“fondation Maeght”

Pascal Pinaud or the memory of gestures

A big season lies ahead for artist Pascal Pinaud. Two exhibitions are currently featuring him near Nice (“Sempervivum” at the Fondation Maeght and “C’est à vous de voir” at the Espace de l’Art Concret), before being followed up by another at the FRAC Marseille. The south of France is fertile artistic territory, and Nice is one of its breeding grounds. Near the end of the 1950s, the Ecole de Nice wrote a chapter in the history of art. This artistic movement asserted its independence from Paris, led by figures including Arman, Albert Chubac, Yves Klein, Martial Raysse, Ben and Bernar Venet. Found at the crossroads of different movements – Nouveau Réalisme, Fluxus, Support/Surface –, this school would add colour to the French scene. Pascal Pinaud is a child of this Nice School, even if he was born a bit further off to the west, in Toulouse, in 1964. Graduating from the Villa Arson (Nice) in 1990, he has taught at the same school since 1999. He has also carried out a number of projects in the region, such as an “exuberant composition of hybrid street lamps” for a tram stop in the Saint-Jean-d’Angély district (Nice, 2007). The three institutions which have programmed Pascal Pinaud in 2017, the Fondation Maeght, the Espace de l’Art Concret and the FRAC PACA, thus pay a fine homage to a child – albeit an adoptive one – of the region. One retrospective, two in situ projects At the Fondation Maeght, “Sempervivum” resembles a retrospective:  paintings, drawings, photographs, sculptures, installations and neons, produced between 1989 and 2016, are being shown to the public. “The show conveys the impression of a collective exhibition,” confides Pascal Pinaud. He’s not wrong either, so wide a formal spectrum is covered by the artist’s works. Pascal Pinaud works in series...

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ST-ART invites Olivier Kaeppelin

The 21st edition of the Strasbourg fair ST-ART will be held at the city’s Parc des Expositions, from 25 to 28 November this year, with curating input from Olivier Kaeppelin, current director of the Fondation Maeght. The foundation will also be presenting a selection of its collection’s works in a 100 m2 space. This year, writer Michel Nuridsany will also be offering an exhibition dedicated to artist Anne Ferrer. The fair will be welcoming 100 galleries, 40 % of which will be international exhibitors, and 500 artists representing 20 different nationalities, in the 10,000 m2 of exhibition space. 25,000 visitors are...

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Christo & Jeanne-Claude, mastabas and freedom

For almost 50 years, Christo & Jeanne-Claude have used confrontation or dissimulation as a tool to charge places with new meanings. Until 27 November 2016, they exhibit a mastaba of nearly 1,000 barrels in the courtyard Giacometti of the Maeght foundation (France). From June 18 to July 3 2016, the Floating Piers (2014-2016) were visible on the lake Iséo (Italy). The artist has talked with Art Media Agency about these projects. What is the history of the mastaba that you are currently displaying in the courtyard of the Maeght foundation? Everything started in 1967. Jeanne-Claude and myself were already in New York. The director of the Kunsthalle de Berne, Harald Szeemann, organized an exhibition ‘‘Living Art. 1965-1968’’ in the Maeght foundation, which had just been inaugurated in 1964. He invited me to create a temporary work — at the time I was preparing the wrapping for the Kunsthalle Bern, our first public wrapping that we finally created in 1968. For the Maeght foundation, I proposed to Harald Szeemann to wrap the trees and create a mastaba in the courtyard I created the wrapping of the trees but not the mastaba. In 2014, during the 50th anniversary of the Maeght foundation, Olivier Kaeppelin exhibited the artists who had made the history of the foundation and he found several early drawings of the mastaba project of 1967. He then invited me to realize the project, and I accepted with great pleasure. The exhibition is interesting because it echoes the mastaba with the work that we had conducted on barrels which started at the end of the 1950s, and continued when we blocked the rue Visconti  (Wall of Oil Barrels, 1962), then later with projects of mastabas in Texas, Holland, and ultimately in Abu Dhabi. There is a genealogy of the barrel...

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Chagall retrospective at the Fort de Bard

From 25 June to 13 November, the Fort de Bard in the Aosta Valley,  is presenting a major summer exhibition on Marc Chagall, thanks to the Fondation Maeght’s loan of the painting La Vie (1964), one of the artist’s masterpieces. 180 works will be gathered around this masterpiece that will be making its first appearance in Italy. Due to its complex and monumental nature, most of the themes dear to the painter are represented in the work; this is why it will be the starting point of the exhibition. Olivier Kaeppelin, director of the Fondation Maeght has commented on this major exhibition: “This painting is crucial to the work of Marc Chagall as it revives all episodes of his life but also all the styles to which he took recourse in his different periods of creation. From cubism to popular imagery, via “free colour” expression, he uses, with both simplicity and mastery, the modes of expression essential for him to reach the greatest intensity and above all the greatest aesthetic...

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The Fondation Maeght points to “thought through viewing”

Until 16 May 2016, the Fondation Maeght (Saint-Paul-de-Vence) is hosting the exhibition “Espace, Espaces!” (Space, Spaces!) — a unique rereading of the foundation’s collections by the institution’s director Olivier Kaeppelin. French writer Georges Perec knew a good deal about space. According to this author of Espèces d’espaces (Species of Spaces) — to which the exhibition’s title pays homage —, “the space of our lives is neither constructed nor infinite nor homogenous nor isotropic. But do we know exactly where it shatters, where it curves, where it disconnects and meets up? Our sense of its fissures, hiatuses, friction points is confused, sometimes we have the vague impression that somewhere, something is stuck or breaking apart or banging.” Space is the starting and end point of all artistic creations. Olivier Kaeppelin considers that “what artists create is first of all a space for themselves. We don’t share this space, we penetrate it.” Artists know how to fill in hiatuses, to sublimate friction points, or sometimes, to bang.” The foundation’s visitors are invited to witness these different ways in which artists handle space: the reconfiguration and fragmentation of pictorial spaces, the construction of utopic and intimate spaces — an idea that is not estranged from “Inhabiting the World”, the theme of the 2014 Busan Biennale of which Olivier Kaeppelin was artistic director —, with interest paid to matter and its properties, the distortion of reality and the decomposition of movement. This itinerary through the Fondation Maeght’s collections is also an opportunity for Olivier Kaeppelin to unveil the works recently acquired by the collection. Namely the enormous Wolfgang Gäfgen donation — 40 drawings, five large graphic works and a triptych — or else La Renaissance (2011), an elegant bronze work by Claudine Drai, donated by the artist to the institution. True, the common...

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