The exhibition will be closed during the Christmas holidays from 17 December to 3 January inclusive. It will reopen on Wednesday 4 January.
Baalbek, an emblematic site on the Bekaa plain in northeastern Lebanon, attracted two young architects in the 19th century who were residents of the French Academy in Rome: Achille Joyau and Gaston Redon.
As part of their "Envois", exercises imposed on the winners of the Prix de Rome in which they had to propose a restoration of an ancient monument, they drew with watercolors and rendered with scrupulous fidelity the beauty of these ruins surrounded by high walls and the arid and mountainous environment that surrounds them. The twenty-five unpublished works presented in this exhibition are unique testimonies of the archaeological site which was not excavated until 1898.
The site of Baalbek remains to this day a major archaeological jewel of Lebanon.
Admired by Lamartine, Châteaubriand and Flaubert, Baalbek, an emblematic site of the Bekaa plain in Lebanon, attracted in the 19th century two young architects who were then boarders at the French Academy in Rome - Villa Medici: Achille Joyau in 1865 and Gaston Redon in 1887. As part of their "Envois", school exercises imposed on the Prix de Rome laureates, they were given the task of studying an ancient monument and proposing a restitution, i.e. a restoration.
Joyau and Redon decided to venture out of Rome and discover this mythical place in Lebanon. Before reaching it, they each made long journeys by caravan or on horseback, crossing difficult roads and staying, depending on their route, in Alexandria, Cairo, Memphis, Jerusalem, Damascus or even Smyrna.
Celebrated for its gigantism, Baalbek seduces by the originality of its Greco-Roman architecture enriched with Semitic and Oriental elements. The stays of Joyau and Redon, which varied between five and ten months, allowed them to draw up a precise state of the ancient monuments through superb watercolor sketches. Their drawings reflect with scrupulous fidelity the beauty of these ruins surrounded by high walls, but also the arid environment that surrounds them with the high mountains of the Anti-Lebanon in the background.
Their approach, close to that of an archaeologist, carefully restores the numerous buildings that made up the sanctuary, as well as their various architectural elements, including the layout of the walls, the entablatures and the capitals of the columns. To this description is added the sensitivity of the artists towards the materials used, the vegetation that invades the ruins in a disorderly manner, the bright blue sky.
The graphic qualities of these works reveal the watercolor talents of these young architects and are unique testimonies of the site of Baalbek, which only had its first archaeological excavations in 1898.
Curated by Emmanuelle Brugerolles and Corisande Evesque.
Joseph-Louis-Achille Joyau (1831 – 1873) Temple d’Héliopolis, état actuel, façade latérale sud [à gauche : détail ; ci-dessous oeuvre entière] Graphite, plume, encre noire et aquarelle sur papier entoilé, 0,8 x 3,2 m
Joseph-Louis-Achille Joyau (1831 – 1873) Temple d’Héliopolis, état actuel, façade latérale sud [à gauche : détail ; ci-dessous oeuvre entière] Graphite, plume, encre noire et aquarelle sur papier entoilé, 0,8 x 3,2 m
Joseph-Louis-Achille Joyau (1831 – 1873) Temple d’Héliopolis, état actuel, façade principale Graphite, plume, encre noire et aquarelle sur papier entoilé, 0,6 x 1,4 m
Gaston-Fernand Redon (1853 – 1921) Héliopolis. Temples de Baalbek, plan de restauration à 0 m 01 p.m., élévation restaurée des façades des temples. Graphite, plume, encre noire et aquarelle sur papier entoilé, 1,3 x 3,2 m
Joseph-Louis-Achille Joyau (1831 – 1873) Vue du temple d’Héliopolis à Baalbek Graphite et aquarelle, 0,15 x 0,5 m
Joseph-Louis-Achille Joyau (1831 – 1873) Rue au Caire Pierre noire, lavis d’encre de Chine, rehauts de gouache blanche et beige sur papier bleu, 0,35 x 0,23 m
BILLETTERIE RESPONSABLE
2, 5 ou 10 €, c’est vous qui choisissez !
La billetterie responsable invite chaque visiteur venant découvrir une exposition aux Beaux-Arts de Paris à choisir son ticket d’entrée parmi 3 tarifs proposés : 2 €, 5€ ou 10 €. Contribuez selon vos moyens, votre passion et votre désir d’engagement !
Gratuité (sur présentation d’un justificatif en cours de validité) :
• moins de 18 ans
• étudiants et enseignants des écoles nationales supérieures d’art et d’architecture du Ministère de la Culture
• étudiants des institutions membres de l’Université Paris-Sciences-et- Lettres (PSL)
• étudiants de l’École du Louvre
• titulaires de la carte du Ministère de la Culture
• Amis des Beaux-Arts de Paris
• détenteur des cartes : Maison des Artistes, ICOM, ICOMOS, Association française des commissaires d’exposition (CEA)
• journalistes
• demandeurs d’emploi, bénéficiaires des minima sociaux
• handicapés civils et mutilés de guerre (avec un accompagnateur)
With the support of the Beaux-Arts de Paris, Chaumet invites you to discover Végétal - L'École de la beauté. Crossing visions, periods and media, this original exhibition invites you to look at nature through the universal prism of art and beauty.
Initiating the project, Chaumet drew on its vast heritage, one of the most important in the history of jewellery in Europe, to make its botanical vision resonate with all the artistic forms that have also looked at plants.
Curator of the exhibition, the botanist Marc Jeanson has imagined Végétal as a herbarium, composed from the species present in Chaumet creations.
Nearly 400 works offer the public a free stroll through 5,000 years of art and science, told through a dialogue between paintings, sculptures, textiles, photographs, furniture and 80 jewellery objects from Chaumet and other houses.
For this exhibition, more than 70 museums, foundations, galleries and private collectors have lent works: the Museum of Natural History, the Orsay and Louvre museums, the Institut de France, the Victoria and Albert Museum, the Pistoia Musei, the Musée de l'École de Nancy, the Royal Botanic Gardens of Kew, the Kunsthalle of Hamburg, the Albion Art Collection of Tokyo, to name but a few
Prepare your visit
The exhibition closes at 8pm, so we do not recommend entering after 7pm, as the visit lasts about 1 hour and you will not have enough time to discover the whole exhibition.
Reservations
To guarantee the best welcome, reservations are required online or on site before the exhibition visit. After purchasing the ticket, it is possible to modify the reservation slot but not to cancel it (no refund possible).
Customer service
Telephone line open from Tuesday to Saturday 10am to 6pm at 01 47 48 79 06.
E-mail vegetal@chaumet.com
2, 5 or 10 euros, the choice is yours!
The responsible ticketing service invites each visitor coming to discover an exhibition at the Beaux-Arts de Paris to choose his or her entrance ticket from among 3 proposed prices: €2, €5 or €10. All profits will be donated to the Beaux-Arts de Paris.
A reservation fee of €0.99 is payable.
The responsible, simple and clear pricing system establishes a new relationship with the Beaux-Arts de Paris while making the exhibitions accessible to as many people as possible. Through an innovative and responsible approach, it invites the public to choose its contribution, according to its means, its passion and its desire to commit to the School.
Certain visitors may be eligible for free admission upon presentation of proof of entitlement (see the people concerned when you book your ticket).
RESPONSIBLE TICKETING
2, 5 or 10 €, the choice is yours!
The ticket office in charge invites each visitor coming to discover an exhibition at the Beaux-Arts de Paris to choose his or her entrance ticket from among 3 proposed rates: 2 €, 5 € or 10 €. Contribute according to your means, your passion and your desire for commitment!
Eva Jospin is the new guest in the cycle of the Cabinet des Dessins devoted to artists who have graduated from the Beaux-Arts de Paris and are making their mark on the international art scene.
