(Sema) Ilwoo Space Séoul, Corée 5 April to 29 May 2016 Press

Press kit

Danica Dakić, Safe Frame III, 2012. Centre national des arts plastiques collection, FNAC 2015-0227 © Adagp, Paris EXHIBITION THE FAMILY OF THE INVISIBLES COLLECTIONS OF THE CENTRE NATIONAL DES ARTS PLASTIQUES AND THE FRAC AQUITAINE

Seoul Museum of Art (SeMA) Ilwoo Space Séoul, Corée

5 April to 29 May 2016

Event organised as part of the Year of France and Korea 2015-2016: www.anneefrancecoree.com

1 SUMMARY

Press Release ...... P. 3

Themes and Artists in the Exhibition...... P. 4

The Exhibition’s Subtext: Interview with the CURATORS of the Exhibition...... P. 21

Biographies of the CURATORS...... P. 25

Presentation of the collection of the Centre National des Arts Plastiques ...... p. 26

Presentation of the collection of the Fonds Régional d’Art Contemporain Aquitaine ...P.27

A note on “The Family of man” by Edward Steichen ...... P. 28

A note on Roland Barthes ...... p. 29

Presentation of Seoul Museum of Art, Seoul, Korea (SeMA) ...... P.30

Presentation of Ilwoo Space ...... P. 31

Presentation of the Year of France and Korea 2015-2016...... p. 32

Catalogue of the Exhibition ...... P. 33

Contact details and practical information ...... P.34

Partners and Sponsors ...... P. 35

Press Contact Brunswick Arts Leslie Compan M +33 (0)6 29 18 48 12 [email protected]

2 pRESS RELEASE

As part of the 2015-2016 France-Korea year, the Centre national des arts plastiques (Cnap) and the Fonds Régional d’Art Contemporain of Aquitaine (Frac Aquitaine) are coming together to organise the exhibition “The Family of the Invisibles” at the Seoul Museum of Art (SeMA) and the Ilwoo Space in Seoul, from 5 April to 29 May 2016.

“The Family of the Invisibles” traces the history of the emergence of invisible figures and their demands for identity, through more than 200 emblematic photographs from the 1930s to today from Cnap and Frac Aquitaine’s collections. From Walker Evans, Robert Doisneau, Henri Cartier-Bresson, William Klein and Diane Arbus to Jeff Koons, Cindy Sherman, Sophie Calle, Christian Boltanski, Jean-Luc Verna and Pierre et Gilles, “The Family of the Invisibles” brings these so-called “minority” figures to light so as to affirm the possibility of reconfiguring a politics of representation, which would ideally give a place to each member of the human community.

“The Family of the Invisibles” is based on the deconstruction carried out by Roland Barthes in Mythologies of the exhibition “The Family of Man” by Edward Steichen1, presented at MoMA in 1955 before touring around the world. The key thinker of French modernity produced a virulent critic of the lyrical and pseudo-humanist representation of a history of man articulated around the principal stereotypes of a happy birth, a carefree childhood and a life of work, punctuated by love and marriage, war and death. Just as many archetypes as represented in the mythical exhibition “The Family of Man”.

Roland Barthes, for whom the intimate had a political nature, dedicates himself in his book Camera Lucida to deconstructing social norms of the family and sex by focusing on anecdotal rather than epic History, the individual rather than the masses and the marginals rather than “Great Men”. Street children, young people with learning disabilities, slaves, nomads, homosexuals, women poets or mothers, people condemned to death and animals make up a strange procession which opens onto the representation of another family. The Camera Lucida thus appears as a visual manifesto for minorities and offers a violent contrast to the archetypes, dominant figures and cultural myths.

The exhibition, presented in the Seoul Museum of Art in four chapters, returns to the visual revolution at work in contemporary photography and especially present in the public collections of Cnap and FRAC Aquitaine. The “Prologue” of the exhibition, visible at the Ilwoo Space, forms a critical and historical counterpoint to this reworking of visual and aesthetic codes at the end of the 20th century.

The catalog of the exhibition will reproduce all the exposed works with texts of Pascal Beausse, Jacqueline Guittard, Claire Jacquet and Magali Nachtergael, Suejin Shin (Ilwoo Foundation) and Kyung-hwan Yeo (SeMA). Dimensions: 7,4 x 9,8 inches, 400 pages, bilingual: English and Korean.

Curators of the exhibition Pascal Beausse, Head of the Photographic Collection at the Centre national des arts plastiques (Cnap, France) Claire Jacquet, Head of the Fonds régional d’art contemporain of Aquitaine (Frac Aquitaine, Bordeaux) Magali Nachtergael, Assistant Professor at Paris 13 Sorbonne Paris Cité University

1 www.steichencollections.lu

3 THEMES AND ARTISTS IN THE EXHIBITION

ILWOO SPACE The Family of the Invisibles - Prologue

As a prologue to the exhibition “The Family of the Invisibles”, this first part synoptically presents an alternative version of the exhibition “The Family of Man” by Edward Steichen presented in 1955 at the Museum of Modern Art (MoMA). By following the same structure of main chapters from Edward Steichen’s original exhibition, this prologue is built on the basis of the critiques it incited, starting with the text by Roland Barthes entitled “The Great Family of Man” (published in Mythologies, 1957).

This alternative remake is made up of contemporary works and those selected by Steichen for his exhibition: we find certain photographs and sometimes the same works, notably La Petite Fille aux Feuilles Mortes (1947) by Edouard Boubat, which came at the very end of the MoMA exhibition. The possibility of an alternative discourse on humanity is put to the test, filtered through the sixty years which separate us from the initial exhibition. In the succession of different exhibitions of “The Family of Man” around the world, it had been sensitively changed, adapted at times to the country in which it was put up. The version which was conserved was founded on a memory of the Cold War. What has become of it today? What can these Post-War images say to us in these newly troubled times?

Rather than a reconstruction, this prologue proposes to remind spectators about the history, accompanied by commentaries by Roland Barthes, of the exhibition on the basis of which “The Family of the Invisibles” has been conceived, with the desire to update the critical framework.

ARTISTES

29 artists / 73 works Prologue

Berti Alvise, Eve Arnold, Gianni Berengo Gardin, Werner Bischof, Édouard Boubat, Alfredo Camisa, Henri Cartier-Bresson, Chim, Bruce Davidson, Robert Doisneau, Nora Dumas, Eduard van der Elsken, Daniel Frasnay, Mario Giacomelli, Matthew Day Jackson, Seydou Keita, Lisa Larsen, Inge Morath, Irving Penn, René-Jacques, George Rodger, Rogi André, Fulvio Roiter, Tadeusz Rolke, Ferdinando Scianna, Dennis Stock, Virxilio Vieitez, Sabine Weiss.

