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PRESS RELEASE #faceaarcimboldo 29.05 → 22.11.21 centrepompidou-metz.fr

Mécène fondateur

ARCIMBOLDO FACE TO FACE

CONTENTS

1. GENERAL PRESENTATION ...... 5

2. GIUSEPPE ARCIMBOLDO...... 8

3. ARCIMBOLDO FACE TO FACE ...... 11

4. EXHIBITION LAYOUT ...... 18

5. FORUM...... 24

6. LISTE OF ARTISTS...... 26

7. LISTE OF LENDERS...... 28

8. CATALOGUE & PUBLICATIONS...... 30

9. RELATED PROGRAMME...... 33

10. YOUNG PEOPLE AND EDUCATIONAL ACTIVITIES...... 38

11. PARTNERS...... 40

12. PRESS VISUALS...... 46

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Mario MERZ, The Other Side of the Moon or Table de Chagny, 1984 (fruit and vegetables) Steel, glass, brown stones from Burgundy (Buxy), white stones from Venice (Biancone), fruit and lead 70 x 900 x 350 cm Metz, 49 Nord 6 Est - Frac Lorraine © Adagp, Paris, 2021

4 ARCIMBOLDO FACE TO FACE 1. GENERAL PRESENTATION ARCIMBOLDO FACE TO FACE

29 May to 22 November 2021 Grande Nef

You who roam the world, eager to see lofty and astounding wonders, come here and you will find...

This inscription aimed at visitors walking around Just like Arcimboldo’s work, Mannerism, which the 16th-century Bomarzo garden could equally was a shared artistic language in Europe in the aptly be addressed to visitors to Arcimboldo Face 16th century, was forgotten – and scorned even – to Face, the exhibition at the Centre Pompidou- up until the beginning of the 20th century, when Metz that pays tribute to the Lombard painter. This this rich intellectual and artistic current became subjective portrait of Arcimboldo seen through the popular again. After being linked with degenerate eyes of other artists – chosen for the influence, art during the interwar period by Wilhelm Pinder, acknowledged, unconscious or fantasised he exerted it would come to symbolise the embodiment of a on them – has been put together like the fragment common European culture for people at the end of a story with a personal dimension. By comparing of the Second World War. Also seen as the first Arcimboldo’s works with those of James Ensor, anti-classical avant-garde1, Mannerism heralded, Hannah Höch, Pablo Picasso, René Magritte, Francis through its subversive potential, the multiple Bacon and Cindy Sherman, the exhibition reveals revolutions of modernism, from abstraction to how the artist’s thought enriched art history, past cubism. At the junction of these two analyses, the and present. complex figure of Arcimboldo, both the linking thread of his bountiful century and the early stages While developing into something unique, of modernity, embodied the multiple ruptures that Arcimboldo’s oeuvre was part of the Mannerism that will form the axes of the exhibition Arcimboldo shook the Renaissance. Without forming a veritable Face to Face. school, his contemporaries shared the same desire to abandon the rules of perspective, used glowing Inaugurating the programme of Chiara Parisi, who colours like Rosso Fiorentino and revelled in their has been director of the institution since December experiments at distorting bodies, which culminated, 2019, the project grew out of the exhibition The among other things, in Parmigianino’s self-portrait Arcimboldo Effect. The Transformations of the in a convex mirror and the diary of the troubled Face from the 16th to the 20th Century, mounted Pontormo. By gradually shifting the focus onto how by Pontus Hultén and Yasha David at the Palazzo the subject should be represented and how to be an Grassi in Venice in 1987, which was the first artist, they assigned importance above all to their monograph dedicated to the artist. This event conception of the execution of a work of art and in followed on from Alfred H. Barr Jr.’s exhibition the process wrote the first modern theory of art. organised at the Museum of Modern Art in 1936, Fantastic Art, Dada, Surrealism, which paved the way by showing Arcimboldo as a key precursor to the emergence of modernity.

1 Patricia FALGUIÈRES, Le Maniérisme, une avant-garde au XVIe siècle, Paris, Gallimard, 2004

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Curators The Centre Pompidou-Metz exhibition continues this exploration of the contemporary relevance Chiara Parisi, director of the Centre Pompidou- of Arcimboldo’s vocabulary, which has crossed Metz, and Anne Horvath, research assistant centuries, with the question of the representation at the Centre Pompidou-Metz, in a fruitful of the body taken apart, mechanised, disfigured, dialogue with the artist Maurizio Cattelan, the transfigured and exploded. art historians Patricia Falguières and Antonio Pinelli, and the curator Yasha David. The exhibition has been enriched by the visionary spirit of Pontus Hultén, who regarded The Exhibition design Arcimboldo Effect as one of his most important exhibitions, and offers a synthesis of the multiple Berger&Berger facets of his vision of the museum as a medium, Laurent P. Berger and Cyrille Berger which he put into practice at the Centre Pompidou from 1977. Embracing awareness of the past and passion for the future, the exhibition Arcimboldo Face to Face sidesteps any concept of hierarchy of periods and generations, the exhibition Arcimboldo Face to Face. It is like a Museum of our Wishes2, featuring Arcimboldo and the artists who, through their visions, enrich our appreciation of his work.

Lynda BENGLIS, Hills and Clouds, 2014 Cast polyurethane with phosphorescence and stainless steel, 305,2 cm × 548,9 cm × 549,3 cm Courtesy Pace Gallery, Thomas Dane Gallery, Blum & Poe, Xavier Hufkens et Mendes Wood DM © Adagp, Paris, 2021 © Photo Jonathan Nesturek, courtesy Pace Gallery

2 Pontus HULTÉN (ed.), The Museum of our wishes, exh. cat., Stockholm, Moderna Museet, 26 December 1963–16 February 1964

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Giuseppe ARCIMBOLDO, The Four Seasons – Spring, 1563 Oil on oak panel, 66 x 50 cm Museo de la Real Academia de Bellas Artes de San Fernando. Madrid

7 ARCIMBOLDO FACE TO FACE 2. GIUSEPPE ARCIMBOLDO

A popular icon thanks to his composite heads –which formed only a small part of his many activities– Giuseppe Arcimboldo was for a long time seen as a curiosity by art historians. Despite the success he enjoyed during his lifetime and the popularity of his composite portraits, as demonstrated by his numerous followers, his work was forgotten and was only rediscovered and seen in a new light at the dawn of modern art. Arcimboldo probably suffered from not having left behind an autobiography and to have been born too late to be part of Giorgio Vasari’s Lives, which established the reputations, in a subjective way, of the period’s leading painters, sculptors and architects for centuries to come.

Yet the artist’s life (1526–1593) was a reflection of the Mannerist 16th century, which it spanned from beginning to end. After training with his father, a painter at the Duomo workshop in Milan, Arcimboldo was summoned to the Habsburg court in 1562, where he played a central role in the artistic, scientific and political endeavours of the emperors Ferdinand I, Maximilian II and Rudolf II. Carton de Giuseppe ARCIMBOLDO, made by the master glassmaker Corrado de Mochis Green mask with festoon of flowers, 1550 (?) Symbol of an open, cosmopolitan, culturally rich Glass, lead and grisaille, 48,5 x 60,5 cm Europe, Arcimboldo had an international career Milan, Veneranda Fabbrica del Duomo di Milano that took him from his native Lombard to Vienna and then Prague, before returning to Milan, where he was honoured with the prestigious title of Palatine count before he died.

Official court painter, he painted his famous composite heads for the princes and played a key role in orchestrating major festivities and parades, as well as serving as an advisor on the imperial collections. One of his most important missions was to document the naturalia in the imperial cabinet of curiosities, drawing from life the most exotic species collected during distant expeditions. In addition, he considerably enriched the collections of mirabilia – the emperors were enthusiastic collectors, motivated by the desire to possess the rarest and most extraordinary items.

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The cabinet of Rudolf II, a proto-museum to his glory where master canvases rubbed shoulders with natural oddities, offered Arcimboldo a formal and conceptual repertory that would enrich his own corpus of works.

The cycles of the Seasons and the Elements captured the extraordinary richness of fauna and flora contained within the rooms of wonders. The paintings were allegories of abundance and plenitude, and of the eternal power of the Habsburgs, who ruled over the world at the time. Arcimboldo did not invent the process of composition through assemblage–as early as the 1st century BC, in Pompeii, the body of Bacchus was already being represented by an accumulation of bunches of grapes–but he nevertheless displayed unprecedented ingenuity in interlinking the compositional elements and in their symbolic power, with The Librarian literally becoming a man of books.

Although his canvases are today universally famous, a number of hidden messages continue to escape our gaze. A rich dialogue between poetry and painting, his gifts to the princes were illuminated by the verses of Giovanni Battista Fonteo. Displelling any misunderstanding about the supposed irony of Giuseppe ARCIMBOLDO, Donna con bastone, 1585 the compositions, these enunciate the secrets of Drawing from the portfolio of sketches for the court festivities and tournaments the imperial symbols and today provide us with Pen and blue wash on ivory paper, 31 x 20,7 cm precious keys to understanding his oeuvre. Florence, Gallerie degli Uffizi

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Giuseppe ARCIMBOLDO, The Librarian, c.1566? Oil on canvas, 97 x 71 cm Skokloster Castle Photo: Skokloster Castle/SHM

10 ARCIMBOLDO FACE TO FACE 3. ARCIMBOLDO FACE TO FACE

by Chiara Parisi

In the second half of the 16th century, the Milanese subconsciously perhaps, a number of artists over painter Giuseppe Arcimboldo, who was born in several centuries, peaking in the 20th century, his around 1526, became one of the leading artists genius as an inventor is particularly prominent, at the Habsburg court in Vienna and Prague. For notably his drawings conserved in the Gabinetto twenty-five years, beginning in 1562, he produced Disegni e Stampe degli Uffizi in Florence. He numerous examples of his famous composite created costumes, machines and spectacular sets heads, whose symbolic power is well established. in order to surprise through metamorphosis and The portrait of Emperor Rudolf II as Vertumnus, subversion. Arcimboldo put forward new ideas for example, was described as ‘the high point that confused his contemporaries and continue to of imperial glorification’ by Daniel Arasse.1 In intrigue the viewer. His new way of injecting still addition to being artistic advisor to emperors for lifes with life, of fusing man and animal, resonate the organisation of festivities and parades, which with many of the political and ecological issues offered the court a welcome distraction from the that preoccupy contemporary societies.3 worry of war, Arcimboldo also played an active role in creating their collections. Reflecting the By juxtaposing Arcimboldo’s inventions with a richness and diversity of the world in a sort of selection of works that have marked the history of ‘representatio imperiale’2, the Habsburgs’ Kunst und art since antiquity, the exhibition, which occupies Wunderkammern reflected the Renaissance desire the Grande Nef of the Centre Pompidou-Metz, to understand nature through wonder, strangeness invites visitors to explore the evolution of an and surprise. artist who constantly invites the viewer to adopt a different viewpoint in order to understand his The aim of the exhibition Arcimboldo Face to Face works in their entirety and, hopefully, fathom their is to reveal less well-known aspects of the master mysteries. Freely inspired by the major exhibition of Prague, notably his fondness for the grotesque, The Arcimboldo Effect organised at the Palazzo the bizarre and the monstruous, as well as illusion Grassi in 1987, Arcimboldo Face to Face conjures and literary rebuses, and his experimentation with up an ‘intellectual adventure’ of the kind fostered anthropomorphism and anamorphic mechanisms. by Pontus Hultén. In this respect, Roland Barthes’s 1978 essay helps us to deepen our understanding of the artist and his impact. Although the exhibition includes some of his most surprising compositions, such as The Librarian, which influenced, sometimes

