PRESS KIT Shara Hughes « Pivot » Sarah Lucas « NOT NOW DARLING » Paloma Varga Weisz « Glory Hole »

From January 7, 2020 to April 25, 2021

37, rue de Longvic – 21000 Dijon, France T +33 (0)3 80 68 45 55 / F +33 (0)3 80 68 45 57 www.leconsortium.fr Table of contents

Exhibitions...... 4-17

> Shara Hughes « Pivot »...... 4-7 > Sarah Lucas « NOT NOW DARLING »...... 8-11 > Paloma Varga Weisz « Glory Hole »...... 12-13 > « New York: The Eighties; Part Two (extended version) »...... 14-15 > Communication materials...... 16-17

About The Consortium Museum...... 18-19

Sarah Lucas, WINTER SONG, 2020 © Sarah Lucas, courtesy Sadie Coles HQ, London. Photo: Robert Glowacki Curated by Éric Troncy Shara Hughes’s paintings incite contemplation; they —— represent idyllic landscapes in bright contrasting colors, painted in a singular style. For her first solo exhibition in France, the Consortium Museum presents a set of about forty artworks Shara Hughes created between 2016 and 2020, many of them on “Pivot” loan from private collections. Curated by Eric Troncy, Pivot unfolds over seven galleries to propose an Acknowledgements: Pilar Corrias gallery, London; immersive journey inside the young American’s Eva Presenhuber gallery, Zurich, New York; Rachel instinctive painting. Uffner gallery, New York. Hughes launched her pictorial practice by creating interior scenes in a style drawing on references from contemporary figurative painters such as David Hockney. This universe abruptly shifted when she moved to New York a few years ago; from this moment on her imagination was wholly captured by imaginary landscapes. Her participation in the 2017 Whitney Biennial granted recognition to this series of paintings, boosting the artist’s international exposure.

The subjects of her paintings are first and foremost traditional with their recognizable, brightly colored deserted landscapes, shimmering sunsets or lush still lifes that recall the artist’s attraction to early 20th Shara Hughes, Private Life, 2017 century Modernist painting. Her pictures display a © Shara Hughes wild, luxurious nature—thick forests, gleaming rivers and rugged mountains—in which human presences have no place. Some compositions adopt another point of view, turning flowers of unknown varietals into vivid portraits. These giant psychedelic plants can be contemplated as large-scale paintings that recall Vincent van Gogh’s Sunflowers as much as Pivot offers an overall view of Shara Hughes’ recent they are evocative of Georgia O’Keeffe’s iconic work in a survey exhibition, revealing the dreamlike, blooms. poetic scope of her universe.

Inspired by avant-garde pictorial movements such as Shara Hughes (b. 1981, Atlanta, Georgia) lives and Fauvism and German Expressionism, Shara Hughes works in New York. She graduated from the Rhode Shara Hughes, Cascade, 2016 is unconcerned with realism and builds her painting Island School of Design and attended the Skowhegan © Shara Hughes according to her own rules, sometimes making School of Painting and Sculpture. use of a rudimentary perspective in the service of compositions that unite chaotic lines and audacious color associations. These pictures with their saturated colors spring from her imagination; they are associated with abstract motifs that regularly erupt to the surface of the canvas, sometimes until the subject entirely disappears under layers of paint. This pictorial style reveals all the spontaneity at play in Shara Hughes’ work, who is guided solely by her inventiveness, developing her artworks without any prior set plans when confronted with the blank canvas.

To obtain these effects she makes use of all kinds of technical feats: energetic brushstrokes, large flat color swatches and light tracing lines; she also enlists all kinds of painting materials to expand her chromatic range: acrylic paint, spray paint, dyes or oil pastel. These tools let her access the expansive palette that characterizes her pictorial style, reaffirming her peerless technique as a colorist.

