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19.10.16 > 27.03.17centrepompidou-metz.fr
#Unmuséeimaginé
WHAT IF ART WERE TO DISAPPEAR?
Three European collections: Centre Pompidou, Tate, MMK
AN IMAGINEDMUSEUM
AN IMAGINED MUSEUMWHAT IF ART WERE TO DISAPPEAR?
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1. EXHIBITION OVERVIEW . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 03
2. EXHIBITION LAYOUT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 05
3. ARTISTS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
4. EXHIBITION JOURNAL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
5. THE EXHIBITION WILL INCLUDE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
6. PARTNERS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
7. PRESS VISUALS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
SOMMAIRE
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AN IMAGINED MUSEUMWHAT IF ART WERE TO DISAPPEAR?
AN IMAGINED MUSEUM WHAT IF ART WERE TO DISAPPEAR?
THREE EUROPEAN COLLECTIONS: CENTRE POMPIDOU, TATE, MMK
From 20th November 2015 to 14th February 2016 at Tate Liverpool From 26th March to 11th September 2016 at MMK Frankfurt
From 19th October 2016 to 27th March 2017 at Centre Pompidou-Metz GALERIE 1 OF CENTRE POMPIDOU-METZ
1.EXHIBITION OVERVIEW
Drawing on the genre of dystopian science fiction, An imagined museum more specifically refers to the short story by Ray Bradbury Fahrenheit 451 (1953), a story of a community of “book-men” fighting reading censorship and thwarting book burning by learning masterpieces of the world literature by heart, hence becoming living libraries. The exhibition projects visitors in the middle of a fictitious disaster scenario where this time, it is art that seems doomed to disappear.
2052. Art is in danger of being banned; its total disappearance, even, looms ahead… Over eighty key works have been safeguarded within this endangered transnational museum: confronted with the possibility of an impending disaster, one must find the means to preserve these oeuvres for future generations by experiencing and memorizing them. This fictional scenario is the starting point of this unprecedented “science-fiction exhibition”.
Paul Almásy, Le Louvre, 1942
AN IMAGINED MUSEUMWHAT IF ART WERE TO DISAPPEAR?
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An imagined museum gathers pieces from the collections of three major institutions: the Tate, the MMK Frankfurt and the Centre Pompidou – Musée national d'art moderne. For one exhibition, they create together an impressive “imagined museum” travelling in all three museums: the Tate Liverpool, the MMK Frankfurt am Main, and the Centre Pompidou-Metz. Within this “time capsule”, visitors are invited to experience the artworks to the point of being able to reproduce them in case they were to disappear. This scenario raises fundamental issues: why should we preserve the memory of art? What makes art essential in our life and society? These issues seem all the more significant and relevant that they resonate with recent acts of censorship and destruction of cultural heritage.
All throughout the exhibition, sound recordings, photographs, pictograms, and performances imagined by artists enable visitors to memorize the work and become like Ray Bradbury’s “book men”, living museums storing up the works of Marcel Duchamp, Andy Warhol, Lucio Fontana, Bridget Riley, Louise Bourgeois, Sigmar Polke, On Kawara or Isa Genzken.
The exhibition invites visitors to question what is at stake in art: the transfiguration of daily life, the capacity of an artwork to transcend and reinvent the notions of space and time, to alter and open our perception of reality, to express essential and sometime contradictory ideas, to capture the unfathomable and celebrate the mystery of the world. The present exhibition confirms museums in their ability to instruct while being a space of intellectual freedom, contemplation and pleasure. The exhibition opens up to a space of experimentation and exchange, the “memorization studio”. Visitors are invited to build their own imagined museum through cards on which they can write their memories or personal interpretations. These stories, anecdotes, schemes, drawings and images create a temple of memory.
The project reaches its climax in the last days of the exhibition, with the pure and simple disappearance of the artworks: for one day, they are replaced by “artwork-men” who try to revive the disappeared works through the power of memory in the empty rooms of the museum.
Curators:Hélène Guenin, MAMAC, Nice and Alexandra Müller, Centre Pompidou-MetzPeter Gorschlüter, MMK Museum für Moderne Kunst Frankfurt am MainFrancesco Manacorda and Darren Pih, Tate Liverpool
Joseph Cornell, Museum, 1942
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AN IMAGINED MUSEUMWHAT IF ART WERE TO DISAPPEAR?