For the occasion, the artist, known for her sculptures - forests composed mainly of cardboard, caves or follies made of concrete and natural stone - is exhibiting for the first time drawings made with Indian ink. A dozen graphic works that visit the themes dear to the artist, revealing the play of lines and stratifications that structures all his explorations.
It is an exclusive selection of works in Indian ink that Eva Jospin proposes for the cabinet of drawings, rich of nearly 25,000 works. As a familiar figure in sketching, which she uses daily to create her sculptures, the artist identifies two types of drawings in her work. The first is precisely that which she composes for preparatory purposes, a construction plan with explanatory value for her workshop.
The second is an aesthetic research, through a medium that she cherished during her studies, and that she always finds with happiness to express what the other materials or techniques cannot tell.
Unlike the volume that generally characterizes her works, the flat drawing allows a view from above, like a cartography that shows symbolized reliefs. Because her meticulously executed lines evoke the idea of a contour line or even a fingerprint, they also refer to the protruding board that leads to the print. In the background, there is a reference to engraving, a technique she has used in the course of her career, through etching, and which she favored in response to a commission from the Louvre Museum. On this occasion, she entered the collection of chalcographies of national museums, with Grotto in 2017.
To put old works in dialogue with those she has created, her preference was to send in the works of the architects resident at the Académie de France in Rome, Hector-Marie-Désiré d'Espouy (1888) and Jean-Jacques Haffner (1921), dedicated to the Basilica of Constantine: each of them, in their own way, gives a spectacular vision of the building. She then favored a drawing by the painter, archaeologist and diplomat, Louis-François-Sébastien Fauvel, which represents an extraordinary section of the famous grotto of St. John on the island of Antiparos (1789) and four drawings by Louis-François Cassas, who spent several years in Rome to survey the ruined ancient monuments there.
With d'Espouy, Haffner and Cassas, Eva Jospin echoes her love for the architecture of Roman antiquity in particular, appreciating these buildings for their monumental character but also their ruined appearance. Left abandoned and overgrown, they are for her an inexhaustible source of contemplation and reverie. Conceived as exercises, these works take on an invaluable archival and learning value for this graduate of the Beaux-Arts de Paris.
With Fauvel, she shares a fascination for caves. The majestic one represented here is theatrical because of the many celebrations held there, and touching for Eva Jospin because she visited it during a stay in the Cyclades.
Beyond the subjects depicted, the common thread is the spirit of the "Grand Tour", the journey of initiation to beauty and the world that artists had to make in the 17th and 18th centuries, wandering from capitals to cultural centres to contemplate and be inspired by ancient masterpieces.
It is from this tradition that the Prix de Rome was born, a grant awarded to young artists to perfect their skills, such as d'Espouy, who was evaluated in his fourth year by the drawings presented here. Abolished in 1968, the competition was transformed into a pension at the Villa Medici, which Eva Jospin was able to benefit from after her studies at the Beaux-Arts de Paris. It was during her stay that she discovered the embroidery room at the Palais Colonna in the company of a fabric restorer. Here begins a project of great magnitude, that of designing embroidered landscapes. The preliminary sketches necessary for the elaboration of the pieces will influence her style of drawing, because the sense of the line presides over the sense of the embroidery.
His hand, now instructed by all these experiences, composed for the cabinet of drawings of the Beaux-Arts works like poetic reveries, grafted on a familiar structure - whether it is an architectural element (church facade, cenotaph, folly) or a natural element (cave, cliff, mound). An optical walk oscillating between a shared conscious language and an underground world, specific to each viewer.
Curator: Emmanuelle Brugerolles
The Drawing Room
With nearly 25,000 works, the Cabinet des Dessins des Beaux-Arts de Paris has, after the Louvre, the largest collection of drawings in France. The collection is made up of exceptional works by masters such as Leonardo da Vinci, Raphael, Rubens, Poussin and Boucher, and covers a period from the Renaissance to the present day. This wealth of works is closely linked to the history of the School, and is part of its teaching and influence.
Today, the collection continues to be enriched by a policy of acquisitions designed for educational purposes, as well as by donations from professors, young artists, and the association "Le Cabinet des amateurs de dessins des Beaux-Arts de Paris".
The ticket office in charge invites each visitor coming to discover an exhibition at the Beaux-Arts de Paris to choose his or her entrance ticket from among 3 proposed rates: 2 €, 5 € or 10 €. Contribute according to your means, your passion and your desire for commitment!
Free of charge (on presentation of a valid receipt):
• under 18 years old
• students and teachers of the National Higher Schools of Art and Architecture of the Ministère de la Culture
• students from member institutions of the University of Paris-Sciences-et- Lettres (PSL)
• students of the École du Louvre
• holders of the Ministère de la Culture card
• Amis des Beaux-Arts de Paris
• card holder : Maison des Artistes, ICOM, ICOMOS, Association française des commissaires d’exposition (CEA)
• journalists
• jobseekers, recipients of minimum social benefits
• civilian disabled and war-disabled (with an attendant)
Sharing a Passion for Drawing unveils an exceptional group of 90 drawings, which entered the School's collections thanks to the generosity of the association "Le Cabinet des amateurs de dessins des Beaux-Arts de Paris". The exhibition is organized on the occasion of the fifteenth anniversary of the association, which has acquired more than 200 masterpieces since 2006 and also on the occasion of the drawing week. The exhibition is organized by school, Italian, Nordic and French, through the centuries. Drawings by Eugène Delacroix, Jean-Honoré Fragonard, Jean-Baptiste Greuze, Gerrit Van Honthorst, Giuseppe Penone and Simone Peterzano will be presented. The exhibition closes with a selection devoted to the winners of the Contemporary Drawing Prize, including Marcella Barceló, Tiziano Foucault-Gini and Manon Gignoux.
The Beaux-Arts de Paris, after the Louvre, has the most beautiful collection of drawings in France. This richness, closely linked to its history, is both a part of its teaching and its influence. Today, the collection continues to be enriched by a policy of acquisitions designed for educational purposes, as well as by donations from professors, young artists, and the association "Le Cabinet des amateurs de dessins des Beaux-Arts de Paris".
The association
Since 2005, when it was founded, the association "Le Cabinet des amateurs de dessins des Beaux-Arts de Paris" has actively participated in enriching the graphic collections of the Beaux-Arts de Paris. In more than fifteen years, it has been able to complete the collection by acquiring major works by artists who were previously absent from the institution. Faced with an existing market and modest means, the association, made up of collectors but also of dealers, has been able to choose drawings of great quality, tinged with a certain originality, encouraging students to come and discover them on the occasion of exhibitions organized in the Cabinet Jean Bonna. She has not hesitated to contribute to an acquisition of the Fonds du Patrimoine du Ministère de la Culture, as in the case of the drawing by Gerrit Van Honthorst presented in this release. Its eclectic tastes touch all schools but also all centuries, without forgetting contemporary drawing. In 2013, the association created a contemporary drawing prize for a young artist from the Beaux-Arts de Paris, whose work is donated to enrich the school's collection. Sensitive to the transmission and knowledge of the plastic arts among young people, it has set up for more than a dozen years a pedagogical project with schoolchildren from the academies of Créteil and Versailles, allowing their pupils to discover the beauties of an Italian, French or Nordic sheet, with its techniques and its particularities. The association le Cabinet des amateurs de dessins, chaired by Daniel Thierry since 2015, wished to unveil this year a part of these acquisitions during an exhibition that will be held from March 22 to April 24 at the Palais des Beaux-arts.