1 Daniel ARASSE and Andrés TONNESMANN, La Renaissance maniériste, Paris, Gallimard, 1997, p. 432 2 Thomas DA COSTA KAUFMANN, Art Journal, 1978, Vol. 38, n°1, p. 22-28 3 Laurence BERTRAND DORLÉAC, Pour en finir avec la nature morte, Paris, Gallimard, 2020

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ARCIMBOLDO’S CONTEMPORARY RECEPTION

In 2007, the first retrospective devoted to Arcimboldo commitment and his ideas about museums and in France, organised by the Musée du Luxembourg exhibitions, the aim of which was to inspire viewers and the Kunsthistorisches Museum in Vienna,4 and give them an opening. A friend of Jean Tinguely followed by the exhibition at the Musée des Beaux- and Niki de Saint Phalle, founder of the Moderna Arts in Nancy in 2013,5 gave a better understanding Museet in Stockholm and the Centre Pompidou in of the rich historical, cultural and artistic context Paris, among other places, Pontus Hultén created in which his works were created. However, the an exhibition that was centred on the visual arts, history of the painter’s reception was marked above but also on the various philosophical and scientific all by his rediscovery by artists in 1910, notably aspects of artistic creation, which we wish to pay by the Dadaists and later the Surrealists. In New tribute to at the Centre Pompidou-Metz. York, in 1936, Alfred H. Barr Jr., who at the time was the young director of the Museum of Modern Dedicated to the memory of Alfred H. Barr, Jr. Art, identified this encounter with Arcimboldo ‘who introduced Arcimboldo into the history of in his exhibition Fantastic Art, Dada, Surrealism modern art’8, and of whom Pontus Hultén was an where works by Baldung, Dürer, Bosch, Giovanni ardent defender, the 1987 exhibition offered an di Paolo and Jamnitzer were also shown. In France, interdisciplinary approach which, as Jean-Hubert the first monograph devoted to Arcimboldo did not Martin recalls, was focused on the representation appear until 1955, when Francine-Claire Legrand of the face and ‘recognition of the phenomenon and Félix Sluys proposed ‘rediscovering the power of the “double image” and its ambiguity among of these visual oddities to shock’.6 Furthermore, it the Surrealists and conjunction with Renaissance was not until 1964 that the national collections at painting, in particular that of Arcimboldo’9. In a the Musée du Louvre were enriched with the series letter dated 8 August 198610, Hultén explained that of the Seasons commissioned by Maximilian II for although the nucleus of the exhibition was made up the prince elector Augustus of Saxony. In the late of Arcimboldo’s work and its context, the Habsburg 1970s, the writer André Pieyre de Mandiargues court in Vienna and Prague, these were approached published Arcimboldo le merveilleux7, a year before through the ‘study of the phenomenon of the the essay written by Roland Barthes, which we are transformation of the human face at the beginning republishing in the exhibition catalogue. of the 17th century and its reappearance in the 20th century’. Furthermore, it raised questions The most important event occurred in 1987, when about the fragmentation and atomisation of the Pontus Hultén and Yasha David organised the face in modern and contemporary art, with notions exhibition The Arcimboldo Effect. Transformations of transmutation (Picasso, Duchamp, Malevich, de of the Face from the 16th to the 20th Century at Chirico), distortion (Schwitters, Grosz, Hausmann, the Palazzo Grassi, in Venice. With a selection of Picabia, Duchamp), projection (Magritte, Dalí, Man 300 works, 200 of which were paintings, drawings Ray, Bellmer), of disintegration (Duchamp, Pollock, and sculptures, and around 100 of which were Dubuffet) and, finally, isolation (Warhol, Johns, manuscripts, documents and objects of various Lichtenstein). kinds, it was the first exhibition devoted to the artist to be organised in Italy. Pontus Hultén played a key role thanks to his

4 Sylvia FERINO-PAGDEN (ed.), Arcimboldo (1526-1593), exh. cat., Paris, Musée du Luxembourg, 15 September 2007–13 January 2008; Vienna, Kunsthistorisches Museum, 12 February–1 June 2008 5 Claire STOULLIG (ed.), L’Automne de la Renaissance. D’Arcimboldo à Caravage, exh. cat, Nancy, Musée des Beaux-Arts, 4 May–4 August 2013 6 Francine-Claire LEGRAND and Félix SLUYS, Arcimboldo et les arcimboldesques, Paris, La Nef de Paris, 1955, p. 20 7 André Pieyre de MANDIARGUES, Arcimboldo le Merveilleux, Paris, Robert Laffont, 1977 8 The question of paying tribute to Alfred H. Barr Jr. and also Erwin Panofsky was already raised in a letter to Ernst Gombrich on 6 June 1986, ‘for what they did to re-establish Arcimboldo in the 1930s’ (Archives, Palazzo Grassi) 9 Jean-Hubert MARTIN (ed.), Une image peut en cacher une autre. Arcimboldo, Dalí, Raetz, exh. cat., Paris, Galeries Nationales, Grand Palais, 8 April–6 July 2009 10 Letter to the gallerist Pietro Lorenzelli (Archives, Palazzo Grassi)

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In addition to a catalogue of around 400 pages, Arcimboldo Face to Face is an extension of this historic including an anthology of texts about Arcimboldo moment, and of this generation of exhibition curators and contributions by historians, philosophers, – we are thinking, of course, of Harald Szeeman, as scientists and writers, an international symposium well as Jean Leering, Seth Siegelaub, Walter Zanini, was held on 15 and 16 May 1987.11 The 1987 Johannes Cladders, Lucy Lippard and Walter Hopps – exhibition and its vision of Arcimboldo’s life who faced problems that were very different from those and work no doubt exerted an influence on how we like to consider today. Pontus Hultén was an ardent exhibitions are organised today. Beyond the advocate of the open museum and hoped that it could content of The Arcimboldo Effect, the way in which become ‘a place where artists met the public or the Pontus Hultén presented the exhibition reflected public itself became creator.’12 the zeitgeist, with freer, bolder subjects. In the light of this, Arcimboldo Face to Face proposes Right throughout his career, Pontus Hultén to start out from the painter’s work, at the heart seemingly had little interest in rational thought, of Central Europe in the late 16th century, before preferring intuition and nonsense. In this respect, branching out into a myriad of other works that and because he was very close to artistic thought, reveal the concept’s omnipresence in Arcimboldo’s he was the first great embodiment of the role of oeuvre. curator as creator.

Maurizio CATTELAN, Untitled, 2019/2021 (détail) Polystyrene, epoxy resin, fibreglass and paint, 150 × 135 × 110 cm Milan, private collection, courtesy Archives Maurizio Cattelan

11 The participants in this symposium were Daniel Arasse, Eugenio Battisti, Giovanni Carandente, Piero Falchetta, Eliska Fucikova, Robert Miller, Karl Schutz, Karl Vocelka, Hubert Damish, Herbert Haupt, Thomas DaCosta Kaufmann, Krysztof Pomian, Maurice Rheims, Jean Clair, Nevet Dolev, Paolo Fabbi, Aomi Okabe, Ruggero Pietantoni, Pierre Restany, Michel Thévoz, Lorenza Trucchi, Manlio Brusatin, Omar Calabrese, Giovanni Carandente, Paolo Fabbri, Giulio Macchi, Giuseppe Mazzariol and Vittorio Strada. 12 Pontus HULTÉN, Le Centre National d’Art et de Culture Georges Pompidou, Paris, 1977, p. 52

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‘MAGICIAN AND RHÉTORIQUEUR’

A year before the publication of Roland Barthes’s In 197817, the Italian publisher Franco Maria essay ‘Magician and Rhétoriqueur’,13 the writer Ricci suggested to Roland Barthes, who had been André Pieyre de Mandiargues wrote: ‘ On the professor of literary semiology at the Collège de question of knowing whether Arcimboldo was aware France for nearly a year, to contribute an essay of all that was new in his art, I would answer yes, to the monograph that he was publishing on for this man who was hard to explain also seems Arcimboldo. ‘Magician and Rhétoriqueur’ was to me to be one of the least limited who ever lived a key text in the rediscovery of the Habsburgs’ or created.’14 In this respect, as Piero Falchetta portraitist-copyist, who was also the creator of explained in the catalogue The Arcimboldo Effect, drawings, coats of arms, ducal bearings, cartoons, ‘Barthes suggests, in a very interesting way, that stained-glass windows and tapestries. With text there was an explicit linguistic desire on the part of and image facing each other, the books pages the Milanese painter, who moved away from his own are arranged into two columns, one permitting pictorial reality and became the simple logotype a general reading of Arcimboldo’s work through of a cultural alphabet of the West.’15 While it is the prism of a literary analysis, the other offering important to be cautious in the face of anachronism, commentaries on selected illustrated works. Barthes’s essay, controversial as it may have been at the time when it was published, is critical for us, It is not so strange that Barthes, who studied since it offers a conceptual analysis of Arcimboldo’s language and power, should have written about work. Not only does it outline a literary and Arcimboldo, who manipulated forms to create linguistic interpretation of the paintings, but above an aesthetic, symbolic and political discourse. all it shows how the viewer was central to the Indeed, the Renaissance fostered the rediscovery artist’s preoccupations. Indeed, in comparing him of rhetoric, notably through such texts from to Alexander Calder, Barthes claimed: ‘Arcimboldo’s antiquity as Aristotle’s Nicomachean Ethics and painting is mobile: it dictates to the “reader,” by Poetics, which was interpreted as a theory of its very project, the obligation to come closer or to wonder, as Patricia Falguières has demonstrated. step back, assuring him that by this movement he Wonder triggered the thirst for knowledge: ‘The will lose no meaning and that he will always remain more his metaphors and rhymes are unpredictable, in a vital relation with the image [...] including the more the relationships between the terms of the reader’s gaze within the very structure of his figures will be distant and the better the poem the canvas, Arcimboldo virtually shifts from a will be’18 , wrote the art historian, which led her Newtonian painting, based on the fixity of objects to develop the idea of a poetics of the machine. represented, to an Einsteinian art according to Barthes leads us to sketch out the hypothesis of a which the observer’s movement participates in the linguistic and conceptual machine. work’s status.’16

13 Roland BARTHES, Arcimboldo, Milan, Franco Maria Ricci, 1978 14 André Pieyre de MANDIARGUES, Arcimboldo le Merveilleux, Paris, Robert Laffont, 1977 15 Piero FALCHETTA, ‘Anthologie de textes du XXe siècle’, in Pontus HULTÉN and Yasha DAVID (eds.), L’Effet Arcimboldo. Les Transformations du visage au XVIe et XXe siècle, Paris, Le Chemin Vert, 1987, p. 222 16 Roland BARTHES, op. cit., p. 50 et 51 17 His bookshop opened in Paris in 1974 in a former gallery, at number 12 in rue des Beaux-Arts in the 4th arrondissement. A bibliophile and publisher, he created a sumptuous series, ‘les Signes de l’homme [I Segni dell’uomo]’, each volume of which featured an encounter between a writer and a rediscovered painting. Arcimboldo was Franco Maria Ricci’s second collaboration with Roland Barthes, the first being the Erté monograph. Franco Maria Ricci collaborated with Umberto Eco, Jorge Luis Borges and Italo Calvino. 18 Patricia FALGUIÈRES, ‘Le Maniérisme et nous’ in Claire STOULLIG (ed.), L’Automne de la Renaissance. D’Arcimboldo à Caravage, exh. cat., Nancy, Musée des Beaux-Arts, 4 May–4 August 2013, p. 19

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On the subject of Arcimboldo’s painting, Barthes wrote that it had a ‘linguistic basis, his imagination is, strictly speaking, poetic: it does not create signs, it combines them, permutes them, deflects them – precisely what the practitioner of language does.’19

In his view, he created figures of rhetoric through images and, as the Surrealists imagined, Arcimboldo’s approach was based on the association of ideas. Barthes regarded Arcimboldo as a poet since he was a ‘maker, a practitioner of language’ and he used metaphors, metonyms and allegories in the same way in his painting.