PREAMBLEDestruction advances undercover, insidiously infiltrating our daily lives. In fact it is no longer even necessary to destroy works of art to alter our culture. Suffice to simply keep people from looking at them and they will slip into oblivion. Terror can cause amnesia. And art will gradually succumb in silence, unnoticed.
2.EXHIBITION LAYOUT
AN IMAGINED MUSEUMWHAT IF ART WERE TO DISAPPEAR?
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I. TIME CAPSULE
Certain artists, as original creators, delve into chaos in order to comprehend and structure the world. They select, inventory, record and document materials, phenomenon and ideas. The temporal capsules and artists’ museums thus produced testify to their personal perceptions and distillations of the world, be they imagined or true. They question the so-called objectivity of scientific classifications and rankings. Furthermore, they contribute to establishing particular forms of appropriation, conservation and transmission of knowledge which can serve as models crucial to each and everyone’s comprehension of culture. In addition, their artworks are as many reflections of our civilisation offering a precipitate of our culture, the archaeology of our future.
De haut en bas :Reg (Reginald Cotterell) Butler, Musée imaginaire, 1961-63, Tate
Mark Brusse, Double relief in 18 colors, New York, 1966-67, Mnam
I want to see everything now. And while none of it will be me when it goes in, after a while it'll all gather together inside and it'll be me.
Ray Bradbury, Fahrenheit 451
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AN IMAGINED MUSEUMWHAT IF ART WERE TO DISAPPEAR?
II. TRANSFIGURATION: SUBLIMATED BANALITY
Art can be the screen on which we may visualize the poetic stuff of everyday life or that enables our psyche to fathom the hidden figures that sleep within all things. Questioning the functions usually attributed to objects lays bare the possible coexistence of many different interpretations of the physical world, along with their related concepts. It paves the way for oneirism, the bizarre, and a parallel history of the banal. The artist amplifies the power of suggestion of an object, thus giving flesh to the desires as well as the torments of our imaginations.
De haut en bas :Robert Malaval, Grand Aliment blanc, 1962, Mnam
Daniel Spoerri, La douche (Détrompe-l’œil), 1961, Mnam
Stuff your eyes with wonder, live as if you'd drop dead in ten seconds. See the world. It's more fantastic than any dream made or paid for in factories.
Ray Bradbury, Fahrenheit 451
AN IMAGINED MUSEUMWHAT IF ART WERE TO DISAPPEAR?
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III. PERSISTENCE OF IMAGE
Once accustomed to a constant influx of images there is a dulling of the senses, and the images gradually become interchangeable: meanwhile the past fades out of view. Even abomination loses its poignancy to become banal. Indeed, disaffection impedes any true aesthetic experience, such an adventure requires absolute commitment for it involves a cognitive and sensitive interaction with the world. Let’s allow art the time to filter the whirlwind of images thrown at us since it introduces a critical perspective. It enables us to find connections amongst all this data, to establish priorities and sharpen our perception of things.
Thomas Bayrle, Ajax, 1966, MMK
Cram them full of non-combustible data, chock them so damned full of 'facts' they feel stuffed, but absolutely `brilliant' with information. Then they'll feel they're thinking, they'll get a sense of motion without moving.
Ray Bradbury, Fahrenheit 451
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AN IMAGINED MUSEUMWHAT IF ART WERE TO DISAPPEAR?
IV. SENSE AND SENSUALITY
Rather than a critical dissection of reality, some artists prefer intimate sensorial intercourse to embrace its matter. At their hands, that matter gains strength and is elevated to the rank of teacher for the soul filling one’s personal mythology with substance. Reality becomes an object of affection and interacts with our emotional and spiritual states. The activity of our minds and imaginations breathes life and energy into the oeuvre: now a body of resonance that can either speak of exaltation, of lack or fears as well as express a societal point of view.
Louise Bourgeois, Avenza, 1978, Tate
It doesn't matter what you do, he said, so long as you change something from the way it was before you touched it into something that's like you after you take your hands away.
Ray Bradbury, Fahrenheit 451
AN IMAGINED MUSEUMWHAT IF ART WERE TO DISAPPEAR?
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V. ALTERED PERCEPTIONS
Visual perception of the world is a tricky business. We are only able to discern what we already know of what we can easily relate to past experiences. Some artworks give us pause upsetting our certainties, suddenly clouding our memory, our feelings and our judgment. Art challenges the reliability of our perception demonstrating its limits, confronting it with its own flawed findings. There is no such thing as an ‘innocent’ eye: indeed perception is always a hypothesis, a subjective act of interpretation.
