002, Jean-Jacques Aillagon, to Le Figaro. Planted in a once working-class district, coming up with the museum plan, then building it, were real gambles, pulling along with it a few modern and contemporary art galleries, such as the very first one to set up in the area, Daniel Templon, at 30 Rue Beaubourg, in 1972, opposite the gaping hole that awaited the museum at the time. We should mention that on the international avant-garde scene – which was starting to globalise and meet strong competition –, Paris needed a museum to reshuffle the contemporary-art cards. Inaugurated in 1977 with an exhibition on Marcel Duchamp and curated by Jean Clair, the museum, directed by Pontus Hulten from Sweden at the time, put on one themed exhibition after...

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Cy Twombly, the painter of Olympus at the Centre Pompidou

Over 140 works including the painter’s three major cycles… The Cy Twombly retrospective on at the Musée National d’Art Moderne – Centre Pompidou is a key exhibition. Recommended (highly)! By a happy coincidence, the Cy Twombly exhibition was launched at the end of November 2016 while on the other side of the English Channel, an exhibition opened on Rauschenberg – the other “TW”, as Roland Barthes nicknamed him. The two lovers, the two companions, celebrated on the same day by the opening of two retrospectives. One at the Tate (London), the other at the Centre Pompidou (Paris). Robert Rauschenberg had a decisive impact on the career of Cy Twombly; he was the one who encouraged Twombly to enrol at the prestigious Black Mountain College (North Carolina) before the pair combed through Europe and North Africa together for the first time, in 1952. From Lexington to Rome This moment – this shift in the history of the young Twombly – is the starting point of the retrospective at the Centre Pompidou. Curator of the exhibition, Jonas Storsve explains: “This is the first complete retrospective to be dedicated to Cy Twombly, going from 1951 to his death in 2011.” The exhibition begins with the painter’s first experiments from the start of the 1950s, using viscous cream-white industrial paint hollowed by lead-pencil annotations – works that stand out for the economy of their means. During this period, Cy Twombly still lived in Lexington (Virginia), before he left for the Black Mountain College and the other side of the Atlantic. It was not until the end of the 1950s, or even the start of the 1960s, that colour appeared blatantly in Twombly’s work, as a result of his abandonment of industrial paint for less fluid coloured paints in tubes. “This was a very...

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Data: Cy Twombly, a new auction myth

Cy Twombly, arguably one of the most fashionable painters at the moment, is soon to be displayed the Centre Pompidou. At the same time, his market is doing particularly well. Especially since his death … Edwin Parker Twombly Jr. was born on 25 April 1928 in Lexington (Virginia). He started drawing and painting at an early age, soon under the tutelage of Pierre Daura from Spain. Between 1947 and 1949, he continued his learning by enrolling at the Boston Museum School, before moving on to study in the art department of the Washington and Lee University, in Lexington. At the Art Students League of New York (1950-1951), he met Knox Martin and Robert Rauschenberg, with whom he became close friends. The latter encouraged him to take on a stint at the Black Mountain College (North Carolina), where he made the acquaintance of Franz Kline, Robert Motherwell, poet Charles Olson, John Cage and Merce Cunningham. This was the era of abstract expressionism; Cy Twombly visited the Kootz gallery (New York) where Pollock, Rothko, Newman, Still, and Motherwell were exhibited. He held his first solo exhibition at the Seven Stairs gallery (Chicago) in 1951, followed by a show at Kootz in the same year, displaying monotypes and black-pencil drawings evoking totemic or even phallic forms. In 1952, Cy Twombly crossed the Atlantic for the first time, travelling through Italy, Spain and North Africa accompanied by Robert Rauschenberg. The next year, he did his military service at Camp Gordon (Georgia), before being posted to Washington, D.C. as a cryptologist.  In 1957, he returned to Rome and began a period of intense activity, namely painting Olympia, Sunset, Blue Room and Arcadia, some of his best-known works. In his drawings, graffiti and scratches are visible, alongside letters, words and figures. Already at that time,...

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