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Un Siglo, Un Museo, Una Mirada

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Un Siglo, Un Museo, Una Mirada Prôlogo Un siglo, un museo, una mirada Extractos XX e / MNAM / Collections. Une histoire matérielle Editions du Centre Pompidou, 1999. « La eleccién que hemos tomado con Werner Spies, director del Musée national d'art moderne, pretende afirmar la vocacién moderna y contemporânea de nuestro museo, de no cercenar mecânicamente y de forma prematura el curso de una historia todavia inconclusa, de no erigir sencillamente amnésica la actualidad de un momento pasajero, sin pasado ni futuro, sin raices ni continuidad . El director del museo y su equipo se han consagrado en establecer en dos pisos completos del Centre Pompidou, dentro de un proyecto de reajuste general cuya concepciôn recae en el arquitecto Jean-François Bodin, un recorrido completo por el siglo XX. Este recorrido, apoyado en las rupturas de finales del siglo XIX, recorre los principales puntos de la historia del arte moderno —cubismo, surrealismo, abstraccién, o los « clâsicos del siglo XX », Picasso, Léger, Matisse . .- y se extiende ampliamente sobre la creacién actual. Recorrido que aûna, en una tentativa de lectura paralela, las artes plâsticas en toda su diversidad expresiva —la pintura y la escultura, el cine, el video, las instalaciones, la fotografia o el dibujo- la arquitectura, el diseno, asi como los recursos del extraordinario fondo de la Documentacién . Testimonio de la riqueza de una colecciôn excepcional que se ha beneficiado, a Io largo de los veintitrés primeros ados de presencia del Musée national d'art moderne en el Centre Pompidou, de una politica de adquisiciones de una intensidad rara . Las daciones, las donaciones, los legados y las compras han contribuido a elevar la calidad y la diversidad a un nivel muy alto. Después de Pontus Hulten, Dominique Bozo, Bernard Ceysson, Jean-Hubert Martin, Germain Viatte, ha correspondido a Werner Spies continuar un trabajo metédico y entusiasta: la colecciôn se ha enriquecido brillantemente, en el curso de los tres ûltimos ados, con obras de artistas y creadores como Dix, Picabia o Duchamp, Huyghe, Bustamante, Kelley y Oursler, pasando por Oldenburg, Mollino o Koolhaas ( . .) El recorrido por las salas del museo, Iejos de los marcos establecidos por la museografia tradicional, manifiesta la voluntad de explorar modos alternativos de aproximacién, de clasificacién, de presentacién, de interrogacién de la colecciôn del Musée national d'art moderne y de la historia que refleja. Testimonia que uno de los museos mâs grandes de arte moderno del mundo es un museo en movimiento . Un museo vivo . » Jean-Jacques Aillagon Presidente del Centre Pompidou El Musée national d'art moderne Todo et siglo XX A partir del primero de enero de 2000, el museo despliega sus colecciones en dos pisos completos del edificio (14 000m 2, 4 500m2 suplementarios) del nivel 4 - reordenado por el arquitecto Jean-François Bodin- y 5 . En un recorrido pluridisciplinar, concebido por Werner Spies, se presenta un panorama completo de la creaciôn del siglo XX. Las colecciones del museo constituyen, todas las disciplinas incluidas, un conjunto patrimonial ùnico con cerca de 44 000 obras . Actualmente se exponen 1400 obras en vez de las 800 anteriores, obras maestras o significativas de la creaciôn de este siglo, entre ellas importantes adquisiciones recientes. La disposiciôn de las colecciones senala el compromiso del museo con las disciplinas conjuntas de las artes visuales -artes plâsticas y grâficas, fotografia, nuevos medios, peliculas y Iibros de artista-, arquitectura y diseno. Las colecciones de arte moderno se presentan en el nivel 5, las de arte contemporâneo en el 4, desde el que se accede a ambas colecciones. La renovaciôn de los espacios de exposiciôn de las colecciones histôricas del museo se ha realizado con el apoyo de Pierre Bergé, Yves Saint Laurent y la Maison Yves Saint Laurent. La renovaciôn de las terrazas, concebida por Renzo Piano, se realiza con el apoyo de Pernod Ricard . 2 [. .] Se pretende elaborar pasajes, sefialar puntos de referencia que no sean accidentales, cronolôgicos o biogrâficos . Cuadros, esculturas, dibujos pero también fotografias, instalaciones y videos que no conduzcan a rebasar una primera lectura, o que no establezcan lazos con la literatura y el pensamiento, perderian pronto su interés . La gestiôn de la colecciôn es la elaboraciôn de un tejido de comprensiôn . [. .] Hay que liberar las grandes creaciones de la simple contemplaciôn estilistica fechable, para asociarlas al evento social, a la literatura, aferrarlas a todo aquello que ocurria en torno a ellas . Al tratar de buscar coincidencias -entre una obra y otra, pero también entre texto y obra, pelicula y obra- podemos asi redefinir un sistema de referencias de aproximaciôn al aile . [. .] El acte contemporâneo gana indudablemente con la revisiôn de Io que le ha precedido, no se sitùa fuera de la historia . Cada artista, claro estâ, supone una ruptura, al fin y al cabo es el proceder estético principal desde el siglo XIX, pero inscribe su huella en un eje de continuidad . Hay un enriquecimiento de la mirada que se opera y que no puede ser ignorado . Para poder ver es necesario reexaminar.