Tiziano Foucault-Gini, Abandon 1, 2018 Graphite Acquis en 2021
Gerrit Van Honthorst (1592-1656), Diane et ses nymphes Pierre noire, plume et encre brune, lavis gris, rehauts de craie blanche sur papier gris-brun Acquis en 2014 avec le soutien du Fonds du Patrimoine
Marcella Barceló, Sans titre, 2015 Technique mixte sur papier Acquis en 2015
Hubert Robert (1733-1808), Vue du Tempietto de San Pietro in Montorio, 1762 Plume, encre brune, lavis brun et aquarelle sur une contre-épreuve à la sanguine Acquis en 2005
Charles-Antoine Coypel (1694-1752) Étude de jeune homme assis Pierre noire, sanguine, lavis d'encre de Chine, aquarelle Acquis en 2017
RESPONSIBLE TICKETING
2, 5 or 10 €, the choice is yours!
The ticket office in charge invites each visitor coming to discover an exhibition at the Beaux-Arts de Paris to choose his or her entrance ticket from among 3 proposed rates: 2 €, 5 € or 10 €. Contribute according to your means, your passion and your desire for commitment!
Free of charge (on presentation of a valid receipt):
• under 18 years old
• students and teachers of the National Higher Schools of Art and Architecture of the Ministère de la Culture
• students from member institutions of the University of Paris-Sciences-et- Lettres (PSL)
• students of the École du Louvre
• holders of the Ministère de la Culture card
• Amis des Beaux-Arts de Paris
• card holder : Maison des Artistes, ICOM, ICOMOS, Association française des commissaires d’exposition (CEA)
• journalists
• jobseekers, recipients of minimum social benefits
• civilian disabled and war-disabled (with an attendant)
Misfire, Le Métier de vivre, Mais pour me parcourir enlève tes souliers and Le Partage d'une passion pour le dessin... The exhibitions of Act 4 summon the physical properties of the works, their capacity for transformation, for displacement, the power of a form to propagate itself in another, its capacity to make deliquescence. Spatial constraint and notion of failure, role of the making and its function, the presented exhibitions imagine the porosity of the spatial and collective norms.
Act 4 of the Theatre of Exhibitions is created by the third class of 2021-22 of the "Artists & Exhibition Professions" program at the Beaux-Arts de Paris. Fifteen student artists from the School work in groups with six curators associated with the program to accompany and develop exhibition projects. But more than exhibitions in the strict sense of the word, it is above all a process, a research and a sharing of ideas.
Act 4 will be punctuated by numerous events: a speed dating for single artists, concerts, performances, readings... A common booklet, bilingual, gathers them to present them.
With the support of the curators of the collections.
The visual identity was designed by Margot Bernard and Caroline Rambaud, students in the program.
Cultural programming in the context of the exhibition :
Wednesday, April 6th 6:30 pm Discussion with Alice Dusapin, researcher, curator and editor about the book Wolfgang Stoerchle: Success in Failure
As part of Misfire
7:45 pm Nefeli Papadimouli performance with 6 performers 30min
As part of Mais pour me parcourir enlever tes souliers
Wednesday April 13th 7:30 pm Performed visit Sharing Partage d'une passion pour le dessin by Emmanuel van der Elst, student at the Beaux-Arts de Paris (approx 15 min)
Wednesday, April 27th
6:30 pm Guided tour of the exhibition Partage d'une passion pour le dessin by Daniel Schlier, artist and teacher at the Beaux-Arts de Paris
6:30 pm Discussion between Matthieu Quinquis, International Observatory of Prisons (OIP); Julie Ramage, artist and Ines Giacometti, lawyer
As part of Mais pour me parcourir enlever tes souliers
7:30 pm Performed visit Sharing Partage d'une passion pour le dessin by Emmanuel van der Elst, student at the Beaux-Arts de Paris (approx 15 min)
MISFIRE
The Misfire exhibition welcomes works that explore the aesthetic, emotional and subversive potential of failure, whether intentional or unintentional, both in their creative process and in their critical reception. Although the experience of failure occupies a central place in the academic and professional careers of artists trained at the Beaux-Arts de Paris, its traces are discrete in the history of a school marked, both in its competition system and in its architectural decor, by the exaltation of the successes of its "great masters.
Oscillating between the negative emotions traditionally associated with it and the political recuperations that can emanate from it, its ambivalent nature nevertheless incites us to reconsider its impact on both the materiality of the works and the psychology of their authors. Deployed within a scenic space thought as unstable and degenerative, the experiments carried out by the artists gathered in this exhibition invest at different scales the "poetics of the failure": technical failures, repeated failures, individual and mutual sabotages, feigned amateurism, act of political idleness, hijacking of unfinished works or abandoned by their authors, parasiting of the devices of evaluation and legitimization of artistic value...
These undisciplined gestures thus draw multiple counter-productive strategies which put in rout the discourses, the norms and the social representations around the virtuosity and the institutional recognition of the artists. Witnesses of failures as much tested and dis-simulated as assumed and sublimated, these works question the injunctions to success, efficiency and constant attractiveness maintained by an ultra-competitive art world in which no creative impasse seems possible.
Based on an idea by Vincent Enjalbert, associate curator of the program, with the help of Glenn Espinoza, Yanma Fofana, Charline Gdalia, Jean-Baptiste Georjon, Clarisse Marguerite and Caroline Rambaud, students in the "Artists & Exhibition Professions" program.
Artists presented: Geneviève-Charlotte d'Andréis, Atelier Populaire, Antony Béraud, Valentin Bonnet, Jean-Louis Brian, Gwendal Coulon, Honoré Daumier, Gabriel Day, Clément Erhardy, Andreas Février, Jef Geys, Lisa Lavigne, Corentin Leber, Adrien van Melle, Pierre Merigot, Juliette Peres, Loïs Szymczak, Sophie Torrell and anonymous.
Scenography imagined with Noémie Benlolo, Sara Negra and Thelma Vedrine, students of ENSA Paris-Malaquais.
LE MÉTIER DE VIVRE
Some of the objects in the Paris Fine Arts collection, almost a thousand years old, take us back to times when a different history of creation presided.
The books of hours, secular works structuring the day of the faithful through prayer, are aggregates of a medieval society governed by the order of religion and daily life. Made by several hands by scribes, copyists and illuminators, these objects tell us about a period when art conformed to the laws of use and the collective, and the artist to the ranks of the artisan and the anonymous. From the collaborative and horizontal character of these monastic books the exhibition draws a model for thinking about the development of the artist's craft and the activity of its forms. Imagining a space that takes the form of a workshop-housing, the exhibition invites several students from the wood base of the Beaux-Arts de Paris to group together in the manner of a corporation, to conceive works where furniture, real estate, sculptures and structures are amalgamated. If the development of art has made the thought and the subject prevail over the hand and the object, these artists are gathered here because, to the detriment of the posture of the designer, they choose to renew with the historical position of the builder, and to play with the more contemporary one of the decorator. Behind this decompartmentalization of functions, they claim their belonging to a large society of producers in which they can merge in order to make new fields of action and expression for their forms. An exhibition of works by students, graduates and professors of the Beaux-Arts de Paris, Le Métier de vivre also presents works by William Morris. A proponent of design, this nineteenth-century artist, also inspired by the medieval production system, worked to bring together the decorative arts and the fine arts, design and production, beauty and utility, in order to imagine a new art of making and living. This dialogue between creations and creators, beyond the times or disciplines, allows to consider the artist's job as the one who can by the use and the work, unite in the workshop of the world ... art and life.
Based on an idea by Raphaël Giannesini, curator associated with the program, with the help of Yanma Fofana, a student in the "Artists & Exhibition Professions" program. With the support of the curators of the collections.
Artists presented: Pascal Aumaitre, Ludovic Beillard, Marion Chaillou, Xolo Cuintle, Ann Daroch, Jonh Henry Dearle, Francisco G Pinzón Samper, Ninon Hivert, Maître de Jacques de Besançon, Maëlle Lucas-Le Garrec, Matteo Magnant, William Morris, Kiek Nieuwint, Eliott Paquet, Charlotte Simonnet, Raphael Sitbon, William Arthur Smith Benson, Luca Resta, Constantin Von Rosenschild, Philip Webb.