4 5 Curated by Éric Troncy More recently she has set aside interiors to paint —— landscapes that call for a whole bunch of techniques at once, such as oil paint, spray paint, brushes and trowels, and only through trusting imagination, which is where these landscapes exclusively come Shara Hughes from. They don’t depict any real or distinctive place; “Pivot” moreover, Hughes starts on her blank canvases without any specific idea whatsoever. In short, it is Excerpts from Éric Troncy « Les toiles exaltées de the act of painting itself that builds and composes Shara Hughes », Numéro, March, 2019. the picture, guided by the knowledge of what painting has been throughout its history, until the distinct moment when the picture will be created. Don’t Hold Your Breath, the recent exhibition of « Shara Hughes was born in 1981 in Atlanta. She some of these landscapes at the Eva Presenhuber graduated from the Rhode Island School of Design gallery in Zürich last year, with its share of forests, in Providence, and has attended the Skowhegan hurricanes, backwoods, and windswept beaches School of Painting and Sculpture in Madison, offered a brilliant demonstration of this obvious Maine. Hughes lived in Denmark for a while before potentiality to create paintings, and to create them finally settling in Brooklyn. A highlight of her—for in another novel and inventive way. It also made now—short career was her participation in the 2017 crystal clear how incidental the nature of the subject Whitney Biennial, where among the sixty or so artists is (something we’ve known ever since Paul Cézanne presented about fifteen were painters, most of them painted apples or the Mont Sainte-Victoire): you can women, incidentally. There, those who had not seen bet Shara Hughes has chosen landscapes because her Trips I’ve Never Been On exhibition the previous they are immediately recognizable and reassuring year at the Marlborough Gallery in New York were as a subject––in other words, not very important. able to check out for themselves her indisputable Consequently reassured by having recognized the talent and originality. From the outset, this is what subject, freed from having to identify the depicted those who know and like the history of painting will place since it is imaginary, moreover spared from find in her large, extravagantly colorful landscapes: any narrative chatter, the viewer can unreservedly a serious erudition she unapologetically summons surrender to the painting and fundamentally at will, facilitating if need be the invocation of Henri apprehend it in its pictorial essence. Matisse or David Hockney, stylistic inventions by Edvard Munch or Paul Cézanne, pictorial strategies Hughes demonstrates an exceptional talent for from Philip Guston or Josh Smith, up until Van color, a talent that knows how to venture into all Gogh’s so-specific touch. Hughes transforms this kind of excesses and allows for any bold move, vast history of painting, which is customarily used systematically transporting us inside incredible, as a pretext for a slightly snobbish but mostly lazy frenzied compositions. » defeatism (“everything has already been painted”) into a strength to pursue this history without — Éric Troncy renouncing its raison d’être: inventiveness. Above all, there is nothing else to be found in her paintings: no pontificating discourse about the state of the world, no demands for this or that, none of this tedious chatter spicing up those artworks we would not know how to look at anymore other than through what they narrate, for they are lacking all the qualities different from the ones shaped by the background noise of their narrative pretenses.

“I was making like, a lot of minimal paintings about dead animals, but ones used as furniture. So for example, bear skin rugs and heads on walls and stuff, which then I think I turned into some larger kind Shara Hughes, New Territory, 2017 of weird trend,” said Shara Hughes. She elaborated, © Shara Hughes “I first started doing interiors––it always felt like the best resolution to everything for me. Within an interior, you can make a landscape through a window or you can make another person’s painting within the painting, or you can paint figures or not.” Incidentally, the aim here is to create a painting that embraces all the possibilities of the medium, which expressly constitutes the very subject of this oeuvre.