Édouard Boubat Petite Fille aux feuilles mortes (Little Girl with Fallen Leaves), 1946 Gelatin silver print 28 x 20.8 cm Inv. FNAC 91085 Centre national des arts plastiques collection © Agence Rapho/photo: Cnap

Alfredo Camisa Apparizione (Apparition), circa 1960 Gelatin silver print 21.3 x 16.2 cm Inv. FNAC 01-135 Centre national des arts plastiques collection © D.R. /photo: Cnap

5 Daniel Frasnay L’Inconnu du Pont Alexandre III (The Unknown of the Pont Alexander III), 1963 Gelatin silver print sur papier Agfa 18.7 x 26.7 cm Inv. FNAC 91039 Centre national des arts plastiques collection © D.R. /photo: Cnap

Tadeusz Rolke Tziganes (Gypsies), 1958 Gelatin silver print 17 x 12 cm Inv. FNAC 970790 Centre national des arts plastiques collection © D.R. /photo: Cnap

6 THEMES AND ARTISTS IN THE EXHIBITION

SeMA Chapter 1 : Deconstruction of Myths

The chapter “Deconstruction of Myths” stages the moment where the representation of power was destabilised at the very heart of the image, where the photograph took on a critical function.

Via subtle displacements in codes and social hierarchies, images reveal the ambiguous face of eminently patriarchal figures – the father (Claude Closky, Laurent Kropf), the soldier (August Sander), the golden boy (Jeff Koons), the gentleman (Karen Knorr), the upper-middle class families (Patrick Faigenbaum) – which are inscribed in glorification of nobility (the Marquise de Pompadour interpreted by Cindy Sherman or Deborah Turbeville), the veneration of iconic works of art (Mona Lisa interpreted by Robert Doisneau) but also in the desire to constantly control the weakest among us (Edouard Levé, Agnès Geoffray, Leandro Berra).

ARTISTS

Leandro Berra, Claude Closky, Robert Doisneau, Parick Faigenbaum, Agnès Geoffray, Ralph Gibson, Laurent Kropf, Karen Knorr, Jeff Koons, Édouard Levé, Robert Mapplethorpe, August Sander, Cindy Sherman, Deborah Turbeville.

Édouard Levé Untitled, 2006 From the Fictions series Gelatin silver print 100 x 100cm Inv. FNAC 06-461 Centre national des arts plastiques collection © Alexandre Levé/photo: Galerie Hervé Loevenbruck (Paris – France)

Jeff Koons Arts, 1988-1989 From the Art Magazine Ads series Four colour lithograph 91.5 x 71 cm Inv. 91-331 Frac Aquitaine collection © Jeff Koons/photo: Frédéric Delpech

Patrick Faigenbaum Famille Lepri n°1 (Lepri Family no. 1), 1987 Gelatin silver print 51 x 48 cm Inv. FNAC 90138 Centre national des arts plastiques collection © Patrick Faigenbaum/photo: Cnap

Deborah Turbeville The Private Apartment of Madame du Barry at Versailles, 30 January 1980 Gelatin silver print, sepia tone 40.5 x 50.6 cm Inv. 84-90 Frac Aquitaine collecton © Deborah Turbeville for Marek & Associates/ photo: Frac Aquitaine

9 THEMES AND ARTISTS IN THE EXHIBITION

SeMA Chapter 2 : Into the Neutral

The photograph incarnates the possibility of an authorless work, or an author who is effaced by a machine, made redundant by technology. Impregnated, like the other artists of his time, by Zen thought, Barthes develops a poetic thought of the photographic image, which he compares to haikus, these brief Japanese poems which define the moment through a minimal economy of words. The neutral, neither one nor the other, allows a rethink of the real as a utopia, removed from history and wars. It is the space and time of a suspension, the form of a collective epoch, which makes it possible to envision another social, familial and romantic order.

Representations of contemplation or of idleness (Roni Horn, Aernout Mik), of the disappearance of historical figures of authority (Bruno Peinado, Jan Groover) or of the author (Roman Opalka, Lee Friedlander, Otman Thorman, Marcel Broodthaers), or of photographic objectivity (Walker Evans, Thomas Ruff, Jean-Marc Bustamante) open towards utopic representations (Eric Baudelaire, Aziz+Cucher, Valérie Belin) and bring out images of daily life and habitually neglected figures (Valérie Jouve, Valérie Mréjen, Xavier Ribas, David Lamelas).

In this neutralised environment, images make the real disappear (Thomas Demand), or figures (Charles Mason) or discourses of authority (Raymond Pages), leaving space for a blank page (Adrien Missika), from which all can start again, like a general reloading. The last work by Danica Dakic comes from the other side of the mirror, and goes towards the final two chapters of the exhibition which returns to more than thirty years of photographic choices which brings to the fore the political force of images.

ARTISTS

Aziz + Cucher, Éric Baudelaire, Valérie Belin, Marcel Broodthaers, Jean-Marc Bustamante, Danica Dakić, Thomas Demand, Walker Evans, Lee Friedlander, Jan Groover, Roni Horn, Valérie Jouve, David Lamelas, Charles Mason, Aernout Mik, Adrien Missika, Valérie Mréjen, Roman Opalka, Bruno Peinado, Gianni Pettena, Xavier Ribas, Thomas Ruff, Hiroshi Sugimoto, Otmar Thormann.

Éric Baudelaire Maison de repos (Retirement Home), 2004-2005 From the Imagined States series C-Print under Diasec 110 x 138.5 cm x 4.8 cm Inv. FNAC 05-976 Centre national des arts plastiques collection © ADAGP, Paris 2016/photo: Éric Baudelaire

Xavier Ribas Untitled (Family Reading), 1994-1997 From the Domingos (Sundays) series C-Print Kodacolor mat 88 x 110 cm Inv. FNAC 04-716 Centre national des arts plastiques collection © Xavier Ribas/photo: Galeria Forum (Lima - Peru)

Valérie Mréjen Untitled, 2002-2003 From the Untitled (Portraits) series Gelatin silver print 65 x 65 cm Inv. FNAC 06‐206 Centre national des arts plastiques collection © ADAGP, Paris 2016/photo: Cnap

Jean-Marc Bustamante TTableau no 09 (Painting no. 09), 1978 Type C cibachrome print 112 x 138 cm Inv. 94-384 Frac Aquitaine collection © Adagp, Paris 2016/photo: Frédéric Delpech

Charles Mason Exit Wounds, 2011 Gelatin silver print 47 x 66 cm Inv. 12-630 Frac Aquitaine collection © Charles Mason/photo: Jean-Christophe Garcia

13 THEMES AND ARTISTS IN THE EXHIBITION

SeMA Chapter 3 : The Invisibles

A remarkable gallery of portraits uncovers another part of the history of contemporary photography, which brings into the light the large family of minorities and the voiceless: these out-of-the-ordinary faces reveal another social order and a multiple representation of humanity, one thousand leagues away from great History and stereotypes.