Scenography imagined with Roxanne Bernard and Nour El Blidi, students of the ENSA Paris-Malaquais, and the complicity of the wood base of the Beaux-Arts of Paris.
MAIS POUR ME PARCOURIR ENLÈVE TES SOULIERS
Mais pour me parcourir enlève tes souliers1 engages a critical reflection on the spatialist conception that considers architectural forms as determining the organization of social practices. Invested with an operational and normative function capable of ensuring the quasi-natural regulation of human behavior, architectural devices would constitute "forms of organization of space, intrinsically carrying good social practices"².
This spatial conception finds its paroxysmal expression in institutions such as the school, the hospital or the prison, where it is a question of avoiding any movement of crowd or confusion, while "raising" the souls and the spirits. Thus, in the prison universe, a separative and cellular logic is imposed, supposedly invested with qualities of its own, capable of punishing, neutralizing, dissuading, and healing individuals in order to better reintegrate them into society later on. Their punishment is as if spatialized, the architectural devices constantly re-evaluated to constrain their bodies and limit their possible exchanges.
The exhibition brings together works that are like so many detour techniques to get out of these sometimes authoritarian spatial conceptions. Faced with fixed spaces, it is a question of exploring moving, adaptable, or even living spaces. Within this exhibition, the artists conceive the writing of space as a score, constantly to be reinterpreted.
1. Title borrowed from Jean Genet in his poem La Parade, 1948
2 Levy J., Lussault M. (2003), Dictionary of geography and space of societies, Paris
Based on an idea by Violette Morisseau, curator associated with the program, with the help of Zoé Bernardi and Amandine Massé, students in the "Artists & Exhibition Professions" program.
Scenography imagined with Marine Henninot and Mathilde Josse, students of ENSA Paris-Malaquais.
LE PARTAGE D’UNE PASSION POUR LE DESSIN
Le Partage d'une passion pour le dessin unveils an exceptional group of 90 drawings, which entered the School's collections thanks to the generosity of the association "Le Cabinet des amateurs de dessins des Beaux-Arts de Paris". The exhibition is organized on the occasion of the 15th anniversary of the association, which has acquired more than 200 masterpieces since 2006. The exhibition is organized by school, Italian, Nordic and French through the centuries. Drawings by Eugène Delacroix, Jean-Honoré Fragonard, Jean-Baptiste Greuze, Gerrit Van Honthorst, Giuseppe Penone and Simone Peterzano will be presented. The exhibition ends with a selection of the winners of the Contemporary Drawing Prize, including Marcella Barceló, Tiziano Foucault-Gini and Manon Gignoux.
Curated by Emmanuelle Brugerolles and Raphaëlle Reynaud, mediation by Margot Bernard, Caroline Rambaud, Hugo da Silva, Amandine Massé and Clarisse Marguerite, students of the program.
Since 2005, when it was founded, the association "Le Cabinet des amateurs de dessins des Beaux-Arts de Paris" has been actively involved in enriching the graphic collections of the Beaux-Arts de Paris.
In more than fifteen years, it has been able to complete the collection by acquiring major works by artists who were previously absent from the institution.
Faced with an existing market and modest means, the association, made up of collectors but also of dealers, has been able to choose drawings of great quality, tinged with a certain originality, encouraging students to come and discover them on the occasion of exhibitions organized in the Cabinet des Dessins. She has not hesitated to contribute to an acquisition from the Fonds du Patrimoine du Ministère de la Culture, as in the case of the drawing by Gerrit Van Honthorst presented in this release.
Its eclectic tastes touch all schools but also all centuries, without forgetting contemporary drawing. In 2013, the association created a contemporary drawing prize for a young artist from the Beaux-Arts de Paris, whose work is offered to enrich the school's collection.
Sensitive to the transmission and knowledge of the plastic arts among young people, it has set up for more than a dozen years a pedagogical project with schoolchildren from the academies of Créteil and Versailles, allowing their pupils to discover the beauties of an Italian, French or Nordic sheet, with its techniques and its particularities.
The association le Cabinet des amateurs de dessins, chaired by Daniel Thierry since 2015, wished to unveil this year a part of these acquisitions during an exhibition that will be held from March 22 to April 24 at the Palais des Beaux-arts.
Misfire
Le Métier de Vivre
Mais pour me parcourir enlève tes souliers
Le Partage d'une Passion pour le Dessin
RESPONSIBLE TICKETING
2, 5 or 10 €, the choice is yours!
The ticket office in charge invites each visitor coming to discover an exhibition at the Beaux-Arts de Paris to choose his or her entrance ticket from among 3 proposed rates: 2 €, 5 € or 10 €. Contribute according to your means, your passion and your desire for commitment!
Free of charge (on presentation of a valid receipt):
• under 18 years old
• students and teachers of the National Higher Schools of Art and Architecture of the Ministère de la Culture
• students from member institutions of the University of Paris-Sciences-et- Lettres (PSL)
• students of the École du Louvre
• holders of the Ministère de la Culture card
• Amis des Beaux-Arts de Paris
• card holder : Maison des Artistes, ICOM, ICOMOS, Association française des commissaires d’exposition (CEA)
• journalists
• jobseekers, recipients of minimum social benefits
• civilian disabled and war-disabled (with an attendant)
As part of the Exhibition Theater - Season 2, Act 3, come and attend an exceptional evening during your visit to the exhibition.
Come for a real ♥ Speed Dating ♥ meet art, love, and more if you like...
The exhibition Speed Dating is the result of pictorial encounters framed by a protocol imagined between the students of the Nina Childress studio at the Beaux-Arts de Paris and the Beaux-Arts de Dresden.
RESPONSIBLE TICKETING
2, 5 or 10 €, the choice is yours!
The ticket office in charge invites each visitor coming to discover an exhibition at the Beaux-Arts de Paris to choose his or her entrance ticket from among 3 proposed rates: 2 €, 5 € or 10 €. Contribute according to your means, your passion and your desire for commitment!
Free of charge (on presentation of a valid receipt):
• under 18 years old
• students and teachers of the National Higher Schools of Art and Architecture of the Ministère de la Culture
• students from member institutions of the University of Paris-Sciences-et- Lettres (PSL)
• students of the École du Louvre
• holders of the Ministère de la Culture card
• Amis des Beaux-Arts de Paris
• card holder : Maison des Artistes, ICOM, ICOMOS, Association française des commissaires d’exposition (CEA)
• journalists
• jobseekers, recipients of minimum social benefits
• civilian disabled and war-disabled (with an attendant)
The four exhibitions of Act 3 have in common a love of the living. They demonstrate a desire to experiment with other ways of being attentive to the complexity and intensity of life, and to speculate on the future. Each of them proposes to bring the School's collections into dialogue with the outside world in its own way.
Speed Dating proposes a meeting between the painters of the Nina Childress studio at the Beaux-Arts de Paris and those of the Beaux-Arts de Dresden (HfBK). Emblematic works from the collections of the Beaux-Arts de Paris, awarded in the context of the Torso competition created in 1784 and the Jauvin d'Attainville prize founded in 1877, disrupt this meeting. Acqua Alta writes the scenario of a future immersed under water, after the apocalypse. In a contaminated world where the living would have flourished again, A Single violet transplant follows the advice of Silvia Federici, academic, teacher and activist: "The mistake is to give ourselves unattainable goals and always fight 'against' rather than trying to build something". Finally, The Call draws the landscape left by a pack of artists. Between the forest and the hut, these are presences/absences that invite you to wander.
Act 3 of the Theatre of Exhibitions is created by the third class of 2021-22 of the "Artists & Exhibition Professions" course at the Beaux-Arts de Paris. Fifteen student artists from the School are working in groups with six curators associated with the programme to support and develop exhibition projects. But more than exhibitions in the strict sense of the word, it is above all a process, a research and a sharing of ideas.