6 7 Curated by The Consortium Museum Sarah Lucas (B. 1962, London) is a seminal figure of of the Lucas’ practice. These more subdued, —— the Young British Artists (YBAs), a group of young rose, and pale-colored shapes seem to allude to artists who studied at Goldsmiths College and extremely contorted nude, unadorned limbs. Here participated in the era-defining Freeze exhibition in Sarah Lucas strays from the figuration embodied 1988, before epitomizing the art of the 1990s in the by the “Bunnies” and moves toward a more formal Sarah Lucas U.K. Lucas later participated in the 1997 Sensation abstraction, recalling Surrealist artist Hans Bellmer’s “NOT NOW DARLING” exhibition organized by Charles Saatchi, which disarticulated figures. Lucas displays these works signaled recognition of the YBAs on an international on concrete pedestals, creating an effect that both Acknowledgements: Sadie Coles HQ, London; stage. reinforces and contrasts with the fragile appearance Gladstone gallery, New York, Bruxelles of the sculptures. The series is continued with more A photographer, sculptor, and multimedia artist, precious materials such as gleaming bronze, allowing Sarah Lucas is a radical, provocative, feminist artist. the artist to freeze these organic shapes into hard After making mostly formalist work in the 1980s, materials. her experience reading feminist theory gave a new impetus to her practice. Her artworks question with The exhibition continues in the Consortium Museum humor and sincerity issues related to the body, to courtyard where Champagne Maradona, a 4-meter sex, death, and the essence of British identity. Lucas tall stained bronze sculpture—exhibited for the first does not shy away from sensationalism and subverts time in France—stands tall. It makes use of the same the ubiquitous stereotypes used in popular media, as techniques at play in Sarah Lucas’s recent artwork, manifested in the suggestive forms assumed by her with casts created from stuffed stockings contorted artworks. until they assume their expected shape. The Maradona triad and its three yellow hues (Gold Cup, Not Now Darling, Sarah Lucas’ exhibition at the Deep Cream, and Champagne) were conceived on Consortium Museum, presents recent sculptures, the occasion and in the footsteps of the 2015 Venice many of them made from tights or stockings filled Bienniale, where Lucas represented the United with kapok, some fabricated in bronze or associated Kingdom. Its title refers to the famous Argentine with furniture (stools, office chairs, armchairs). football player, who embodies manliness in popular These elastic figures, which are almost reduced to lore. The reference to virility is unmistakable in this their sexual attributes, address questions of gender, piece, where the artist showcases an extravagantly Sarah Lucas, CROSS DORIS, 2020 sexuality, and identity. oversized erect penis, alluding to the artist’s specific © Sarah Lucas vision of the body, between humor and provocation. Courtesy Sadie Coles HQ, London. Photo: Robert Glowacki Pauline Bunny, 1997, is the very first example of a soft Champagne Maradona also touches on the kinship anthropomorphic figure in Lucas’s sculptural work. between Lucas’ practice and the sculptural work Sarah Lucas, SUGAR, 2020 It gave rise to a long series in which the “Bunnies” of modern and contemporary masters, from Franz © Sarah Lucas underline the visual and semantic ambiguity of West’s Outdoor Sculptures to Louise Bourgeois’s Courtesy Sadie Coles HQ, London. Photo: Robert Glowacki their titles, between a rabbit, a child’s soft toy, and giant spiders, as well as the modernist sculpture a seductive young woman. Constructed with tights of her British forebears Henry Moore or Barbara stuffed with bundles of cotton, these artworks take Hepworth. shape through the torsions and knots made by the artist, who also makes use of materials such as gold, stained concrete, or bronze, completing the sculptures with various props. The resulting figures are faceless hybrids with disproportionate limbs, displaying a resolute exuberance. In this series, Sarah Lucas creates various attires for her characters, lavishing glamorous shoes, lingerie, and sexy stockings on them that accentuate the effects created by their postures, highlighting even further these multifaceted sculptures’ personification. Slumped on their seats, the “Bunnies” imitate the lascivious poses of cover girls and expose a profusion of breasts to better accentuate the dysmorphia of the whole. From the top of their pedestals some of these artworks look down on viewers, in a staging borrowed from the design of fashion store window displays. Through the “Bunnies” Sarah Lucas reminds us that the objectification of female bodies, even when they are With the support of the Fundación Almine y Bernard deformed or devoid of identity, is facile and that the Ruiz-Picasso para el Arte. ensuing male gaze immediate.