We are welcomed into the space by Philippe Bazin and Philippe Chancel: entering the family of the invisibles among figures who are masked, blind or in pitch black (John Hilliard, Sophie Calle, August Sander, Agnès Geoffray), and conti- nuing with the children of these invisibles with Henri Cartier-Bresson, Robert Mapplethorpe, Helen Levitt, Christian Boltanski, Jian Jiang and Jean-Luc Moulène. Taking “The Family of Man” as a counter-model, this chapter presents daily life free from set-dressing, sometimes violently, from birth to old age (Roger Ballen, Andres Serrano, Philippe Bazin, Mathieu Pernot, Nicolas Milhé, Tracey Moffatt and Marc Pataut).

The visitor meets characters with no history, discovered by chance in the street, and captured by Jean Rault and Beat Streuli, but also gazes off screen to great History (Remy Yadan, Cécile Hartmann). Little by little an intimate, parallel life emerges where norms are transgressed (Ariane Lopez-Huici, Pierre Keller) or shaken up (Andy Warhol, Wolfgang Tillmans, William Klein), far from established laws (Larry Clark).

ARTISTS

Diane Arbus, Roger Ballen, Philippe Bazin, Christian Boltanski, Sophie Calle, Henri Cartier-Bresson, Philippe Chancel, Larry Clark, John Coplans, Agnès Geoffray, Cécile Hartmann, John Hilliard, Jian Jiang, Pierre Keller, William Klein, Helen Levitt, Ariane Lopez-Huici, Robert Mapplethorpe, Nicolas Milhé, Tracey Moffatt, Jean-Luc Moulène, Marc Pataut, Mathieu Pernot, Jean Rault, August Sander, Andres Serrano, Beat Streuli, Wolfgang Tillmans, Andy Warhol, Rémy Yadan.

Agnès Geoffray Shadows, 2006 Digital print on aluminium 14.8 x 20 cm Inv. FNAC 09-063 Centre national des arts plastiques collection © Agnès Geoffray/photo: Agnès Geoffray

Philippe Bazin Untitled, 1986 From the Au-delà de l’identité (Beyond Identity) series Gelatin silver print 26.6 x 26.6 cm Inv. FNAC 3242 (1) Centre national des arts plastiques collection © ADAGP, Paris 2016/photo: Cnap

Mathieu Pernot (Untitled), 2009 From the Les Proscrits (The Outcasts) series Lambda print on Kodak paper on aluminium 85 x 120 cm Inv. FNAC 09-560 Centre national des arts plastiques collection © Mathieu Pernot/photo: Mathieu Pernot

Nicolas Milhé Casus belli, 2008 Colour print 19 x 24.5 cm Inv. 10-600 Frac Aquitaine collection © ADAGP, Paris 2016/photo: Nicolas Milhé

Diane Arbus Untitled 4, 1970-1971 Gelatin silver print 50.9 x 40.7 cm Inv. 83-34 Frac Aquitaine collection © Estate of Diane Arbus/photo: Frédéric Delpech

17 THEMES AND ARTISTS IN THE EXHIBITION

SeMA Chapter 4 : Fiction of the Self

In 1979, the French philosopher Jean-François Lyotard announced the “end of great narratives”, echoing the collapse of modern myths decoded by Barthes. In the same era, artists were recreating with their images personal worlds (Pierre et Gilles, Nobuyoshi Araki), individual mythologies (Esther Ferrer, Gilbert & George, Annette Messager, Gina Pane, Robert Barry) and fictive identities (Cindy Sherman, Jean-Luc Verna, Maurizio Cattelan). Representations of intimacy (Denis Roche, LaToya Ruby Frazier, Hervé Guibert), singular emotions and the pleasure of inventing a history for oneself (Duane Michals, Bernard Faucon, Victor Burgin) offer the possibility to dream oneself in a space where artistic creation meets social utopia (Mathieu K. Abonnenc, Shana Moulton, Jean-Marc Bustamante et al.). If according to the feminist slogan “intimacy is political”, fantasy becomes a powerful instrument to imagine one’s place in social space, to redefine one’s identity (Brice Dellsperger, Michel Journiac, Urs Lüthi, Ferhat Özgur, Hank Willis Thomas, ORLAN) and envisage a new world where the power of images would be wielded by individuals (Kader Attia).

To quote Roland Barthes (as per Vincent Meessen, Forgerie, 2009): “A certain pleasure is derived from a way of imagining oneself as an individual, of inventing a final, rarest fiction: the fictive identity. This fiction is no longer the illusion of a unity; on the contrary, it is the theatre of society in which we stage our plural: our pleasure is individual – but not personal.” (Roland Barthes, Le Plaisir du texte, 1973)

ARTISTS

Mathieu Kleyebe Abonnenc, Dieter Appelt, Nobuyoshi Araki, Kader Attia, Robert Barry, Victor Burgin, Jean-Marc Bustamante, Maurizio Cattelan, Brice Dellsperger, Bernard Faucon, Esther Ferrer, Gilbert & George, Hervé Guibert, Michel Journiac, Duane Michals, Vincent Meessen, Annette Messager, Shana Moulton, ORLAN, Ferhat Ozgür, Gina Pane, Pierre et Gilles, Denis Roche, La Toya Ruby Frazier, Hank Willis Thomas, Cindy Sherman, Jean-Luc Verna.

Jean-Luc Verna *Helmut Newton, Big Nude, 1980 * Henry Rollins (Rollins Band), Live 1999, Liar 2001, 2001 Gelatin silver print mounted on aluminium 160 x 125 cm Inv. FNAC 07-142 Centre national des arts plastiques collection © Jean-Luc Verna/photo: Cnap

Kader Attia Femmes (Women), 1997-2001 From the Photostories series Album of 119 photographs Gelatin silver print 10.5 x 8.5 x 4 cm Inv. FNAC 02-238 Centre national des arts plastiques collection © ADAGP, Paris 2016/photo: Cnap

LaToya Ruby Frazier Mom and Me in the Phase, 2007 From the The Notion of Family series Gelatin silver print 63 x 73.5 cm Inv. 14-687 Frac Aquitaine collection © LaToya Ruby Frazier/photo: Jean-Christophe Garcia

Cindy Sherman Untitled no 67, 1980 From the Rear Screen Projections series Colour print 51 x 61 cm Inv. 86-182 Frac Aquitaine collection © Cindy Sherman & Metro Pictures/photo: Jean-Christophe Garcia

20 SUBTEXT OF THE EXHIBITION “THE FAMILY OF THE INVISIBLES” INTERVIEW WITH THE CURATORS OF THE EXHIBITION

By Étienne Hatt

The exhibition “The Family of the Invisibles” looks towards present times. However, we have to go back to its historical references. With more than 500 photographs and 9 million visitors between 1955 and 1961, the travelling exhibition “The Family of Man” by Edward Steichen has become a monument of the history of photography. How did you approach it?

