2012 Palais De Tokyo La Triennale

La Triennale Press kit - Intense Proximity

2012 French Ministry of Culture and Communication Palais de Tokyo Department of Information and Communication Tel.: +33 (0)1 40 15 74 71 [email protected]

General information and [email protected] Bétonsalon – Centre for art and research, Press contact Centre d’art contemporain d’Ivry – le Crédac, Dolorès Gonzalez Vanessa Julliard Galliera – musée de la Mode de la Ville de Paris, [email protected] Grand Palais, Instants Chavirés, Les Laboratoires d’Aubervilliers, Musée du Louvre Contents

3 Foreword by the Minister of Culture and Communication

4 Press release

5 La Triennale - Facts

6 Intense Proximity – Art as network

9 Biography of Okwui Enwezor

10 The four associate curators

12 Dossier 1 The Palais de Tokyo

14 Dossier 2 Collaborating institutions

22 Dossier 3 The contributors

27 Dossier 4 Publications of La Triennale

28 Dossier 5 Mediated learning - A public service undertaking, a commitment to exchange and share with others

32 Practical information

36 The French ministry of Culture and Communication and its operators

38 Institutional partners

39 Partners 3 Foreword by the Minister of Culture and Communication

As a large contemporary art event whose goal is to highlight cur- As a prefiguration for the Grand Paris of Culture, in which I place rent creation in the visual arts in France, La Triennale has be- my highest hopes, La Triennale extends far beyond the walls of the come an incontrovertibly essential gathering, actively contribut- Palais de Tokyo. Galliera – musée de la Mode de la Ville de Paris, ing to reinforce Paris’ position on the international art stage. The Bétonsalon – Centre for art and research, the Grand Palais and the dynamism of the art centers and the FRACs (Regional Funds for Musée du Louvre in Paris, Instants Chavirés in Montreuil, Centre Contemporary Art), the critic and public success of international d’art contemporain d’Ivry – le Crédac in Ivry-sur-Seine, and Les art fairs FIAC and Paris Photo, the vigor of the art market and of Laboratoires d’Aubervilliers have all affiliated themselves with La the galleries, and of course the sumptuous appeal of the large ex- Triennale 2012 in order to bring this Intense Proximity into the view hibitions also testify to the vitality of the French art scene. of new audiences.

In 2012, La Triennale constitutes the first major exhibition of the As Alain Robbe-Grillet wrote, “the function of art is never to illus renovated Palais de Tokyo, which becomes, thanks to the President trate a truth, or even a question. It is to bring into the world ques- of the Republic’s encouragement, one of the largest sites dedi- tions that haven’t been uncovered as such yet.” Such is the am- cated to contemporary art in Europe. Anne Lacaton and Jean- bition of this Triennale 2012, which I hope will allow the widest Philippe Vassal, winners of the Grand prix national d’architecture public to discover many artists and to open themselves to new in 2008 and the Équerre d’argent in 2011, were in charge of real- horizons. izing this renovation, after having been responsible for the con- version of the Palais de Tokyo’s first floor in 2002. Ten years after Frédéric Mitterrand that triumphant achievement, conceived of and seen through by the Ministry of Culture and Communication, the Palais de Tokyo will be able to expand its activities throughout the entirety of the building’s 22,000 sq. m., now offering the public more than 5,000 sq. m. exhibition spaces as well as a number of social spaces – restaurants, bars, bookstore and shops – designed in collaboration with artists.

Having in mind the increasing globalization of exchanges that concerns even contemporary art, I hoped that this new edition of La Triennale would widen the notion of the French art scene to encompass creation from a multipolar and diversified world, displaying the wealth of exchanges and influences at the intersec- tions of research and thought. It is for this reason that I entrusted the artistic direction of the 2012 Triennale to Okwui Enwezor. Okwui Enwezor is a major figure in international art: he has served as the artistic director of many events, such as documenta 11 and the Gwangju and Johannesburg biennials, he is a professor, curator, art critic and currently the director of the Haus der Kunst in Munich. Exploring new territories, Okwui Enwezor has here imagined for us an exhibition under the sign of “Intense Proximity”. 4 PRESS RELEASE

Organized from April 20th to August 26th, 2012, the 3rd edition of “Most importantly, La Triennale wants to create a space of intellec- the contemporary art triennial exhibition (former “La Force de tual generosity.” (Okwui Enwezor, in conversation with Alfredo Jaar, l’Art”) will move into the open galleries of the Palais de Tokyo École Nationale des Beaux-Arts, Paris, February 16th, 2011.) and seven institutions based in Paris and the surrounding region: Bétonsalon – Centre for art and research, Centre d’art contem- Its title, Intense Proximity, points to those frictions, those hetero- porain d’Ivry – le Crédac, Galliera – musée de la Mode de la Ville geneous tensions which set every human activity into motion. It de Paris, the Grand Palais, Instants Chavirés, Les Laboratoires also questions how an individual’s origins, intellectual education d’Aubervilliers, and the Musée du Louvre. The collaboration be- or life path have an impact on his/her situation in the larger con- tween these institutions and the Palais de Tokyo will create a text of a society in which the fault lines are increasingly uncharted. unique space of exchange and debate that will make possible It also asks how La Triennale can be constituted within the de- for La Triennale to investigate, through the concept of Intense bates that currently animate French society. Set against the back- Proximity, what it means to be active as an artist working today, in ground of a globalization brimming with both hopes and fears as the context of a globalized and diverse French art scene. well as the looming shadow of cultural isolationism, artists from different origins and different fields, but all somehow sharing the The French Ministry of Culture and Communication has invited cultural references which contemporary art provides, will address Okwui Enwezor to serve as Artistic Director of La Triennale. The these tricky issues in their individual practice and alongside an ex- first major event marking the reopening of the Palais de Tokyo in pansive and robust guest program. 2012, La Triennale will offer a large panorama of contemporary art at the intersection of the French art scene and global sites of Okwui Enwezor is the director of Haus der Kunst, Munich. He has production. Beginning within the interiors of the expanded and served as artistic director of documenta 11 in Kassel, and the bi- refurbished Palais de Tokyo, La Triennale is set in a series of over- ennials of Johannesburg, Sevilla, and Gwangju. He was Dean of lapping cartographies that include small-scale collaborations with Academic Affairs and Senior Vice President of the San Francisco emerging research, production, debate, exhibition, and perfor- Art Institute (2005-2009), and is widely acknowledged as a lead- mance spaces in Paris and the surrounding areas, whose scope ing and influential figure on the contemporary art scene. As artis- of activities range from contemporary art to fashion, photography, tic director of La Triennale, Okwui Enwezor brings incisive critical music, performance, and academic research. insight, international awareness and extensive practical experience. After La Force de l’Art 01 and 02 at the Grand Palais in 2006 Artistic Director Enwezor proposes a broad, stimulating pano- and 2009, the newly-reinvented La Triennale will be one of the rama of contemporary art. Aiming to explore potential areas of major art events of 2012. dialogue between various artistic disciplines and cultural scenes, he will work in close collaboration with a team of four associate La Triennale is organized at the initiative of the Ministère de la Culture curators, all passionately involved in the contemporary art scene et de la Communication / Direction générale de la création artistique, on which they have their own personal take: Mélanie Bouteloup, commissioner, with the Centre national des arts plastiques (CNAP), Abdellah Karroum, Émilie Renard and Claire Staebler. associate commissioner, and produced by the Palais de Tokyo.

Inspired by the great work of early to mid 20th century French ethnography figures such as Claude Levi-Strauss, Marcel Mauss, Michel Leiris, and Marcel Griaule, La Triennale sets off on a journey to explore the nodes where art and ethnography converge in a renewal of fascination and estrangement. Fundamentally, the goal of the project is to shift from the idea of national space, as a constituted physical location, to a frontier space that constantly assumes new morphologies and new models of categorization (local, national, trans-national, geo-political, denational, pure, contaminated, etc.). Contemporary art has become a global phenomenon fostered by an ever growing network of relations over- coming distances. La Triennale will therefore approach the art of today through this wealth of connections. 5 La Triennale -– Facts

Title of the show La Triennale – Intense Proximity, 2012

Duration April 20th – August 26th, 2012

Opening April 19th, 2012

Venues Palais de Tokyo and Bétonsalon – Centre for art and research, Centre d’art contemporain d’Ivry – le Crédac, Galliera – musée de la Mode de la Ville de Paris, Grand Palais, Instants Chavirés, Les Laboratoires d’Aubervilliers, Musée du Louvre

Opening times Palais de Tokyo: daily except on Tuesdays, from noon to midnight Collaborating institutions: variable

Artistic Director Okwui Enwezor

Associate Curators Mélanie Bouteloup, Abdellah Karroum, Emilie Renard, Claire Staebler

Contributors 113 contributors will be featured at the Palais de Tokyo while 33 will present their work at the collaborating institutions, all coming from 40 different countries.

Organization La Triennale is organized at the initiative of the Ministère de la Culture et de la Communication / Direction générale de la création artistique, commissioner, with the Centre national des arts plastiques, associate commissioner, and produced by the Palais de Tokyo.

Internet website General information www.latriennale.org [email protected] 6 Intense Proximity ART AS NETWORK

OKWUI ENWEZOR

What is the landscape that Intense Proximity seeks to traverse? It examines, through recourse to visual art, performance, and cultural action, a sociopolitical environment in which a fracture between belief and its symbols has become unmistakably visible.

The recent shaping of national and cultural narratives through exhibitions offers a salient basis for critical reflection on the exhibition project La Triennale, which, in its earlier incarnation as La Force de l’Art, was intended to display and promote “contemporary French creations.” Whatever the benefits of such exhibitions in advancing the notion of a particular “national” aesthetic in an increasingly globalized world, it could be argued that the blind spots of nation-oriented exhibitions are even greater.

Throughout the 1990s, as large-scale artistic events such as biennials and trien- nials became increasingly global, exhibitions, which were conceived along the lines of a national model, were exposed to increasing scrutiny and critique. Such exhibitions were not only considered anachronistic, especially in the wake of the supposed post-identitarian network of global artistic spaces being opened up by globalization, migration, and border crossing; they were also viewed as limiting the scope of the complex conversations that often exists within each national scene. 7

La Triennale 2012 takes as its starting point this externally bounded space of artistic production, and proposes to explore this contested space according to the following questions:

First, how can the seemingly opposing, yet complimentary systems of the imagined national space be reconciled in an exhibition project within contexts in which the very structure of multiple identity, social expression, and individual autonomy have become part of the national conversation?

In turn, is contemporary art and its various systems of legitimation, mediation, and diffusion, capable of shaping this debate, able to occupy critical positions beyond the circumscribed borders erected by an art system intent on reflecting only its own en- trenched values?