These sculptures contrast with the “Nuds,” a more recent series also presented in the exhibition, which from 2009 constituted a milestone in the evolution

8 9 Curated by the Consortium Museum « In the collective imagination shaped by art history —— of the last fifty years, Sarah Lucas’ position is of the type usually reserved for those troublemakers who make indiscipline into a way of life, if not into an art form. A Goldsmiths College alumna, she majored Sarah Lucas in sculpture (her recent color explorations making “NOT NOW DARLING” her later regret she didn’t study painting instead) and is associated with the Young British Artists (she Excerpts from Éric Troncy, « Les œuvres participated in the Freeze show, which ultimately provocantes et scandaleuses de Sarah Lucas », became their seminal founding event). Inevitably she Numéro, October, 2020. is linked to the sculptures that legitimately made her successful, most specifically Au naturel, (1994), a mattress propped up against a wall on which two oranges and a cucumber mimic male genitals, while on the side two melons and a water bucket represent a female character. In Two Fried Eggs and a Kebab (1992), a kebab has supplanted the spot where a vagina would be on a body transformed into a table, while two fried eggs act as breasts—when she exhibited this work for the first time, Lucas came in every morning to freshly replace the fried eggs. She also attired herself with fried eggs in 1996 for her Self Portrait with Fried Eggs. At the time these sculptures held such a provocative charge, formally as well as in their suggested narrative, that this astonishing way of representing bodies—that is to say the main preoccupation of classical sculpture—seemed to be totally overlooked. All of Sarah Lucas’ oeuvre, when considered today alongside the Bunnies and the NUDS, and in the light of their “coming out” as sculptures that share classical preoccupations, can be seen in a different light in which the representation of the body takes center stage.

Since they first appeared more than twenty years ago, Sarah Lucas’ Bunnies and their genetic mutations (which she calls NUDS) have met with formal evolutions that resemble the development of an unknown species and its adaptation to the biotope of our contemporary universe. Evocative of cartoonish figures and Barbara Hepworth’s sculptures alike, they constitute an almost living proof of the extraordinary abilities of the former “enfant terrible” of the Young British Artists’s as a sculptor and colorist, an artist who didn’t soften while her work gained a touch of classicism. »

— Éric Troncy

Sarah Lucas, PEEPING THOMASINA, 2020 © Sarah Lucas, courtesy Sadie Coles HQ, London. Photo: Robert Glowacki

10 11 Curated by Éric Troncy On the occasion of Paloma Varga Weisz’s first function. With a face distorted by a prominent penis, —— solo exhibition in France, the Consortium Museum agitated by repetitive jerks, one of the sculptures presents Glory Hole, a monumental installation that embodies a ludicrous, exacerbated virility. The incites visitors to indiscretion. presence of two taxidermy monkeys adds to the absurdity of this mise-en-scène. Paloma Varga Paloma Varga Weisz (b. 1966, Mannheim, Germany) The cabin’s environment remains familiar however, grew up in a prolific art environment, influenced as it recalls the rural interior of an old rustic Weisz by an artist father of Hungarian descent, Ferenc dwelling where hunting trophies are used as home Varga, and his circle of friends comprised of Henri décor. On the walls the heads of animals that are “Glory Hole” Matisse, Jean Cocteau and Pablo Picasso. At 21 she traditionally hunted (a boar, a deer and a pheasant) learned woodcarving, a technique that remained may be identified, next to domesticated ones (two Acknowledgements: Bonnefantenmuseum, at the core of her later practice. Yet Varga Weisz’s hunting dog breeds). This sophisticated mise-en- Maastricht; Sadie Coles HQ, London; Gladstone gallery, work is equally concerned with other media such scène seems to be only disturbed by the viewers’ New York as drawings, installations, watercolors, and more indiscretion. recently videos. A graduate of the Staatliche Kunstakademie Glory Hole’s narrow perspective restricts the Düsseldorf, Paloma Varga Weisz’s multiple influences experience of the artwork to what amounts to an range from medieval sculpture to Louise Bourgeois’s indicial observation for the viewer, as some spaces work and traditional Renaissance iconography. remain inaccessible. This fragmentary vision calls up Inspired by her personal history and everyday life, confusing feelings, between unease and nostalgia, her artworks find their embodiment inside a universe triggered by a décor that resembles an obscene fairy imbued with poetry, folklore and the grotesque. tale. Yet as is always the case with Paloma Varga Sometimes erotic and often strange hybrid figures Weisz’s work, an indefinable, vivid feeling of uncanny come to the surface: distorted figures, mutilated emerges, evoking both familiar and absurd elements. bodies, characters with multiple faces, conjoined The artist gathers these anthropomorphic and twin torsos, disarticulated puppets… bestial figures alike to create a vulnerable world where the body is explored, its limbs distorted and its Glory Hole, the title of the installation, refers to an functions upended. Glory Hole invites the viewer to a erotic practice where a small opening is pierced unique experience with a strong narrative potential, through a wall (oftentimes in public restrooms making visible the artist’s interest in pure materials, or in sex clubs) to allow for voyeuristic viewing of technical precision and a fascination for the body. Paloma Varga Weisz, Glory Hole, 2015 sexual practices or on the contrary for anonymously Exhibition view at the Salzburger Kunstverein, from July 3 engaging in sexual activity by sliding a penis through Paloma Varga Weisz, Glory Hole, 2015 to September 6, 2015 © Paloma Varga Weisz, courtesy the the orifice. Exhibition view at the Salzburger Kunstverein, from July 3 artist and Sadie Coles HQ, London to September 6, 2015 © Paloma Varga Weisz, courtesy the Photo: Stefan Hostettler Erected in the Consortium Museum’s “White Box,” artist and Sadie Coles HQ, London Glory Hole takes the shape of a large-scale rustic Photo: Stefan Hostettler cabin, in which the roughly-assembled boards made of dark wood let slip through a few rays of light emanating from the inside. The artwork, which was shown for the first time in 2015 at the Salzburg Kunstverein (Austria) and presented more recently at the Bonnefanten Museum in Maastricht (Netherlands, 2019), is inspired by the artist’s research in the Austrian countryside, where the cabin was collected and later transported to its subsequent exhibition spaces. Impressive yet impenetrable, the installation is activated by the visitors’ curiosity. To discover its contents, viewers are invited to approach the structure and look inside through its various suggestive apertures—gaps in construction, and the glory holes intended for that exact purpose.