Act 3 will be punctuated by numerous events: speed dating for single artists, concerts, performances, readings... A common bilingual booklet will bring them together to present them.
The visual identity was designed by Caroline Rambaud, Margot Bernard and Glenn Espinoza, students in the programme.
Practical information :
Opening on Wednesday 2 February 2022 from 6pm to 9pm
A health pass and a mask must be worn.
A Single Violet Transplant
Between you and me, we know very well that it is a much bigger desert crossing than we are led to believe. You planted a large poisonous meadow, surrounded by purple and spit on the ground. You are also the mother of every flower we see in this contaminated field.
When I ask you why you chose this colour, you tell me that it is not even a primary colour and that this colour is therefore not often found in nature. You chose purple because it's a colour on the edge of the rainbow, it makes me think of us. You explain to me that the image is stronger than the language, it is true for you who speak with dragonflies and bees. You can hear the electrical rumours of each insect, the same as those of the welds on metal. The falls and aspirations of ruined architectures, the sound of the rails trying to warn you.
You explain to me that the dream of every artist is to create something that changes the way someone functions, I am deeply convinced of this. You know your works only in your dreams and yet you know that they will see the light of day.
They are your daughters and your white hair, they are the great muffled cries of pain. They are the nettles that grow at the foot of the big wastelands near the social housing.
Your hands are dirty from wax and plaster, and you leave your shoes lying around. But the ghosts of yesterday you replace one by one. You watch the rain wash your hands, you know that thanks to your work everything will be clear, that the steel barriers are already beginning to be eaten away by the soft wax. No miracle, only step after step. The beating of the wings of gynandromorph butterflies washing out the vicious air that men spit out.
I receive a photograph of a heart transplant, a heart that continues to beat in a small plastic box. After this operation, the body continues to function but it functions differently. You kept talking to me about this image of a purple transplant, you didn't even think that it also meant potting violets even though you speak English.
Based on a proposal by Emma Passera, curator associated with the "Artists & Exhibition Professions" programme, with Anousha Mohtachmi and Clara Midon, students in the programme.
Artists presented: Sofia Bonilla, Inès Cherifi, Mimosa Echard, Victor Gogly, Lucas Hadjam, Dylan Maquet, Clara Midon, Anousha Mohtashama, Winnie Mo Rielly, Francisco G. Pinzon Samper, Sequoia Scavullo and an anonymous person.
Acqua Alta
Paris 2019,
The Defence Innovation Agency, the Armed Forces Staff, the Directorate General for Armaments, International Relations and Strategy are all out of ideas. What will the world look like in thirty years? And in sixty years? Where will the threat come from? From the sea?
Yes, probably. The waters have already begun their slow and terrible rise. Who can say what will happen when the face of the continents changes? No one can. Unless a tiny portion of the population can show foresight.
So, answering the call, science fiction authors and artists join the group of scientific and military experts already assembled. The team is complete. The mission's code name: Acqua Alta. Their goal? To write scenarios, produce artefacts and, above all, to undermine the army by predicting the future of war and revolution. Together they are writing the scenario of what will happen when the oceans and seas invade the shores of our continents. The meeting has just ended, everyone is catching their breath by the coffee machine.
The exhibition is inspired by real events.
Based on a proposal by Grégoria Lagourgue, curator associated with the course, accompanied by Jean-Baptiste Georjon, Mara Thevenet, Caroline Rambaud, Clarisse Marguerite, Joséphine Berthou, Amandine Massé and Margot Bernard, students in the "Artists & Exhibition Professions" course.
Set design by Julien Calas, Coralie Coralie Gérardin and Raphael Tétreault-Boyle, students of the École supérieure d'architecture Paris-Malaquais.
Artists presented: Clarisse Aïn, Gilad Ashery, Quentin Chambaz, Armand Corcelles, Frederik Exner Carstens, Anna Massiot, Para Data, Chloé Cordiale, Mathieu Sauvat, Liv Shulman, Radouan Zeghidour and others.
L'Appel
"I cry wolf.
Wolf are you there, can you hear me?
The exhibition The Call takes the title of Jack London's 1903 short story: The Call of the Wild. It is the epic story of a driving dog in the Great Arctic North, during which the crossings of the wild forests awaken in him his wolf instinct.
The call manifests itself in an immaterial and sensitive way. It is the feeling of being traversed by an invisible and indescribable element. In the story, the call is the howling of the wolf. It provokes an unalterable force in the dog, which mobilises him to follow the pack, whose every yap draws him in. It is like the need to return to the primitive.
In the exhibition, the dogs are alone, melancholic, on the prowl or gathered during a hunt in the heart of the woods. The posture of the dog is summoned by a muffled call of the wolf between the photographs, as if it were hiding somewhere. The same is true of the presence of other wild animals: vaporous or hidden.
Finally, the human presence is also real, although at first sight it is not apparent. For behind the dogs, and behind the wolves themselves, there is someone. The forest and all that it envelops beckon us. Its silence is a lure because the call, however mysterious, also comes from simple movements, brushes, glances and shivers. Alone in the woods, all eyes are on us and we are all looking at them too: visibly invisible.
Based on a proposal by Eugénie Touzé, associate curator of the course, assisted by Margot Bernard, Zoé Bernardi, Amandine Massé and Fanny Irina Sinecoin, students in the "Artists & Exhibition Professions" course. With the collaboration of Anne-Marie Garcia, curator of photographs and prints, responsible for the collections at the Beaux-Arts de Paris.
Artists presented: Dorine Bernard, Margot Bernard, Mathilde Cazes, Louise Covillas, Myriame El Khawaga, A. Foncelle, Pauline de Fontgalland, Agnès Geoffray, Victor Giannotta, Arthur Guespin, Hélène Janicot, Henri Langerock, Luc-Andréa Lauras, Vincent Laval, Louise Le Pape, Jules Lobgeois, Tamara Morisset, Céleste Philippot, Alexandre Poisson, Eugénie Touzé, and anonymous artists
Speed Dating
The exhibition Speed Dating is the result of pictorial encounters framed by a protocol imagined between the students of the Nina Childress studio at the Beaux-Arts de Paris and the Beaux-Arts de Dresden (HfBK).
Designed especially for the exhibition, the paintings are associated in diptychs of the same format in order to initiate a fertile dialogue between French and German studios. Although these combinations may seem formal at first glance, they are part of an "aesthetic of the encounter", in which each meeting ends up revealing unsuspected facets of the paired paintings. Their possible complementarity is the result of a collaborative curatorial experiment lasting several days which aims to test the intertwining of their respective references, styles and techniques.
In an exhibition space conceived as a romantic arena that is constantly reconfigured, the spectators become the witnesses - and sole judges - of relationships that can be both promising and doomed to failure.
Works from the collections of the Beaux-Arts de Paris, winners of the Torso competition created in 1784 and of the Jauvin d'Attainville prize founded in 1877, take part in these exchanges and offer a transhistorical vision of the treatment of a motif that is imposed but constantly reinterpreted over the centuries.
Based on a proposal by Vincent Enjalbert and Violette Morisseau, associate curators of the course, accompanied by Charline Gdalia, Clarisse Marguerite and Fanny Sinedin, students in the "Artists & Exhibition Professions" course.
Atelier Nina Childress, Beaux-Arts de Paris: Eilert Asmervik, Juliette Barthe, Adrien Boris, Marius Buet, Louis Clozier, Carolina De La Roche, Anabel Dubois Gance, Blair Ekleberry, Mina Ferrari, Olivier Lepront, Violette Malinvaud, Marie-Cécile Marques, Samya Moineaud, Laure Pinard, Mathilde Puig, Lou Olmos Arsenne, Rose Ras, Angèle Rose, Lea Simhony and Gabrielle Simonpietri.