Pascal Beausse: Without reverence or irreverence. We wanted to test its viability today and perhaps also, despite everything, its aptness. Its context is post-war, the time of an attempt to construct an international community. “The Family of Man” wanted to contribute to this. In 1959, in the middle of the Cold War, the exhibition opened in Moscow. So there is a part of Utopia in the project. But, we were also able to, rightly, critique the ideological and American-centric dimension of this propaganda tool, its strictly affective approach which produced more emotion than knowledge and, above all, its homogenisation of the human condition which doesn’t make space for otherness and doesn’t take into account the diversity and reality of situations. It’s on this point that Roland Barthe’s critique weighs in “The Great Family of Men”, published in his Mythologies in 1957.

Its extension, the exhibition “The Family of the Invisibles” is an alternative to “The Family of Man” about which it offers an up-dated critique. By basing itself on singular and very diversified artistic approaches, it insists on the extreme diversity of conditions. It also gives priority to those who have been left in the margins by Steichen, these “Invisibles” who suffer from a lack of representation, in all the senses of the word.

The prologue of “The Family of the Invisibles” in the Ilwoo Space includes works contemporary to those presented by Stei- chen. What is its function?

PB: It’s a historical reminder as commented by Roland Barthes. It takes the different categories of “The Family of Man” and articulates them with fragments of Barthes’ critique. It’s therefore about approaching images of this period with the filter of Barthes’ thought and seeing if it is possible to make another exhibition which would avoid the quirks that he underlines. Without putting ourselves in his place, we privileged images that share his interest in a certain fragility of man and man’s capacity for resilience. For example the alienated man sleeping on straw photographed by Jean-Philippe Charbonnier in 1954. These are strong images which cause a breach in the sensitivity of the spectator by their strangeness, intensity, indecision or sheer force. They are not purely documentaries and are above all they are not consensual – we also reproached Steichen for having chosen overly consensual images.

Another historical reference from “The Family of the Invisibles” is Camera Lucida by Roland Barthes (1980), more specifically its iconography. Such an approach in a work by its own imagery is unheard of. Why have these twenty-five photographs been so little studied until now for themselves?

Magali Nachtergael: We have often remarked on what’s disappointing: it’s not complete, or it’s black and white, we don’t see his mother, who has just died and a portrait of whom he describes but refuses to show, etc. Many have valued the text over the images, as a way to signal that Barthes didn’t like photography as much, or that the photos didn’t interest him as much as the text. It’s the nobleness of literature over photography, this “average art”: a form of snobbery perhaps?

21 Barthes refuses the notion of the corpus. He has this beautiful formula: “Nothing to do with a corpus, only several bodies [corps]”. Is it useless to search for a coherency in these images? What would it be?

MN: Its coherency is a personal, individual one: he announces in Camera Lucida that his method will be that of a “mathesis singularis”, as opposed to a “mathesis universialis”. His goal is therefore not to impose a universal vision but to bring out his own gaze with all the paradoxes, contradictions, intimacy and even “taste” that go with it. By affirming his singular tastes, he creates meaning through an individual act. Thus the images that Barthes chose are the ones that echo his preoccupations, his idiosyncrasy and his obsessions: desire, pity, family, neutrality, constructing meaning or childhood for example. In this sense Barthes is everything except dogmatic, and the coherency of his images is that of his own singularity.

How is this corpus a critique of Steichen’s exhibition?

MN: Barthes methodically took apart Steichen’s exhibition and what’s more the unifying academic discourse about the family: you have to remember that at this time in France, the family was dad works, mum is at home and the kids can’t say a word. It was ultra-conservative. For Barthes, the family isn’t that: having lost his Dad early, he is raised by his mum who then had a second child out of wedlock with a married man. She raised the two children by herself. Knowing he was homosexual, Barthes could not image that the family corresponded to the models that were imposed on him daily. Therefore, when it came to applying these bourgeois discourses to the whole of humanity, as “The Family of Man” does, by cataloguing birth, childhood, love, marriage, work and war as inevitable fatalities, we understand his reaction. Camera Lucida is for him the means to present another side of photography and of images that are important to him: he doesn’t claim to speak in the name of humanity, he only speaks for himself, which is very honourably modest. His discourse is that of an orphan: having lost his mum but he couldn’t resolve himself to show his family as in a petit-bourgeois album. He therefore chose a corpus of images, mainly portraits.

Why this almost exclusive choice of portraits?

MN: If we associate the word “family” with that of “portrait”, the main precedents in the works of Barthes are his autobiography Roland Barthes by Roland Barthes, but also his article about Richard Avedon entitled “Tels”, which looked in part at The Family, Avedon’s series from which an image appears in Camera Lucida (the portrait of Asa Philip Randolph) and the critique of Steichen’s exhibition. This gallery of portraits, if we compare it to other interventions by Barthes on photography, brings out the notion of the ‘family without familialism”. We also know, from witness accounts, that Barthes’ friends made up “his family” and that his idea of the family of man was miles away from Steichen’s exhibition. Was he consciously replying to him directly? Perhaps not, but he was clearly fighting against ideas that the exhibitions wielded and continued to wield in 1980. To recap, homosexuality wasn’t delegalised until 1982 in France, while as for gay marriage, we have recently seen the strong reactions that this provoked.

Which brings us to “The Family of The Invisibles” which wishes to be in touch with the present. The four sections of the exhibition seem to link symmetrically: the great men and the invisibles, but also the neutral and the fictions of the self.