Through the viewers’ inquisitive eyes, two dimly lit rooms are revealed, featuring several wholly fabricated characters. Two human-size puppets, reduced to mechanical sexual gestures, are animated by cables hanging from the ceiling. These two figures highlight Varga Weisz’s sculptural skills, who often works with linden wood for its sleek touch and aspect. They also illustrate Varga Weisz’s attentive focus on questions of gender and identity; here the characters’ only role is limited to their sexual

12 13 Artworks from the Consortium Museum This presentation of the collection is a follow-up to collection New York: The Eighties; Part One (November 24, 2018 —— – October 13, 2019) and New York: The Eighties; Part Two (October 26, 2019 – October 4, 2020). It offers a selection of artworks from artists active in New York during the 1980s and 1990s. The Consortium Museum « New York : collection has deep holdings of artworks from this era, which necessitate this showing in three parts.

The Eighties ; As with the first two parts, the works selected reflect on the shared history of the Consortium Museum and the artists it has followed over the years, and on the Part Two friendships and social relationships that have linked the artists with each other and with guest curators such as Bob Nickas, who regularly invited them for his (extended exhibitions. The choice here is to highlight artworks created at the end of the decade and at the beginning of the 1990s, and to exhibit additional works by artists version) » previously shown in the other two installments such as Jessica Stockholder, David Diao, Michael Scott, With: Olivier Mosset, Steven Parrino, and Michael Corris, together with pieces by Scott Grodesky, Les Levine Michael Corris and Peter Downsbrough. The artworks selected here David Diao reflect an evolution contrasting with the art made at Peter Downsbrough the beginning of the 1980s; with the exception of Les Scott Grodesky Levine they leave behind subjects themes related Les Levine to emerging technologies or the massive spread of Olivier Mosset commercial images (ads, video clips, magazines, etc.), Steven Parrino to turn to a more formal type of work. Michael Scott « New York: The Eighties; Part Two (extended version) » exhibition view, Consortium Museum, 2020. Jessica Stockholder This was a time when aesthetic shifts came to the Photo: Rebecca Fanuele © Consortium Museum fore, most notably demonstrated by the Jessica Stockholder work exhibited here, which signaled the emergence of the large, sculptural installations that became predominant in the art of the 1990s. This Jessica Stockholder, House Beautiful, 1994 Jessica Stockholder, House Beautiful, 1994 Photo: Rebecca Fanuele © Consortium Museum Photo: Rebecca Fanuele © Consortium Museum iconic work was created specifically for an exhibition at the Consortium when it was still located rue Quentin in Dijon. If geometric abstraction is still very present, most specifically with artworks by David Diao, Olivier Mosset and Michael Scott, it ultimately disappears with Scott Grodesky’s painting and its ambivalent exploration of figurative painting. These visual explorations, formal inventions and aesthetic choices also represent a structural shift happening after the 1987 stock market crash and the numerous subsequent gallery closures, the economic recession leaving more space for artists to experiment freely, away from the pressure of the burgeoning art market of the early 1990s.