Carlos Cruz-Diez, Physichromie n° 506,1970, Mnam
He was moving from an unreality that was frightening into a reality that was unreal because it was new.Ray Bradbury, Fahrenheit 451
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AN IMAGINED MUSEUMWHAT IF ART WERE TO DISAPPEAR?
VI. SPACE – TIME
Giving oneself over to a work of art can modify one’s perception of time and space. Art allows us to experience another form of temporality the value of which is subject to how each one of us experiences the present. To the flow of instants art adds another dimension: remembrance, the intimate conviction of having experienced. Works of art have the amazing capacity of taking us on a journey into the consciousness of another and leading us into the unknown. Doing away with traditions and conventions, artists crack time and space open allowing us to truly experience simultaneity and the materiality of time… or they might have us step into fiction.
Chris Marker, La Jetée, 1962, Mnam
In all the rush and fervor, Montag had only an instant to read a line, but it blazed in his mind for the next minute as if stamped there with fiery steel. "Time has fallen asleep in the afternoon sunshine."
Ray Bradbury, Fahrenheit 451
AN IMAGINED MUSEUMWHAT IF ART WERE TO DISAPPEAR?
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Walter De Maria, High Energy Bar, 1966, MMK
VII. ENIGMA
Difficult to define in words alone, a work of art is an unlimited surface upon which to project, it draws its strength from the inexpressible, from silence and surrendering to imagination. Art can be discussed; indeed one can describe a work yet fail to grasp its secret. Is it its novelty, the shock of surprise that moves us, the perfect expression of a state of mind, of an overwhelming truth that until then had eluded us? An oeuvre has as many interpretations as it has viewers. Already for Leonardo da Vinci art was a “mental thing”. It is a gateway to endless dreams and thoughts. The work of art remains an enigma.
The emergence of art is both timely and of its time, but it becomes an oeuvre insofar as it is timeless.André Malraux, The Metamorphosis of the Gods
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AN IMAGINED MUSEUMWHAT IF ART WERE TO DISAPPEAR?
VIII. MEMORIZATION STUDIO
The Imaginary Museum, as described by André Malraux in a famous 1947 essay, is not simply “a collection of each person’s preferences but a museum the works of which seem to have chosen us”. They live and cohabitate in our memories. They each speak to us of their theoretical and historical roots creating novel connections and meanings for every one of us.
Which artworks –from this exhibition or another- remained engraved in the visitors’ memory? Which form do they take and how do we recall them to perpetuate their existence? Like the “book-men” of Ray Bradbury, at the end of the exhibition, visitors are invited to use the power of their memory and write their memories and interpretations of one or several artworks on cards the museum makes available to them. Drawings, stories, emotions, sensations or poems: everything is possible.
The Greeks, for whom the goddess of memory, Mnemosyne was the mother of the nine muses, invented a memorization technique around 500 before J.C, which consisted in associating each idea one wanted to remember with a mental image located in an architectural space. Memory would then become a building that one could mentally visit. The cards on which visitors write their memories can be used afterwards to build architectural shapes like temples of memory.
And when they ask us what we're doing, you can say: We're remembering.That's where we'll win out in the long run.
Ray Bradbury, Fahrenheit 451
CLOSING EVENT A LIVING MUSEUM
After the end of the exhibition when the works have been removed, the gallery will reopen its doors for a special event on Saturday 8th April 2017.During that day, the missing artworks will be conjured up and embodied by visitors’ memories of them and performances; thus transforming the empty gallery into a vast living-museum.Return to see an exhibition metamorphosed and put your memories to work, or take part in this final day by choosing one or several artworks from the exhibition that affected you particularly and that you wish to pass on to visitors in your own manner.
AN IMAGINED MUSEUMWHAT IF ART WERE TO DISAPPEAR?
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3.ARTISTS..