MN: In fact, the exhibition functions through parallels and chiasmuses. The neutral is the tabula rasa which throws

22 out bourgeois ornament and the fiction of the self is only made possible if we forget the traditional straitjackets: to reinvent oneself, we have to accept that we leave behind us a part of our culture, to “neutralise” it. If we continue to think that such or such representation is sacred, the fiction of the self remains very superficial. In the images that we present, fictions preside over an opening towards another moral or critical order, they reinvent the world and reassign social or sexual roles, here I’m thinking of Hank Willis Thomas or ORLAN, but also of Michel Journiac and Urs Lüthi. The section of the exhibition on “the invisibles” perpetuates the gallery of portraits initiated by Barthes. It continues the work of Camera Lucida thirty-five years after its publication. The disappearance of the author is above all political, we have to remember that the “Death of the Author” (1967) by Barthes, means the birth of the reader: so there is no longer a demiurge author (God in some sort) who codifies his text like a law, it’s the reader who decides, in a very free and democratic way, the sense he wants to give to it. The fiction of the self is therefore a shift of the reader into the author of himself: each individual can create his own text, his own reading, it’s his individual gaze which allows this. It’s very libertarian in some way, almost anarchist. The expression of intimacy takes part in this authorised, individual reading, legitimised by the disappearance of the Author with a capital A, and this clearly echoes Jean-François Lyotard’s observation in 1979 that, in The Postmodern Condition, diagnoses the “end of great narratives”, i.e., in certain respects, of mythologies. The section of the exhibition on great men is a space for an in-progress deconstruction by images. We certainly see that the photographs are not unequivocal, “at face value” as Barthes would say. They bring a light unease into perception, a distance that is either from creating space (Patrick Faigenbaum), or being outrageously kitsch (Jeff Koons).

The exhibition includes a large variety of practices. How to explain that documentary photography is not necessarily the privileged genre to bring “invisibles” to light in contemporary photography?

Claire Jacquet: Photography has evolved and the exhibition evidently takes into account this recent history of the last thirty years which saw the growth of what we call today “visual arts”, or practices derived from photography without being exclusively connected with the photographic medium. The 20th century in art, but also in other disciplines (music, literature, etc.) saw three revolutionary forms emerge, digression, cutting, and mixing. It’s therefore not a surprise to see photographic practices borrowing these same pathways to appropriate hybrid, composite, immersive or minimal forms, while always defining a final form which corresponds to the strength of the author’s thought. This exhibition therefore contains photographs but also videos, installations, photomontages, etc. It’s the large family of visual forms which embraced photography since its classical age!

PB: There are also several books, notably the three albums Men, Women and Fetishes by Kader Attia. They describe a great richness of situations which we may miss and which an artist can help us to understand better.

More generally, the criss-crossing of numerous practices that “The Family of the Invisibles” offers is made possible by the photography collections of Cnap and FRAC Aquitaine. They are complementary. Cnap’s is more eclectic, FRAC Aquitaine’s more focused. But both have the same function with regards to today’s art, which is to record the diversity of forms, while insisting only on quality.

Are the aesthetics provoked by the shift in the gaze of artists towards “the invisibles” and the asides of great history tied up with an aesthetics of the ordinary?

CJ: I don’t think so. On the contrary, I think that this shift of our gaze towards the “asides” of the image or the “forgotten people of history” is the fruit of an ever-increasing rise in consciousness of our singularities, and this

23 forms an extraordinary richness that can’t be reduced to conventions, norms or dogma. Roland Barthes showed that photography was an instrument directly linked to representation and therefore to power: that which exists is that which is photographed, and vice versa. To give a simple answer, I think that this shift which leads us to direct our gaze towards the other incites us to consider the margins, and to paraphrase Jean-Luc Godard, they are what makes up the pages of a book, which explains their more than essential importance! What is exciting with contemporary artists is that they show us forgotten and buried accounts of singular and under-appreciated people, paths that leads us to unexpected horizons, and the ensemble of this narrative “that is writing itself” is of course extraordinary.

To finish, this exhibition links Barthes with more recent research, from cultural or visual studies, on representation and its political dimension. Does “The Family of the Invisibles” seek to revaluate the contribution of Camera Lucida to theories of the image?

MN: Camera Lucida is an important book that has been quoted often, like all major texts, and sometimes badly, due to the excessive focus on the missing photograph of Barthe’s mother. But, in the United States, Carol Mavor or Shawn Michelle Smith have interrogated its post-colonial and racial dimension, based on images by James van der Zee and Richard Avedon which are included here. Many of the photographs from Camera Lucida evoke African Americans, even the trolley bus photographed by Stieglitz that we see at the beginning: if we look closely, we see that it comes from Harlem. All the same it’s the very first photo of the book (after that by Daniel Boudinet, which is at the very start, before the text). As for William J. Thomas Mitchell, in Picture Theory, he surprisingly classes Camera Lucida in the category of “photo-essays”, as he does for Jean Mohr and John Berger: this is a nice, quite radical idea, because it means, according to Mitchell, that the aim of the book, as for all photo-essays, is “agnostic” and is situated in a social struggle. If we believe that the visual is political, Camera Lucida can in effect appear to be more of a political book than we wanted to think until today, and if we think furthermore, following the example of feminist movements, that intimacy is political, then the book can be doubly so.

“The Family of the Invisibles” situates Barthes and his book as a precursor of and within visual and cultural studies: semiology contributed greatly to the arrival of transdisciplinary approaches and Barthes contributed greatly to the popularisation of semiology, in his application in daily life, without worrying about hierarchies: he wrote as much about fashion as about painting, literature or advertising.

24 BIOGRAPHIES OF THE CURATORS

PASCAL BEAUSSE Pascal Beausse is head of the Photographic Collection of the Centre national des arts plastiques (Paris).

He is the author of essays and interviews especially on works by Maria Thereza Alves, Philippe Durand, Jimmie Durham, Cécile Hartmann, Candida Höfer, David Lamelas, Ange Leccia, Teresa Margolles, Allan Sekula, Bruno Serralongue, Jean-Luc Vilmouth and Wang Du. Exhibition commissioner, he has notably presented: “La Cabane” (Palais de Tokyo, Paris, 2006), “Same Same but Different” (Tina B, Veletržní Palác, Prague, 2006), “Welcome to Heterotopia!!” (Echigo-Tsumari Triennial, 2006), “Investigations” (Descartes’ House, Amsterdam, 2007), “Void Has No Exit” (Creative Union, Hiroshima, 2008), “The Clearing” (Triennial of Contemporary Art, Národní Galerie v Praze, Prague, 2008), “Hiroshima Art Document” (Former Bank of Japan, Hiroshima, 2010), “Numero Tres” (La Virreina – Centre de la Imatge, Barcelona, 2012), “Knowledge is Power” (PhotoEspaña, Madrid, 2013), “The Secret Sea” (Onomichi City Museum of Art, Onomichi, 2013) and “Supernature” (Kyotographie, Kyoto, 2014).

Villa Kujoyama Laureate – Institut Français/Ministry of Foreign Affairs – Institut franco-japonais du Kansaï, Residen- cy of researchers and artists in Kyoto (2007).