14 15 Communication materials —— Exhibition Screenprint Poster

50 x 70 cm, € 30. Find it at the Consortium Museum bookstore and online consortiummuseum.shop

Launched in July 2020, the Consortium Museum Shop it the online extension of our bookstore, offering artist editions, goodies and other exhibition-related items for sale.

Invitation card Sarah Lucas “WINTER SONG” 2020 leconsortium.fr Photo : Robert Glowacki © Sarah Lucas, courtesy Sadie Coles HQ, Londres. Sadie Coles HQ, Londres. courtesy Lucas, © Sarah : Robert Glowacki Photo

50x70-LUCAS-CONSORTIUM.indd 1 26/10/2020 11:57 designed by M/M

16 17 About Established since 2011 in a specifically designed more than 350 works. Essentially comprised of gifts Exhibitions program —— 4,000 square-meter building by Japanese architect from the artists who have exhibited there, it forms a —— Shigeru Ban, the history of Le Consortium began true memory of these exhibitions. It includes works in 1977 on the first floor of an alternative bookstore, by On Kawara, Cady Noland, Dan Graham, Louise Consortium and later on in a former appliance store located Lawler, Allan McCollum, , Oscar Forthcoming at the back of a courtyard on the central market Tuazon, Fredrik Værslev, Michael Williams, as well as square in Dijon, Burgundy. Here, young academics important bodies of work by Bertrand Lavier, John Museum carried out their ambition to exhibit the art of their Armleder, Steven Parrino and Olivier Mosset, among From May 28 to Octobre 31, 2021 time. Together with a handful of people passionate other artists. about art, its founders Xavier Douroux and Franck Beyond exhibitions, artists have made a dialogue Heji Shin Directors : Gautherot organized exhibitions from the late partner out of Le Consortium, and sometimes a Jill Mulleady Franck Gautherot & Éric Troncy 1970s on with avant-garde artists such as Christian producer. In the 1980s they inspired the conception Nicolas Party Boltanski in 1978, Hans Peter Feldmann in 1979, of a publishing house for their catalogs (Les presses Genesis Belanger Annette Messager in 1980, Cindy Sherman and du Réel) and in the 1990s a film production company Daniel Buren in 1982, Carl Andre and Richard Prince (Anna Sanders Films) with the aim of inventing a in 1983, Bertrand Lavier and Hans Haacke in 1986. “cinema for exhibitions.” From November 26, 2021 to April 24, 2022 As early as the end of the 1980s, Le Consortium Now the most important distributor in France for questioned the nature and conventions inherent to books devoted to contemporary arts, Les Presses Stefan Tcherepnin exhibitions through an exhibition itself, Une Autre du Réel has become over the years an important Ida Tursic & Wilfried Mille Affaire, an “exhibition of exhibitions” reenacting independent publishing house, publishing everything Sergej Jensen in Dijon and in almost real time the group shows deemed of importance such as the writings of Nathaniel Mary Quinn organized in the United States by Peter Halley, Bob Charles Fourier, an 18th century French philosopher, Nickas, and Steven Parrino. With Le Choix des as well as monographs on contemporary artists Femmes in 1990, it also organized an exhibition and architects. Anna Sanders Films has produced which led four male curators to each invite four films such as Uncle Boonmee Who Can Recall His women artists. Past Lives, which won the Palme d’Or at the Cannes Film Festival in 2010, as well as the recent highly After having exhibited minimal and conceptual art, successful Le Portrait Interdit by Charles de Meaux, the Pictures Generation and abstract experiments and “cinema for exhibitions” films by that furthered the work of neo-geo artists in the and Dominique Gonzalez-Foerster. 