Lionel Sabatté, long-term cycles

It’s spring all year round for Lionel Sabatté as he bounces from one exhibition to another, one project to another. Art Media Agency visited him in his studio to learn more about his news, his work, his evolutions. A portrait. Lionel Sabatté started 2017 under the sun of Los Angeles where he’s occupied a studio for the last two years. He went on to the refreshing coolness of his second studio in Le Pré-Saint-Gervais, just next to Paris – which still offers a fair share of fine spells. The youthful forty-something originating from Toulouse is currently showing his sculptures in the courtyard of the Musée de la Chasse et de la Nature in Paris while hundreds of his works have been chosen for the “Golem” show at the MAHJ (Paris) and “Vies d’ordures” at the MUCEM (Marseille). On top of this, Galerie C presented a solo show of his work at Drawing Now in March, and – the icing on the cake – he won the prize awarded by the fair. Yet another honour after already winning the awards distributed by the Institut Français in Mauritius, Yishu 8 (Beijing), and the Prix Patio La Maison Rouge last year. This rhythm confirms the brisk pace at which things are moving ahead for Lionel Sabatté. Already in 2010, Éva Hober included him in the “La belle peinture est derrière nous” exhibition, shown at Sanat Limani (Istanbul) before travelling to Ankara, to the Lieu Unique (Nantes) and to Slovenia. But the critical shift to the next gear occurred in 2011 when the artist was shown by Patricia Dorfmann at the Museum d’Histoire Naturelle, as part of the FIAC’s “outside-the-walls” itinerary. Here, he presented La Meute in the Galerie de l’Évolution, a series of five wolves made from clumps of dust gathered from...

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Excellent results for 2013’s European Capital of Culture

Marseille, 29 January 2014, Art Media Agency (AMA). A year after Marseille was named “European Capital of Culture”, officials from the city have commented on the title’s positive influence, which they hope will continue in years to come. A programme created for the event attracting almost ten millions visitors – in stark contrast to the 2 million of the previous year. Major exhibitions have reportedly attracted over 5 million visitors – mainly to institutions such as the MuCEM – Musée des Civilisations de l’Europe et de la Méditerranée (Museum of European and Mediterranean Civilisations), the new FRAC (Fonds régional d’art contemporain – Regional funds for contemporary art) and the Villa Méditerranée. The MuCEM, the city’s main attraction in 2013, greatly exceeded expectations, seeing a total of 1,824,000 visitors pass through its doors. Close to 600,000 people visited the paying exhibitions, 15% of whom were from overseas, the remainder of which a third were from Marseille. A third of those who visited the MuCEM were said to have made a return visit. After the success of 2013, 2014 is expected to be a challenging year for the city, as it hopes to continue the momentum established by the previous year’s rich cultural...

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The Shock of the New

Paris, 1 August 2013, Art Media Agency (AMA). This month, plans were unveiled for a giant, floating art museum, designed to spread out across the bay of China’s Pingtan Island, towards Taipei. Variously described as a “massive lily pad” and “flying saucer,” the project is designed by the – perhaps appropriately named – MAD architects. Expected to hold around 1,000 Chinese national treasures and modern works, the project received a great deal of media interest, with writers, bloggers and arm-chair architects all offering their opinion on the sprawling island of 130,000 square feet. But what about the art inside this glittering UFO? Whilst impressive – or at least unique – does the project say anything significant about the way we encounter works? According to an attendance survey released in The Art Newspaper in March 2013, traditional museums continue to attract a significant number of visitors each year: last year’s Cindy Sherman exhibition at New York’s Museum of Modern Art attracted 5,700 visitors per day, whilst Hockney’s show at London’s Royal Academy drew daily crowds of 7,512. In January 2013, London’s Tate Modern announced that it had received a record 5.3 million visitors during 2012, up by 9.5% on 2011’s figure. Yet, whilst some of these exhibitions were held in very established institutions, each is notably “contemporary” in theme. The same survey saw exhibitions of older works struggling to achieve coveted spots in the top ten most-visited galleries. Only Leonardo’s Saint Anne – billed as the artist’s “ultimate masterpiece” – was able to thrust the Louvre into the shortlist, placing the gallery 9th in the top ten most visited art galleries, with 3,985 visitors per day. There is, it would seem, a certain zeal for the contemporary – a delight for the new, unexpected or divisive, which extends to both...

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Appointments to the MuCEM’s administration council

Marseille, 5 June 2013, Art Media Agency (AMA). A statement released on 23 May announced the appointment of six figures from the world of culture to the board of directors for the Musée des civilisations de l’Europe et de la Méditerranée (MuCEM), Marseille. This council will henceforth consist of: Yves Aubin de la Messuzière, Çelenk Bafra, Mona Khazindar, Brigitte Marin, Leïla Ladjimi Sebai and Jean-Pierre Etienvre. Each of the appointed figures has played a significant role in the development of culture in both in France and across the Mediterranean. The MuCEM was opened by François Hollande on 4 June. The project, which was first conceived in 2000, will provide 4,700m2 of exhibition space devoted to the history and civilisations of the Mediterranean region. The institution will hold the collection of the Musée National des Arts et Traditions Populaires and will also be the recipient of numerous...

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