These questions come, not without risk of misunderstanding. Given the un- ambiguous nature of the identitarian gambits of French politics at this historic moment, it could be easily assumed that La Triennale 2012 is making an argu- ment for identity. It is not.

La Triennale 2012 instead begins by arguing that while the general culture in France is entangled in the conundrum of identitarian debates, contemporary art provides a more complex mechanism for opening an exploratory public forum into a post-identitarian discourse. La Triennale 2012 proposes an exhibition space that serves as a civic nerve for exploring the contradictions inherent in the idea of a national exhibition which, simultaneously aims to celebrate its artists and also show great hospitality to those artists who are outside of the national space but who share part of its cultural imaginary. Rather than conceive an exhibition project that smoothes over differences, and blends the inherent tensions between aesthetic and critical concepts, between social diversity and cultural differences; or between national and secular identities on the one hand, and ethnic and religious identifications on the other; or between civic rights of indigenes and human rights of aliens, La Triennale 2012 proposes the concept of Intense Proximity as an organizing principle.

The great heritage of post-enlightenment thought created a model of global relations in which the concept of distance, particularly in the field of ethnographic research, delineated a spatial paradigm that all but severed temporal contigu- ity with a broad array of cultural scenes that were assumed to be incompatible 8 with the modern conception of social identity. Incompatibility framed a world of the outside. And on the inside, it furnished a philosophical program that in turn shaped decades of discovery and exploration. Twentieth century ethnography’s great legacy, and its impact on the world of forms and visual production, is not simply in its prodigious research output, or its voracious appetite for radical alterity. Rather, it is in that moment of ethnographic poetics: the entry into the field of research by the speculative camera. As long there existed that critical measure of distance between the near and far, ethnographic poetics invariably projected to the world: the image of man at a remove from modern society. Thus, in this historic moment when there are arguably no more outside cultures to discover or far away places to explore, when the asymptotic relationship between outside and inside has become cause for alarm and anxiety, it appears that our time is emblematized, and equally traumatized by the collapse of distance. With this collapse, difference and alterity leaps out of the abyss where it had long been confined, and we enter the zone ofIntense Proximity, a form of disturbing near- ness that unsettles as much as it exhilarates and transforms the coordinates of national cultural vectors.

At its core, Intense Proximity is based on a series of programmatic directions on the ways of sharing space, social experience, and aesthetic antagonism without resorting to the strident pieties of identity politics, nativist self-regard, ethnocen- trism, and myths of national cultural cohesion. The proximity suggested here is with regards to both the public’s physical relationship to the artistic works, but also with metaphoric combinations that sometimes exacerbate the relationship between art and society. Fundamentally, the goal of the project is to shift from the idea of national space, as a constituted physical location, to a frontier space that constantly assumes new morphologies (local, national, trans-national, geo- political, denational, contaminated, etc.)

Now, approximately four months before the exhibition begins, we are pleased to see that the collective curatorial development of La Triennale 2012 has developed organically alongside the research of the artists and institutions affiliated with the program. Together, we anticipate a project that blends subtlety with force, ambition with rigor.

January 5th, 2012 9 Biography of Okwui Enwezor

Apartheid and Sun in their Eyes: Photography and the Invention of Okwui Enwezor, Africa, 1839-1939, both for International Center of Photography; artistic director and 1979-1989: Art and Culture Between Revolutions. His recent publications include: Archive Fever: Uses of the Document in Contemporary Art (Steidl and ICP, 2008), and Okwui Enwezor is the director of Haus der Kunst in Munich. He Contemporary African Art Since 1980 (Damiani Editore, 2009) is a curator, an art critic, an editor and a writer. Enwezor’s wide with Chika Okeke-Agulu. He was the co-editor with Terry Smith ranging practice spans the world of international exhibitions, mu- and Nancy Condee of Antinomies of Art and Culture: Modernity, seums, academia, and publishing. He is currently Joanne Cassulo Postmodernity, Contemporaneity: (Duke University Press, 2008). Fellow at Whitney Independent Study Program, Whitney Museum His forthcoming books include James Casebere: Works, 1975-2010, of American Art, New York, and Adjunct Curator at International a monograph on the work of the American artist; and Archaeology Center of Photography, New York. He is the founder and editor of the Present: The Postcolonial Archive, Photography, and African of Nka: Journal of Contemporary African Art published by Duke Modernity which will be published in 2012. University Press.

Enwezor has held academic appointments as Dean of Academic Affairs and Senior Vice President at San Francisco Art Institute (2005-2009); Visiting Professor in the Department of Art History and Architecture at University of Pittsburgh and University of Illinois, Urbana-Champaign, and Visiting Professor at the Department of Art History and Archaeology, Columbia University, New York. In the Spring of 2012, he will serve as Kirk Varnedoe Visiting Professor at Institute of Fine Arts, New York University.

Amongst his numerous curatorial credits, he was Artistic Director of 2nd Johannesburg Biennale (1996-1998), Artistic Director of documenta 11, Kassel, Germany (1998-2002), Artistic Director of 2nd International Biennial of Contemporary Art, Seville, Spain (2005-2007), and Artistic Director of 7th Gwangju Biennale (2008). His many exhibitions include The Short Century: Independence and Liberation Movements in Africa, 1945-1994, Museum Villa Stuck, Munich; Century City, Tate Modern, London; Mirror’s Edge, Bildmuseet, Umea; In/Sight: African Photographers, 1940-Present, Guggenheim Museum; Global Conceptualism, Queens Museum, New York; David Goldblatt: Fifty One Years, Museum of Contemporary Art, Barcelona; Stan Douglas: Le Detroit, Art Institute of Chicago; Snap Judgments: New Positions in Contemporary African Photography, International Center of Photography, New York; The Unhomely: Phantom Scenes in Global Society, Centro Andaluz de Arte Contemporáneo, Seville, and Archive Fever: Uses of the Document in Contemporary Art, at International Center of Photography, New York. He is also com- pleting work on several projects including: The Rise and Fall of 10 The four associate curators

Mélanie Bouteloup, Abdellah Karroum Abdellah Karroum, Abdellah Karroum is an independent curator and researcher based Émilie Renard, in Paris and Rabat whose work is committed to creating spaces for and vocabularies of art. He is the founder of L’appartement 22, Claire Staebler, which was created in 2002 in Morocco and is a unique exhibition space that began with the JF_JH exhibition series on art and social associate curators issues. The space became cooperative in 2004. In 2007 Karroum launched the webradio R22 as an extension of L’appartment 22. Other long-term projects include Le Bout Du Monde, art expedi- tions in different locations around the globe since 2000. Karroum Mélanie Bouteloup recently served as associate curator for several international biennials, including Dakar 2006, Gwangju 2008. In 2009, he curated A Proposal for Articulating Works and Places for the 3rd Marrakech Mélanie Bouteloup is co-founder and director of Bétonsalon – Biennale. He initiated the “Curatorial Delegation” and the re- Centre for art and research. By organizing seminars (12 Gestures search laboratory “Art, Technology and Ecology,” a micro-academy in collaboration with Kadist Art Foundation from 2009 to in association with L’appartement 22. His research has been sup- 2011 or Sous le ciel libre de l’histoire at musée du quai Branly in ported by the Clark Art Institute and CIMAM. Karroum is a mem- 2011), workshops (Parties Prenantes with among others SPEAP - ber of the advisory council for SUD (Salon Urbain de Douala) Sciences Po – École des arts politiques in January 2010) or exhi- in Cameroon. He is the artistic director of the Fondation Prince bitions-performances such as Playtime in September 2008 and Pierre de Monaco’s International Prize for Contemporary Art. He 2009, Mélanie Bouteloup is committed to developing research collaborates with various international institutions such as the and experimentation in society. The projects she implements as- Darat Al-Funun Khalid Shoman Foundation in Amman, where sociate working groups with variable geometry, in order to shed he curated Sentences on the banks and other activities (2010) and multiple lights to marginalized zones of history, memories, re- the Museum of Contemporary Art in Barcelona. In 2011, he curat- alities and potentialities. In 2011, she co-curated with Anna Colin ed Working for Change, a project in the Rif Mountains and at the the following projects: Ce dont on sera dans l’avenir capable, an 54th Venice Biennale. exhibition with artists Frédéric Moser and Philippe Schwinger questionning different forms of learning,Eldoradio , confronting possible uses of documents related to radio micro-histories, A Lure a Part Allure Apart screening the essay films of collective The Otolith Group and lastly Une légende en cache une autre exploring Émilie Renard the ethical, scientific, political and juridical questions raised by museums’repatriation cases. Mélanie Bouteloup is regularly involved in teaching (Université Paris 7) or jurys (1% artistic, art Émilie Renard is an independent curator based in Paris. Her work schools’diplomas). explores structural modalities of fiction and characters in contemporary art forms. Her research also focuses on the resurgence of the arcadian myth. She supervises the exhibition program at the École Nationale Supérieure des Beaux-Arts de Lyon, where 11 she is also a teacher, and has curated several shows including La ronde (The Circle Dance), Ferme du Buisson (2011), The Waves, FRAC Pays de la Loire (2010), Monsieur Miroir for the Prix de la Fondation d’Entreprise Ricard (2010), INSIDERS – experience, practices, know-how, CAPC Musée d’art contemporain, Bordeaux (2009), Bonnes résolutions en haute montagne, Atelier Cardenas Belanger, Paris (2007), Madame la baronne était plutôt maniérée, assez rococo et totalement baroque. Acte 1, Chapitre 2, Volume 3, Livre 4, Maison Populaire, Montreuil (2006). From 2002 to 2010, she was co-editor of Trouble, and co-director of Public, a curator- run exhibition space in Paris, from 2001 to 2006.

Claire Staebler

Claire Staebler is freelance curator and art critic based in Paris. She served as a curator at Palais de Tokyo in Paris (2002-2007), and was later appointed artistic director of the PinchukArtCentre in Kyiv, Ukraine (2007-2009). Staebler was an associate curator on the exhibition Radiodays, De Appel (2005) and the Busan Biennial (2006). She co-founded with Jelena Vesic No More Reality, Crowd and Performance, a project featured in Belgrade, Amsterdam and Istanbul between 2007 and 2009, and curated independent- ly several exhibitions including La Fabrique sonore, Experience Pommery#9, Reims (2011), Transaction Abstraite, Charles Atlas, Mika Tajima, New Galerie, Paris (2011), and Retrait, Fondation d’Entreprise Ricard, Paris (2007). She collaborates with various magazines such as Flashart, Idea and Zérodeux. DOSSIER 1 12 The Palais de Tokyo

The Palais de Tokyo is a 21st-century cultural institution with a public service mission, whose core activities and mandate have both been redefined and expanded. It is a place where today’s artists and different sectors of the public can explore the emergence of groundbreaking ways of doing things, thinking, and living. Its unique character promotes interaction between the creativity and the society of today. It invites the public and artists to share the adventure of the emergence of new behaviours, new forms, new languages, new beauties.