Hochschule für Bildende Künste, Dresden : Sofia Antoniadou, Anna Ditscherlein, Lena Dobner, Nima Emami, Carolin Israel, Eric Keller, Joo Young Kim, Jana Lütkewitte, Maria del Mar Sánchez Expósito, Lena Melis Koneberg, Annike Nannt, Lucas Oertel, Katrina L. Pennington, Ana Pireva, Aren Shahnazaryan, Sarah Steuer, Lea Tofharn, Quang Tran, Jan Christoph Wagner, Felina Wießmann
With Mohammed Abou-Kalam, Louis Anselme Grosdidier, Suzanne-Emma-Aline Deguy and René-Marie-Joseph Castaing.
A SINGLE VIOLET TRANSPLANT
ACQUA ALTA
L'APPEL
SPEED DATING
RESPONSIBLE TICKETING
2, 5 or 10 €, the choice is yours!
The ticket office in charge invites each visitor coming to discover an exhibition at the Beaux-Arts de Paris to choose his or her entrance ticket from among 3 proposed rates: 2 €, 5 € or 10 €. Contribute according to your means, your passion and your desire for commitment!
Free of charge (on presentation of a valid receipt):
• under 18 years old
• students and teachers of the National Higher Schools of Art and Architecture of the Ministère de la Culture
• students from member institutions of the University of Paris-Sciences-et- Lettres (PSL)
• students of the École du Louvre
• holders of the Ministère de la Culture card
• Amis des Beaux-Arts de Paris
• card holder : Maison des Artistes, ICOM, ICOMOS, Association française des commissaires d’exposition (CEA)
• journalists
• jobseekers, recipients of minimum social benefits
• civilian disabled and war-disabled (with an attendant)
The Rome of the 17th century is presented through thirty-four sheets selected from the masterpieces of the collection of the Beaux-Arts de Paris. These drawings allow us to measure the importance of the Baroque spirit, around the most important personalities of the century: Bernini, Peter of Cortona, Salvator Rosa or Carlo Maratti.
Once settled and protected by illustrious families, the artists sought to impose their style, which spread thanks to the vitality of their workshops. The exhibition also highlights their students and collaborators, who, like Ciro Ferri or Giuseppe Passeri, proved to be talented draftsmen.
Religious or mythological scenes, landscapes, decorative and architectural projects, preparatory sketches for large-scale decorations or easel paintings, and sheets intended for passionate amateurs, all bear witness to the extraordinary activity of these artists in all fields of creation.
Curator: Emmanuelle Brugerolles
Practical information :
The Baroque in Rome
Thursday February 3 - Sunday April 24, 2022
Cabinet des dessins Jean Bonna, 14 rue Bonaparte, Paris 6e
Wednesday to Sunday 1pm - 7pm
2 €, 5 € or 10 € you choose!
The ticket office in charge invites each visitor coming to discover an exhibition at the Beaux-Arts de Paris to choose his or her entrance ticket from among 3 proposed rates: 2 €, 5 € or 10 €. Contribute according to your means, your passion and your desire for commitment!
Free of charge (on presentation of a valid receipt):
• under 18 years old
• students and teachers of the National Higher Schools of Art and Architecture of the Ministère de la Culture
• students from member institutions of the University of Paris-Sciences-et- Lettres (PSL)
• students of the École du Louvre
• holders of the Ministère de la Culture card
• Amis des Beaux-Arts de Paris
• card holder : Maison des Artistes, ICOM, ICOMOS, Association française des commissaires d’exposition (CEA)
• journalists
• jobseekers, recipients of minimum social benefits
• civilian disabled and war-disabled (with an attendant)
The Theatre of Exhibitions is a program at the Palais des Beaux-Arts entirely conceived, developed and implemented by students and curators of the "Artists & Exhibition Professions" program at the Beaux-Arts de Paris.
Ce n’est pas une menace, c’est une promesse, La Pelure du héros moderne, Points. et Répliques Japonisme 2021 are the new projects of Act 2 of the second season of the Exhibition Theater and are presented from December 9, 2021 to January 8, 2022.
A fanzine, clothing in all its states, works hidden behind QR codes, an embroidery workshop, a ping pong game with Japanese prints are some of the proposals that we will find in this new act.
These exhibitions, each in their own way, cross time by confronting heritage works from the collections with contemporary works by professors and students of the Beaux-Arts de Paris, and other invited artists.
This joyful experimental laboratory puts into play the very principle of exhibition with forms still unspecified, sometimes confusing.
The Beaux-Arts de Paris would like to thank its partners for the Exhibition Theater and the "Artists & Exhibition Professions" program: the Bredin Prat Endowment Fund for Contemporary Art, Altarea, Moët Henessy, the Friends of the Beaux-Arts de Paris Association and the Palais de Tokyo.
Practical information :
Opening on Wednesday, December 8, 2021 from 6 to 9 pm
Closing of the exhibition on December 25, 2021 and January 1, 2022 and closing on December 24 and 31 at 5 pm exceptionally.
According to the regulation in force since July 21, you will be asked to show a health pass or a proof of negative RT-PCR or antigenic test less than 72 hours old at the time of the control. Wearing a mask is mandatory.
Ce n'est pas une menace, c'est une promesse
In her work Open the Kimono, Lutz Bacher, an American artist working under a pseudonym, furiously gleans snippets of words from "television, commercials, movies, news, radio, novels, airplanes, subways, sidewalks and elevators. Thus isolated, these clichés sound like sentences or precepts, which haunt and at the same time liberate. It's not a threat, it's a promise; the ambiguity of the formula, of the negation that becomes affirmation and the possible reversibility of the terms contaminate the political speech as much as the speech of love.
A threat, a promise; this is the ambivalence that the proposal explores, wishing to embrace the plasticity of language and its possible twists. The academic and panoptic space of the Palais des Beaux-arts, which has been hosting the Theatre of Exhibitions for the past year, is adorned here with an almost domestic, yet elliptical, decor. Tumultuous voices are scattered and blurred, leaving the stage to close in on an eponymous publication.
Gathered around an affective community of student artists and graduates of the School, and inspirational figures of which Kathy Acker is a part, we also seek, by taking language as our main material, ways of saying and writing the non-precious, the grating, the discordant, the subverted: in her image, she who "loved to play with verbal matter, to build slums and mansions, to demolish banks and half-rotten buildings, and even buildings she herself had built, to turn them into never-seen, even unseen gems."
There are militant commitments which, through their tools, reveal the chilling contempt for the threats and false promises of political speech. Act Up-Paris' commitment is built with textual, discursive and graphic instruments, signs of a relentless struggle against governmental responses to the HIV/AIDS virus. The archives intermingled with the artists' contributions aim to make visible the presence of the association in the School, which remains unknown to students even though it maintains a strong link with the institution, since the latter has hosted its weekly meetings since 1994.
The presence of a collective library in the Palais des Beaux-Arts leads to a paradox - that of accessing intimacies, sometimes deviant, in a constrained institutional space. All the elements of this scene, from the contents of the edition to the furniture in presence, have value of clues. They tell, one by one, an alternative story, which holds less the latency of a threat than the announcements of a promise.
Based on a proposal by Lou Ferrand and Lila Torquéo, curators of the "Artists & Exhibition Professions" program.
With contributions from Kathy Acker, Act Up-Paris, John D. Alamer, Carmen Alves, Arthur Dokhan, Gabriel Gauthier, Nastassia Kotava, Ultra F. Le Meme, Rafael Moreno and Emma Vallejo.
La pelure du héros moderne
Since the beginning of time, man has been confronted with the need to cover himself and to make objects, from the house to the clothes, intended to protect him, materially or symbolically.