[. .] Extractos de la entrevista de Werner Spies con Ann Hindry XX e / MNAM / Collections . Une histoire matérielle Editions du Centre Pompidou, 1999 . 3 El recorrido por las colecciones modernas Nivel 5 El piso consagrado a las colecciones modernas (o histôricas) del Musée national d'art moderne se inicia con la Guerre, 1894, del Aduanero Rousseau, y Petite fille sautant à la corde, 1950, de Picasso (sala 1). Dos ninas enfrentadas, una simbolizando las angustias de la historia y la inquietud que inspira, la otra en busca de un paraiso perdido, et del « blanco jardin de la infancia » . Este dualismo presente en esta primera sala, a imagen del siglo, halla eco a Io largo de los reencuentros de la colecciôn expuesta. Junto a salas monogrâficas (Matisse, Kandinsky, Léger, Ernst, Picasso, Rouault, Delaunay, Dubuffet. .) y salas temâticas presentando los grandes movimientos artisticos, son estas confrontaciones instituidas por la colecciôn Io que constituye et elemento mâs importante de esta presentacién Cubismo y modernidad En et gran eje de circulaciôn del museo, Luxe, 1907, de Henri Matisse, en vecindad con un estudio de Pablo Picasso para les Demoiselles d'Avignon, 1907, oponiendo a la calma hedonista del primero la violencia del segundo . En la sala consagrada al cubismo (sala 3), las pinturas de Georges Braque y Picasso se codean con esculturas africanas coteccionadas por André Derain y Alberto Magnelli. Ademâs de un encuentro format, esta convivencia esclarece la naturaleza ambigua de una modernidad, la del cubismo, como la de la mayor parte de las vanguardias del siglo XX: et entusiasmo por el progreso cientifico y técnico conjugado con una nostalgia roussoniana « de un estado de la cultura anterior a la civilizaciôn ». La sala 6 conjuga los papiers collés cubistas y et Rideau pour Mercure, concebido por Picasso en 1924 para et ballet de Erik Satie. Por su trazo espontâneo, esta obra puede aproximarse a las experiencias grâficas del primer surrealismo. Todo Io opuesto a priori a los papiers collés, segûn la lectura del cubismo formalista . En 1925 sin embargo, André Breton propone en Surréalisme et la peinture una lectura del cubismo como ejemplo de arte surrealista consagrado a la expresiôn de un « modelo interior ». El dadaismo La sala 7 ofrece una visiôn europea del dadaismo, movimiento que estremece los valores artisticos a partir de 1916 . Dos adquisiciones recientes, le Verre de los solteros (les Neuf Moules Mâlic, 1914-1915) de Marcel Duchamp, y Dresseur d'animaux, 1923, de Francis Picabia, ofrecen una imagen del dadaismo tefiido de ironia y provocaciôn. Con Otto Dix, de quien se presenta una de las ûltimas adquisiciones mayores del museo, Souvenir de la Galerie des glaces à Bruxelles, 1920, y George Grosz, el dadaismo deviene chirriante y politicamente revolucionario . Hans Arp exalta la vertiente poética del movimiento, su sentido del juego, su apologia del azar . 4 La abstracciôn, De Stijl y la Bauhaus Las salas 10 y 11 se han consagrado a Vassily Kandinsky (de Improvisation Ill, 1909, a Accord réciproque, 1942) y a la invenciôn de la pintura abstracta . En vecindad con obras dél movimiento De Stijl y la Bauhaus, mostrando esos encuentros imposibles que han dado lugar a la historia del arte del siglo XX . La pintura « pura » cohabita con el universo de la producciôn industrial y del funcionalismo. Piet Mondrian inspira a los arquitectos, Oskar Schlemmer, Kandinsky y Paul Klee ensenan en la Bauhaus (para las salas 14 y 15, consagradas a la arquitectura y el diseno de los aï-los 20-40, consûltense las pâginas siguientes). Robert Delaunay y Fernand Léger suenan también con una reconciliaciôn del arte con la ciencia y la técnica (salas monogrâficas 16 y 17), mostrândose especialmente del primera le Poète Philippe Soupault, 1922, del segundo la Lecture, 1924, y Composition aux deux perroquets, 1935-1939. Esta utopia se malogra para Jean Hélion . Después de haber sido uno de los precursores de la vanguardia abstracta de principios de los anos treinta, Hélion pinta de nuevo cuadros figurativos como Au cycliste, 1939. A rebours, 1947, ilustra su recorrido artistico y su retorno (sala 18). Ocho salas consagradas al surrealismo El surrealismo, ûltimo de los movimientos de vanguardia francés que se beneficiô de una proyecciôn internacional, ocupa un lugar de primer orden en el nuevo recorrido del museo. Ocho salas - 19 a 26 - consagradas que revelan la riqueza
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