Furthermore, Barthes felt that Arcimboldo’s visual expression involved a certain ‘a malaise of substance: a seething’,20 that of plants, animals and objects, making Arcimboldo’s composite portraits close to the monsters and wonders that filled the cabinets of curiosities of European courts. As in Arcimboldo’s century, Barthes does not distinguish the monstrous from the wonderful, which he defined in these terms: ‘it is essentially that which transgresses the separation of the kingdoms, mixes the animal and the vegetable, the animal and the human; it is excess in that it changes the quality of the things to which god has given a name: it is the metamorphosis, which shifts from one order to 21 Max ERNST, Ubu Imperator, [1923] another’, which he also called ‘transmigration’. Oil on canvas, 81 x 65 cm Each of the portraits painted by Arcimboldo, Paris, Centre Pompidou, Musée national d’art moderne veritable master of the ‘art of forgery’, reveals a © Adagp, Paris, 2021 ‘structural monster’, to use Barthes’s expression, in Photo © Centre Pompidou, MNAM-CCI, Dist. RMN-Grand Palais / Audrey Laurans which fragments of life and meaning are combined to make a single whole.

Roland Barthes published this text again in 1982, For a long time, art historians criticised Barthes in L’Obvie et l’Obtus, in which he studied the for reducing pictorial works to a text and for writing and reading of the visible and the sign applying the methods of linguistics and semiology, more extensively. As an amateur, which is how which were incompatible with those of art history. he saw himself, Barthes not only took an interest However, Barthes developed an interpretational in Arcimboldo but also in Artemisia Gentileschi technique that went beyond formalism, following and in such contemporary artists as Cy Twombly. on from Panofsky, in search of a ‘Mathesis Each time, as Julia Kristeva so eloquently put singularis’23 between the text and the image. In it, ‘ Barthes’s delight lay in this humility of the addition, through the importance he attached to provisional that does not leave the field of vision, subjectivity and the question of the viewer, he was but, by protecting us from being dazzled, endows in step with certain aspects of phenomenology that us with the gift of seeing with complete clarity.’22 are echoed in the very principle of the exhibition In addition, Guillaume Cassegrain’s research and its layout at the Centre Pompidou-Metz. has highlighted Roland Barthes’s contribution to art history, by showing that the detour through the analysis of works of art also enabled him to understand how signs functioned.

19 Roland BARTHES, Arcimboldo, Milan, Franco Maria Ricci, 1978, p. 16 20 Roland BARTHES, Œuvres complètes, Tome V, 1977-1980, Paris, Seuil, 2002, p. 509 21 Ibid, p. 520 22 Julia KRISTEVA, ‘De l’écriture comme étrangeté et comme jouissance’, in Marianne ALPHANT and Nathalie LÉGER (ed.), Roland Barthes, exh. cat., Paris, Centre Pompidou, 20 December 2003–22 February 2004, p. 85 23 Roland BARTHES, ‘La Chambre claire’,, in Œuvres complètes, Tome V, 1977-1980, Paris, Seuil, 2002, p. 795

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RETHINKING THE EXHIBITION

Ultimately, and in view of Roland Barthes’s The exhibition’s spatial organisation is based on contribution to the understanding of Arcimboldo, the principle of a labyrinth, in which the viewer the underlying principle of Arcimboldo Face to is drawn down a succession of paths, which Face is that of 1987, when Yasha David explained become increasingly intense as they advance and that the sole aim of The Arcimboldo Effect was to form their own vision. So we abandoned the idea ‘ask questions, to make people think so that they of sections, which create partitions that militate would perhaps leave with questions which we had against a shifting gaze. This made it possible to not thought of before.’24 Discussed with the artist open up certain categories based on the quality of Maurizio Cattelan, the works in various media, the work, genre, the artist’s success and his status from sculpture to drawing, and from painting over the centuries. Arcimboldo Face to Face offers to installation, share a ‘common universe’ with a galaxy or an ecosystem that contrasts with the Arcimboldo and 16th-century Mannerism, and were architecture and in which works are linked in a the starting point for a new vision. Continuing from spontaneous way. Once caught up in the exhibition, where Pontus Hultén and George Didi-Huberman left the viewer can lose his or her bearings without their of, Arcimboldo Face to Face is also a museological comprehension of the works being altered. reflection on the method of the Mnemosyne Atlas, the famous corpus of images established between Our exhibition design was nevertheless shaped 1924 and 1929 by German art historian Aby Warburg. by several ideas. We wished above all to reveal Arcimboldo’s capacity for invention and his impact We wanted to present, in an organic way, an on the art of the 20th century right up to the present overview of Arcimboldo’s influence on the history day, notably in the work of Picabia, Duchamp and of art. As Georges Didi-Huberman highlighted, the Boetti. Furthermore, mankind’s relationship to atlas was above all ‘a visual form of knowledge, a nature was central to the political ramifications knowledgeable form of seeing’, which ‘introduced of Arcimboldo’s reflections on anthropomorphism what was multiple, diverse and hybrid about and on the ambivalence between naturalia and every montage’, while ‘exploding frames’.25 Thus, mirabilia, an issue that is echoed in contemporary the form of the atlas favoured knowledge through ecological debates. In this spirit, certain works, the imagination, in the sense of Baudelaire. like that of Annette Messager, raise questions Our approach aims to break down barriers about the artificial and the natural, the hybrid and and to decentre the gaze, in order to reveal the the ‘accident of nature’, to use Barthes’s terms. complexity of Arcimboldo’s work. Taking the form of a ‘visual kaleidoscope’, to use Didi-Huberman’s They pave the way for an original reflection on the expression, the exhibition is a means of arranging monstruous and the strange: in the Mannerist 16th not only images but also, and above all, ideas, century, the universal attributes of art and nature in their singular and irreducible materiality and were abandoned in favour of the celebration of immateriality, ideas that are all relics in the exceptional and ephemeral manifestations. The Warburg sense. works of Mario Merz, Niki de Saint Phalle and the sculptures of Giambologna, Lynda Benglis, As a result, the viewer’s role becomes all the more Rashid Johnson, reflect a continuation of of this important. Our approach is imbued with subjectivity idea. The aim is also to shed light on the issue and is in keeping with the idea of placing the of fragmentation, following on from Leonardo da public at the heart of the exhibition, just as Willem Vinci and right down to the collage-assemblages Sandberg did at the Stedelijk Museum in Amsterdam of Hannah Höch, Daniel Spoerri, Cindy Sherman. between 1945 and 1963. Resisting introversion, the exhibition fosters an opening up through dialogue, comparison and transfer.

24 Daniel SOUTIF, ‘Le peintre face à son effet’, interview with Yasha David, Libération, 18 February 1987 25 Georges DIDI-HUBERMAN, Atlas ou le Gai Savoir inquiet, Paris, Les Éditions de Minuit, 2011, p. 12-13

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Arcimboldo’s art thus shaped the very conception of the exhibition Arcimboldo Face to Face. Neither linear nor chronological, like the Bomarzo gardens, where the most intense discoveries only reveal themselves gradually, the exhibition’s layout forms a constellation of ideas and images, an ensemble of fragments drawing inspiration from the cosmopolitan Italian master’s compositional approach. Each work thus makes it possible to connect with Arcimboldo’s period, the Mannerist 16th century, or with ideas that preoccupied the artist and remain fruitful today. The works of Francis Picabia and René Magritte, for example, which play on illusion, mystery and paradox, also revive the anxiety of uncertainty and doubt that causes confusion, surprise and sometimes disgust in viewers. If there exists a central work, it is hidden within the canvas that is woven by the exhibition layout and remains to be discovered.

More broadly, this principle is a response to the aims of contemporary museums, which attract large numbers of visitors from diverse backgrounds, Installation by Mario Merz during the exhibition L'Effet Arcimboldo at the Palazzo including the most attentive, curious and sensitive, Grassi, 1987 Photograph: Salvatore Licitra who, faced with a spectacular and mysterious artist © Adagp, Paris, 2021 like Arcimboldo, will be able to go beyond the pure contemplation of art.

17 ARCIMBOLDO FACE TO FACE 4. EXHIBITION LAYOUT

Exhibition design

The work of Berger&Berger–Laurent P. Berger and Cyrille Berger–the exhibition’s design is an invitation to rediscover Shigeru Ban and Jean de Gastines’s Grande Nef thanks to an experience that unfolds in harmony with the architecture. The structure of cellular concrete walls creates the sensation of exploring a citadel, alternating between an experience of space that is sometimes monumental and sometimes intimate or in the making.

