CP VENISE Validé DGCA
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Conservatrice En Chef Du Patrimoine/ Chief Curator
CHRISTINE MACEL CONSERVATRICE EN CHEF DU PATRIMOINE/ CHIEF CURATOR PERCORSO PROFESSIONALE Dal 2000 Conservatrice, Chef de service , Création contemporaine et prospective, presso MNAM CCI Centre Pompidou, Parigi [email protected] christine.macel@centrepompidou .fr Alcune esposizioni realizzate : Raymond Hains, Sophie Calle, Dionysiac, Airs de Paris, Les Promesses du passé, Philippe Parreno, COMPETENZE Gabriel Orozco, Anri Sala, Danser sa vie, Une Direzione di equipe : Histoire etc . - reclutamenti 1997-2002 Docente di arte contemporanea, Ecole du Louvre, - amministrazione/gestione - pianificazione/organizzazione Corsi magistrali del primo, secondo e terzo anno Curatore di mostre/ 1995-2000 Conservatrice, Ispettore della Creazione Artistica programmazione di esposizioni Delegazione alle Arti Plastiche (collezioni del Fondo nazionale Direzione artistica, progettista d’arte contemporanea / appalti pubblici) culturale Altre attività : Acquisizione di opere contemporanee 2006-2009 Creatrice artistica e programmatrice dello spazio associativo Blank per l’arte contemporanea, Parigi Pubblicazioni: autore, critico d’arte, progettazione e gestione 2006 - Cofondatrice dell’associazione AON Neuroasthetics a delle opere Berlino (con Semir Zeki e Alex Abbushi) Conferenze, convegni 2000-2003 Creazione dell’associazione arte contemporanea, musica e monumenti storici FASTE , Parigi (eventi di arte, musica, Insegnamento elettronica) LINGUE 1999-2000 Direttrice artistica del festival annuale Printemps de Cahors, ExtraETOrdinaire (1999) e Sensitive (2000) -
'Good Artists Know Their Responsibilities'
6 METROPOLIS M 7 VENICE BIENNALE 2017 Christine Macel is directing this year’s Venice Bien- ‘GOOD artists nale. As curator at the Centre Pompidou, she stood out for her penetrating and compelling exhibitions. know THEIR Macel is a typical ‘artist’s curator’ with a sharp eye for RESPONSIBILITIES’ scenography. Do not expect any difficult concepts: the focus of Viva Arte Viva is on art and the artist. Nanda Christine Macel on Viva Arte Viva Janssen looked her up in Paris. Christine Macel (born in 1969) might be fairly ness breeds speculation. With the exception of the unknown in the Netherlands, but in Italy and France appointments of the Nigerian Okwui Enwezor (2015) she already has a considerable record to her name. At and the American Robert Storr (2007), the Biennale previous Venice Biennales, she curated the national is often directed by European curators. It has been a pavilions of France (Anri Sala, 2013) and Belgium long time since the honour went to France (Jean Clair (Eric Duyckaerts, 2007). At Centre Pompidou, in 1995). Could the fact that France generates many where she started in 2000, Macel put together quite a ⁂ visitors and that the Biennale sees Christine Macel as number of strong exhibitions, such as the solo shows CHRISTINE a magnet for the public be of importance here? Or do by Anri Sala (2012) and Philippe Parreno (2009) M A C E L thematic considerations play a role and this time, after and the themed exhibitions Les Promesses du Passé Enwezor, an extremely politically and socially driven (2010), concentrating on a neglected generation of curator of grand statements, has the board decided artists from the former Eastern Bloc, and Airs de Paris to take a softer approach that puts the emphasis not (2007), which gave a podium to the Parisian scene. -
Biografia Christine Macel
Biografia di Christine Macel Dopo gli studi nel campo della storia dell’arte, Christine Macel è stata conservatrice del patrimonio e ispettore della creazione artistica nella “Délégation aux Arts Plastiques” del Ministero della Cultura francese (dal 1995). Dal 2000 ricopre l’incarico di Curatore capo del Musée national d’art moderne – Centre Pompidou di Parigi, dove è responsabile del Dipartimento della “Création contemporaine et prospective” che a creato e sviluppato. È stata curatrice del Padiglione Francese alla Biennale Arte 2013 (Anri Sala) e del Padiglione Belga alla Biennale Arte 2007 (Eric Duyckaerts). Per il Centre Pompidou ha curato e co-curato numerose mostre collettive, tra cui Danser sa vie, art et danse aux XX e XXIème siècles (2011); Les Promesses du passé. Une histoire discontinue de l’art à l’Est de l’Europe depuis 1956 (50 artistes) (2010); Airs de Paris , mutations dans la ville et la vie urbaine (2007); Dionysiac (2005). Ha curato anche le personali di artisti come Anri Sala (2012), Gabriel Orozco (2010), Philippe Parreno (2009), Sophie Calle (2003), Nan Goldin (2002) e Raymond Hains (2001). Sempre al Pompidou ha ideato e realizzato “Espace 315”, una galleria dedicata ai giovani artisti della scena internazionale, per la quale ha curato otto esposizioni tra il 2004 e il 2013: Koo Jeong-A, Magnus Von Plessen, Xavier Veilhan, Jeppe Hein, Pawel Althamer, Damian Ortega, Tobias Putrih, L’Image dans la sculpture (Navid Nuur, Nina Beier, Simon Denny, Yorgos Sapountzis). Ha inoltre concepito nel 2002 la realizzazione e programmazione di “Prospectif Cinéma”, per mettere in luce la produzione cinematografica di giovani artisti francesi e internazionali. -