The Palais de Tokyo was created ten years ago: Its liveliness, joyfulness, and adventurous approach made Paris sit up and take notice. As an anti-museum par excel- lence, a rebellious undeveloped plot in the 16th arrondissement, a offbeat yet ambitious “palace”, a place for exchanges and surprises, it was the pioneer of a movement of reconciliation between the City of Light and contemporary art. It has been emulated as a model and for its programming well beyond the frontiers of France, both among specialists, art-lovers, and the wide public.

Following on from these years of success, in 2012 the Palais de Tokyo will become one of the largest sites devoted to contemporary creativity in Europe, its surface area rising from 8,000 sq. m. to 22,000 sq. m. It now extends right to the River Seine, forming a link on the side of the hill between the Eiffel Tower and the Champs-Elysées. Its success, its spirit of adventure, and these new spaces made available to artists, their gestures, and their ways of looking increase our capacity to perceive, imagine, and open up new paths. 13

Today, the expansion of its premises and its mission provides the Palais de Tokyo with an opportunity to rethink the role of cultural institutions in view of the permanent speeding up of our lives. It becomes a place where we can come face to face with the art of our time. A place that was born from its contradictions, is inhabited by them and has grown up among them. Magical yet violent, poetic and transgressive, sensual yet meditative, huge yet intimate, public yet secret – a place where they know how to be enthusiastic without pontificating, relaxed and at the same time attentive, thorough yet accessible, where they work not on art but with art, and where art works on us.

This enhanced Palais de Tokyo will become a destination with broad spaces that are as mobile as the lives that pass through them. A permanent landing stage moored by the river, a terraced garden with branching pathways, a utopia on the move, an interface whose inhabitants and visitors live simultaneously within and outside the codes of the city, of “culture”, of everyday life. A territory offering present-day explorers the modest but crucial opportunity to sample the pulsation and flavors of what is emerging, finally allowing us to keep pace with the audacities of our own epoch.

From April 12th to April 13th, the expanded and renovated Palais de Tokyo will be opened during a 36-hour-long non-stop marathon that will unveil the corridors of its metamor- phosis through concerts, performances, installations,… and set the tone of its future ambition. From April 20 will be presented La Triennale, a major event whose overall curatorship has been placed in the hands of Okwui Enwezor, internationally renowned curator. With the subtitle Intense Proximity, it will demonstrate the correspondences and complicities that are woven between creativity in France and in other art scenes elsewhere in the world. DOSSIER 2 14 Collaborating INSTITUTIONS

La Triennale 2012 is pleased to announce its collaboration with Bétonsalon – Centre for art and research, Centre d’art contemporain d’Ivry – le Crédac, Galliera – musée de la Mode de la Ville de Paris, the Grand Palais, Instants Chavirés, Les Laboratoires d’Aubervilliers, and the Musée du Louvre, seven institutions based in Paris and the surrounding region. Ranging from large to small scale, the collaboration between La Triennale 2012 and each of these institutions will contribute to enriching the concept, programming, and cartography of Intense Proximity, while developing a network of ideas and practices that radiates out from the Palais de Tokyo to the edges of Paris.

Much more than venues, each of these institutions has conceived and developed specific projects in collaboration with La Triennale 2012 and will feature innovative programming across a variety of media including exhibitions, performances, concerts, discussions, and screenings. Together, these partnerships will create a space of exchange and debate that will contribute to the richness and complexity of La Triennale 2012. The scope of activities within these institutions range from contemporary art to fashion, photography, music, performance, and academic research. 15

With contributions from: Maria Thereza Alves, Édouard Bouët- BÉTONSALON Willaumez, Pablo Bronstein, Hendrick Danckerts, Mark Dion, Amos Gitaï, Yo-Yo Gonthier, Dominique Juhé-Beaulaton, Germaine – CENTRE FOR ART Krull, André Lassoudière, Otobong Nkanga, Claire Pentecost, Dan AND RESEARCH Peterman, Marie Preston, Lois Weinberger. Associated institutions and partners: Bibliothèque Historique du Centre de coopération internationale en recherche agronomique pour le développement (CIRAD); École du Breuil; Jardin d’Agronomie Tropicomania: Tropicale and the City of Paris; musée du quai Branly (Jacques Kerchache room); Muséum national d’Histoire naturelle; Paris the social life of plants Diderot University.

Bétonsalon is an association set up in 2003 under the 1901 Act, and transformed into a centre for art and research center in 2007. An exhibition devised by Integrated at the very heart of Paris Diderot University in the 13th arrondissement of Paris, Bétonsalon – Centre for art and re- Mélanie Bouteloup search has undertaken to develop an area for thought and con- frontation at the confluence of art and university research, by giv- and Anna Colin, ing shape to discourses of an aesthetic, cultural, political, social with the help of Flora Katz or economic nature. Bétonsalon – Centre for art and research enjoys the support of the Ville de Paris, the Département of Paris, the Paris Diderot University, the Ile-de-France Regional Directorate of Cultural Scientific curators: Affairs under the Ministry of Culture and Communication, the Ile-de-France Regional Council, and Leroy Merlin (quai d’Ivry). Françoise Vergès Bétonsalon – Centre for art and research is a member of the and Serge Volper TRAM network, a Paris/Ile-de-France contemporary art network. Bétonsalon – Centre for art and research is run jointly by Mélanie Bouteloup and Anna Colin. 1899: The colonial trial garden, today known as the Jardin d’Agronomie Tropicale, is created at the Bois de Vincennes. Serving simultaneously as a center for research, teaching and ag- ronomic information, it was also given the remit of promoting tropical plant products to businesses and the general public. It Press contact: was with this aim in view that colonial exhibitions were organized Flora Katz on two occasions, in 1905 and 1907; vestiges of them can still +33 (0)1 45 84 17 56 be seen today. Left to grow wild for many years, but once again [email protected] opened to the public in 2004, this largely disregarded site is an archive of “greater France”, as the collection of the historic CIRAD library, an integral part of the site, attests.

Taking the library’s resources as a starting point and bringing together art works, scientific illustrations, archival documents, lit- erary accounts and films reflecting a variety of points of view, Tropicomania: the social life of plants sets out to trace the routes followed by some tropical plants such as the banana, the pineap- ple and the rubber plant from their original environment to our local supermarkets. Borrowing the concept of the “social life of objects” from the anthropologist Arjun Appadurai, the project sets out more particularly to map the socio-economic, cultural and political whys and wherefores of the exploitation and commodifica- tion of tropical plants from the late 16th century to the present day. Indeed, if the tropical world has today extended to cover the whole planet, what is the cost of that expansion? 16

Press contact: CENTRE D’ART Axelle Blanc, Communication manager + 33 (0)1 49 60 25 04 CONTEMPORAIN D’IVRY [email protected] - LE CRÉDAC

Boris Achour, Séances

Founded in 1987, Centre d’art contemporain d’Ivry – le Crédac is a center for exhibitions, production, research and mediation. For 25 years Crédac has been housed in the basements of a building designed by Jean Renaudie, but in September 2011 it moved into the third floor of the “American” building of the Manufacture des Œillets. Through a program of exhibitions by artists, emerging or established, French or foreign, Crédac offers artists intellectual, critical and technical support, while at the same time encouraging sensitive contact with the public through visits, lectures, meet- ings, and workshops covering artistic practices.

The concept of Intense Proximity formulated by Okwui Enwezor for La Triennale is in tune with the issues addressed by Centre d’art contemporain d’Ivry - le Crédac at several levels. Firstly in the relationship the center has with the periphery, but also as concerns how and why an art center takes up a stance with regard to “local” cultural problem areas in view of a “global” world, and above all in the construction of the relationship of “intense proximity” between the various sectors of the public interested in the art of today and artists.

Crédac and La Triennale are jointly presenting Séances by Boris Achour, a project that has something of both an exhibition and a theatrical experience where various artistic disciplines and fields of knowledge are intermingled in an uninterrupted space.

Boris Achour devises exhibitions in the shape of production tools, and works that are all scripts to be used by the onlooker. With Séances, Boris Achour offers a new episode in the Conatus series initiated in 2006. We are dealing with a story taking the form of a space that is both physical and mental, based on a practice of structuring (forms, ideas, sensations) and on apprehension of the fragment as a fundamental principle of our relationship to the world. Various elements with no predefined organization or meaning (sculptures, films, texts, sounds, but no actors or “live” events) compose a landscape/set to be walked through for a pe- riod lasting approximately 45 minutes. The combined effect of for- mal elements, a space, a time frame and an audience turn this offering into a theatrical experience.

Centre d’art contemporain d’Ivry - le Crédac has been directed by Claire Le Restif since 2003. 17

Press contacts: GALLIERA, Dolorès Gonzalez + 33 (0)1 47 23 52 00 MUSÉE DE LA MODE [email protected]

DE LA VILLE DE PARIS Vanessa Julliard +33 (0)1 47 23 54 57 [email protected] El Anatsui, Untitled, 2012

Galliera, musée de la Mode de la Ville de Paris, is housed in a palace inspired by the Renaissance and built at the end of the 19th century for the Duchess of Galliera. It stands opposite the Musée d’Art moderne de la Ville de Paris and the Palais de Tokyo.

The Galliera collections are among the finest in the world. These exhibits are a reflection of dress codes and dressing habits in France from the 18th century to the present day. They attest to the creative genius of fashion right down to its most contemporary expressions. The museum, using exclusively temporary exhibitions – monographic or thematic –, presents and publicly displays part of its invaluable but fragile collections.

Currently closed for renovation work, Galliera is pursuing its policy of extramural exhibitions, under the guidance of its director Olivier Saillard. It is presenting two simultaneous exhibitions at Paris Dock en Seine - Cité de la Mode et du Design – one devoted to Cristobal Balenciaga, the other to Comme des Garçons.

In 2013 – when it reopens – the museum will resume its series of programs in situ. It will also embark on a program of events held in conjunction with neighboring institutions – the Musée d’Art moderne de la Ville de Paris and the Palais de Tokyo. Given this background, Galliera has of course become involved in La Triennale 2012: the organizers have entrusted the artist El Anatsui with the ambitious project of covering the façade of the museum overlooking the garden with one of his works.