The layout spotlights a selection of compositions To do this, Arcimboldo followed the recipe provided by Arcimboldo. His composite portraits, quadri by Leonardo da Vinci who, to feign representing ghiribizzosi (whimsical pictures) according to a ‘natural’ animal indicated: ‘Take the head of a commentators of his time, are the quintessence mastiff, the eyes of a cat, the ears of a porcupine, of an unbridled imagination that enjoyed great the mouth of a hare, the brows of a lion, the temples freedom and that was ‘no longer the slave of of an old cock, and the neck of a sea tortoise.’2 “reality”, nor the “credible”, and the only limits of He even seems to have taken to an extreme the which are the “imaginable”’1. They also encapsulate fragmentation that he established as a template the period’s fascination for extraordinary and for his canvases, followed by numerous 20th- supernatural manifestations, represented by the century artists, the most emblematic illustrations botanical deformities and human monstrosities of which are Hannah Höch’s collages and the exhibited by the princes at court. The recurring exquisite corpses, as well as, more recently, Daniel motif of the open mouth, from fireplace ornaments Spoerri’s trophies reduced to bodies made up of to the sculptures of monsters in the Bomarzo parts for the arms room at the Château d’Oiron gardens, and the multiple hairy effigies of the and the radical destruction of the face carried Gonzalez family are a few signs of this. In this way, out by Gilbert & George and Penny Slinger. In this the path is thus open for the Surrealists’ visual search for hybrid creations, the viewer will be games with their disturbing dreamlike quality, struck by the diversity of connotations, from the always on the border between fiction and reality, erotic allusions of Meret Oppenheim’s Squirrel to arousing ambivalent feelings that veer between the process of substiting images in The Red Model, malaise and enchantment. a canvas that René Magritte saw as the expression of a ‘monstrous costume’.3

1 Antonio PINELLI, La Belle manière. Anticlassicisme et maniérisme dans l’art du XVIe siècle, Paris, Livre de poche, 1996, p.216 2 Léonard de VINCI, Traité de la peinture, [1478-1519], Paris, Langlois, 1651, p.94 3 René MAGRITTE, La Ligne de vie I, in Écrits complets, Paris, Flammarion, 2016

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What makes Arcimboldo profoundly current is Arcimboldo’s genius thus lies in his ability to inject not so much the process than what it entails for a constant metamorphosis into the flatness of the the viewer. If we agree with Pontus Hultén that canvas, veering between microcosm and macrocosm, the desire for movement, inherent to the work showcasing, like the fluid, serpentine Mannerist but also to the viewer’s movement, is key to the compositions, ‘confusion and uncertainty, in order universal interpretation of modernity4, Arcimboldo’s to play on, and perhaps also exorcise, their worrying compositions already contain a third and fourth character.’6 It should be noted that the Lombard dimension, to borrow the words of André Pieyre de master excelled at this by drawing on a lavish visual Mandiargues: ‘By the third, I mean the distance dictionary. Just as poets choose words according to you have to move away from the painting in order their sounds and literary associations rather than to stop seeing still life elements, fruit, flowers, land their meaning, Arcimboldo could probably have and aquatic animals, utensils, diverse materials, uttered the words of Hans Bellmer when talking and see the graceful, majestic, imperious and about his famous Doll: ‘The body is like a sentence ridiculous ensemble of a human face; for the that invites us to rearrange it, so that its real fourth, I take into account the minutes or seconds meaning becomes clear through a series of endless required for the viewer to cover the distance that anagrams.’7 separates him from the point (or instant) where the transformation will take place before his eyes.’5

Meret OPPENHEIM, The Squirrel, 1969 TOYEN, The Future of Freedom, 1946 Beer mug, plastic foam, fur, 20 x 17,5 x 8 cm Oil on canvas, 165 x 65 cm Paris, Collection Antoine de Galbert Private collection © Adagp, Paris, 2021 © Adagp, Paris, 2021 Photo © Célia Pernot

4 Pontus HULTÉN (ed.), Movement in art, exh. cat., Stockholm, Moderna Museet, 7 May–3 September 1961 5 André Pieyre de MANDIARGUES, Arcimboldo le Merveilleux, Paris, Robert Laffont, 1977, p.112 6 Daniel ARASSE, ‘Pour une brève histoire du maniérisme’, in Histoires de peintures, Paris, Gallimard, 2006, p.199 7 Hans BELLMER, Petite Anatomie de l’inconscient physique ou l’Anatomie de l’image, Paris, Eric Losfeld, 1977 [1957], p.43-44

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As Roland Barthes suggests in his essay on the Although expressing themselves through divergent painter, Magician and Rhétoriqueur, his art is means, the Surrealists echoed Arcimboldo’s resolutely literary for it operates on a double curiosity about anamorphosis, which Jurgis articulation, just as human language can be Baltrusaitis defined as rebus, monster and prodigy, doubly articulated: the sequence of discourse describing this clever amusement thus: ‘Instead can be divided into words, and the words divided of their visual limits being reduced, forms are into sounds (or letters). ‘Everything signifies yet projected out of themselves and their dislocation in everything is surprising. Arcimboldo makes the such a way that they straighten when they are seen fantastic out of the familiar: the total has another from a particular point.’9 Among the oxymorons effect than the adding up of the parts: we could say haunting Arcimboldo’s work, his ambivalent that it is the remainder.’8 Everything was metaphor relationship to nature, between natural artifice for Arcimboldo, who used the palette of the figures and artificial nature, continues to intrigue viewers of style, and in particular the palindrome, allegory today. As Pontus Hultén explained, man is part and the oxymoron that infused all the arts affected of nature and nature is part of man. Arcimboldo by maniera. The painter makes numerous links is said to have illustrated the idea that man is between contrasting signs, which reflect each composed of the same elements as the world, upon other as in a mirror to invert meaning. which the correspondence between microcosm and macrocosm is based.10 But he also reflected André Breton naturally included Arcimboldo in on nature’s frightening character, something that the pantheon of ‘pre-Surrealist’ artists during the can also be found in Giambologna’s Apennine Exposition Internationale du Surréalisme in Paris figure emerging from the rock and Lynda Benglis’s in 1947, the interlocking meanings of his double phosphorescent fountain. images participating in their favourite games. Salvador Dalí endlessly explored the mechanisms both of the double meaning and trompe-l’oeil, illusion being the product of images transferred to tracing paper which, once superimposed, revealed a very different composition. As for, Max Ernst and Victor Brauner, they used allegory to ridicule the absurdity of totalitarian power.

Pierre HUYGHE, Untitled (Human Mask), 2014 Film, colour, sound, 19’ Courtesy of the artist, Marian Goodman Gallery, New York, Hauser & Wirth, London, Esther Schipper, Berlin, and Anna Lena Films, Paris © Pierre Huyghe / Adagp, Paris, 2021

8 Roland BARTHES, Arcimboldo, Milan, Franco Maria Ricci, 1978, p.50 9 Jurgis BALTRUSAITIS, Anamorphoses ou magie artificielle des effets lumineux, Paris, Olivier Perrin, 1957, p.5 10 Pontus HULTÉN (ed.), L’Effet Arcimboldo, les transformations du visage au XVIe et au XXe siècle, exh. cat., Venice, Palazzo Grassi, 1987, p.128

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Arcimboldo’s revolution was based on the humanisation of the still life which, endowed with life, fed into the fashion for anthropomorphic landscapes in the following century. During the 20th century, this fusion between man, plant life and animals would become one of the tools for understanding our relationship to the living, as in the work of Toyen who, in the The Future of Freedom, depicted lush nature as the optimistic embodiment of a salutary renewal after the war.

Is it possible that all of this is ultimately nothing but a game? Arcimboldo celebrated ambiguity by appropriating a vast repertoire of forms drawn from nature to create a supernatural world. Through these most unusual combinations of fragments of our environment, it becomes pure artifice. Enveloped in a fantastic atmosphere, his art is nothing but fabulation and wonder. He enchants through the infinite effects of surprise, embracing the Mannerist ambition of his time – ‘Whether painting a picture or embroidering a poem, precious metaphors, unpredictable associations, convoluted circumlocutions, over-abundant assonances and the unpredictable organisation of narrative sequences must surprise, astonish and dazzle.’11

The ultimate paradox lies perhaps in the complex interweaving of two theoretically contradictory Marcel DUCHAMP, Genre Allegory, 1943 feelings. Arcimboldo supports the idea that art Dyed gauze, wadding, gouached cut out paper, gilt paper, nails, in a wooden box and stems from a profoundly intellectual process, with glass, 54,8 x 42 x 8,4 cm Paris, Centre Pompidou, Musée national d’art moderne everything leading us to believe that all of it is © Association Marcel Duchamp / Adagp, Paris 2021 based on light amusement, cultivating with brio © Centre Pompidou, MNAM-CCI / Philippe Migeat / Dist. RMN-GP sprezzatura, a form of nonchalance that is casual but full of wit, as Marcel Duchamp would sublimely confirm a few centuries later.

11 Patricia FALGUIÈRES, Le Maniérisme, une avant-garde au XVIe siècle, Paris, Gallimard, 2004, p.29

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FOCUS ON THE WORKS

Each artist’s work will be accompanied, by a text, facing the work, written especially for the exhibition by art historians or the artists themselves. The wall labels are published in full in the exhibition catalogue.

JAMES ENSOR GIOVANNI BATTISTA BRACELLI

‘One is entitled to wonder what lies behind the ‘Bracelli is a little known artist. A painter and heap of fish, game, fruit, vegetables, branches engraver, he worked in Florence in the early 17th and leaves that make up an accumulation century. These five leaves belong to a very rare painted by Arcimboldo. With its emphasis on the collection of fifty prints entitled Bizzarie di varie imaginary, the mannerist game refers to a form figure, published in Livorno in 1624 and dedicated of knowledge. to Peter de Medici. Each sheet shows two figures whose bodies are made up of objects (scissors, Nothing of the sort in Ensor's work. And yet... easel, shovel, arrows, etc.) but also geometric for the Ostend recluse, convinced that he was an shapes such as cubes, rings and squares or unrecognised genius trapped between shrews, sometimes natural elements (water, dolphins). each more acrimonious than the next, the mask is The choice of two people facing each other in like the turtle's shell: a protection. A facade that dancing poses may have been inspired to Bracelli stands in front of an inner void whose counterpart by Jacques Callot, who in 1621 or 1622 published is the skeleton: death remains the only form of his series of Balli di Sfessania in Nancy. Callot equality guaranteed to Man. also worked for the Medici court from 1614 to 1621. But it is also perhaps a response to the This hollow nothingness that vibrates under extraordinary creations of Guiseppe Arcimboldo, the papier-mâché surface of the ensorian mask who, half a century earlier, proposed figures is agitated under the mass of fragments that created from composite elements. Rediscovered Arcimboldo assembles into a portrait. Beyond in the early 20th century, Bracelli fascinated the fundamental differences that oppose the Dadaist and Surrealist artists.’ two representations, the same awareness of the inner void animates both artists. Ensor is aware Michèle Leinen, documentalist of the Musée des of his social relegation, Arcimboldo is aware of Beaux-Arts of Nancy the central position of Man in the great inventory of the Universe. Thus, the latter constitutes the positive phase of a quest that is exhausted in Ensor's solitude and neurasthenia.’ Michel Draguet, Director of Musées royaux des Beaux-Arts, Belgium

Giovanni Battista BRACELLI, Bizzarie di varie figure, 1624 Eau-forte, 8,9 x 11,6 cm James ENSOR, Masques regardant une tortue, 1894 Musée des Beaux-Arts de Nancy Huile sur toile, 22 x 37 cm Photo Ville de Nancy, P. Buren Ostende, collection Fondation Ensor asbl unitasfotos.com

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HEIDE HATRY TIM NOBLE & SUE WEBSTER

‘Jennifer is a sculpture made from untreated ‘On reflection I cannot recall Arcimboldo being pigskin, flesh, and body parts. Though I wanted a direct influence, not until later did one of to make it look as realistic as possible, I also Arcimboldo’s paintings appear as a reference in wanted to open up a second-order space that Sir Norman Rosenthal’s essay for the exhibition undermined its viewer’s initial impression, much that came to prominence at the Royal Academy like Arcimboldo in that respect. I then invited of Art, Apocalypse: Beauty and Horror in twenty-seven female authors to create fictional Contemporary Art 2000 ‘lives’ for the sculptures I’d made. The series of portraits and texts are documented in a book A trip to my childhood home browsing through called Heads and Tales. piles of books sure enough there was a well- thumbed book of Arcimboldo. Faces composed Growing up on a pig farm, where my chores of a gathering of sea crustaceans looming in included butchering, I often noticed similarities the darkness frozen in a moment, likely seeped between animal parts and other things, including into the depths of my consciousness at an early, their human analogues. impressionable age. My first encounter with Arcimboldo’s faces as a Sue and I took inspiration from Cynthia plaster teenager immediately made me feel connected, caster famous for casting Jimmy Hendrix’s fully especially their serio ludere aspect, as the aroused penis and set about casting my penis and Neoplatonists called these jocular ambiguities Sue’s fondling fingers, over months arranging that allowed the artist to reveal something beyond them into a composition. the mere appearance of things. The chance to build in complex meanings, to awaken the viewer Pink Narcissus perfectly captures the intimacy with a little shock, making her realize that what and trust between two individuals with the mass she sees is not all that is there, forcing her to of penetralia casting a shadow of two lovers stop and think: that's what making art means to entwined, two opposites at odds with one another, me.’ embodied with repulsion and seduction.’