Magdalena ABAKANOWICZ
ABSALON
Josef ALBERS
Paul ALMÁSY
Pawel ALTHAMER
Thomas BAYRLE
Louise BOURGEOIS
Marcel BROODTHAERS
Mark BRUSSE
Reg (Reginald Cotterell) BUTLER
Patrick CORILLON
Joseph CORNELL
Marc COUTURIER
Carlos CRUZ-DIEZ
Walter DE MARIA
Marcelline DELBECQ
Erik DIETMAN
Julien DISCRIT
Marcel DUCHAMP
Jimmie DURHAM
Peter FISCHLI et David WEISS
Dan FLAVIN
Lucio FONTANA
Dora GARCÍA
Isa GENZKEN
Jochen GERNER
Agnès GEOFFRAY
Felix GONZALEZ-TORRES
Daniel « Dan » GRAHAM
Victor GRIPPO
Hans HAACKE
Thierry HESSE
Hélène HUMBERT
Birgit JÜRGENSSEN
On KAWARA
Martin KIPPENBERGER
Joseph KOSUTH
Barbara KRUGER
LUNDAHL & SEITL
Lee LOZANO
Robert MALAVAL
Piero MANZONI
Chris MARKER
Allan MCCOLLUM
Mathieu MERCIER
Mario MERZ
Giorgio MORANDI
François MORELLET
Claes OLDENBURG
Roman OPALKA
Martin PARR
Philippe PARRENO
Michelangelo PISTOLETTO
Sigmar POLKE
Walid RAAD
Albert Georg RIETHAUSEN
Bridget RILEY
Dieter ROTH
Emilie ROUSSET
Claude RUTAULT
Paul Jeffrey SHARITS
Cindy SHERMAN
Andreas SLOMINSKI
Ettore SPALLETTI
SPOERRI
Frank STELLA
Elaine STURTEVANT
Hiroshi SUGIMOTO
Alina SZAPOCZNIKOW
Tatiana TROUVÉ
Jeffrey « Jeff » WALL
Andy WARHOL
Lawrence WEINER
Rachel WHITERED
Hannah WILKE
Akram ZAATARI
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AN IMAGINED MUSEUMWHAT IF ART WERE TO DISAPPEAR?
4.EXHIBITION JOURNAL
THE MNEMOSYNE REVOLUTION BY DORA GARCÍA
The Mnemosyne Revolution is a work created by artist Dora Garcia to dialogue with the exhibition An imagined museum. Presented like a futuristic journal, it responds to the fictional disaster scenario of the exhibition: what would society look like without artistic expression? What would we lose if art were to disappear?
The story the artist imagined in this futuristic and provoking journal is a call to action. It follows the path of the exhibition to explore the reasons why we should become aware of the vital nature of art and the absolute necessity to keep its memory alive.
Freely handed over to visitors, The Mnemosyne Revolution journal is like a guide of the exhibition.
AN IMAGINED MUSEUMWHAT IF ART WERE TO DISAPPEAR?
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5.THE EXHIBITIONWILL INCLUDE
INSTALLATION
SYMPHONY - THE MNEMOSYNE REVOLUTIONLUNDAHL & SEITLWhat happens when historical events float free of their bibliographic and museum anchorings? Symphony - The Mnemosyne Revolution reflects on the museum as phenomenon, its tradition and its potential futures. In the micro-universe of this work, individual past experiences persist over time akin to stars that, altough dead lightyears ago, keeps shining. "Symphony" investigates the phenomenology of memory, activating the most diverse layers of meaning and forms of seeing - all simultaneously. Visitors are guided by a disembodied voice. Each of us creates our awn archive of experiences within the layers of real and imaginary architecture of the exhibition An Imagined Museum. During the experience, we find ourselves freed from the physical limitations of time and space. Doing the unimaginable, you pass through walls, and down tunnels, traveling through a network of past exhibitions and museums.
Lundahl & Seitl, 2016
GALERIE 140' / Free admission with ticket to the exhibitions
Symphony - The Mnemosyne Revolution is an adapatation from work created in 2009 in National Museum of Stockholm. The installation was shown in over 10 major European museums since and recreated each time. For An Imagined Museum, a new version has been made by the artists for Centre Pompidou-Metz.
Photo : Courtesy Christer Lundahl
LES SPÉCIALISTESÉMILIE ROUSSET
Les Spécialistes (The Specialists) is an interactive sound installation containing a corpus of interviews in which four actors deliver the speeches left by “specialists”; spectators can listen to them using headphones.Echoing the exhibition, the four “specialists” — a painting restorer, a forger, a fan of ars memoriae, a Syrian archaeologist listing the destruction of works of art — were interviewed on the subjects of disappearance and memory.How are such notions metamorphosed through narration? How are thoughts constructed and transmitted? How can several forms of knowledge, brought together, inform a topic?The live performance endures through the actors’ voices in the recorded audio documents.