The monumental work by El Anatsui can be seen from the Avenue du Président Wilson – on the same level as the Palais de Tokyo. The public can get close to it by going into the public garden in front of the Musée Galliera. 18

Each year the Réunion des musées nationaux - Grand Palais pres- GRAND PALAIS ents around 40 very diverse cultural events in Paris, the regions and on the international scene. The Grand Palais, one of the favor- ite monuments of the French people, is its prestigious showcase Rirkrit Tiravanija, at the very heart of Paris. Jean-Paul Cluzel is the President of the Réunion des musées Soup/No Soup nationaux - Grand Palais.

As a prelude to the public opening of La Triennale 2012 at the Palais de Tokyo and associated institutions in and around Paris Press contacts: on April 20th, the renowned contemporary artist Rirkrit Tiravanija Dolorès Gonzalez will present Soup/No Soup, a project which will transform the + 33 (0)1 47 23 52 00 main nave of Grand Palais into an enormous, festive, twelve-hour [email protected] banquet composed of a single meal of Tom Ka soup. Open to all, this project, which is presented for the first time in Paris, is Vanessa Julliard a large-scale version of an earlier artwork, Soup/No Soup, which +33 (0)1 47 23 54 57 premiered at his exhibition in January 2011 in New York. vanessajulliard@palaisdetoky

On Saturday, April 7th, from noon until midnight, for 12 hours non- stop, the Grand Palais will be open to the public, to share and sample a soup prepared and offered by the artist and his team. Generous yet modest, collective yet singular, Soup/No Soup con- venes a summoning of all, where each and everyone will be able to enjoy a transactional, immaterial artistic experience based on exchange, encounter, and generosity. From being a passive spec- tator, the visitor becomes a participant in a developing work.

Since the early 1990s, Tiravanija’s artistic practice has focused on a series of projects, which take the preparation and sharing of meals for those who visit his installations as a context in which the notion of community and associational life is explored. Emphasizing a sense of conviviality and exchange, Tiravanija enacts public encounters centered around the cooking, eating, and sharing of food. Such actions may be understood in terms of the production of liter- al and interpersonal space, such that visitors to these events create a kind of architecture of hospitality, and social sculpture.

While Tiravanija’s meals find precedents in other contemporary artists who have engaged the culinary, such as Gordon Matta-Clark’s “Food” restaurant (1971-73), Tiravanija’s artworks suggest a complex engagement with what Marcel Mauss once referred to as the “inalienability of the gift,” or, said differently, the complexity of value and exchange when one possesses, gifts, and receives objects from another person. Further, although Tiravanija privileges Thai recipes in his meals, he avoids simplistic associations with exoticism, instead emphasizing the intangible and interpersonal dimensions of experience among others.

With Soup/No Soup, La Triennale right away declares its desire to federate all its energies round an ambitious artistic project that is open to all. In addition to Soup/No Soup, La Triennale 2012 will feature a project by Rirkrit Tiravanija in the Palais de Tokyo.

Soup/No Soup enjoys the support of The Absolut Company. 19

Press contact: INSTANTS CHAVIRÉS Jean-François Pichard +33 (0)1 42 87 25 91 [email protected] Concerts

Program: Thierry Schaeffer, Jean-François Pichard

Since 1991 the Instants Chavirés project has been centered on the production and distribution of artists involved in the field of experimental music-making. By “experimental” we mean all types of music characterized by an exploration of new working methods re- newing technical skills and languages, promoting the emergence of new aesthetics, but nonetheless not constituting a defined genre.

This constellation of artists based on individuals coming from ex- tremely diverse musical backgrounds, something that precisely constitutes its richness, encompasses all the musical trends of everything that has been most innovative since the beginning of the 20th century. The diversity of these languages is represented within our structure that has no historiographic or aesthetic hi- erarchy. It is this logic of decompartmentalization that the program of concerts of international artists devised for La Triennale has in common with the issues raised by Intense Proximité.

Two intersecting components of concerts and performances for a constant dialogue, from the Instants Chavirés concert hall in Montreuil, a place emblematic of the route we have traveled for 20 years, to the multiple spaces of the Palais de Tokyo. Instants Chavirés is directed by Thierry Schaeffer.

Instants Chavirés enjoys the support of Ville de Montreuil, Conseil Général de Seine-Saint-Denis, Région Île-de-France, ministère de la Culture et de la Communication, CNV, and Sacem.

Toxic arises from Boudry and Lorenz’s interest in the performanc- LES LABORATOIRES es of Jack Smith and the “Theater of the Ridiculous” in the 1960s and 1970s, which formulated an anarchic and outrageous critique D’AUBERVILLIERS of capitalism and normal bodies, by integrating self-referential as- pects into his stage shows.

Toxic is co-produced by Les Laboratoires d’Aubervilliers, La Pauline Boudry Triennale, and Electra Productions, in collaboration with the gal- lery Marcelle Alix, and with the support of the Goethe Institut and & Renate Lorenz, Toxic the IFA (Institut für Auslandsbeziehungen).

Since 2010 Les Laboratoires d’Aubervilliers have been run by Alice Installation Chauchat, Grégory Castéra and Nataša Petrešin-Bachelez. / film and seminar Press contact: Anne Millet

+ 33 (0)1 53 56 15 96 Les Laboratoires d’Aubervilliers are a tool dedicated to artistic re- [email protected] search. They intend to gather the necessary conditions for projects that do not fit pre-existing systems of artistic and cultural production. Researches initiated by artists come from all disciplines. They are addressed to the public through formats produced during the research process (lectures, performances, films, books, newsletters, workshops…), and experiments with alterna- tive approaches to ways of sharing knowledges and practices. Through this method, Les Laboratoires d’Aubervilliers set out to offer an ongoing criticism and renewal of what is at stake in artistic research.

In 2012 Les Laboratoires d’Aubervilliers are inviting the Berlin artists Pauline Boudry and Renate Lorenz. Their work revisits documents from the past, photographs or films, searching history for erased or illegible “queer” moments. This work presents corpora capable not only of traveling across epochs, but also of imagining links between those epochs, so foreshadowing the possibility of a queer future. Through their films and installations, the artists appropriate historical images to allow a displacement or a skewing of authority and the means that lead to knowledge.

These questions are at the heart of their new project Toxic, which will take the form of an installation with film, devised in collaboration with the performers Ginger Brooks Takahashi and Werner Hirsch, and a seminar, presented at Les Laboratoires d’Aubervilliers as part of the events accompanying La Triennale. The discourse on toxicity installs violent hierarchies between normal and non-normal/queer bodies, between abled bodies and nonabled bodies, between “us” and “strangers”, middle-class bodies and working-class bodies. And what happens if another technology and its history (film camera and images instead of chemical substances) is focused from a perspective of toxicity? While the cinematic apparatus tries to allow for unmediated ob- jectivity and knowledge about “stranger danger” (Sara Ahmed, 2000), it might–as dirty and uncanny by-products–also produce ec/static bodies and queer connections. 21

Press contact: MUSÉE DU LOUVRE Sophie Grange + 33 (0)1 40 20 53 14 [email protected] The slave at the Louvre

Thematic visits

Founded in 1793 as a universal museum, the Musée du Louvre celebrates humanity’s long journey with the remarkable scope of a collection that spans thousands of years, from -3000 BC to 1848, reaching from America to the borders of India and China, and making it a focal point for permanent dialogue between past and present. Henri Loyrette is the current President and Director of the Musée du Louvre.

For Intense Proximité, Françoise Vergès plans to set off in search of the “slave” in the Louvre’s collections, in the company of Laurella Rinçon, heritage curator, and a guest, historian, artist, or poet. These visits involving several voices set out to ask questions about the spectral or figurative presence of the slave. A central figure running through the history of mankind, and accompanying the emergence of the modern age in Europe, the slave keeps asking us questions about our world.

Françoise Vergès is today a Consulting Professor at Goldsmiths College, London, and President of the Comité pour la Mémoire et l’Histoire de l’Esclavage. She has published works on slavery and abolitionism, post-colonialism, Frantz Fanon, Aimé Césaire, and postcolonial museography.

With the sponsorship of the Direction générale des patrimoines, Ministry of Culture and Communication. DOSSIER 3 22 The contributors

The contributors of La Triennale 12. Öyvind Fahlström (painting, installation, drawing) are listed below in chronological b. 1928, Sao Paulo, Brazil – d. 1976 order. The indicated mediums 13. Timothy Asch (film) relate to the works that will be b. 1932, Southampton, United States – d. 1994 presented during La Triennale. 14. Lorraine O’Grady (photographs) b. 1934, Boston, United States – lives in New York, United States

15. Ahmed Bouanani (film) Palais de Tokyo contributors b. 1938, Casablanca, Morocco – d. 2011 16. Daniel Buren (work in situ) 1. André Gide and Marc Allegret (film) b. 1938, Boulogne-Billancourt, France – lives in situ b. 1869, Paris, France – d. 1951 b. 1900, Basel, Switzerland – d. 1973 17. Sarkis (sculpture, photographs, installation) b. 1938, Istanbul, Turkey – lives in Paris, France 2. Marcel Griaule (photographs) b. 1898, Aisy-sur-Armaco, France – d. 1956 18. Georges Adéagbo (installation) b. 1942, Cotonou, Benin – lives in Cotonou, Benin 3. Wifredo Lam (drawing) b. 1902, Sagua la Grande, Cuba – d. 1982 19. Werner Herzog (film) b. 1942, Munich, Germany – lives in Munich, Germany, 4. Pierre Verger (photographs) and Los Angeles, United States b. 1902, Paris, France – d. 1996

20. Antoni Muntadas (installation, video) 5. Walker Evans (photographs) b. 1942, Barcelona, Spain – lives in New York, b. 1903, St. Louis, United States – d. 1975 United States

6. Claude Lévi-Strauss (photographs, drawing) 21. Eugenio Dittborn (works on paper) b. 1908, Brussels, Belgium – d. 2009 b. 1943, Santiago, Chile – lives in Santiago, Chile

7. Helen Levitt (film) 22. David Hammons (sculpture) b. 1913, Brooklyn, United States – d. 2009 b. 1943, Springfield, United States – lives in New York, United States 8. Jean Rouch (film) b. 1917, Paris, France – d. 2004 23. Annette Messager (sculpture) b. 1943, Berck-sur-Mer, France – lives in Paris, France 9. Carol Rama (painting) b. 1918, Turin, Italy – lives in Turin, Italy 24. El Anatsui (sculpture) b. 1944, Anyako, Ghana – lives in Nigeria 10. Ivan Kozaric (drawing, sculpture, painting) b. 1921, Petrinja, Croatia – lives in Zagreb, Croatia