1980s, Le Consortium in the 1990s accompanied the emergence of a new generation of artists, from the In collaboration with the Fondation de France, Le Young British Artists—, , Consortium is the facilitator for the Nouveaux and Gillian Wearing—to Dominique Gonzalez- Commanditaires / New Patrons program, which Foerster, , Carsten Höller, Pierre allows individuals to band together around a specific Huyghe, Ugo Rondinone, Jorge Pardo and Philippe issue or cause and commission an artist to make Parreno. a piece centered on their concern. Many projects Recently hailed by The New York Times as “the have been produced, with for example Oscar Tuazon under-the-radar French museum that quietly creating a monumental artwork in homage to the predicts art’s next big thing,” Le Consortium has Commandos d’Afrique in Belfort, or Christopher Wool since the 2000s organized the first exhibitions in a new group of stained glass windows for the Priory France of a number of American artists such as Church of La Charité-sur-Loire in Burgundy. With Christopher Wool, Kelley Walker, Rachel Feinstein, the prospect of the World Heritage site listing of Josh Smith, Rachel Harrison, Wade Guyton, Joe the Burgundy vineyards, Le Consortium has joined Bradley, Roe Ethridge, Brian Calvin, Alex Israel, forces with the Romanée-Conti Estate with a project Oscar Tuazon or Lari Pittman while also dedicating to transform the former fermenting room of the retrospectives to Lynda Benglis, Dadamaino, Luigi Princes de Conti into an exhibition space devoted Ontani, and Phillip King. to contemporary art. Since then, it has organized exhibitions with Bertrand Lavier, Thomas Houseago, Le Consortium was the curator of the French Yan Pei Ming, Kim Gordon, and Rodney Graham at Pavilion that earned Pierre Huyghe a Golden Lion the Académie Conti. at the 2001 Venice Biennale, and of C’est arrivé demain, the 7th Lyon Biennale of Contemporary Art The fact that Le Consortium’s founders, who in 2003. It has participated in the “rediscovery” of were joined by Eric Troncy in 1995 and from 2000 Yayoi Kusama’s work with the presentation of a large by Seungduk Kim in the direction team and later retrospective in 2000, which later traveled to the by Stéphanie Moisdon and Anne Pontégnie have Maison du Japon in Paris before going to Denmark, remained its artistic directors for forty years, Austria, and Korea. In addition, Le Consortium has thereby offering for a public structure dedicated to also organized exhibitions in Anyang, Seoul, and at contemporary art a form of permanence without the Centre Georges Pompidou with a presentation of equal in the world, allows for an uninterrupted its collection. dialog to be established with artists. This dialog often continues throughout their careers, making Le Consortium’s Collection, now permanently Le Consortium an exacting laboratory and space for exhibited on the top floor of the building, includes esthetic debate, with exhibitions as its language.

18 19 Contact Visit —— ——

Press contact Le Consortium Museum Julia Lardy, communication manager 37 rue de Longvic, 21000 Dijon [email protected] 03 80 68 45 55 Opening hours Wednesday – Sunday, from 2 pm to 6 pm and on Website Friday from 2 pm to 8 pm leconsortium.fr Closed on public holidays

Getting here The Consortium Museum is a 20-minute walk from the Dijon railway station. 400 m from Place Wilson 10-minute walk from the musée des Beaux-arts Partners Free underground parking —— By bus: lines 5, 6, 11 and 12, stop “Wilson” Ministère de la Culture/Direction Régionale des Affaires Culturelles de Bourgogne-Franche-Comté, de la Ville de Dijon, Région Bourgogne-Franche- Comté, Conseil départemental de la Côte-d’Or, Fonds de dotation Le Consortium Unlimited, Société des ny Amis du Consortium and especially de Kenneth Chu, Trans-Pacific Resources Ltd, Almine Rech gallery and Greene Naftali gallery. rue Chabot Char

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