GALERIE 160' / Free admission with ticket to the exhibitions
Order from Centre Pompidou-Metz (recreation of the work Les Spécialistes, created in 2014 for « Monumenta », Paris) Dramaturgy and interviews : Maya Boquet / Sound designer : Romain Vuillet / Interpretation : Duncan Evennou, Emmanuelle Lafon, Olivier Normand, Anne Steffens
Photo : Émilie Rousset, Performances John Corporation, Les Spécialistes, Monumenta Kabakov © Lebruman 2014
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AN IMAGINED MUSEUMWHAT IF ART WERE TO DISAPPEAR?
Centre Pompidou-Metz is the first offshoot of a major French cultural institution, Centre Pompidou, in partnership with regional authorities. An independent body, Centre Pompidou-Metz benefits from the experience, expertise and
international reputation of Centre Pompidou. It shares with its older sibling values of innovation and generosity, and the same determination to engage a wide public through multi-disciplinary programming.
Centre Pompidou-Metz produces temporary exhibitions which draw on loans from the holdings of Centre Pompidou, Musée National d'Art Moderne. With more than 100,000 works, it is the largest collection of modern and contemporary art in
Europe and the second largest in the world.
Centre Pompidou-Metz also develops partnerships with museums around the world. A programme of dance, music, films, lectures and children's workshops further explore themes raised in the exhibitions.
Financial support is provided by Wendel, its founding sponsor.
The exhibition An Imagined Museum is co-organized by by Tate Liverpool, MKK Museum für Moderne Kunst Frankfurt am Main and the Centre Pompidou-Metz.
In a media partnership with
5.PARTNERS
Mécène fondateur
AN IMAGINED MUSEUMWHAT IF ART WERE TO DISAPPEAR?
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Wendel, Founder Patron of Centre Pompidou-Metz
Wendel has been commited since 2010 alongside Centre Pompidou-Metz. Since the opening of the Centre in 2010, Wendel wanted to support a flagship institution whose cultural influence reaches the most people. Thanks to its commitment for many years in favor of Culture, Wendel received the title of Grand Patron of Culture in 2012.
Wendel is one of the leading quoted investment companies in Europe, acting as an investor and professional shareholder, promoting the long-term development of companies which are global leaders in their sectors: Bureau Veritas, Saint-Gobain, IHS, Materis Paints, Stahl, Mecatherm or CSP Technologies.
Founded in 1704 in Lorraine, Wendel Group was committed during 270 years to the development of various activities, especially of the steel industry, before beginning a longterm investor in the late 1970s.
The Group is supported by its reference family shareholder, made up of more than one thousand Wendel family shareholders, who are united in the family company Wendel-Participations, which owns 35% of Wendel.
Press Relations:
Christine Anglade-Pirzadeh : + 33 (0) 1 42 85 63 24 [email protected]
Caroline Decaux + 33 (0) 1 42 85 91 27 [email protected]
www.wendelgroup.com
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AN IMAGINED MUSEUMWHAT IF ART WERE TO DISAPPEAR?
6.PRESS VISUALS
The pictures are availables online, at the adress below:centrepompidou-metz.fr/phototheque
Login: presse Password: Pomp1d57
Mark Brusse, Double relief in 18 colors, New York, 1966 - 1967
Bois, métal, marqueur, peinture, vernis, 86 × 145,5 × 13 cm
Paris, Centre Pompidou – Musée national d'art moderne
© ADAGP, Paris 2016
© Centre Pompidou, MNAM-CCI, Dist. RMN-Grand Palais
/ Philippe Migeat
Joseph Cornell, Museum, 1942Bois, verre, papier, divers éléments,
5,5 × 21,5 × 17,7 cm
Paris, Centre Pompidou –
Musée national d'art moderne
© The Joseph and Robert Cornell
Memorial Foundation / Adagp, Paris 2016
© Centre Pompidou, MNAM-CCI, Dist.
RMN-Grand Palais / Philippe Migeat
Robert Malaval, Grand aliment blanc,
1962Papier mâché encollé, meuble
en bois, verre, métal, divers
objets, moteur et ampoules
électriques,
251 × 150 × 76 cm
Paris, Centre Pompidou –
Musée national d'art moderne
© ADAGP, Paris 2016
© Centre Pompidou,
MNAM-CCI,
Dist. RMN-Grand Palais
/ Georges Meguerditchian
Paul Sharits, Frozen Film Frame: N:O:T:H:I:N:G, 1968MMK Museum für Moderne Kunst Frankfurt am Main
© 2011 Paul Sharits Estate, Photo: Axel Schneider
Permission by The Paul Sharits Estate
Daniel Spoerri, La douche
(Détrompe-l'oeil), 1961
Huile sur toile,
robinetterie, tuyau, pomme de douche
sur bois,
70,2 × 96,8 × 18,5 cm
Paris, Centre Pompidou
– Musée national d'art moderne
© ADAGP, Paris 2016
© Centre Pompidou,
MNAM-CCI,
Dist. RMN-Grand Palais
/ Philippe Migeat
AN IMAGINED MUSEUMWHAT IF ART WERE TO DISAPPEAR?