11. Geta Bratescu (film, painting) b. 1926, Ploieşti, Romania – lives in Bucharest, Romania 23

25. Lothar Baumgarten (installation) 42. Jochen Lempert (photographs) b. 1944, Rheinsberg, Germany – lives in Berlin, Germany, b. 1958, Moers, Germany – lives in Hamburg, Germany and New York, United States 43. Peter Friedl (video, installation) 26. Michael Buthe (painting, sculpture, photographs) b. 1960, Oberneukirchen, Austria – lives in Berlin, b. 1944, Sonthofen, Germany – d. 1994 Germany, and New York, United States

27. Haim Steinbach (sculpture) 44. Isaac Julien (video) b. 1944, Rehovot, Israel – lives in New York, b. 1960, London, United Kingdom – lives in London, United States United Kingdom

28. Rainer Werner Fassbinder (film) 45. Meschac Gaba (installation) b. 1945, Bad Wörishofen, Germany – d. 1982 b. 1961, Cotonou, Benin – lives in Rotterdam, The Netherlands 29. Ewa Partum (photographs, video) b. 1945, Grodzisk Mazowiecki, Poland – lives in Berlin, 46. Dan Perjovschi (wall painting) Germany, and Warsaw, Poland b. 1961, Sibiu, Romania – lives in Bucharest, Romania

30. Adrian Piper (video, poster, sculpture) 47. Rirkrit Tiravanija (installation, sculpture, performance) b. 1948, New York, United States – lives in Berlin, b. 1961, Buenos Aires, Argentina – lives in New York, Germany United States, and Bangkok, Thailand

31. Chantal Akerman (film) 48. Ariella Azoulay (prints) b. 1950, Brussels, Belgium – lives in Paris, France b. 1962, Tel Aviv, Israel – lives in Tel Aviv, Israel

32. Miklos Onucsan (painting, video) 49. Huma Bhabha (sculpture) b. 1952, Gherla, Romania – lives in Oradea, Romania b. 1962, Karachi, Pakistan – lives in Poughkeepsie, United States 33. Trinh T. Minh-ha (film) b. 1952, Hanoi, Vietnam – lives in Berkeley, United States 50. Luc Delahaye (photographs) b. 1962, Tours, France – lives in Paris, France 34. Terry Adkins (photographs, video installation) b. 1953, Washington D.C., United States – lives in 51. Rosângela Rennó (photographs) New York, United States b. 1962, Belo Horizonte, Brazil – lives in Rio de Janeiro, Brazil 35. Teresa Tyszkiewicz (film) b. 1953, Ciechanów, Poland – lives in Paris, France 52. Guy Tillim (photographs) b. 1962, Johannesburg, South Africa – lives in Cape Town, 36. Carrie Mae Weems (photographs) South Africa b. 1953, Portland, United States – lives in Syracuse, New York 53. Claude Closky (works on paper) b. 1963, Paris, France – lives in Paris, France 37. Thomas Struth (photographs) b. 1954, Geldern, Germany – lives in Berlin, Germany 54. Ali Essafi (film) b. 1963, Fes, Morocco – lives in Casablanca, Morocco 38. Anne Lacaton & Jean-Philippe Vassal (architecture) b. 1955, Saint-Pardoux-la-Rivière, France – lives in Paris, 55. Monica Bonvicini (sculpture) France b. 1965, Venice, Italy – lives in Berlin, Germany b. 1954, Casablanca, Morocco – lives in Paris, France 56. Ellen Gallagher (painting, works on paper) 39. Jean-Luc Moulène (photographs) b. 1965, Providence, United States – lives in Rotterdam, b. 1955, Reims, France – lives in Paris, France The Netherlands, and New York, United States

40. Alfredo Jaar (video, prints, installation) b. 1956, Santiago, Chile – lives in New York, United States

41. Thomas Hirschhorn (video) b. 1957, Bern, Switzerland – lives in Paris, France 24

57. Alejandra Riera and Andreas M. Fohr (image, texte) 74. Emmanuelle Lainé (photographs) b. 1965, Buenos Aires, Argentina – lives in Paris, France b. 1973, Maisons-Alfort, France – lives in Paris, France b. 1971, Freiburg, Germany – lives in Paris, France 75. David Maljkovic (video, photographs) 58. Walid Sadek (installation, sculpture) b. 1973, Rijeka, Croatia – lives in Zagreb, Croatia b. 1966, Beirut, Lebanon – lives in Beirut, Lebanon 76. NaoKo TaKaHaShi (installation, video) 59. Barthélémy Toguo (drawings) b. 1973, Nigata, Japan – lives in London, United Kingdom b. 1967, M’Balmayo, Cameroon – lives in Paris, France, and Bandjoun, Cameroon 77. Isabelle Cornaro (sculpture) b. 1974, Aurillac, France – lives in Paris, France 60. Ivan Boccara (film) b. 1968, Marrakech, Morocco – lives in Marrakech, 78. Aneta Grzeszykowska (video) Morocco, and Paris, France b. 1974, Warsaw, Poland – lives in Warsaw, Poland

61. Minouk Lim (video, sculpture) 79. Victor Man (painting) b. 1968, Daejeon, South Korea – lives in Seoul, b. 1974, Cluj-Napoca, Romania – lives Cluj-Napoca, South Korea Romania, and Berlin, Germany

62. Chris Ofili(painting) 80. Batoul S’Himi (sculpture, installation) b. 1968, Manchester, United Kingdom – lives in Trinidad b. 1974, Asilah, Morocco – lives in Martil, Morocco and Tobago 81. Marie Voignier (video) 63. Jason Dodge (installation) b. 1974, Ris-Orangis, France – lives in Paris, France b. 1969, Newton, United States – lives in Berlin, Germany 82. Clemens von Wedemeyer 64. Joana Hadjithomas and Khalil Joreige (video installation) (video installation, prints, photographs) b. 1969, Beirut, Lebanon – live in Paris, France, and b. 1974, Göttinger, Germany – lives in Berlin, Germany Beirut, Lebanon 83. Desire Machine Collective 65. Marcia Kure (drawing) (Sonal Jain and Mriganka Madhukaillya) b. 1970, Kano, Nigeria – lives in Princeton, United States (video installation) b. 1975, Shillong, India 66. Adel Abdessemed (video installation) b. 1978, Jorhat, India – lives in Guwahati, India b. 1971, Constantine, Algeria – lives in Paris, France 84. Nicholas Hlobo (painting) 67. Yto Barrada (video, photographs, sculpture) b. 1975, Cape Town, South Africa – lives in Johannesburg, b. 1971, Paris, France – lives in Tangier, Morocco South Africa

68. Jewyo Rhii (installation) 85. Hiwa K (video installation) b. 1971, Seoul, South Korea – lives in Seoul, South Korea b. 1975, Kurdistan, Iraq – lives in Berlin, Germany

69. Joost Conijn (video) 86. Bouchra Khalili (video) b. 1971, Amsterdam, The Netherlands – lives in b. 1975, Casablanca, Morocco – lives in Paris, France Amsterdam and Tilburg, The Netherlands 87. Hassan Khan (video installation) 70. Seulgi Lee (sculpture) b. 1975, London, United Kingdom – lives in Cairo, Egypt b. 1972, Seoul, South Korea – lives in Paris, France 88. Selma and Sofiane Ouissi(video) 71. Pauline Boudry and Renate Lorenz (film) b. 1975 / b. 1972, Tunis, Tunis – lives in Tunis, Tunis, and b. 1972, Lausanne, Switzerland – lives in Berlin, Germany Paris, France b. 1963, Bonn, Germany – lives in Berlin, Germany 89. Younes Rahmoun (video, site specific installation) 72. Wangechi Mutu (installation) b. 1975, Tetouan, Morocco – lives in Tetouan, Morocco b. 1972, Nairobi, Kenya – lives in New York, United States

73. Eric Baudelaire (video installation) b. 1973, Salt Lake City, United States – lives in Paris, France 25

90. Lili Reynaud-Dewar (sculpture, photographs, video) 106. Karthik Pandian (film installation) b. 1975, La Rochelle, France – lives in Paris, France b. 1981, Los Angeles, United States – lives in Los Angeles, United States 91. Köken Ergun (video installation, documents) b. 1976, Istanbul, Turkey – lives in Berlin, Germany 107. Aurélien Porte (painting) b. 1981, Rochefort-sur-Mer, France – lives in Paris, France 92. Bojan Fajfric (video) b. 1976, Belgrade, Serbia – lives in Amsterdam, 108. Ekta Mittal and Yashaswini Raghunandan (video) The Netherlands b. 1982, Mangalore, India – lives in Bangalore b. 1984, Bangalore, India – lives in Bangalore 93. Mathieu Kleyebe Abonnenc (installation, performance) b. 1977, French Guiana – lives in Paris, France 109. Bertille Bak (video) b. 1983, Arras, France – lives in Paris, France 94. Anca Benera and Arnold Estefan (video, drawing, performance) 110. Neil Beloufa (video installation) b. 1977, Constanta, Romania – lives in Bucharest, b. 1985, Paris, France – lives in Paris, France Romania b. 1978, Romania – lives in Bucharest, Romania 111. Dominique Hurth (installation) b. 1985, Colmar, France – lives in Berlin, Germany 95. Basim Magdy (works on paper) b. 1977, Assiut, Egypt – lives in Basel, Switzerland, and 112. Mihut Boscu (video) Cairo, Egypt b. 1986, Romania – lives in Cluj-Napoca, Romania

96. Haroon Mirza (sound installation) 113. Centre for Visual Introspection (performance) b. 1977, London, United Kingdom – lives in London and Art collective based in Bucharest, Romania, founded Sheffield, United Kingdom in 2008

97. Konrad Smolenski (sound installation, video) b. 1977, Kalisz, Poland – lives in Warsaw, Poland Collaborating

98. Ziad Antar (photographs) institutions contributors b. 1978, Saida, Lebanon – lives in Beirut, Lebanon, and Paris, France BÉTONSALON 99. Carolina Caycedo (installation) – CENTRE FOR ART AND RESEARCH b. 1978, London, United Kingdom – lives in Los Angeles, United States 1. Hendrick Danckerts 100. Camille Henrot (film, installation) b. 1625, The Hague, The Netherlands – d. 1680 b. 1978, Paris, France – lives in Paris, France 2. Édouard Bouët-Willaumez 101. Nina Canell (installation) b. 1808, Brest, France – d. 1871 b. 1979, Växjö, Sweden – lives in Berlin, Germany 3. Germaine Krull 102. Tarek Atoui (sound installation) b. 1897, Poznan, Poland – d. 1985 b. 1980, Beirut, Lebanon – lives in Beirut, Lebanon 4. André Lassoudière 103. Dominik Lang (sculpture) b. 1943 – lives in Paris, France b. 1980, Prague, Czech Republic – lives in Prague, Czech Republic 5. Lois Weinberger b. 1947, Stams/Tirol, Austria – lives in Vienna, Austria 104. Adam Pendleton (video installation) b. 1980, Richmond, United States – lives in New York, United States