Heide Hatry, artist Tim Noble, artist

Tim NOBLE & Sue WEBSTER, Pink Narcissus, 2006 Silicone rubber, wood and electric projector, 31 x 49,5 x 53 cm London, collection Tim Noble & Sue Webster Courtesy of the artists © Adagp, Paris, 2021

Heide HATRY, Heads and Tales – Jennifer, 2009 Photographic print, 75 x 50 cm New York, Heide Hatry collection © Heide Hatry / Adagp, Paris, 2021

23 ARCIMBOLDO FACE TO FACE 5. FORUM 29.05 → 22.11.21

Desire Caught by the Mask, 2021 ‘An assembly is taking place in the museum’s forum. The animals are hooded; thus masked, they change their identities as hens, rabbits, birds and ducks. As a result, perhaps they are freer, other, different? More secretive? More playful? More dangerous? Sometimes they are suspended above our heads, with each one resting on a mirror, so that, by looking at them, we see ourselves and also become a rabbit, a cat or a duck. A dog has joined the groups, wearing an anti-Covid mask, our new “masquerade”, something we are all undoubtedly going to remember forever.’

Annette Messager, artist

Annette MESSAGER, Desire Caught by the Mask, 2021 Various materials (mirrors, stuffed animals, soft toy heads, nets, various fabrics and cord), 10 x 14 x 9 m Installation created for the exhibition and presented in the Forum du Centre Pompidou-Metz © Adagp, Paris, 2021

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View of the installation Them and Us, Us and Them by Annette Messager during the exhibition ‘La Messaggera di Villa Medici’ at the Villa Médicis, 2017 © Adagp, Paris, 2021

25 ARCIMBOLDO FACE TO FACE 6. LISTE OF ARTISTS

Giuseppe Arcimboldo Ulisse Aldrovandi Francis Bacon Enrico Baj Hans Bellmer Lynda Benglis Cezary Bodzianowski Alighiero Boetti Denis Boutemie René Boyvin Giovanni Battista Bracelli Kerstin Brätsch Victor Brauner Glenn Brown Cadavres exquis : [Yves Tanguy, André Masson] [Yves Tanguy, Marcel Duhamel, Max Morise, André Breton] [Koo Jeong A, Ian Cheng, Philippe Parreno] [Marlene Dumas, Virgil Abloh, Rem Koolhaas] [Alex Israel, Norman M. Klein, Henry Taylor] [Paul McCarthy, Luchita Hurtado, Patrick Staff] [Tobias Rehberger, Rirkrit Tiravanija, Mathias Augustyniak] [Peter Saville, Liam Gillick, Philippe Parreno] [Yu Hong, Liu Xiaodong, Liu Wa] Miriam Cahn Fernando et Humberto Campana Maurizio Cattelan Jake & Dinos Chapman Gregorio Comanini Gustave Courbet Roberto Cuoghi David Czupryn Daft Punk Salvador Dalí Giorgio De Chirico Otto Dix Enrico Donati Marcel Duchamp Albrecht Dürer Carl August Ehrensvärd James Ensor Max Ernst Hans-Peter Feldmann Lavinia Fontana Llyn Foulkes Daniel Fröschl Giambologna Gilbert & George Felix Gonzalez-Torres Grandville Francesco Guardi

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Cornelis Norbertus Gysbrechts Heide Hatry Robert Heinecken Hannah Höch Pierre Huyghe Christoph Jamnitzer Rashid Johnson Ewa Juszkiewicz Tetsumi Kudo Claude Lalanne Nicolas II de Larmessin Zoe Leonard Roy Lichtenstein Giovan Paolo Lomazzo Ghérasim Luca René Magritte Maître du Bacchus Maître lombard du Custode dell’orto Maître strasbourgeois de Les Quatre Saisons Maître de la Tête de satyre (Paolo Giovio) Man Ray Alberto Martini Matthäus Merian Mario Merz Marisa Merz Annette Messager Tomio Miki M/M (Paris) Patrick Neu Tim Noble & Sue Webster Luigi Ontani Meret Oppenheim Bernard Palissy Peintres d’Herculanum et de Pompéi Peintre du Plafond au bestiaire Francis Picabia Pablo Picasso Louis Poyet Markus Raetz André Raffray Antonio Rasio Auguste Rodin Medardo Rosso Ed Ruscha Niki de Saint Phalle Chéri Samba Alberto Savinio Iris Schieferstein Arnold Schönberg Cindy Sherman Penny Slinger Sodoma Daniel Spoerri Cally Spooner Jacopo Strada Jindřich Štyrský Jan Švankmajer Alina Szapocznikow Wolfgang Tillmans Jean Tinguely Toyen Rosemarie Trockel Francesco Zucchi

27 ARCIMBOLDO FACE TO FACE 7. LISTE OF LENDERS

The project has received exceptional loans from prestigious institutions – including the Centre Pompidou, the Musée du Louvre, the Uffizi, the Skokloster Castle in Sweden and the Musée du Château Royal de Blois – as well as the support of numerous artists who offered their perspective on the exhibition’s design. We also express our deepest gratitude to the collectors and specialists who drew our attention to unexpected masterpieces, as well as galleries – notably the Pace, Thomas Dane, Blum & Poe, Xavier Hufkens and Mendes Wood DM, as well as Giustini / Stagetti – for their precious contributions to the realisation of this project.

AUSTRIA LYON VIENNA • Musée d’art contemporain de Lyon • Arnold Schönberg Center MEISENTHAL • Roman Valenta collection • Collection Patrick Neu • Österreichische Nationalbibliothek METZ BELGIUM • Musée de La Cour d’Or-Metz Métropole • 49 Nord 6 Est-Frac Lorraine BRUSSELS • Xavier Hufkens NANCY • Mendes Wood DM • Musée des Beaux-Arts de Nancy OSTENDE NANTES • Collection Fondation Ensor asbl • Musée d’arts de Nantes • Mu.ZEE OIRON BRAZIL • Château d’Oiron SÃO PAULO PARIS • Estudio Campana • Bibliothèque de l’Institut national d’histoire de l’art, collections Jacques Doucet • Bibliothèque Mazarine GERMANY • Centre national des arts plastiques BERLIN • Centre Pompidou, Musée national d’art moderne • Berlinische Galerie-Landesmuseum für • Collection Denis Doria Moderne Kunst, Fotografie und Architektur • Collection David et Marcel Fleiss, • Iris Schieferstein collection Galerie 1900-2000 • Collection Antoine de Galbert • Collection Isabelle et Hervé Poulain FRANCE • Collection Seroussi • Collection Andrew Strauss AMIENS • Collection Patrice Trigano • Musée de Picardie • École nationale supérieure des Beaux-Arts BLOIS • GB Agency • Musée Carnavalet – Histoire de Paris • Musée du château royal de Blois • Musée du Louvre, Département des peintures CARCASSONNE • Musée national Picasso • Musée des Beaux-Arts de Carcassonne • Musée Rodin CHAUMONT • Pinault Collection • Le Signe-Centre national du graphisme SAINT-DENIS DOUAI • Collection Philippe Verger, filleul de l’artiste • Musée de la Chartreuse SAINT-ÉTIENNE ÉCOUEN • Musée d'art moderne et contemporain de • Musée national de la Renaissance - Château Saint - Étienne Métropole d'Écouen

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STRASBOURG SPAIN • Cabinet des estampes et des dessins FIGUERAS • Musée Archéologique de la ville de Strasbourg • Musée Historique de la ville de Strasbourg • Gala-Salvador Dalí Foundation VILLEURBANNE MADRID • Collection IAC, Villeurbanne/Rhône-Alpes • Real Academia de Bellas Artes de San Fernando

ITALY SWEDEN BARZIO SKOKLOSTER • Museo Medardo Rosso • Château de Skokloster BERGAME STOCKHOLM • Accademia Carrara • Moderna Museet • Ernesto Della Torre Piccinelli collection • Nationalmuseum BOLOGNE • Alma Mater Studiorum - Università di Bologna SWITZERLAND BÂLE BOLZANO • Musée Tinguely • MUSEION Foundation. Museum of modern and contemporary art Enea Righi collection RIEHEN/BÂLE BRESCIA • Beyeler Foundation • Comune di Brescia, Civici Musei e FBM FLORENCE UNITED KINGDOM • Roberto Casamonti collection EAST SUSSEX • Gallerie degli Uffizi • The Penrose Collection MILAN LONDRES • Gabinetto Numismatico e Medagliere – Castello • Archive Hans Ulrich Obrist Sforzesco • Arts Council Collection, Southbank Centre • Veneranda Fabbrica del Duomo di Milano • Tim Noble & Sue Webster collection NAPLES • Tate • Museo Archeologico Nazionale di Napoli • Thomas Dane Gallery • Museo e Real Bosco di Capodimonte ODERZO UNITED STATES • Fondazione Oderzo Cultura – Pinacoteca Alberto • Ed Ruscha collection Martini KEY BISCAYNE ROME • Rosa et Carlos de la Cruz collection • Luigi Ontani collection NEW YORK • Galleria Nazionale d’arte moderna e contemporanea • Blum & Poe • Galleria Giustini / Stagetti • Heide Hatry collection • Pace Gallery TURIN • Merz collection • Sandretto Re Rebaudengo collection

LIECHTENSTEIN VADUZ • Kunstmuseum Liechtenstein

ROMANIA BUCHAREST • MARe, Museum of Recent Art

29 ARCIMBOLDO FACE TO FACE 8. CATALOGUE & PUBLICATIONS CATALOGUE

Created by the duo M/M, whose graphic design sets out to place the reader literally face to face with Arcimboldo, the book combines essays by Chiara Parisi and Anne Horvath, co-curators of the exhibition, and specialists in Mannerism Patricia Falguières and Antonio Pinelli. In addition, Yasha David discusses her collaboration with Pontus Hultén during the historic exhibition organised in 1987 at the Palazzo Grassi, The Arcimboldo Effect. Donatien Grau has compiled a chronology with commentary that extends from Arcimboldo’s time to the present day, and Maurizio Cattelan has written a conclusion in the form of a manifesto.

Exceptionally, the legendary essay by Roland Barthes, ‘Arcimboldo, Rhétoriqueur et Magicien’ (1978), is republished in full in the catalogue.