The Power Issue Blouinartinfo.Com December 2016 2016 Power High-Wattage Women
AR T+A RAUSCHENBERG IN LONDON AFRICAN-AMERICAN ART STARS ART BASEL MIAMI BEACH UCTION THE INTERNATIONAL MAGAZINE FOR ART COLLECTORS DECEMBER 2016 THE POWER ISSUE THE POWER BLOUIN THE POWE R ISSUE A HIGH-WATTAGE WOMEN RTINFO.COM DECEMBER DECEMBER 201 6 2016 POWER HIGH-WATTAGE WOMEN WHEN FRANCES MORRIS TOOK THE REINS of Tate Modern in London in January of this year, 2016 the art world took notice. She was not only the first Brit but also the first female to direct the 71 vaunted art venue, highlighting how rare it is for female curators to achieve such recognition, despite the critical roles they play in the success of the institutions they serve. (According to the most recent study on the topic, released by the Association of Art Museum Directors, 75 percent of institutions with budgets in excess of $15 million are still helmed by men.) When it comes to female artists, there is also catching up to do. It has been two years since Georgia O’Keeffe’s Jimson Weed/White Flower No. 1, 1932, set the bar for a work by a female artist at auction when it sold at Sotheby’s New York in November 2014 for $44.4 million. Impressive as that sum may be, it was far too low to make our list of the top 40 most expensive paintings of all time in this issue’s POWER Databank column, which includes a dozen works by Pablo Picasso alone. D e s p i t e t h e statistics, we found in formulating our 2016 power list that the old-boy network is starting to yield. -
PHILIPPE PARRENO Solo Exhibition Catalogues and Monographs
PHILIPPE PARRENO Solo Exhibition Catalogues and Monographs 2018 Philippe Parreno: Gropius Bau Sommer 2018. Koln: Walther König, 2018. 2017 Philippe Parreno: La levadura y el anfitrion. Mexico City: Museo Jumex, 2017. Thirlwell, Adam. Conversation: A Script with Philippe Parreno. Porto: Serralves Museum, 2017. 2016 Stillpass, Zoe. Anywhen. London: Tate, 2016. 2014 Philippe Parreno: Anywhere, Anywhere Out of the World. Köln: Walther Koenig, 2014. 2011 Philippe Parreno: Films 1987 – 2010: Serpentine Gallery. Köln: Walther Koenig, 2011. Spector, Nancy. C.H.Z. Philippe Parreno. Italy: Grafiche Damiani, Bologna, 2011. 2010 Lind, Maria. Philippe Parreno. Sternberg Press, 2010. Schafaff, Jörn. Philippe Parreno: Angewandtes Kino. Koln: König, 2010 2009 Critchley, Simon. Philippe Parreno. Zurich: JRP Ringier, 2009. Parreno, Philippe and Johan Olander. Parade?. Paris: Editions du Centre Pompidou, 2009. 2008 Parreno, Philippe and Hans Ulrich Obrist. Hans Ulrich Obrist & Philippe Parreno: The Conversation Series. Koln: Walther König, 2008. Suicide in Vermillion Sands. New York: Friedrich Petzel Gallery, 2008. Live Recorded Delay: An Archive of Il Tempo del Postino. Berlin: Sternberg Press, 2008. 2005 Philippe Parreno: Fade to Black. Brussels: MFC-Michele Didier, 2005. 2004 The Boy from Mars. Kitakyushu: CCA Kitakyushu, 2004. Point d’ironie, no. 33. Paris: Agnés B, 2004. 2002 No Ghost Just a Shell. Köln: Walther Konig, 2002. Philippe Parreno. Stockholm: Moderna Museet Projekt, 2002. Obrist, Hans-Ulrich. Philippe Parreno: Alien Affection. Paris: Paris-Musées, 2002. 2001 Philippe Parreno: Speech Bubbles. Dijon: Les presses du reel, 2001. 1995 Gillick, Liam and Jack Wendler. Snow Dancing by Philippe Parreno. Washington DC: GW Press, 1995. Group Exhibition Catalogues 2016 Eccles, Tom, ed. Invisible Adversaries. -
Based in Berlin