In the XIXth century, with the effects of the Industrial Revolution, the bases and the modalities of this practice knew an important evolution. The industrialization upset the methods of production of these objects, whereas the emergence of the individuality with Romanticism, then the discovery of its complexity with the psychoanalysis, renewed their symbolic dimension. One also discovered, thanks to the development of the historical and archaeological sciences, their founding cultural character.
When Baudelaire sought in his famous account of the Salon of 1846 to seize what characterized the modernity, he conferred on the dress the determining role of "skin of the modern hero". This powerful formula, which gave its title to this exhibition, announces the importance that (re)clothing will acquire in the twentieth century in the renewal of artistic practices based on the exploration of the boundaries between the visual and living arts.
The exhibition brings together nearly a hundred works (drawings, prints, works, paintings, photographs) from the collection of the Beaux-Arts de Paris, where these issues became central with the establishment of a teaching of draping on the live model from 1864.
It also benefited from generous loans from Nadine Morlier (Galerie Le Cygne Rose, Paris) and works by Solène Rigou, Wan Lin Qin, Daniel Galicia, Sarah Abécassis, Marius Astruc, Léa Scheldeman, Manon Jacob and Victoire Marion-Monéger, graduates of the Beaux-Arts de Paris.
Exhibition by Alice Thomine-Berrada, curator of paintings, sculptures and objects at the Beaux-Arts de Paris, Anna Oarda and Daniel Galicia, students in the "Artists & Exhibition Professions" program and Nadine Murgida.
"." (Points)
"." is a bi-event exhibition deployed on December 8, 2021 and January 6, 2022 from the embroidery manuals held in the collections of the Beaux-Arts de Paris.
Already in the pages, perforated in order to transfer the patterns and motifs, embroidery is manifested as a gesture. It is thus a question of representing it in choreographic terms. Thus we can broaden our apprehension of embroidery, and finally grasp the "." as a rhythm.
The "." is a time marker, it closes and restarts a sentence, it suspends when it is an organ. It presides phonetically over the "point" and the "fist".
The proposal is to concentrate the exhibition in two events, its opening and its closing. It will be closed in the meantime, so as to integrate into the very structure of the exhibition, the double temporal relationship of the gesture "embroidery", and thus to question the value of the event as discontinuity in continuity, point in the line or the drawing.
It is also necessary to consider the social and cultural history of this practice - the embroidery patterns were often preceded by instructions for young girls, so many patriarchal injunctions to the "female destiny".
The embroideries are celebrated here, by the presence and the habitus, in what they were able to generate thereafter of affirmation, relational and resistance. A device is articulated in the center of the pieces presented, a participative work around which the public is invited to mobilize and converse.
The exhibition shows the resurgence of these ancient gestures, with all their individual and collective memories, in the works of contemporary artists - the framework and starting point of a collective history - each piece posing as the outline of a direction, a note in the rhythm.
Exhibition developed and produced by Paul-Émile Bertonèche and Andreas Février with Daniel Galicia, students of the "Artists & Exhibition Professions" course, based on an idea by Alexandre Leducq, curator of manuscripts.
With the artists : Myriame El-Khawaga, Juliette Peres, Caroline Rambaud, Pierre-Alexandre Savriacouty, Blancard Superstar & Loïs Szymczak.
With the scenographers and architects Romane Madede and Luna Villanueva.
Répliques japonisme 2021
In the theatrical sense, a replica is at once an appropriation, an actualization and a riposte. Seven invited artists will play the game of replication and bring their contemporary response to the masterpieces of the Japanese collections of the Beaux-Arts de Paris, adding a few tirades to the History of Japonism of which the School has been the theater.
Echoing a selection of 24 Japanese prints or accordion books chosen from the Tronquois collection of the Beaux-Arts de Paris, Laury Denoyes, Morgane Ely, Alice Narcy, Adoka Niitsu, Mariia Silchenko, Lucile Soussan and Alžbětka Wolfová respond with a contemporary work.
Based on an idea by Clélia Zernik, professor at the Beaux-Arts de Paris, with Anne-Marie Garcia, curator, responsible for the collections of the Beaux-Arts de Paris, Rym Ferroukhi, Pétronille Mallié and Soukaïna Jamai, scenographers, and Alice Narcy, curator of the "Artists & Exhibition Trades" program.
Ce n'est pas une menace, c'est une promesse
La pelure du héros moderne
"." (points)
Répliques japonisme 2021
RESPONSIBLE TICKETING
2, 5 or 10 €, the choice is yours!
The ticket office in charge invites each visitor coming to discover an exhibition at the Beaux-Arts de Paris to choose his or her entrance ticket from among 3 proposed rates: 2 €, 5 € or 10 €. Contribute according to your means, your passion and your desire for commitment!
Free of charge (on presentation of a valid receipt):
• under 18 years old
• students and teachers of the National Higher Schools of Art and Architecture of the Ministère de la Culture
• students from member institutions of the University of Paris-Sciences-et- Lettres (PSL)
• students of the École du Louvre
• holders of the Ministère de la Culture card
• Amis des Beaux-Arts de Paris
• card holder : Maison des Artistes, ICOM, ICOMOS, Association française des commissaires d’exposition (CEA)
• journalists
• jobseekers, recipients of minimum social benefits
• civilian disabled and war-disabled (with an attendant)
For the first time, until 2022, the program of the Palais des Beaux-Arts is entirely conceived, developed and implemented by the students of the "Artists & Exhibition Professions" program and the young curators in residence at the Beaux-Arts de Paris.
Teen Spirit, Fait divers, Écoute voir, Aura par procuration and pendant que d'autres écrasent des nuits encore moites, the original projects of the Théâtre des expositions are presented from October 15 to November 21, 2021.
Each in its own way, these exhibitions traverse time by confronting heritage works from the School's collections with contemporary works by faculty and students.
This joyful experimental laboratory brings into play the very principle of exhibition with forms that are still unspecified, sometimes confusing.
Le Théâtre des Expositions is developed and produced by the first two classes of the "Artists & Exhibition Professions" program:
Class of 2019/2020: Lina Benzerti, Brune Doummar, Milana Dzhabrailova, Sarah Konté, Corentin Leber, Chongyan Liu, Victoire Mangez, Bram Niesz, Yannis Ouaked, Violette Wood, Kenza Zizi.
2019/2020 Curators in Residence: Simona Dvořáková, Marie Grihon, César Kaci, Alice Narcy, Esteban Neveu Ponce.
Class of 2020/2021: Soraya Abdelhouaret, Paul-Emile Bertonèche, Yucegul Cirak, Andreas Fevrier, Daniel Galicia, Alexandre Gras, Raphael Guillet, Thibault Hiss, Hélène Janicot, Elladj Lincy, Anna Oarda, Céleste Philippot, Océane Pilastre, Libo Wei.
Curators in residence 2020/2021: Noam Alon, Antoine Duchenet, Lou Ferrand, Céline Furet, Juliette Hage, Lila Torqueo.
Le Théâtre des Expositionsis activated by a live program: performances, concerts, readings, screenings, two-voice visits, sound interventions or radio transmissions.
Radio Bal, the web radio of the students of the Beaux-Arts de Paris, carried by Lou Olmos Arsenne and Pierlouis Clavel will broadcast regularly in podcast in connection with the Theater of the exhibitions. Among the programs offered will be the quasi-interviews of arthur dokhan, a 5th year student, according to the principle: "everyone knows the answers to my questions. start nowhere, talk about everything, and end there".
Le Théâtre des Expositions is sponsored by Altarea, Moët Henessy and the Association des Amis des Beaux-Arts de Paris.