FACE À ARCIMBOLDO EDITED BY CHIARA PARISI AND ANNE HORVATH

ÉDITIONS DU CENTRE POMPIDOU-METZ DIMENSIONS: 34 X 27 cm PUBLICATION: JUNE 2021 464 PAGES M/M (Paris), Arcimboldo Face to Face, 2021 Graphic design created after PRICE: 75,00 € Giuseppe Arcimboldo, Spring, 1573 Oil on canvas, 76 x 63 cm Paris, musée du Louvre

BEAUX-ARTS SPECIAL ISSUE

In conjunction with the exhibition Arcimboldo Face to Face at the Centre Pompidou-Metz, Beaux-Arts Magazine is devoting a special issue to the project, featuring the works and the artists in the exhibition. This 68-page edition, with a print-run of 8,000, will be available in almost 1,900 retail outlets and online at www.beauxarts.com.

Price: 12 €

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LIMITED EDITION

Annette Messager, Little Morning Dance, 2021 © Adagp, Paris, 2021

In 2000, the Centre Pompidou-Metz launched a collection of limited editions. After Giuseppe Penone’s River, Annette Messager has created a new edition for the exhibition Arcimboldo Face to Face.

Annette Messager, Little Morning Dance, 2021 Technique: digital print on paper Dimensions: 40 x 30 cm Ed. 40 + 20 EA, numbered, titled and signed by the artist.

Retail price (incl. tax): 495 €

On sale only at the Centre Pompidou-Metz shop

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The 250 works in the exhibition, produced by the 130 invited artists, are all illustrated in the catalogue and accompanied by commentaries written by 89 writers, art personalities, critics, art historians and artists:

Marie-Claude Beaud Stefano Karadjov Agnès de la Beaumelle Donia Lakhdar Maktoum Gabriella Belli Elisabeth Latrémolière Myriam Ben Salah Zoe Leonard Lynda Benglis Michèle Leinen Marie-Laure Bernadac Giovanni Lista Laurence Bertrand Dorléac Ulrike Lorenz Jean-Michel Bouhours M/M Caroline Bourgeois Pierre Malgouyres Raphaël Bouvier Elisa Mantia Kerstin Brätsch Bernard Marcadé Glenn Brown Mario Merz Emmanuelle Brugerolles Marisa Merz Philippe Brunella Annette Messager Christoph Bürgi Camille Morando Miriam Cahn Therese Muxeneder Fernando et Humberto Campana Tim Noble Nicoletta Cardano Hans Ulrich Obrist Maurizio Cattelan Luigi Ontani Jake and Dinos Chapman Gitte Ørskou Anna Cotta Ramusino Virginie Perdrisot Marie-France Courriol Susanna Pettersson Roberto Cuoghi Orietta Pinessi David Czupryn Hélène Pinet Daft Punk Anna Pravdova Enrico De Pascale Maria Cristina Rodeschini Brigid Doherty Ed Ruscha Michel Draguet Chéri Samba Julie Enckell Julliard Florian Siffer Benjamin Foudral Yann Sordet Moniche Fuchs Daniel Spoerri Jean-Marie Gallais Iris Schieferstein Marc et Josée Gensollen Cally Spooner Aurélie Gerbier Emmanuel Starcky Mica Gherghescu Francesco Stocchi Paolo Giulierini Andrew Strauss Catherine Grenier Jan Švankmajer Heide Hatry François Taillade Anne Horvath Wolfgang Tillmans Pierre Huyghe Mathilde Villette Laure Jaumouillé Julie Waseige Rashid Johnson Paolo Zani Ewa Juskiewicz Jeanette Zwingenberger

32 ARCIMBOLDO FACE TO FACE 9. RELATED PROGRAMME (To be confirmed)

From June, the exhibition will be accompanied by a series of events that extend its exploration, featuring POETRY in particular recent contemporary creation in the fields of dance, music, poetry, cinema and video. DATE TO BE SPECIFIED INSTALLATION HERETICS THU. 27.05 → SUN. 30.05.21 Anne-James Chaton and Andy Moor POF 139 MITMAN 20:30 | Poetry-rock concert | €10 / 5 Anne-James Chaton and Andy Moor have been working as a duo for a long time. In Heretics, they Fabrice Hyber bring together the great figures of their personal mythologies (Caravaggio, Burroughs, Sade, etc.), Forum | Free admission exploring the most obscure, marginal and erotic humans. For Fabrice Hyber, the invention of the term Prototype d'Objet en Fonctionnement (POF) stems from the need to offer visitors alternatives to simple contemplation. For him, the POFs are "openings, possibilities".

© Loucuradavida ANIMAL FEVER A.C. Hello In A.C. Hello’s musical readings, trance is never far away and language is stifled. For Animal Fever, music echoes this struggle, words and sounds intermingle and collide, amplifying the poetic density of the author’s texts.

In partnership with POEMA and the association Fragment

Fabrice Hyber, POF 139 MITMan, 2007 © Adagp, Paris, 2021

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OUTSIDE DANCE FROM 24.06.21 DATE TO BE SPECIFIED 14:30 + 16:00 + 17:30 | Free admission on COLOSSUS presentation of a day ticket Philip Haas MANUAL FOCUS Mette Ingvartsen The photographic term ‘manual focus’ contrasts with ‘auto-focus’. With their naked bodies and their old people’s masks, the three performers of this visual work give rise to unknown creatures through unexpected connections between naked and masked, artificial and real, young and old, human and animal, the bodies that we know – identified, gendered, ordinary bodies – turning into fabulous, moving monsters. They open up a path to new visions, to the possibility of the banal becoming unusual. The monsters finally disappear and allow our memory to reinvent them. © Philip Haas, Colossus. All rights reserved American artist and director Philip Haas is best known for his works as a tribute to Arcimboldo. His monumental sculptures inspired by the Four Seasons have travelled the world to be installed in a number of prestigious museums and gardens, from the Château de Versailles to the National Gallery of Art in Washington, from the Château des Baux- de-Provence to the Botanical Gardens in New York, via the Piazza del Duomo in Milan.

Especially created for the Metz lake in order to coincide with the exhibition Arcimboldo Face to Face, this new work by Philip Haas is in line with his Arcimboldesque sculptures, while multiplying the scale of his previous monumental works. On this occasion, the artist revives the reflections of the © Eike Walkenhorst famous Lombard painter, whose anthropomorphic still lifes have profoundly marked the history of art. Colossus unfolds in trompe l'oeil over the entire height of a section of the city walls. The impressive figure seems to blend harmoniously into the garden where it stands, playing with its reflection in the Moselle and the surrounding vegetation.

In partnership with Constellations de Metz.

The Constellations international digital arts festival in Metz aims to highlight heritage and urban space and offers a fresh look at today's digital creation and the wealth of its forms. A free festival, accessible to all and for all.

34 ARCIMBOLDO FACE TO FACE

YOUNG PEOPLE’S CINEMA OPEN-AIR CINEMA SAT. 12.06 & SUN. 13.06.21 FRI. 11.06.21 16:00 | Free admission on presentation of a day 19:00 (to be confirmed) | Auditorium Wendel | ticket Free admission, limited number of seats available EXPERIMENT 120 / PORTRAITS ERASERHEAD Marie-Pierre Bonniol David Lynch A mythical work that has long been a staple of Midnight Movies, this first film by David Lynch was also Stanley Kubrick's favourite. And for good reason! It remains of an almost unsurpassable formal beauty. Sometimes associated with the body horror genre, the centrepiece of the post- punk/cold/industrial culture of the late 1970s, the influence of this visual poem has been phenomenal. As part of the Festival du Film Subversif. WED. 23.06.21 20:30 | Auditorium Wendel | Free admission, limited number of seats available MAY B Maguy Marin / David Mambouch

© Marie-Pierre Bonniol, The Experiment 120. © Adagp, Paris, 2021 Marie-Pierre Bonniol has devised a programme of experimental films, artists’ films and music videos about portraits for children over 7 years old and their families in conjunction with the exhibition Arcimboldo Face to Face.

In this programme, various portraits metamorphose with the aid of drawings in felt pen, silkscreen, stop motion animations, assemblages and other audio-visual distortions that explore the face and Maguy Marin / David Mambouch, May B All rights reserved the human in all their dimensions, creative as well as emotional. A 30-minute programme that is an Inspired by the work of Samuel Beckett, with its invitation to create. ten performers covered in clay, May B directs deformed bodies that are a long way from the Featuring the films of Takahiko Iimura, Jodie classical, idealised representations of the dancing Mack, Lenka Clayton & James Price, Andrès Baron, body. Humanity, at its most moving and fragile, Nicole Wegner, Johanna Thompson and Orchestra continues its interminable journey, persisting in of Spheres. the face of opposition, obsessed with an imminent end to the world. Programme created in collaboration with the Collectif Jeune Cinéma. In partnership with Constellations de Metz.

35 ARCIMBOLDO FACE TO FACE

Daft Punk, Electroma, 2006 Jan Švankmajer, Alice, 1988 All rights reserved All rights reserved

WED. 30.06.21 WED. 07.07.21 22:30 | Terrace | Free admission, limited number 22:30 | Terrace | Free admission, limited number of seats available of seats available ELECTROMA ALICE Daft Punk Jan Švankmajer A special screening will be dedicated to Electroma, Winner of the Grand Prix for feature films at the the only feature film written and directed in 2006 Festival d’Annecy in 1989, Alice is the story of a by the members of the band Daft Punk (Thomas child who is led on by a stuffed white rabbit before Bangalter and Guy-Manuel de Homem-Christo). being swallowed up by a drawer. Inventive and The film is a visual and musical odyssey that follows disturbing, this fantastic film was an opportunity the story of two robot beings on their way to their for the Czech master of animation, visual artist dream of becoming human in a desert landscape. and puppet master to revisit the story and themes of Alice in Wonderland, while giving expression to In partnership with Constellations de Metz his surrealist and expressionist world. festival. In partnership with Constellations de Metz festival.

36 ARCIMBOLDO FACE TO FACE

LECTURE SERIES RENAISSANCE WEEKENDS THU. 16.09.21 During the exhibition Arcimboldo Face to Face Antonio Pinelli, professor emeritus of modern art two weekends are being organised for the public featuring special artistic events. history at the University of Florence, is the author in particular of La Bella maniera. Artisti del Cinquecento tra regola e licenza. For the exhibition Arcimboldo Face to Face, he delves into the life and work of the mysterious Arcimboldo, highlighting his importance in the history of 16th-century art.

THU. 14.10.21 Building on her analysis in her seminal book, Le Maniérisme: une avant-garde au XVIe siècle, Patricia Falguières, professor at the l’École des Hautes Études en Sciences Sociales, explores the links between Mannerism and the emergence of modernity at the beginning of the 20th century.