CLAIRE JACQUET

Claire Jacquet has been a commissioner of exhibitions at the Centre National de la Photographie and then at the Jeu de Paume (Paris). Since 2007, she has directed FRAC Aquitaine (Bordeaux) and has headed on both a regional and a foreign twinned institutions level a wide series of collection exhibitions (“Time out of Joint “, “Coup double”, “Les Dérivés de la photographie “) solo shows (Karina Bisch, Benoît Maire, Isabelle Cornaro, Marc Camille Chaimowicz). Developing the editorial politics of FRAC Aquitaine, she is the author of several catalogues (Heidi in the Land of Martin Kippenberger, Green White Red) and launched a collection entitled “Fiction at Work where Literature and Contemporary Art Meet” (a joint-publication by FRAC Aquitaine/Editions Confluences).

In the summer of 2015, she presented the work of Omar Victor Diop for the Prix Découvertes at the Rencontres d’Arles.

MAGALI NACHTERGAEL Academic, specialist on Roland Barthes

Agrégée in Lettres Modernes, PhD in History and Semiology of Text and Image (under the supervision of Eric Marty, and with the following thesis jury: Catherine Malabou, Michel Poivert, Philippe Roger and Tiphaine Samoyault), Magali Nachtergael is currently a lecturer in Literature and Contemporary Art at Université Paris 13 Nord Sorbonne Paris Cité. She founded the programme The Contemporaries, Literature, Visual Arts, Theory (for which she won financing from IDEX-ANR for 2013-2015) in partnership with Université Paris 7 Diderot. She has taught History of Contemporary Art at Université Bordeaux 3 from 2005 to 2008 before spending two years on a post-doctorate first at John Hopkins University (USA) and then at the University of Turin (Italy). Besides her work on Roland Barthes and the representation of the self, her current research and publications are on the relation between writing and contemporary art, artistic fictions, books and artist texts. Since 2005 she has also published critical texts in artpress, Art21 and L’art même. She is a commissioner of the exhibition “Lumières de Roland Barthes” at FRAC Aquitaine (Bordeaux) and at the Centre d’Art Image/Imatge (Orthez) in 2015.

She is the author of Roland Barthes contemporain, Beaux Livres, Max Milo, 2015.

25 PRESENTATION OF THE COLLECTION OF CENTRE NATIONAL DES ARTS PLASTIQUES

Cnap is an organisation under the Ministry of Culture and Communication. Its mission is to support and promote contemporary creative activity in all domains of visual arts.

It manages a national collection, the Fonds National d’Art Contemporain, which it enriches, conserves and makes known in France and abroad by short and long-term loans. Consisting today of more than 97 000 works acquired over more than 220 years from living artists, this collection is representative of the contemporary artistic scene in all its diversity.

The Fonds National d’Art Contemporain is a collection without walls, which enriches the museum circuit and plays a part in exhibitions all over the world with loans to exhibitions or more long-term arrangements.

The photographic fund today is made up of around 12 000 works, of which 2 500 come from public commissions. The collection is founded on an historical foundation, particularly representative of the 1950-70s, concentrated around French humanist photography, Italian neo-realism and photo reportages.

Notable and coherent ensembles of works are dedicated to the essential photographers of this period, including Edouard Boubat, Robert Doisneau, William Klein and Maurice Tabard.

Since the beginning of the 1980s, the collection has attentively followed the exceptional evolution of photography in France and internationally, including the German scene with major works by Bernd and Hilla Becher and the entire Düsseldorf school, from Candida Höfer to Andreas Gursky, but also other German schools and scenes, from Katharina Bosse to Wolfgang Tillmans or Sven Johne. In the same way essential photographers from Africa are present, from Seydou Keïta to Guy Tillim, from Viviane Sassen to Sammy Baloji, as they are from Russia, from Yuri Kozyrev to Olga Chernysheva, Ukraine, from Boris Mikhailov to Oleg Kulik, Finland, from Elina Brotherus to Ville Lenkkeri, America, from Walker Evans to Robert Adams, and China, from Jian Jiang to Huang Yong Ping.

The French scene makes up the main part of the collection, in all its sub-sections. From Sophie Calle, Jean-Luc Moulène, Suzanne Lafont, Jean-Marc Bustamante, Patrick Tosani and Philippe Bazin to Claire Chevrier, Yves Trémorin, Valérie Belin, Philippe Durand, Bruno Serralongue, Valérie Jouve, Anne-Marie Filaire and Vincent J. Stoker, the different generations of artists who have fully inscribed photography as an important development in contemporary creation are represented. The steps of their research are therefore arranged here.

The collection is therefore a “recorder” of contemporary creation, which keeps an eye on what photography is doing in present times. The richness of this collection is what allows today for “The Family of Invisibles” and shows the diversity of French photography, and that of artistic approaches, intentions and situations in their singularities and difference.

Some figures: 97 000 works acquired since 1791 Around 40 000 works acquired since 1960 Around 12 000 photographs including 2 500 from public commissions www.cnap.fr

26 PRESENTATION OF THE COLLECTION OF THE FONDS REGIONAL D’ART CONTEMPORAIN AQUITAINE

Since 1982, the FRAC Aquitaine Collection has had the ambition to accompany and support contemporary creation. To this effect it has built a collection of works of art and has made itself known to as many people as possible, by inventively and actively spreading these artistic forms, and reflections – sometimes transitory, sometimes historical – of our time.

The collection of FRAC Aquitaine regroups practices as diverse as painting, drawing, sculpture, photography, installation, video, sound and design. Endowed with more than 1 000 works, dated from 1929 to today, its composition favours several orientations: its beginnings around photography, then opening out to visual arts, conceptual art and a burlesque vein. Just as there is not one “style” in art, FRAC Aquitaine today defends the generalised character of its collection whose value will be displayed in its new setting in the heart of MECA (Maison de l’Economie créative et de la Culture en Aquitaine) from 2018.

The first period (1983/1985) privileged the photographic medium with, in parallel, acquisitions of works from other domains of fine art (painting and drawing) but on a smaller scale. The enthusiasm which photography benefitted from at the beginning of the 1980s is translated by a recognition that allowed the building up of coherent ensembles of recognised artists. There are thus around 300 prints from prestigious names such as Diane Arbus, Henri Cartier-Bresson, Larry Clark, Raymond Depardon, Walker Evans, Robert Frank, Pierre Molinier… who are in the FRAC Aquitaine collection. In parallel, works by artists – who use photography but do not call themselves photographers – is a testimony to the diversity of contemporary art (Christian Boltanski, Paul-Armand Gette, Gilbert & George, Jean Le Gac, Urs Lüthi, Annette Messager, Gina Pane, Cindy Sherman…).