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Louise Bourgeois, Avenza, 1968-9Tate. Présenté par l'artiste 2001
© The Easton Foundation / Adagp, Paris 2016
Andy Warhol, 100 Campbell's Soup Cans, 1962
MMK Museum für Moderne Kunst
Frankfurt am Main
© 2016 Andy Warhol Foundation / ARS, NY /
Adagp Paris, Licensed by Campbell's Soup
Co. All rights reserved
Photo: Axel Schneider
Thomas Bayrle, Ajax, 1966MMK Museum für Moderne Kunst
Frankfurt am Main
© Adagp Paris, 2016
Photo: Axel Schneider
Joseph Kosuth, Clock (One and Five), English/Latin Version, 1965Tate. Achat, 1974
© ADAGP, Paris 2016
Carlos Cruz-Diez, Physichromie n° 506, 1970Peinture acrylique sur lamelles de PVC collé sur
contreplaqué, lamelles de Plexiglas, cadre en aluminium,
180 × 180 cm
Paris, Centre Pompidou – Musée national d'art moderne
© ADAGP, Paris 2016
Photo © Centre Pompidou, MNAM-CCI,
Dist. RMN-Grand Palais / Philippe Migeat
Frank Stella, Rabat, 1964MMK Museum für Moderne Kunst Frankfurt am Main
© ADAGP, Paris 2016
Photo: Axel Schneider Photo © Centre Pompidou,
MNAM-CCI, Dist. RMN-Grand Palais
/ Philippe Migeat
Martin Kippenberger, The Modern House of Believing or Not, 1985
MMK Museum für Moderne Kunst Frankfurt am Main
© Estate of Martin Kippenberger, Galerie Gisela Capitain, Cologne
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AN IMAGINED MUSEUMWHAT IF ART WERE TO DISAPPEAR?
Isa Genzken, OIL XV ; OIL XVI 2007 2, 2007MMK Museum für Moderne Kunst Frankfurt am Main
© Adagp, Paris 2016
Lucio Fontana, Concetto Spazial, 1949-1950Tate. Achat grâce au soutien des Amis de la Tate Gallery, 1985
© Fondation Lucio Fontana, Milano / by SIAE / ADAGP, Paris, 2016.
Chris Marker, La Jetée, 1962Film cinématographique 35 mm noir et blanc, sonore
Paris, Centre Pompidou – Musée national d'art moderne
© Marker Chris
© Centre Pompidou, MNAM-CCI, Dist. RMN-Grand Palais /
image Centre Pompidou, MNAM-CCI
Marcel Duchamp, Fresh Widow, 1920/1964
Tate. Achat avec le soutien de la
National Lottery via le Heritage Lottery Fund,
1997
© succession Marcel Duchamp
/ Adagp, Paris 2016
François Morellet, Superposition et transparence - Carré derrière 0°-90°, carré devant 20°-110°, 1980
Peinture acrylique sur deux toiles superposées, 256,5 × 363 cm
Paris, Centre Pompidou – Musée national d'art moderne
© ADAGP, Paris 2016
© Centre Pompidou, MNAM-CCI, Dist. RMN-Grand Palais
/ Philippe Migeat
Hiroshi Sugimoto, Orange Drive-In, Orange, 1993Épreuve gélatino-argentique, 50,8 × 61 cm
Paris, Centre Pompidou - Musée national d'art moderne
Photo courtesy l'artiste
© Hiroshi Sugimoto, courtesy Pace Gallery
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#Unmuséeimaginé
Press Contact
Centre Pompidou-Metz
Anne-Laure MillerCommunications Officer
Department of Communications and Development+33 (0)3 87 15 39 73
Marie-Christine HaasMultimedia Communications Officer
Department of Communications and Development+33 (0)3 87 15 39 62
Claudine Colin CommunicationDiane Junqua
Communications and Press Relations Officer+33 (0)1 42 72 60 01