105. Louise Hervé & Chloé Maillet (performance, sculpture) b. 1981, Chauny, France b. 1981, Loudun, France – lives in Paris, France 26

6. Amos Gitaï INSTANTS CHAVIRÉS b. 1950, Haifa, Israel – lives in Haifa, Israel, and Paris, France 1. Skullflower:Matthew Bower / Lee Stokoe / George Proctor / Samantha Davies (United Kingdom) 7. Claire Pentecost b. 1956 – lives in Chicago, United States 2. Astral Social Club: Neil Campbell (United Kingdom)

8. Dominique Juhé-Beaulaton 3. Regenorchester: Franz Hautzinger / Tony Buck b. 1960 – lives in Paris, France / Luc Ex / Ava Mendoza / Raphaël Vanoli (Austria, Australia, The Netherlands, United States) 9. Dan Peterman b. 1960, Minneapolis, United States – lives in Chicago, 4. Api Uiz: Enrique Vega / Ian Saboya / Jorge Vega (France) United States 5. Stephen O’Malley (United States) 10. Maria Thereza Alves b. 1961, Sao Paulo, Brazil – lives in Berlin, Germany 6. MKM: Jason Khan / Günter Müller / Norbert Möslang (Switzerland, United States) 11. Mark Dion b. 1961, New Bedford, United States – lives in New York, 7. Seijiro Murayama (Japan) United States 8. Michel Doneda (France) 12. Otobong Nkanga b. 1974, Kano, Nigeria – lives in Antwerp, Belgium 9. The Contest of Pleasures: Xavier Charles / John Butcher / Axel Dörner (France, United Kingdom, Germany) 13. Yo-Yo Gonthier b. 1974, Niamey, Niger – lives in Saint-Denis, France 10. BTR: Alexandre Bellenger / Roger Turner / Arnaud Rivière (France, United Kingdom) 14. Pablo Bronstein b. 1977, Buenos Aires, Argentina – lives in London, 11. Gert-Jan Prins (The Netherlands) United Kingdom 12. Andy Moor / Yannis Kyriakides (The Netherlands) 15. Marie Preston b. 1980, Paris, France – lives in Paris, France 13. Hubbub: Frédéric Blondy / Bertrand Denzler / Jean-Luc Guionnet / Jean-Sébastien Mariage / Edward Perraud (France)

CENTRE D’ART CONTEMPORAIN D’IVRY - LE CRÉDAC LES LABORATOIRES D’AUBERVILLIERS Boris Achour (installation) b. 1966, Marseille, France – lives in Paris, France Pauline Boudry and Renate Lorenz (installation/film) b. 1972, Lausanne, Switzerland – lives in Berlin, Germany b. 1963, Bonn, Germany – lives in Berlin, Germany GALLIERA, MUSÉE DE LA MODE DE LA VILLE DE PARIS MUSÉE DU LOUVRE

El Anatsui (sculpture) Françoise Vergès (lecture, performance) b. 1944, Anyako, Ghana – lives in Nigeria Née en 1952, Paris, France – vit à Paris, France

GRAND PALAIS

Rirkrit Tiravanija (installation, sculpture, performance) b. 1961, Buenos Aires, Argentina – lives in New York, United States, and Bangkok, Thaïland DOSSIER 4 27 Publications of La Triennale

Intense Proximity: La Triennale online Journal

The Guidebook Organized around a theme, a question, a certain issue of La Triennale project, the five journals gather every month, from The Guidebook of La Triennale presents the contributors of the January to May 2012, essays, interviews, republishing of funda- show through illustrated and bilingual (French – English) notes. mental texts, visual essays, illustrations, … Available online and for downloading on the website of La Triennale, and bilingual, Price: 10 EUR each of these editions is edited by one of the curators of the show 280 pages and is therefore a testimony of the curatorial research that has Coedited by Centre national des arts plastiques – Artlys been conducted during the preparation of La Triennale 2012.

Journal #1 January 2012 — editor: Claire Staebler – Intense Proximity: Unlearning / Désaprendre

An Anthology Journal #2 February 2012 – editor: Émilie Renard of the Near and the Far 4 Heads and an ear / 4 Têtes et une oreille

More than an exhibition catalogue, this Anthology reflects the theoretical and conceptual content of La Triennale 2012, and is fully Journal #3 part of the curatorial project. It is a tool of theoretical thinking March 2012 – editor: Abdellah Karroum about the relations between art and anthropology from the begin- st ning of the 21 century to the present day through essays written Journal #4 by the curators of La Triennale and guest authors, through ref- April 2012 – editor: Mélanie Bouteloup erence texts of Michel Leiris, Claude Lévi-Strauss, Aimé Césaire, Franz Fanon, etc. reprinted for the occasion. Last, each of the contributors of La Triennale is given carte blanche to propose on a Journal #5 double page an original contribution. May 2012 – editor: Okwui Enwezor

Price: 45 EUR 712 pages Coedited by Centre national des arts plastiques – Artlys DOSSIER 5 28 Mediated learning

A public service undertaking, a commitment to exchange and share with others

La Triennale has a clear objective: Taking the public on a journey of discovery hosting a wide audience and offering A number of different ressources to meet the needs of every an exceptional mediated learning. visitor:

- a comprehensive website; - a guidebook, to accompany the visit; With this in mind, the Palais de Tokyo and each of the other insti- - an anthology, bringing together a number of texts tutions taking part in La Triennale offer a program of special me- for more in-depth information; diated learning resources for the show, adapted to the particular - a multi-disciplinary artistic and cultural programme venue and the exhibition they represent. throughout the event; - specially-tailored mediated learning resources The CNAP is coordinating the mediated learning devices for all for people with disabilities; the associated venues and, in collaboration with each institution, - specialist guides. is overseeing the creation of several common documents, such as an educational document for teachers and lecturers, an information sheet for the general public, etc. 1. THE CHALLENGES OF Incorporating the expertise and identity of the mediation policies of each of the participating venues, the CNAP intends these docu- MEDIATED LEARNING ments to be a tool designed to meet the needs and expectations of the school, individual and disabled visitors. As part of a public service mission, La Triennale is committed to providing mediated learning activities, which fulfil the remit of These resources, designed as resource tools, aim to surprise, promoting culture and making works of art accessible to the gen- to question preconceived ideas and ensure that each visit is an eral public through a series of mediated learning ressources es- intense, fulfilling personal experience. They will be available for sential for the comprehension of contemporary art. download from the La Triennale website. Mediated learning aims to foster a new relationship with art From its participation in many major national contemporary art based on a more open, inclusive approach, with the accent on exhibitions, the CNAP has acquired an expertise in mediated discussion and the exchange of ideas. Guides, or mediators, are learning resources and activities, which have now become a vi- on hand to accompany each visitor, helping them to consolidate tal element of welcoming the visiting public. Visitors enjoy and their personal knowledge and responses, and forge a deeper un- recognise these resources and now very much look forward to derstanding of the artworks in question as well as awakening ar- discovering the ones in place for this new edition of La Triennale. tistic sensitivity.

On the occasion of La Triennale, the Palais de Tokyo is asserting the visitor’s response to a work of art as the founding stone of his or her artistic sensitivity. By offering a wide range of different activities, its mediated learning program invites people from 29 different walks of life into the universe of an institution dedicated Mediated learning seeks to open up new avenues, encourage con- to contemporary creation. Positioned as a resource centre open templation and span different disciplines: discovering the world, to permanent dialogue, the education department has developed mastering language, literature, living language – English– archi- projects, from a simple exhibition visit to artist-led workshops, tecture and visual arts. based on the exhibitions, the artists, the professions, the history of the building, its architecture or even cultural policy. The team of mediators will lead visits for school groups of all ages, from kindergarten to high school, aimed primarily at explor- The department aims to share its expertise and/or know-how ing the emotions and working on their experience of the exhibi- with the participants, enriching their knowledge but also devel- tion and the role of observation, the imagination and the mind. oping their social and intellectual posture to allow them to break free from preconceived ideas. Representatives of the state educa- Encouraging the pupils to concentrate and reflect on the works, tion system (teachers, inspectors, academic delegates, etc…) al- the team will focus on the intensity of their reactions. ready view the Palais de Tokyo as a receptive partner that can help them devise projects in line with their curriculum and educational The various types of support material for La Triennale fall into objectives. two categories. The “Palais Clef en Main” formats are based di- rectly on the French National Education curricula and provide comprehensive support for the work of the teachers. The “Visite Active” format, available from school level upwards, leaves plenty 2. THE MEDIATORS of room for discussion and its unique feature is the very short workshop (10 minutes) at a key point in the visit.

A team of mediators, contemporary art specialists, art historians, philosophers and artists, will be present in the exhibition areas at all times to answer questions, provide information, discuss the Workshops adapted works of art and guide the visitors. These multilingual educational specialists have an in-depth knowledge of the works, the artists on to each level of education show and the current artistic climate.

To foster a confident approach to contemporary art, the mediators will stimulate the curiosity of the visitors in an attempt to forge — Arts, territories and diversity: the link between not only themselves and the work, but also their approaching the world through the senses respective environments. They will encourage discussion, capi- and through narrative (Tok Tok Ecoliers) talising on the visitors’ existing knowledge and expertise, in the hope of hatching nascent ideas. Level: kindergarten (first two years) Duration: 90 minutes Format: Visit of the exhibition works accompanied by storytelling + “appropriation of space” exercise for the group. 3. SCHOOL GROUPS: Referring to the world of some of the artists featured in the La A SPECIAL ATTENTION Triennale - Intense Proximity, this format takes the children into a fantasy world which sharpens their powers of observation and The content of the workshops has been discussed with a broad mental projection. Awakening the children’s basic early learning spectrum of specialists from several educational institutions. La faculties encourages their awareness of the diversity of the world Triennale visits and workshops have been devised to tie in with around them. The exercise then moves onto a performance, allow- the curricula of general and vocational education and adapted to ing them to express themselves using their own body and helping the requirements of each branch or level. In doing so, La Triennale them find an answer to the question: how do I inhabit the earth? has taken into account the major changes in art education in schools, with a specific shift of focus towards art history. The me- Level: kindergarten and primary school (last year of the diated learning teams have put together an educational booklet kindergarten, first two years of the primary school) developed by all the collaborating institutions of La Triennale, Duration: 2 hours which is available to download from the La Triennale website. Format: Guided visit + workshop

The mediated learning activities and resources geared towards a This hands-on visit, which seeks to forge a link between the famil- young audience aim first and foremost to create an aesthetic ex- iar and the distant, gives the pupils the opportunity to finetune perience, while touching on the different notions of contemporary their language skills by expressing their feelings and opinions, art, and will help each young participant to reflect on his or her and helps them develop in the wider social context that is their own position in society. 30 class. The workshop looks deeper into the question of their rela- — Arts, history of ideas and citizenship: tionship with space and time, while allowing the pupils to develop towards a critical approach of the world their manual skills and feeling for art. (high school level)

Level: primary school Level: levels 2° and 1° (ages 15 and 16) Duration: 2 hours Duration: 90 minutes / 2 hours Format: Guided visit + workshop Format: Interactive visit

In the course of this visit the pupils discover the fundamentals The visit demonstrates how the artists of La Triennale - Intense of humanist culture. A more concrete approach is taken to the Proximité engage in a global context, on the basis of a complex relationship between time and space, with reference to the geog- interweaving of relationships which transcend geographical dis- raphy and history of Modern Times. Contemporary art issues are tances. Certain notions of philosophy and citizenship are ex- explored through examples taken from the exhibition and during plained to the pupils to give them an understanding of the aims the visual art workshop, where the pupils experiment, individually of the artists. Is the “power of art” driven simply by sight, shape, or collectively, with certain forms of artistic expression. relationships, ethics and/or aesthetics? Or are there other motiva- tions for artistic activity?