Press Release based in Berlin 8. Juni bis 24. Juli 2011 im Atelierhaus Monbijoupark Eröffnung: 7. Juni 2011 From 8 June until 24 July 2011, based in Berlin will show works by some 80 artists who live and work in Berlin. The exhibition will cover the full range of contemporary art practices, from painting and drawing to sculpture, photography, film and video, text and performances to installations. A comprehensive programme of events featuring screenings, performances, live acts, workshops and debates will form an essential part of the exhibition. “We want to create a spatial and temporal concentration – to condense the many artistic activities and make them accessible to a wide audience,” say the curators. Since the fall of the Berlin Wall, the German capital has developed into one of the world’s most important locations for contemporary art production. Berlin’s reputation as a creative, cosmopolitan and dynamic city continues to attract many artists from both Germany and abroad. The title based in Berlin refers to the fact that Berlin enjoys great recognition all over the world as an artistic workplace. Many artists have made a conscious decision to live and work here. “However,” as Fredi Fischli (one of the curators of based in Berlin) pointed out, “they often have their exhibitions elsewhere. It is important to us to make the artists visible here in the city.” The five curators Angelique Campens, Fredi Fischli, Magdalena Magiera, Jakob Schillinger and Scott Cameron Weaver have visited hundreds of Berlin-based artists in their studios since November 2010. They became aware of these artists through both active research and submissions to an open call. -
Biography Christine Macel Christine Macel
Biography Christine Macel Christine Macel born in Paris in 1969. Following her studies in art history, Christine Macel was a curator of the heritage and inspector of artistic creation for the “Délégation aux Arts Plastiques” of the French Ministry of Culture (from 1995). Since 2000 she has been Chief Curator at the Musée national d’art moderne – Centre Pompidou in Paris, where she is responsible for the Department of “Création contemporaine et prospective”, which she founded and developed. She was the curator of the French Pavilion at the Biennale Arte 2013 (Anri Sala) and the Belgian Pavilion at the Biennale Arte 2007 (Eric Duyckaerts). For the Centre Pompidou she curated and co-curated many collective exhibitions, including Danser sa vie, art et danse aux XX et XXIème siècles (2011); Les Promesses du passé. Une histoire discontinue de l’art à l’Est de l’Europe depuis 1956 (50 artistes) (2010); Airs de Paris , mutations dans la ville et la vie urbaine (2007); Dionysiac (2005). She also curated the solo exhibitions of artists such as Anri Sala (2012), Gabriel Orozco (2010), Philippe Parreno (2009), Sophie Calle (2003), Nan Goldin (2002) and Raymond Hains (2001). At the Pompidou she also conceived and created “Espace 315”, a gallery dedicated to young artists on the international scene, for which she curated eight exhibitions between 2004 and 2013: Koo Jeong-A, Magnus Von Plessen, Xavier Veilhan, Jeppe Hein, Pawel Althamer, Damian Ortega, Tobias Putrih, L’Image dans la sculpture (Navid Nuur, Nina Beier, Simon Denny, Yorgos Sapountzis). In 2002 she was responsible for the concept, organization and programming of “Prospectif Cinéma”, which spotlighted film production by young French and international artists. -
329 Sterbak F
art press 333 anniversaire sur un air de Paris Interview de Christine Macel et Daniel Birnbaum par Damien Sausset Airs de Paris ! Christine Macel, en tant que conservatrice au Centre Pompidou et co-commissaire de ce projet, pouvez-vous en évoquer la genèse ? Christine Macel : En juin 2005, nous nous interrogions pour définir un événement célébrant les trente ans du Centre Pompidou. Seule certitude, nous voulions nous concentrer sur l’art contemporain. Pourquoi avoir associé à votre réflexion Daniel Birnbaum, directeur du Portikus à Francfort ? C.M. : Je le connaissais à travers ses textes, que je lisais toujours avec intérêt. J’avais le sentiment que nous partagions une certaine vision de l’art contemporain, malgré nos différences. Son parcours me semblait également exemplaire d’une certaine forme de curiosité. J’espérais qu’il jetterait un regard inédit sur la scène artistique française grâce à sa position d’observateur de la scène internationale. Daniel Birnbaum, quel a été votre premier sentiment sur ce projet ? Daniel Birnbaum : L’idée d’être un outsider me plaisait. Bien qu’il m’ait été donné d’organiser à l’étranger des expositions d’artistes français comme Philippe Parreno, Dominique Gonzalez-Foerster ou Pierre Huyghe, la scène française me demeurait largement inconnue. Or, le cadre qui m’était proposé était idéal. Je me retrouvais dans une équipe, et surtout j’avais pour guide Christine Macel qui connaissait déjà parfaitement le terrain et possédait les contacts nécessaires. Je ressentais qu’il y avait sans doute en France une pluralité de pratiques à découvrir. Il faut aussi comprendre que ce projet se réalisait sur le long terme.