SAT. 20.11.21 Independent exhibition curator and director of the research seminar ‘Arts et Sociétés’ at Sciences Po Paris, Laurence Bertrand Dorléac published Pour en finir avec la nature morte in 2020. In her lecture ‘L’art des choses’, she reveals the profoundly contemporary context of the classical still life genre. Bintou Dembélé, -s/t/r/a/t/e/s-, 2021 All rights reserved

ONE SUNDAY, ONE WORK SAT. 29.05 & SUN. 30.05.21 For the opening weekend, Bintou Dembélé SUN. 06.06.21 presents her new film, made in Lorraine and co- Jan Švankmajer, Kunstkamera produced by the Centre Pompidou-Metz, Simone Screening of his film Les Possibilités du dialogue Fattal opens her sculpture garden in the Centre's following the gallery talk. South Garden, in resonance with the Gallo-Roman Chiara Parisi steles of the Musée de la Cour d'Or, and Bertrand Lavier invites visitors to experience an abstract SUN. 19.09.21 painting that is offered as a playground around the Giuseppe Arcimboldo, The Librarian building. Fabrice Hyber presents a performance Yann Sordet associated with his P.O.F. -Prototypes d'Objets en Fonctionnement- and Pierre Huyghe makes SUN. 17.10.21 everyone a special visitor. Finally, Yoko Ono Fragmentation, from Arcimboldo to Victor inaugurates the cycle of collaborative workshops Brauner at the Paper Tube Studio (PTS) with Mend Piece, Camille Morando an invitation to take part in a collective healing process. SUN. 21.11.21 The mask, from Arcimboldo to Patrick Neu SAT. 18.09 & SUN. 19.09.21 Anne Horvath For this weekend marking the end of the school holidays, Alejandro Jodorowsky’s Psychomagie is screened and the public is invited to take part in a collective session of psychomagic with the artist. Bintou Dembélé gives an exclusive DJ set and organises a big Voguing dance. Brazilian artist Rivane Neuenschwander invites visitors to do a Photofit portrait of their first love in First Love and the collaborative workshops of the PTS continue with a major project by Sébastien Thiéry (Peru), Marc Van Peteghem, Marc Ferrand and Ruedi Baur.

37 ARCIMBOLDO FACE TO FACE 10. YOUNG PEOPLE & EDUCATIONAL ACTIVITIES

Providing keys to different and complementary interpretations while allowing visitors to form their own relationship to the work; prioritising pleasure and play in order to interest children and stimulate creativity; creating moments of conviviality, dialogue and sharing, for families, groups, couples and individuals – these are the various dimensions of the outreach programme that the Centre Pompidou-Metz organises on a daily basis.

The exhibition Arcimboldo Face to Face reaffirms the important role assigned to accompanying visitors, a structural element of the establishment’s cultural policy, exploring new fields and new practices. A multifaceted personality, the Italian master intrigued his contemporaries and continues to intrigue today: a pedagogical, inter-disciplinary and multimedia approach will give visitors insight into the artist’s thought processes, which echo present-day issues affecting society.

PROGRAMME FOR YOUNG PEOPLE

For the programmes for La Capsule and the Ateliers Jeune Public, we have invited various participants to explore the rich and subversive world of Arcimboldo and draw inspiration from it to create activities tailored to young people. The painter’s fondness for phenomena linked to illusion, the bizarre, the grotesque and hybrid forms will be reflected in fun participatory experiences that will enable young people to gain a better understanding of various aspects of his artistic output.

Exploring the concept of the hybrid, the graphic design duo M/M will be taking over the Capsule space to turn it into a poster workshop: inspired by their anthropomorphic alphabet book, the workshop is based on the appropriation of the human body, which will become a pretext and material for collage and juxtaposition. Visitors will be able to use photocopiers and drawing implements to create their own poster by customising the letter of their choice.

M/M (Paris) All rights reserved

38 ARCIMBOLDO FACE TO FACE

In a workshop for 5-to-12-year-olds, the artist Frédérique Loutz (born and lives in Sarreguemines) is creating a fantastic and phantasmagorical world filled with benevolent monsters and familiar figures who have undergone transformation. On a large frieze featuring around one hundred of his drawings and a monumental screen placed in the centre of the room, outsized mobile elements will be available for children to modify the artist’s drawings and reinterpret the concept of the hybrid in a playful act of transformation: the head becomes the nose, the foot becomes the ear, the mouth becomes a heart, etc.

Also for young visitors, a tour guide will be made available at the entrance and to download from the Centre’s website so that children and adults can explore the exhibition spaces together with specially adapted information. Some of the content has also been devised to enable visitors to continue experiencing the exhibition once their visit is over through activities that can be done at home.

Two events will also be organised in conjunction with the exhibition, one centred on the installation Desire Caught by the Mask by Annette Messager in the Forum, and the other, during the summer, in collaboration with the Ateliers Médicis, as part of the artists’ residency programme TRANSAT 2021.

Frédérique Loutz All rights reserved

NEW VISITOR APP

The Centre Pompidou-Metz has joined forces with the company Ask Mona to launch an app named Archy using artificial intelligence with the aim of improving the visitor experience. The tool will be available online and by scanning a QRcode present in the exhibition spaces. Once opened, this tool will enable visitors to interact with selected works (around forty altogether) by simply taking a photo of them: thanks to recognition algorithms, fun, interactive content will be delivered through a conversational tool similar in format to chatbot. This educational tool, which also offers improved accessibility for the visually impaired, was also designed to share audio content, All rights reserved accompanying the exhibition in an innovative and immersive way. Archy was created in partnership with the Conservatoire à Rayonnement Régional Gabriel Pierné de Metz Métropole (dramatic arts class and computer-aided music class), which was responsible for performing the texts and recording the audio files.

39 ARCIMBOLDO FACE TO FACE 11. PARTNERS

The Centre Pompidou-Metz was the first example of the decentralisation of a great national cultural institution, the Centre Pompidou, in partnership with local authorities. An autonomous institution, the Centre Pompidou-Metz benefits from the experience, savoir-faire and international renown of the Centre Pompidou. It shares with its elder counterpart the values of innovation, generosity, multi-disciplinarity and openness to people from all backgrounds. The Centre Pompidou-Metz organises temporary exhibitions based on loans from the collection of the Centre Pompidou, Musée National d’Art Moderne, which, with more than 120,000 works, is the biggest collection of modern and contemporary art in Europe and the second largest in the world. It also forges partnerships with museums located all over the world. As extensions to its exhibitions, the Centre Pompidou-Metz organises dance performances, concerts, film screenings and talks. It is supported by Wendel, founding partner

Mécène fondateur

With the partnership of Caisse d'Epargne Grand Est Europe

With the participation of the Italian Embassy in Paris, the Consulate General of Italy in Metz and of the Italian Institute in Strasbourg

With the generous support of the following galleries: Pace, Thomas Dane Gallery, Blum & Poe, Xavier Hufkens, Mendes Wood DM and Giustini / Stagetti With the contribution of Tissus Dedar's fabrics, the Xella group and Ytong products

With the support of the Centre tchèque de Paris, and the Institut Polonais de Paris

With the participation of Vranken-Pommery Monopole

Media partners with

40 ARCIMBOLDO FACE TO FACE

GRAND MECENE DE LA CULTURE

WENDEL, FOUNDING PATRON OF THE CENTRE POMPIDOU-METZ

Wendel has been a partner of the Centre Pompidou-Metz since it opened in 2010. Wendel was keen to support an iconic institution, whose cultural riches are made accessible to the largest number of people. Thanks to its commitment to culture over many years, Wendel was awarded the ‘Grand Mécène de la Culture’ in 2012. Wendel was one of the very first investment companies in Europe to be listed on the stock exchange. It is dedicated to long-term investing, which requires a commitment on the part of shareholders that breeds trust, constant attention to innovation, sustainable development and promising forms of diversification. Wendel has the expertise to choose pioneering companies, such as those for which it is currently shareholder: Bureau Veritas, Constantia Flexibles, Crisis Prevention Institute, Cromolgy, IHS Towers and Stahl. Founded in 1704 in Lorraine, the Wendel group was active in various fields for 270 years, notably that of steel manufacture, before devoting itself to long-term investment in the late 1970s. The Group is supported by its reference shareholder, made up of more than a thousand shareholders from the Wendel family, gathered together in Wendel-Participations, which holds a 39.3 % stake in the Wendel group.

CONTACTS : Christine Anglade Pirzadeh + 33 (0) 1 42 85 63 24 [email protected] Bérengère Beaujean + 33 (0) 1 42 85 63 71 [email protected]

41 ARCIMBOLDO FACE TO FACE

CAISSE D’ÉPARGNE GRAND EST EUROPE PARTNER OF THE CENTRE POMPIDOU-METZ

Every year for the past 11 years, the Caisse d'Epargne Grand Est Europe has accompanied the Centre Pompidou- Metz in one of its emblematic exhibitions. In this year when access to culture has been so tormented, it is with great pleasure and a particular emotion that it accompanies the exhibition that will mark the reopening of the Centre to its public.

With this new exhibition, Arcimboldo Face to Face, the Centre Pompidou-Metz allows us to rediscover this Italian artist, famous for his portraits composed of plants, minerals, animals and cleverly arranged objects, and to see how much his work has inspired many artists over the centuries. A work that appeals to the imagination of even the youngest and is accessible to all audiences. And in this sense, it was important for the Caisse d'Epargne Grand Est Europe, a patron of the arts and a player in culture for all, to once again be at the side of the Centre Pompidou-Metz for this new event.

For 200 years, the Caisses d'Epargne have been committed players in their territories, working to preserve heritage and open up culture to as many people as possible. These values are part of their founding principles. These values are also the strength of the Caisse d'Epargne Grand Est Europe, a leading banking player and privileged partner of major projects, particularly cultural projects, throughout the Grand Est region.

ABOUT CAISSE D’ÉPARGNE GRAND EST EUROPE

Faithful to its cooperative and societal values, committed to its territory and close to its customers, the Caisse d'Epargne Grand Est Europe contributes on a daily basis to the economic, social, cultural, solidarity-based and environmental development of its territories. As a major financier of the regional economy, the Caisse d'Epargne Grand Est Europe relies on nearly 3,000 employees, 1,500,000 customers and 1.9 billion euros of equity capital. The Caisse d'Epargne Grand Est Europe, whose head office is in Strasbourg, covers the 10 départements of the Grand Est administrative region. It also has administrative sites in Metz, Reims and Nancy and over 330 branches throughout the region.

CONTACT :

Marie-Christine Rouard Directrice de la Communication [email protected] +33 (0) 6 10 89 05 10

42 ARCIMBOLDO FACE TO FACE

XELLA, HEALTHY AND SUSTAINABLE BUILDING SOLUTIONS

As a subsidiary of a renowned international group with its own R&D centre, Xella designs, manufactures and markets healthy and sustainable building solutions for new construction and renovation in single-family homes, collective housing, tertiary and industrial buildings. Established in France for more than 30 years, with 3 cellular concrete production plants certified ISO9001 and 14001, Xella offers 5 product brands (Ytong, Siporex, Silka, Multipor and Hebel) which are deployed in 4 areas of expertise: construction - structural work, passive fire protection, interior design and thermal insulation. Thanks to a complete range of services, the Xella teams are developing a real collaboration with the actors of the construction industry in order to accompany them in their projects, from design to completion. By combining construction efficiency, performance and high environmental quality, Xella solutions adapt to all needs and to the requirements of current and future regulations. For Xella, sustainability is not just a buzzword. For decades, we have been contributing to climate and environmental protection as a manufacturer of healthy and energy-saving building materials. We continue to set ambitious new goals to develop better methods and materials by developing the circular economy and helping to conserve natural resources. Xella is particularly proud to contribute to cultural and solidarity projects by supporting institutions that use its materials. The exhibition Arcimboldo Face to Face will be a good example of the partnership with the Centre Pompidou-Metz, with which Xella shares many values.