* Created in 2019, the "Artists & Exhibition Professions" program is directed and coordinated by the exhibitions and public services departments. It allows 3rd and 4th year students to train in production, management, scenography, mediation and all professions related to the presentation and dissemination of art. As part of this training, a residency is offered to young curators who can work for a year at the Beaux-Arts de Paris. The "Artists & Exhibition Professions" program at the Beaux-Arts de Paris is designed in partnership with the Palais de Tokyo.
Acte 1
Teen Spirit
Adolescence begins, but it is not easy to formulate its end. Does it even have an end?
It is a period during which a need to claim our identity takes hold of us in a very intense way. It is a time of life filled with passions, and not only with love. A lot of things are intertwined and we feel the need to assert ourselves, both in our thoughts and in our appearance. It is as much a need to identify with certain things, as a need to distinguish oneself from others. This often translates into a desire to show who we are - who we want to be, but also what we feel, by staging.
Through social networks, in one's own room which then becomes an intimate sanctuary where many things happen. Some details of adolescence haunt us and are actualized through our current self. Memories and artifacts are superimposed on the fictional or real stories conveyed by the works presented.
Evocations of an adolescence whose emotions have permeated the practices of the invited artists.
Based on a proposal by Céline Furet, resident curator at the Beaux-Arts de Paris, in collaboration with Arthur Dokhan, Morgane Ely, Nicole Mera, Molten_c0re (Lucas Hadjam and Baptiste Pérotin), Chalisée Naamani, Maëlle Poirier, Léa Scheldeman, Hélène Tchen & Laure-Anne Tchen, invited artists.
Fait divers
This exhibition borrows its form from that of a news item. A closed structure which, according to Barthes, refers formally to nothing but itself. It dares to thwart this thematic framework that usually begins and crosses the construction of an exhibition to guide it and signal, distinctly enough, that it opens (like a breach) on a speculative reverse. When it overflows a little too much on the essential of what constitutes an exhibition, it supplants the works, and by extension, the artists.
Here, the curator wants the public to take the risk of deliberately losing this red thread, this Ariadne's thread, in order to consider only the "closed circuit of the exhibition" (the exhibition enclosed in its own terms) by working on the types of relationships that, between the works and their organization in the space of the room, allow it to take shape, to become a body and to stand up. It is a way of putting the work of the artists and his own to the test, in an exhibition that applies itself to inventing and then revealing by clues its own logic. This exhibition becomes a knot or, failing that, a bag of knots, a kind of situation that holds on itself, that contains itself.
Based on an idea by Antoine Duchenet, resident curator of the "Artists & Exhibition Professions" program, with the collaboration of Helin Kahraman and Vilhelm Carlström (students at the École nationale supérieure d'architecture Paris-Malaquais).
Artists presented: Pierre Alferi, Marika Belle, Jérôme Boutterin, Gabriele Chiari, Camille Corréas, Marie de Brugerolle, Jordan Derrien, Juliette Green, Airwan Groove, Ann Veronica Janssens, Romain Moncet, Romain Quattrina, Nicolas Quiriconi, Pauline Rima, Sophie Rogg, Alejandro Villabona
Écoute voir
"It may not be the first time, but it is always surprising to be challenged by a painting, where the author has chosen to include a statement, whatever it may be. Whether the painting tells itself or echoes the prose of the world, whether it questions the act of seeing and representation, whether it questions the existence of the viewer or takes the viewer as a witness to his own, whether it projects the viewer (his opposite number) into the imaginary without resorting to the image, it is always to him, to us, that it addresses itself. Whatever the adopted register - serious or funny, poetic or trivial, charming or provocative -, such a painting arouses a situation of reflexivity and without playing the mirror, it looks at me, that is to say that it returns my glance as much as it concerns me. Even more than another, a painting which speaks waits for an answer; refusing the detour, it does not allow the dodge. Guitemie Maldonado.
Based on an original idea by Sylvie Fanchon and Camila Oliveira Fairclough, adapted for Le Théâtre des expositions by Guitemie Maldonado, professor at Beaux-Arts de Paris and Céline Furet, resident curator at Beaux-Arts de Paris, accompanied by Yucegul Cirak, Andréas Fevrier and Océane Pilastre, students of the "Artists and exhibition professions" program, Emmanuelle Brugerolles, general curator of heritage in charge of the drawings collection at the Beaux-Arts de Paris, as well as Emilien Dreno and Eliott Petit, students at the École nationale supérieure d'architecture Paris-Malaquais, in charge of the exhibition scenography.
Aura par procuration
In Art and Agency, the anthropologist Alfred Gell develops a principle of qualification of the objects of art based on the concept of agentivity, that is to say the power of supposed action of an object, consequence of all the intentions deposited in him: that of the artist, the curator, the spectator, the institution, the collector... A way of examining the power of fascination of the work, henceforth related to the whole of the interactions which preside over its appearance.
But this magnetic or auratic power of the art object can be increased by a certain number of devices and apparatuses. They can be material: architectures, pedestals, showcases, exergues, protections... or immaterial: rumors, criticisms, prohibitions, warnings, ceremonies, pedigrees...
Aura par Procuration, which wants to be an exhibition of these devices and apparatuses, highlights the role of the exhibition and more generally of all that surrounds the work, sublimates it and qualifies it.
Based on an idea by Thierry Leviez, head of exhibitions, developed and realized by Antoine Duchenet, curator in residence, Soraya Abdelhouaret, Paul-Emile Bertoneche, Alexandre Gras, Elladj Lincy, Anna Oarda, Océane Pilastre and Céleste Philppot, students in the "Artists & exhibition professions" program. With the advice of Alice Thomine Berrada, curator of sculptures and paintings, and Emmanuelle Brugerolles, curator of drawings at the Beaux-Arts de Paris
pendant que d'autres écrasent des nuits encore moites
Everything is possible once night falls. Darkness offers the moment when man merges with animal. The shadows mingle in a humidity so heated that it becomes steam. The rules cancel each other out. The laws are swept away with a wave of the hand. The night becomes at the same time a moment and a place: a precise time which exists only in reverse of the day, but also a place, that of a heterotopic elsewhere where clandestinity, underground alliances and outlaws reign. Because of the darkness, it defies order and surveillance.
Outside, there are perhaps nights that take place elsewhere.
It is this second zone that the exhibition is about, while others crush nights that are still moist, that of illicit meetings, networks and forbidden businesses. Each one is suspicious as soon as it seems to thwart something by wandering in the night. What are we looking for if not mistrust? The nocturnal encounter can inevitably become a brutal meeting.
Because of the lack of light, the night closes the eyes: the law is no longer an authority and order has deserted the public space. It thus allows a reversal of the traditionally established power relationships and the constitution of a space of freedom and cunning. Those who flee, those who burn, those who sell, those who should not be there but who are there because they are not elsewhere, these illegal immigrants, these deserters, these stateless people, those who resist and oppose control, the norm, and domestication, this night is for them.
Then things can begin.
Each of the artists' works in the exhibition explores this imaginary fantasy linked to the night and the figure of the outlaw. They all contain a certain form of violence, contained or excessive, which manifests itself here with the help of weapons or the desire to burn. Thus, they evoke in their own way the question of the underground, the wandering, the strategies of escape and the reversal of usually integrated relations of force.
Artists presented: Jade Boudet, Tristan Chevillard, Clédia Fourniau, Jean-Charles Hue, Victoire Inchauspé and Emma Passera.
Curator: Juliette Hage, curator in residence at the Beaux-Arts de Paris.
A fanzine, created from the artists' work, completes the exhibition. It was produced by the duo stein.zine (Delphine Bachelard & Elie Olivennes) at the invitation of the curator.
According to the regulations in force since July 21, you will be asked to show a health pass or proof of a negative RT-PCR or antigen test less than 72 hours old at the time of the inspection. Wearing a mask is mandatory.
Teen Spirit
Faits divers
Écoute voir
Aura par procuration
Pendant que d’autres écrasent des nuits encore moites
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