During the second period (1986 /1993), ties between FRAC and the CAPC contemporary art museum in Bor- deaux were made and allowed for a refocusing of acquisitions towards international art. This is when works by important figures of American and European art entered the collection without or hardly without an equivalent in the main public French collections (John Armleder, Katharina Fritsch, Jeff Koons, Richard Long, Roman Opalka, Thomas Ruff, Andres Serrano, Haim Steinbach, Jeff Wall…).

Between 1994 and 2011, the collection was enriched with works that represented a large heterogeneity of fine art and the most recent advances of artistic practices, from domains as diverse as video (programmes of artist videos), cinema (co-productions of several short fiction films whose script is articulated around a work or an artist in the collection), sound (with creations by Xavier Boussiron or Nathalie Talec), right up to the production of large-dimension installations from artist residencies in Aquitaine (Thomas Hirschhorn, Olivier Blanckart).

Just as there doesn’t exist one “style” in art, the collection of FRAC Aquitaine, emblematic of contemporary art from the last thirty years, wishes today to keep a generalised character without favouring any artistic trend or medium. The fundamental vocation of this fund which numbers today more than 1 000 works dating from 1929 to today remains the building of a living heritage which allows everyone to approach the art of today before it is distorted by time, creates a new academicism or becomes invested with so-called critiques of history.

Some figures: Total number of works in the collection in 2015: 1 127 Around 50% of the collection is on loan each year Number of artists represented: 374 artists www.frac-aquitaine.net

27 NOTE ON THE EXHIBITION BY EDWARD STEICHEN

Taken from the website http://www.steichencollections.lu/fr/the-family-of-man

1955: exhibition of The Family of Man at the Museum of Modern Art (MoMA), New York 1955-1962: travelling exhibition, seen by 10 million people throughout the whole world 1964-1966: Edward Steichen visits his native country and expresses his wish for The Family of Man to be exhibited permanently at Château de Clervaux. The US government donates the last complete version to Luxembourg. 1974-1989: partial exhibition of the photographs at Château de Clervaux 1994-2010: establishment of the collection as a permanent exhibition at Château de Clervaux 2003: inscription on the UNESCO Memory of the World register July 2013: reopening following renovation of the exhibition rooms

Extract from the text by Pascal Beausse for the exhibition catalogue for “The Family of the Invisibles”.

“The Family of Man” is inscribed in the history of art with superlatives: the most important exhibition of photographs in terms of number of visitors and of places around the world where it was presented; it is undeniably an exhibition-event. From its opening, in 1955, at the Museum of Modern art of New York and then, in the years which followed, during its tour across all continents, the narratives developed around the production validated, by the scale of visitors recorded, its undeniable importance. […] “The Family of Man” is thus a monumental exhibition, a vision of photography as much as it is about the human family proposed by a man (Edward Steichen), who reached, at 65, the peak of his career. The long process of preparation speaks of the universalist aim of the commissioner and his assistant, Wayne Miller. Following a call to professional and amateur photographers, in the whole world, two million images were sent to them, from which they selected ten thousand before they got to, by a succession of filters and choices, the number of 503 photographs which were finally exhibited. […] However, this advertised opportunity was completely relative: the exhibition is made up of a majority of American photographs and was initially addressed to the American public. What is more, the vision of humanity which is expressed is centred on occidental values and on the UN conception of the rights of man, studded with a religious thought that is demonstrated notably by the Bible quotations which punctuate the path of the exhibition and its book, opening with a passage from Genesis: “ And God said, let there be light”. […] This ideological aspect will be one of the crucial points of the critiques expressed, from the start until recently, by a succession of writers which allowed for a deconstruction of this large-scale cultural project, faced with this flood of sometime laudatory praise. […] The first major critique was formulated in 1957 by Roland Barthes in Mythologies, following the arrival of the exhibition in Paris, rebaptised for the occasion “La Grande Famille des Hommes”. This short text will go down in history, inspiring many other subsequent critiques up to those expressed later by Allan Sekula. […] Whilst “The Family of Man” is now presented permanently in Château de Clervaux in Luxembourg, one question remains open: in the historical context of post-war, was it possible to realise a different exhibition? What is the influence of humanist photography on Steichen’s discourse? Did he deduce his discourse from photographs? But also: could one not realise, with the same type of photographs and why not the same artists, a different exhibition? […]

28 NOTE ON ROLAND BARTHES

The year 2015 was marked by celebrations of the centenary of the birth of Roland Barthes, major figure of 20th Century French thought, he made the theoretical spirit that simmered in the 1960s and 70s shine around the whole world with the sharpness of his analyses, the clarity of his discourse and his critical creativity. In the 1950s, with major works such as Writing Degree Zero (1953) and especially with Mythologies (1957), he developed an original theory of modernity, resolutely relevant today.

In Mythologies (1957), Roland Barthes undertook a methodical deconstruction of great modern myths but also figures of domination. His virulent critique of petit-bourgeois society mainly focused on the daily press and magazines, from where he drew the sources of his futures analyses of the photographic image.

He also offered critical tools that had been until then unable to understand the spectacle of the modern and postmodern world: his analyses of the photographic image have gone down in history and marked a generation of thinkers, image and media professionals but also artists. Towards the end of the 1970s shortly before his accidental death, his audience grew larger still with Fragments of a Lover’s Discourse (1977) and his last book published while he was alive, Camera Lucida. A Note on Photography (1980).

A major contribution to theories of the image, the book is one of the rare theoretical texts on photography which deeply marked its time. Curators, art critics, photographers, students of history of art, literature or aesthetics, all read Camera Lucida. What traces did this contribution leave in contemporary French photography? How has the influence of Roland Barthes shaped national and regional collections? A panorama of Cnap’s and FRAC Aquitaine’s collections returns, in the exhibition “The Family of the Invisibles”, to the major influence of a unique thinker of his time and puts Camera Lucida back into a pivotal moment in the contemporary regime of visibility.

29 Presentation of Seoul Museum of Art, Seoul, Korea (SeMA)

Seoul Museum of Art is an art museum that represents Seoul, which is the capital of South Korea as well as a central city of Asia and one of the major metropolis of the world. Founded in 1988 and moved to Seosomun in 2002, the museum today looks ahead meeting the needs and urgencies of current times : it aims to develop both the national and international competencies by leading and strengthening the possibilities of Korean contemporary art.