Level: final year (17 years) — Arts, perceptions and usage: Duration: 90 minutes / 2 hours towards a structured approach of the world Format: Interactive visit + discussion (school level)

Based on the national curriculum, this visit aims to prepare final Level: levels 6° and 5° (ages 11 and 12) year pupils for the Baccalaureate exam, focussing on the artists- Duration: 90 minutes / 2 hours performers or dealing with the question of our relationship with Format: Interactive visit our body. As such, it raises the issues of global culture, national identity and even living together. During the end-of-visit discus- In the course of the year the pupils have been studying a tale or sion, all pupils are given the opportunity to describe the position adventure story. The questions of (mental) territory and how we they believe they occupy in the complex landscape that is con- use it are the starting point for the guided visit of La Triennale. In temporary society, thereby allowing them to confirm their future terms of aesthetics, the pupils are encouraged to use appropriate career choices. descriptive vocabulary when reflecting on the status of the ob- ject of contemporary art and the difference between the notions of work and image. The importance of the interaction between the point of view of the author and that of the observer is also — At the crossover between disciplines: highlighted. Intense Proximity (higher education)

Level: levels 4° and 3° (ages 13 and 14) Courses: Human and Social Sciences, Art schools, Duration: 90 minutes / 2 hours professions in the world of culture, etc. Format: Interactive visit + discussion Duration: 90 minutes / 2 hours Format: Interactive visit (+ discussion) During the visit, the works of La Triennale are presented as rep- resentative of the history of the modern contemporary world and La Triennale - Intense Proximity touches on many different topics approached from the angle of their cultural, social and political and thus allows us to welcome students from a wide variety of dimensions. The relationships between image and power and the courses. Students of anthropology, history, visual arts or even po- challenges of how best to stage an exhibition are also studied. For litical science will find it offers in-depth material to supplement 3° levels, much of the activity is devoted to allowing each pupil to their own research. The format of a triennial itself, very much a give verbal expression to his or her thoughts and feelings, with a present-day cultural phenomenon, could also be used as a topic view to preparing the pupils for the end-of-year oral exam. There is for a visit by students of cultural mediation. On this basis, the no doubt they will leave the workshop with a better grasp of what Palais de Tokyo mediated learning team has created the visit con- this exam entails. tent in cooperation with teachers and lecturers, a collaboration which highlights the interdisciplinary approach adopted by La Triennale. 31

— Educalab – La Triennale 5. THE WEBSITE, MEDIATED LEARNING RESSOURCE The more experimental “Educalab” initiative accompanies the school children and participants from the wider social sphere over Taking the form of a news site, the website www.latriennale.org is the longer term, offering them a practical element. Young people constantly updated with news items and video interviews. Photo are given the chance to develop their sensitivity and creativity by galleries, artist notes documenting their work and links to related opening their minds to other languages. sites, provide visitors with additional information before and after their visit. These lab programs involve active involvement from the participants. They tackle visual art projects at workshops run by artists featured in the program or practise their debating skills by taking an active part in discussions led by external experts (philosophers, historians, academics or sociologists). The young people learn to communicate their discoveries, emotions and perceptions to others and forge links between artistic creation and their everyday environment. Finally, they work on a collaborative model and very often develop technical skills.

As part of La Triennale, partnerships have been established with institutions such as the ENSA (Paris-Cergy), the University Paris 7, an agricultural high school and some schools in the Ile-de- France region.

On this occasion, more so than ever before, the Palais de Tokyo Educative Action guides are adopting a clear educational role and will try to avoid simply delivering pre-drafted texts. By taking a step back, they are helping the participants develop their feeling for the art. The works of contemporary art, never at the forefront and never imposing an unequivocal message, are there to nur- ture interpretation, study and discussion, to stimulate the imagination, creativity and critical evaluation process. The mediated learning department undertakes to develop these qualities in the participants, to allow them to assert themselves as individuals within a wider social context.

4. VISITORS WITH DISABILITIES

Under the coordination of the CNAP, the catering for the needs of visitors with disabilities is a core objective of La Triennale. Specially-adapted devices have been developed:

— an accessible website for the simple, and effective dissemination of information and content;

— special mediated learning resources placed at the disposal of visitors at the Palais de Tokyo and in each of the associated venues, among which booklets in large print and in Braille for people with visual impairments;

— tailor-made guided visits, which have been put together in collaboration with partner associations. 32 Practical Information

Exhibition open to the public Free from April 20th to August 26th, 2012 Under 18 years-old, job seekers, people in receipt of French state benefits (minima sociaux) and the minimum pension, people with disabilities and their carers (in accordance with Public opening at the Palais de Tokyo on the conditions laid down by the Maison Départementale des 19th April, 2012, from 9:00 pm to midnight. Personnes Handicapées).

Free admission after 6:00 pm on the 1st Monday of every month. Website: www.latriennale.org Admission + guided tour pack (90 min): 12 EUR Beginning of guided tours Requests for visitors information: 10:30 am, 1:30 pm, 3:30 pm, 5:30 pm, 7:00 pm [email protected] Adult group fee Tour with mediator-lecturer (up to 30 persons, 90 minutes): 200 EUR

Rates for school and extra-curricular groups PALAIS DE TOKYO Groups of up to 30 students (primary and secondary) www.palaisdetokyo.com Tok-Tok ateliers for pupils: 120 EUR Tok-Tok tale for pupils: 80 EUR

Address Palais de Tokyo Teachers or apprentice teachers (Education Nationale – IUFM) 13, Avenue du Président Wilson, 75116 Paris Tour of 90 minutes or workshop-tour of 2 hours: 160 EUR per group Opening hours Daily, except on Tuesdays From noon to midnight BÉTONSALON Access Metro: line 9 / stations: Alma-Marceau or Iéna – CENTRE FOR ART AND RESEARCH RER C / station Pont de l’Alma www.betonsalon.net Bus lines: 32, 42, 63, 72, 80, 92 Vélib’: station at 2 rue Marceau Tropicomania, the social life of plants will be open to the public from April 20th to July 21st, 2012 Admission fee (opening: on Friday, April 20th 2012, 6:00 pm - 9:00 pm). The admission ticket includes free admission to the guest program of the same day. Address

Bétonsalon – Centre for art and research Regular fee: 8 EUR 9, esplanade Pierre Vidal-Naquet

Rez-de-Chaussée de la Halle aux Farines, 75013 Paris Reduced fee: 6 EUR (visitors under 26 years old, holders of France’s Carte Famille Nombreuse, teachers, holders of an entrance ticket to Monumenta 2012 – Daniel Buren) 33

Opening hours GALLIERA, MUSÉE DE LA MODE Tuesday-Saturday: 11:00 am - 7:00 pm DE LA VILLE DE PARIS Exceptionally open on Sunday, April 22nd, 2012 Bétonsalon – Centre for art and research is closed in August. www.galliera.paris.fr

Program Address — Friday, April 20th, 2012, 6:00 pm - 9:00 pm: opening; Galliera, musée de la Mode de la Ville de Paris — Saturday, June 2nd, 2012: study day at musée du quai Branly; 10, avenue Pierre 1er de Serbie, 75116 Paris — Sunday, June 3rd, 2012: an afternoon of screenings, presentations, and exchanges at Muséum — national Opening hours d’Histoire naturelle. Museum closed to the public. Access to the garden by the Avenue du Président Wilson: Access — From April 20th to April 30th, 2012: Metro: ligne 14 / station Bibliothèque François Mitterrand Monday to Friday, 8:30 am - 7:30 pm RER C / station Bibliothèque François Mitterrand / Saturday and Sunday, 9:00 am - 7:30 pm. Bus: lines 62, 89 and 132 / stop Bibliothèque François — From May 1st to August 26th, 2012: Mitterrand, line 64 / stop Tolbiac-Bibliothèque François Monday to Friday, 8:00 am - 8:30 pm Mitterrand, line 325 / stop Thomas Mann, line PC2 / stop / Saturday and Sunday, 9:00 am - 8:30 pm. Porte de la Gare Access Admission fee Metro: line 9 / stations Iena, Alma-Marceau Free access Bus: lines 32, 63, 72, 82, 92 Vélib’: station at 2 rue Marceau Contact [email protected] Admission fee Free access

Contact CENTRE D’ART CONTEMPORAIN [email protected] D’IVRY - LE CRÉDAC www.credac.fr GRAND PALAIS Séances by Boris Achour will be shown from April 13th to June 3rd, 2012 www.grandpalais.fr (first show: on Friday, April 13th 2012). Soup/No Soup will be presented to the public on Saturday, Address 7th of April 2012, from noon to midnight. La Manufacture des Œillets 25-29 rue Raspail, 94200 Ivry-sur-Seine Address Nave of the Grand Palais – Main entrance Opening hours Avenue Winston Churchill 75008 Paris Tuesday-Friday: 2:00 pm – 6:00 pm Saturday and Sunday: 2:00 pm – 7:00 pm Access Open on public holidays from 2:00 pm to 7:00 pm Metro: lines 1, 9, 13 except on the 1st of May. / stations: Franklin Roosevelt, Champs-Elysées-Clemenceau Bus: lines 28, 32, 42, 72, 73, 80, 83, 93 Access Metro: line 7 / station Mairie d’Ivry Admission fee RER C / station Ivry-sur-Seine Free access Car: from Paris, exit Porte d’Ivry then Ivry Centre ville Contact Admission fee [email protected] Free access

Contact [email protected] 34

INSTANTS CHAVIRÉS LES LABORATOIRES www.instantschavires.com D’AUBERVILLIERS www.leslaboratoires.org Address Instants Chavirés Toxic (installation/film) will be presented 7, rue Richard-Lenoir, 93100 Montreuil to the public from April 18th to April 28th, 2012.