CONTACT : François Chardon +33 (0) 6 76 77 56 40 [email protected]

WWW.YTONG.FR / WWW.XELLA.FR

xella-thermopierre @YtongFrance YtongFrance

43 ARCIMBOLDO FACE TO FACE

CHÂTEAU ROYAL DE BLOIS

The favourite residence of seven kings and ten queens of France, the Musée du Château Royal de Blois offers visitors multiple facets spanning centuries of art and history. An architectural and historical synthesis of all the Loire châteaux, the arena where a whirlwind of dramas, plots and power games have played out, it has the art and substance to mix oddities, excesses, eccentricities, eras, stories and fashions.

Lavinia Fontana in Metz and Martial Raysse in Blois: this collaboration grew out of a shared desire on the part of the Centre Pompidou-Metz and the Château Royal de Blois to build bridges between the setting of the kings of France and the contemporary building of Shigeru Ban and Jean de Gastines. This rich dialogue brings together the historic collections of the Château Royal de Blois and the collection of the Musée National d’Art Moderne-Centre Pompidou.

Lavinia Fontana in Metz 29 May to 22 November 2021

Regularly requested by the world’s leading museums, Lavinia Fontana’s strange portrait of Antonietta Gonzalez joins the temporary exhibition Arcimboldo Face to Face, organised by the Centre Pompidou-Metz. The work enables visitors to immerse themselves in the atmosphere of the court of Rudolf II, an essential experience in the understanding of Arcimboldo’s world.

Martial Raysse in Blois 8 May to 22 November 2021 The Grande Odalisque belongs to the series ‘Made in Japan’, in which Martial Raysse transforms masterpieces of classical painting reproduced en masse. Placed in the heart of the Musée des Beaux- arts, in the Louis XII wing, Made in Japan. La Grande Odalisque from the collection of the Centre Pompidou echoes the Château Royal de Blois’s unconventional programme for 2021. In the museum’s first room, surrounded by numerous Virgins with Child from different periods, the painting offers a new, humorous perspective on its collection: it is hung right at the start of the exhibition, near Ingres’s Madonna with the Candelabra.

PRACTICAL INFO Lavinia FONTANA, Antonietta Gonzalez or Gonzalvus, vers 1594-1595 Dates: 8 May to 22 November Oil on canvas, 57 x 46 cm Musée du château Royal de Blois Special guided tour: every Sunday at 3pm. July and © Château royal de Blois I F. Lauginie August Saturday until 3pm Tickets: supplement in addition to the price of admission to the château: +€3 / per person Reservations required +33 (0)2 54 90 33 32

44 ARCIMBOLDO FACE TO FACE

‘ARCIMBOLDO, PORTRAIT OF A DARING MAN’ BY BENOIT FELICI – DOCUMENTARY (52)’

What do we know about this Mannerist artist from the Renaissance with an astonishingly modern vision? What did he invent and revolutionise in his paintings? How did his paintings and his methods inspire the Surrealists, and numerous artists after them? In constant metamorphosis, sometimes subversive and frightening, Arcimboldo’s art confused his contemporaries and continues to intrigue viewers.

In conjunction with the exhibition Arcimboldo Face to Face organised at the Centre-Pompidou-Metz, ARTE and the Compagnie des Phares et Balises have co-produced a documentary on Arcimboldo that will enable viewers to rediscover this enigmatic 16th-century artist and explore his legacy.

Following the decision of the exhibition’s curators to compare the painter with modern and contemporary artists, the director Benoît Felici offers an unexpected dialogue between Arcimboldo’s audacious inventions and those of present-day artists (Maurizio Cattelan, Annette Messager, Daniel Spoerri, etc.). He includes modern works as well as contemporary artists in order to shed light on the painter’s technique, influence and modernity. From Milan to Prague and Vienna, the film outlines his life and looks at the context in which he painted.

Director Benoît Felici directed, among other works, Archi Faux and its virtual reality version Archi-vrai for ARTE, as well as "Unfinished Italy".

Arcimboldo, Portrait of a daring man Director: Benoît Felici Co-producers : ARTE France, La Compagnie des Phares et Balises, Centre Pompidou-Metz (2021, 52 mn)

To be broadcast on ARTE in October 2021.

45 ARCIMBOLDO FACE TO FACE 12. PRESS VISUALS

The works below are all protected by copyright, in whole or in part. Each picture must be accompanied by its caption and credits, for press purposes only. Any other use is at the discretion of the rights holders, with their express permission. Conditions of use on request.

Works protected by the ADAGP are marked copyright © Adagp, Paris 2019 and may be published by the French press only, under the following conditions: - For press signatories to a general agreement with the ADAGP: please refer to the conditions therein.

- For other press publications: exoneration for the first two works illustrating an article devoted to a news event to which they are directly connected, maximum size ¼ page. Any additional or larger reproductions are subject to reproduction/broadcast rights. Any visuals reproduced on a front cover or front page require the express permission of the ADAGP’s Press Service.

Copyright accompanying each reproduction must include: the name of the artist/author, title and date, followed by © Adagp, Paris 2019, irrespective of the provenance of the image, or the place where the work is conserved.

Conditions valid for publications and Web sites having the status of online press publications, in which case the definition must not exceed 1600 dpi (height and width together).

ADAGP CONTACTS:

Linda FRAIMANN : [email protected] Claire MIGUET : [email protected]

Société des Auteurs dans les Arts Graphiques et Plastiques 11, rue Berryer - 75008 Paris, France Tél. : +33 (0)1 43 59 09 38 Fax. : +33 (0)1 45 63 44 89 adagp.fr

46 ARCIMBOLDO FACE TO FACE

Giuseppe ARCIMBOLDO, Le Bibliothécaire, vers 1566? Giuseppe ARCIMBOLDO, Le Printemps, 1573 Giuseppe ARCIMBOLDO, L'Automne, 1573 Huile sur toile, 97 x 71 cm Huile sur toile, 76 x 63,5 cm Huile sur toile, 76 x 63,5 cm Château de Skokloster Paris, musée du Louvre Paris, musée du Louvre Photo: Skokloster Castle/SHM Photo © RMN-Grand Palais (musée du Louvre) / Jean- Photo © RMN-Grand Palais (musée du Louvre) / Gilles Berizzi Franck Raux

ANONYME, Custode dell’orto [Gardien du jardin], Francis BACON, Head VI, 1949 Hans BELLMER, La Poupée, [1935-1936] seconde moitié du XVIIe siècle Huile sur canevas, 93 x 76,5cm Bois peint, papier mâché collé et peint, cheveux, Grès, 197 × 72 × 81 cm CR n°49-07 chaussures, chaussettes, 61 x 170 x 51 cm Bergame, collection Ernesto Della Torre Piccinelli Collection Arts Council, Londres, South Bank Centre Paris, Centre Pompidou, Musée national d’art moderne © Collection Ernesto Della Torre Piccinelli / Fotostudio © The Estate of Francis Bacon /All rights reserved / © Adagp, Paris, 2021 Rapuzzi Adagp, Paris and DACS, London 2021 © Centre Pompidou, MNAM-CCI / Georges Meguerditchian / Photo : Prudence Cuming Associates Ltd Dist. RMN-GP

Maurizio CATTELAN, Ego, 2019 GIAMBOLOGNA (Jean Bologne, dit), L’Apennin, vers Hannah HÖCH, Fille allemande, 1930 Crocodile taxidermisé, 346 x 60 x 36 cm 1580 Collage sur carton, 21,6 × 11,6 cm Collection particulière Terre cuite, 33 × 33 cm Berlinische Galerie – Landesmuseum für Moderne Courtesy Maurizio Cattelan’s Archive © Douai, Musée de la Chartreuse Kunst, Fotografie und Architektur Photo Zeno Zotti Photographe : Daniel Lefebvre © Adagp, Paris, 2021

47 ARCIMBOLDO FACE TO FACE

René MAGRITTE, Le Modèle rouge, [1935] Pablo PICASSO, La Guenon et son petit, Vallauris, Ed RUSCHA, Mood Doom, 2019 Huile sur toile marouflée sur carton, 56 x 46 cm octobre 1951 Acrylique sur toile, 71,1 × 91,4 cm Paris, Centre Pompidou, Musée national d’art moderne Plâtre, céramique, deux petites automobiles et métal, Collection Ed Ruscha © Adagp, Paris, 2021 56 × 34 x 71 cm © Ed Ruscha Photo © Centre Pompidou, MNAM-CCI/Philippe Migeat/ Paris, musée national Picasso Dist. RMN-GP © Succession Picasso 2021 Photo © RMN-Grand Palais (Musée national Picasso- Paris) / Mathieu Rabeau

Penny SLINGER, I Hear What You Say, 1973 Rosemarie TROCKEL, Sans titre (Le petit roi), 1985 Francesco ZUCCHI, Composizione Arcimboldesca De la série « Mouthpieces » Huile sur bois, 50,5 x 39,5 cm [Composition arcimboldesque], XVIIe siècle Photocollage, 22,3 × 18 cm Musée d'arts de Nantes Huile sur toile, 65 × 48 cm East Sussex, The Penrose Collection © Adagp, Paris, 2021 Naples, Museo e Real Bosco di Capodimonte © Adagp, Paris, 2021 © Ville de Nantes - Musée des Beaux-Arts - © The Artists Estate. All rights reserved. Supplied Photographie : A.GUILLARD courtesy of The Roland Penrose Collection.

48 ARCIMBOLDO FACE TO FACE NOTES

49 ARCIMBOLDO FACE TO FACE NOTES

50 CENTRE POMPIDOU-METZ 1, parvis des Droits-de-l’Homme 57000 Metz +33 (0)3 87 15 39 39 [email protected] centrepompidou-metz.fr

Centre Pompidou-Metz PompidouMetz centrepompidoumetz_

OPENING TIMES Daily except Tuesday, and May 1 01.11 > 31.03 MON. I TUE. I THU. | FRI. I SAT. I SUN: 10:00 a.m. – 6:00 p.m. 01.04 > 31.10 MON. I WED. I THU: 10:00 a.m. – 6:00 p.m. FRI. | SAT. I SUN: 10:00 a .m. – 7:00 p.m.

WHERE TO FIND US ? The shortest routes

ADMISSION Individuals: 7 € / 10 € / 12 € (depending on which exhibition spaces are open) Groups (20 people or more): 5.50 €, 8 €, 10 € (depending on which exhibition spaces are open)

The Centre Pompidou Metz and its partners offer the following special deals: C.G.O.S ticket (combined Centre Pompidou Metz/ TER Grand Est train fare), combined train fare + admission (Chemins de Fer Luxembourgeois), Pass Lorraine, Pass Time, Museums Pass Musées, City Pass.

Free admission for the following: French teachers (in post, on presentation of their professional card or a completed, valid pass éducation), under-26s, students, job seekers registered in France, benefit recipients (on presentation of proof, dated to within 6 months), professional artist members of the Maison des Artistes, handicapped visitors with one guest, recipients of French old-age pension credit, State guides and lecturers, Icom, Icomos, Aica and Paris Première card holders, press card holders. PRESS CONTACTS

CENTRE POMPIDOU-METZ AGENCE CLAUDINE COLIN Regional press National and international press Marion Gales Chiara Di Leva +33 (0)3 87 15 52 76 +33 (0)7 62 64 29 10 [email protected] [email protected]