To realize this mission, the Seoul Museum of Art hopes to establish the identity of the museum as being a “post- museum” as its vision. I believe that post-museum can be justified as a challenging goal of an art museum in the 21st century for it implies a post-conventional, post-institutional art museum that comes after the time of neolibe- ralism.

As a post-museum, the Seoul Museum of Art is developing an ambivalent operating program which gives importance to divergent complexities over unitarity, and to convergence and interdisciplinarity over solitariness. The new outlook covers the spectrum of locality and globality, popularity and expertise, classicality and modernity, authenticity and alternativeness. The Seoul Museum of Art also promotes participatory community projects to expand communication and cultural exchange, and wish to expand the museum’s role into the general scene of social education.

Hence, the Seoul Museum of Art intends to be unique and mutually beneficial art museum, differentiating itself by being both an art museum of an international level and a museum for the citizens servicing the public’s interest. My hope is for Seoul Museum of Art to become a key cultural instrument that instills pride in the citizens of Seoul and turns Seoul into the city with vibrant culture and arts.

30 PRÉSENTATION OF ILWOO SPACE

Opened on the first floor of korean Air Seosomun building,(located at 41-3, Seosomun-dong, Jung-gu Seoul) on April 8, 2010, Ilwoo Space is a culture space for exhibition photographs and artworks, 547.2m2(165.8 pyeong) in size, the space is run by the Ilwoo Foundation, affiliated with Hanjin Business Group, The opening of this space for citizens, within the Group’s key location in downtown Seoul, is part of its social commitment activities, rewarding love from clients who have encouraged its growth into a global logistics company.

Hanjin has increased nation pride by offering Korean-language-services in prestigious museums around the world, supported promising photographers through the Ilwoo photo Award, and sponsored a wide range of culture events, also engaging in Mecena activities, to execute its social responsibilities, Ilwoo Space will be a dignified culture space and resting place where office workers near Seosomun and citizens traveling to Deoksu Palace and Gwanghwamun as well as photography and art lovers can appreciate high-level artworks free of change, and also obtain travel information. The space, alongside National Museum of Contemporary Art, Deoksugung, Seoul Museum of Art, Jeongdong Theater, and Hoam Art Hall, links into a cultural belt, getting settled as Jung-gu’s cultural sightseeing place.

Total floor area of the exhibit venue is 547.2m2 (165.8 pyeong) the first gallery is 290.2m2(88 pyeong) and second is 93.1m2(28 pyeong) A moving wall and expert lighting are installed for the efficient display of small and large pieces. A supersized window-gallery 10m high and 3.7m wide installed on the Seosmun roadside to attract passer- by, enabling citizens to access highly dignified culture and art easily. In a corner of the gallery is 100-seat cafeteria, while the Travel Zone from where visitors may obtain travel information, and the Business Zone for meetings, are run independently.

Ilwoo Space aims to become a place for communication through display of diverse work by promising artists as well as established artists representing the Korean art world. Ilwoo Space, created through renovation of the Korean Air building, encounters new and old. The space also provides unsparing support to discovering-and- coming photographic artists and nurture them into world-class artists

31 Presentation of the Year of France and Korea 2015-2016

Event organised as part of the Year of France and Korea 2015-2016: www.anneefrancecoree.com

The Year of France and Korea 2015-2016 is organised and produced by: – Korea: the Ministry of Foreign Affairs, the Ministry of Culture, Sport and Tourism, the Korean Culture and Information Service (KOCIS), the Embassy of the Republic of Korea in France, the Ministry of Science, Information Technology, Communication and Planning, the Ministry of Agriculture, Food and Rural Affairs, the Ministry of Male-Female Equality and the Family, the Ministry of Education, the Association of Governors, the City of Seoul and the Foundation of Korea; President: Mr Cho Yang-ho; Heads of General Coordination: the Director of Cultural Diplomacy at the Ministry of Foreign Affairs and the Director of Planning of KOCIS;

– France: the Institut Français with the support of the Ministry of Foreign Affairs and International Development, the Ministry of Culture and Communication, the Ministry of Economy, Industry and Digital Affairs, the Ministry of National Education, of Higher Education and Research, the Ministry of Urban Affairs, Youth and Sport, the Ministry of Agriculture, Farming and Forestry, and the Embassy of France in Korea.

President: Mr Henri Loyrette

32 CATALOGUE OF THE EXHIBITION

In addition to sketching the journey around the exhibition and to presenting an important iconographic publication, the catalogue of the exhibition is a scientific contribution to the state of research in the domain of photography and Barthe’s contribution to the history and the theory of photography. It offers a critical re-reading of the Edward Steichen’s “Family of Man” exhibition, an essential milestone in the history of exhibitions and photography.

Texts by: Pascal Beausse, Jacqueline Guittard, Claire Jacquet, Magali Nachtergael, Suejin Shin, Kyung-hwan Yeo.

Format: 19 x 25 cm Pages: 400 pages Language: English/Korean International Distribution A digital version will also be available on institutions’ websites and will include the ensemble of the texts in French and English.

33 Contact details and practical information

Curators of the exhibition - Pascal Beausse, Head of the Photographic Collection at the Centre national des arts plastiques (Cnap, France) - Claire Jacquet, Head of the Fonds régional d’art contemporain of Aquitaine (Frac Aquitaine, Bordeaux) - Magali Nachtergael, Assistant Professor at Paris 13 Sorbonne Paris Cité University

Organisation

Centre national des arts plastiques: - Marc Sanchez, General Coordination of the Exhibition - Bénédicte Godin, Catalog - Perrine Martin-Benejam, Communication and Press - Aurélie Lesous, Partnerships www.cnap.fr/en_cnap

Frac Aquitaine : - Aurore Combasteix, coordination www.frac-aquitaine.net

SeMA : - Kyung-hwan Yeo, Curator http://sema.seoul.go.kr

Ilwoo Foundation : - Suejin Shin, Director of the Creation www.ilwoo.org

Institutional partners

France-Korea Year 2015-2016: - Henri Loyrette, President - Agnès Benayer, General Commissioner www.anneefrancecoree.com

Institut français : - Bénédicte Alliot, Head of the Seasons’ Office - Flora Boillot, Project Manager for Visual Arts, Seasons’ Office - Henri-Pierre Godey, Communication Manager, Seasons’ Office www.institutfrancais.com/en

Embassy of France in Korea: - Anthony Chaumuzeau, Cultural Counselor - Jacques Soulillou, Cultural Attaché www.ambafrance-kr.org

Press contact of the exhibition Brunswick Arts - Leslie Compan [email protected] M +33 6 29 18 48 12

34 Partners and Sponsors

Exhibition Coproducers

Exhibition Sponsors

With the support of

France-Korea Year 2015-2016

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