Program Address — Saturday, April 21st – Instants Chavirés – Les Laboratoires d’Aubervilliers 8:30 pm: Skullflower (UK), Astral Social Club (UK); 41, rue Lécuyer, 93300 Aubervilliers — Friday, May 11th – Palais de Tokyo – 8:00 pm: Regenorchester XIV - Tony Buck / Luc Ex Opening hours / Franz Hautzinger / Ava Mendoza - (Australia / Austria Monday to Saturday: 10:00 am – 6:00 pm / The Netherlands / USA); — Saturday, May 12th – Palais de Tokyo – Seminar in presence of the artists 5:00 pm: Api Uiz - Enrique Vega / Ian Saboya / Jorge Vega on Saturday, April 21st at 4:00 pm (on reservation at (France); [email protected] or +33 (0)153 561 590). — Thursday, June 7th – Palais de Tokyo – 8:00 pm: Stephen O’Malley (USA); Screening within the framework of the movies programme — Friday, June 8th– Instants Chavirés – of La Triennale at the Palais de Tokyo, from April 29th 8:30 pm: MKM – Jason Kahn / Günter Müller / Norbert Möslang to August 26th, 2012. (Switzerland / USA), Seijiro Murayama (Japan); — Saturday, June 16th – Palais de Tokyo – Access 5:00 pm: Michel Doneda (France); Metro: line 7 / station: Aubervilliers-Pantin-Quatre-Chemins — Saturday, June 16th – Palais de Tokyo – 8:00 pm: The Contest of Pleasures – Xavier Charles Contact / John Butcher / Axel Dörner - (France / UK / Germany); [email protected] — Friday, June 22nd – Instants Chavirés – 8:30 pm: BTR - Alexandre Bellenger / Roger Turner / Arnaud Rivière - (France / UK), Gert-Jan Prins (The Netherlands), Andy Moor / Yannis Kyriakides (The Netherlands); — Friday, July 6th – Instants Chavirés – 8:30 pm: Hubbub – Frédéric Blondy / Bertrand Denzler / Jean-Luc Guionnet / Jean-Sébastien Mariage MUSÉE DU LOUVRE / Edward Perraud - (France). www.louvre.fr

Reservation is required. Address Musée du Louvre, 75001 Paris Access Metro: line 9 / station Robespierre Opening hours Daily from 9:00 am to 6:00 pm except on Tuesdays Admission fee Late night on Wednesdays and Fridays until 9:45 pm Concerts at Instants Chavirés: Closed on the 1st of May Regular fee (tickets sold at Instants Chavirés): 12 EUR Tours “The slave at the Louvre” will be held Tickets sold in advance on digitick.com: on Fridays, May 4, 11, 25 and June 1st, 2012 at 7:00 pm. 10 EUR Reservation required by mail: [email protected] Reduced fee for La Triennale ticket holders bought at the Palais de Tokyo: 10 EUR Programme of the visits: — May 4th: Portrait d’une femme noire by Marie-Guillemine Concerts at the Palais de Tokyo: Benoist and Nubian slave figurine; Regular fee: 8 EUR — May 11th: Quatre captifs by Pierre Francqueville; Reduced fee: 6 EUR

Contact [email protected] 35 — May 25th: Trois diverses Maisons or Habitations des labradores qui plantent le sucre, by Frans Post; — June 1st: Le Radeau de la méduse by Théodore Géricault.

Access Metro: lines 1, 7 / station Palais-Royal - musée du Louvre Bus: lines 21, 24, 27, 39, 48, 68, 69, 72, 81, 95 Vélib’: stations n°1015 at 2 place A. Malraux, n°1023 at 165 rue Saint-Honoré, n°1014 at 5 rue de l’Echelle and n°1013 at 186 rue Saint-Honoré

Meeting point: groups meeting point under the central pyramid, between the Sully and Denon entrances.

Admission fee Regular fee: 10 EUR Exemptions under the free entrance regime of the Musée du Louvre

Contact [email protected] 36 The French ministry of Culture and Communication and its operators

The ministry of Culture and Communication La Triennale is organized at the initiative of the ministère de la Culture et de la Communication (Direction générale de la créa- / Direction générale de la création artistique tion artistique), commissioner, with the Centre national des arts plastiques (CNAP), associate commissioner, and produced by the The Ministry of Culture and Communication / Direction générale Palais de Tokyo. de la creation artistique defines, coordinates and evaluates state policy on the performing arts and visual arts, and determines the conditions of its implementation. The Direction générale de la creation artistique supports artistic creation in all areas of its ex- Press contact: pression, promoting the dissemination of works and the acces- Department of information and communication sibility of artistic productions to the widest possible audience. +33 (0)1 40 15 74 71 Among its responsibilities, it coordinates events of national and [email protected] international scope with the intention of promoting contemporary art in France. Thus the creation of “MONUMENTA” and “La Direction générale de la création artistique Triennale” shows. Marie-Ange Gonzalez + 33 (0)1 40 15 88 53 These events are united in the common purpose to sensitize the [email protected] widest possible audience to the issues of contemporary artistic practices. A large mediated learning system gives the broader public the keys to understanding works being created by artists today.

After the first two editions that took place in the Nave of the Grand Palais, “La Force de l’Art”, a triennial contemporary art event organized at the initiative of the Ministry of Culture and Communication (Direction générale de la creation artistique), now becomes “La Triennale”, establishing itself as a fixture of the contemporary art world. Remaining a place of exchange and encounters for artists in the French scene and from around the world, the 2012 Triennale will occupy the Palais de Tokyo’s newly renovated spaces. 37

Centre national des arts plastiques, Press contact: associare commissioner Perrine Martin-Benejam + 33 (0)1 46 93 99 55 [email protected]

One of France’s primary cultural institutions, the Centre national des arts plastiques (CNAP) is heavily involved in the field of contemporary art. In collaboration with artists and art professionals, it supports large-scale projects to allow the general public to dis- Palais de Tokyo, producer cover the artists who are creating our future. It promotes, trans- mits, introduces, and opens new horizons for contemporary art. The Palais de Tokyo is an institution of the Ministry of Culture and Communication, and has been presided over by Jean de Loisy In 2011, the CNAP celebrated the 220th anniversary of its collec- since June 2011. tion; this forward-looking and uniquely substantial collection today holds over 90,000 works of art and tends toward the extreme Occupying the west wing of the building constructed in 1937 for contemporaneity of the current art scene. With an active policy of the International Exhibition of Arts and Technology, the Palais circulating its collections in France and abroad, the CNAP contrib- de Tokyo, expanded and renovated by the architects Lacaton utes to the diffusion of contemporary art to an ever-larger pub- & Vassal, became one of the largest spaces dedicated to contem- lic. To that effect, the CNAP partners with nearly 300 institutions porary art in Europe in April 2012. Building on its years of suc- annually. cess, the Palais de Tokyo now covers 22,000 sq. m., stretching from the Avenue du Président Wilson to the quay of New York on In France, the CNAP orchestrates an annual series of events, seek- the banks of the Seine. Its adventurous spirit and its new spaces ing to reinvent its approaches and partnerships every year: these will be used in the service of artists – of their creations and their events are alternately created at a city-wide scale, with participa- visions – to expand our capacity to perceive, to imagine and to tion across the urban art circuit, or are tailored to the scale of a open new horizons. particular space. In continuation of this policy, the Collector exhibition, presented at the Tripostal in Lille from October 5th, 2011 to The Palais de Tokyo’s public interest mission is to promote con- January 1st, 2012 in partnership with lille3000, was the first large- temporary, emergent and experimental art, and to contribute to scale presentation of the CNAP’s collections in over 10 years; this the recognition of established artists, especially those well-estab- was a major event both for its amplitude and for the richness of lished in France, working in all forms of contemporary art in an the themes addressed. Abroad, the CNAP takes part in important international context. Its duty is to reach the widest possible au- events, where it promotes the richness of the French art scene; dience, to expand familiarity with exhibited artworks and to con- at the Venice Biennale, for example, the CNAP co-produces the tribute to cultural development while implementing artistic and French pavilion with the Institut Français. Exhibitions are also cultural education activities, with a special emphasis on young scheduled in Barcelona and at the Wolfsonian Museum in Miami people, and contributing to training and research in the field of Beach (United States) in 2012. contemporary visual arts.

In paralle, the CNAP plays a role as an economic actor in the arts. It supports artistic research and innovation by allocating research grants to artists engaged in experimental approaches, and ac- Press contact: companies projects undertaken by contemporary art profession- Dolorès Gonzalez als (galleries, publishers, restorers, art critics, documentary pho- + 33 (0)1 47 23 52 00 tographers, etc.) with financial assistance. [email protected]

Finally, the CNAP has co-produced since 2007 prestigious en- Vanessa Julliard counter shows with contemporary art such as MONUMENTA, at +33 (0)1 47 23 54 57 the Grand Palais, and La Triennale, at the Palais de Tokyo. For La [email protected] Triennale, the CNAP developed the curatorial project with a team of curators and its institutional partners, supervised the production of artworks, accompanied the mediation policy implemented by the Palais de Tokyo and the associated spaces, and co-published the guidebook and an anthology on the concept of Intense Proximity with Artlys.

Such is the program that has been established and implemented to give the widest possible audience the keys to understanding contemporary art and an entrance into the world of artists. 38 Institutional partners

Organized at the initiative of the Ministry of Culture and Communication (Direction générale de la création artistique), La Triennale, the first major event marking the reopening of the Palais de Tokyo in 2012, will offer a large panorama of contemporary art at the intersection of the French art scene and global sites of production.

La Triennale is organized by: The Ministry of Culture and Communication (Direction générale de la création artistique), commissioner, the Centre national des arts plastiques (CNAP), associate commissioner, and the Palais de Tokyo, producer.

La Triennale will radiate from the Palais de Tokyo to seven collaborating institutions based in Paris and the surrounding region: Bétonsalon – Centre d’art et de recherche, Centre d’art contemporain d’Ivry – le Crédac, Galliera – musée de la Mode de la Ville de Paris, the Grand Palais, Instants Chavirés, Les Laboratoires d’Aubervilliers and the Musée du Louvre.

Institutional Partners of the exhibition:

SAHA, Istanbul Mondriaan Fund, Amsterdam Adam Mickiewicz Institute/culture.pl Institut für Auslandsbeziehungen e. V. Pro Helvetia, Fondation suisse pour la culture Institut français Institut Polonais de Paris Institut Culturel Roumain British Council 39 Partners

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