“fondation Maeght”

Eduardo Arroyo, images and stories

After featuring Germany’s A. R. Penck, the Fondation Maeght is hosting, until 19 November, a retrospective on Spain’s Eduardo Arroyo, full of political and historical insights. Presenting the elegantly titled “Dans le respect des traditions” (Respecting Traditions). At the age of eighty years, Eduardo Arroyo has lost none of his wit and elegance. He continues to scatter lively, incisive words while waving his hands about in the air. While the artist, today, gets out of breath more quickly and speaks more softly, he has conserved his powerful creative energy. This year, the gallery Alvaro Alcazar presented, at Art Paris Art Fair, a solo show with the Spaniard’s latest paintings (medium formats), while the retrospective currently on at the Fondation Maeght offers many recent creations – this time, in the large formats favoured by the painter. Above all, this former member of La Ruche – who describes his memories of Giacometti with enthusiasm – retains something of the demiurgical power specific to image-makers. His paintings, like his words, preserve a distinct bizarreness and refrain from being mere communication tools; dense in narrative quality, they shy of baring all at first sight or at first hearing. Eduardo Arroyo is a painter who doubles up as a writer. A painter of stories In the work of Eduardo Arroyo, stories are never far from the surface, whether they are anecdotes, or else draw from History or art. During his years of exile while Franco was in power, it was above all History that interested him. Eduardo Arroyo left Spain for Paris in 1958. At first he turned towards political journalism before settling on painting, using images rather than words to strike other people’s consciences. It was thus that the young self-taught figurative painter started showing work at the Salon de la Jeune Peinture in...

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A.R. Penck, a man of openness

A.R. Penck passed away while the Fondation Maeght’s major retrospective on him was underway. A few days after the sad news, Suzanne Tarasiève gallery also opened an exhibition on the artist. Two paths for tracing the complexity of the work of A.R. Penck. A homage. A.R. Penck left this world on 2 May in Zurich at the age of 77 years. Symbolically, the exhibition being held on him at the Fondation Maeght is titled “A.R. Penck. Rites de passage”. This will therefore be the last retrospective to be organised on the artist during his lifetime, and also the first homage to be paid to him. Homage accompanied by the exhibition “À travers A.R. Penck” at Suzanne Tarasiève (Paris), which represents several big figures from German painting: Georg Baselitz, Markus Lüpertz, Jörg Immendorff. Only Sigmar Polke and Gerhard Richter are absent from the list. A tumultuous life Ralf Winkler – this was the name he was born under – had a tumultuous life. He was born on 5 October 1939 in Dresden, in a Germany that would be designated as part of the “East” in 1949. Between 1956 and 1966, Ralf tried, unsuccessfully four times, to enter fine-arts schools in Dresden and East Berlin, even if he was not particularly troubled by this failure. He preferred contact with the “renegades” rather than the institutional painters – he would also be denied access to the Society of Artists of the German Democratic Republic. Already, in the middle of the 1960s, he adopted the pseudonym A.R. Penck for various reasons. Firstly, to pay homage to Albrecht Penck, a geologist specialising in the Ice Age. But above all, to get his works across the border more easily and to avoid censorship problems. The artist would take on other aliases: Tancred Michel or Théodor...

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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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