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Idépartement Du Musée National Principaux partenaires et mécènes Musée national d'art moderne/Centre de création industrielle du Centre Georges Pompidou Les donateurs Aérospatiale Aluminor André Lemonnier Asahi Shimbun Archives du Film Jean Le Priol La Maison Balmain Artelano Magis La Caisse des Dépôts et Consignations Gabriele Basilico Man Ray Trust Cegelec Vincent Beaurin Chris Marker EDF M. Hendrik A. Berinson Rainer Michael Mason Forbo Sarlino Bernini Mérigous Fujisankei Bibliothèque Nationale Fondation Louis Moret, Les Laboratoires Pierre Fabre de France - Martigny LVMH François Mitterrand Nina Ricci La Banque OBC Joachim Bonnemaison Dennis Oppenheim Otis Frédéric Borel Dominique Perrault La Compagnie Philips Eclairage Boundery Layer Wind Friederike Pezold Philips Electronique Tunnel Laboratory Jean-Pierre Pincemin Saint-Gobain André Bruyère Christian de Portzamparc Strafor Facom Louis Cane Françoise, Marie et La Maison Yves Saint-Laurent Cappellini Serge Renaudie Henri Cartier-Bresson Kasuyo Sejima ainsi que la Société des Amis du Musée national Henri Ciriani Soca Line d'art moderne et l'Association des Amis du Centre national Luigi Colani Société des Amis d'art et de culture Georges Pompidou Faïencerie de Quimper du Musée Fermob Société Canon Partenaires média Lise et Jeanne Société ESSCO Beaux-arts La Cinquième La Croix Gailhoustet-Renaudie Société Poeform France-Culture L'Œil Télérama Galerie Jule Kewenig Société Ricard Galerie Alex Lachmann, Strafor Facom Cologne Table de France Principaux partenaires de l'Ircam Galerie Sentou Roger Talion Galerie Jacques de Vos Thomson Partenaires industriels Jean-François Geneix Toshiba Corporation Apple France Leonardo Gianadda Lucien Treillard Archimed (France) Georges Gonzalez Rosemarie Trockel CNET - France Télécom (France) Johan Grimonprez Luc Tuymans EDF (France) Hans Hollein Vitra Design Muséum E-Mu / Creative Labs (Etats-Unis) John Kluge Olivier et Bruno Vocat Ever (France) Knoll Jean-Michel Wilmotte GIE Renault - PSA (France) Kisho Kurokawa Bob Wilson Opcode Systems (Etats-Unis) Pierre Larock et XO Sari SNCF (France) ses enfants Pierre et Marc, Yamada Shoney Sony (France) en souvenir de Katia Lighting Co. Yamaha (Japon) Granoff Vladimir Yankilevsky ZKM (Allemagne) Ruth Legrand Mécènes Fondation Mitarbeiter (Baie, Suisse) Président, Paul Sacher Jean-Philippe et Françoise Billarant © Préface par Jean-Jacques Aillagon Président du Centre national d'art et de culture Georges Pompidou Voici un bilan qui ne ressemblera à aucun autre, tant l'année écoulée a été singulière et décisive dans l'histoire du Centre Georges Pompidou. 1997 a été l'année de son vingtième anniversaire mais aussi le point de départ d'un renouveau et d'une dynamique qui doivent permettre au Centre d'entrer dans le 21e siècle avec une curiosité, une vitalité et une ambition retrouvées. Cet anniversaire a été l'occasion d'affirmer avec force que l'utopie d'il y a vingt ans était devenue réalité, mieux, que le Centre s'était imposé comme l'une des institutions culturelles majeures du pays et hissé parmi les premières du monde. Moment privilégié pour l'ensemble des personnels du Centre et des départements associés, il a aussi permis une rencontre exceptionnelle avec le public lors des Journées Portes ouvertes des 31 janvier, 1er et 2 février. En trois jours, plus de 100 000 personnes sont venues lui témoigner attachement, fidélité et surtout lui manifester, pour l'avenir, leur attente et leur espoir qu 'il poursuive avec eux sa quête de la modernité dans tous les champs de la création artistique et intellectuelle. Parmi les dernières manifestations présentées dans le bâtiment avant sa rénovation, Fernand Léger, l'Art de l'ingénieur, Made in France, et les Péchés capitaux, ont particulièrement - et légitimement - suscité l'intérêt de la critique et du public. Enfin, en février 1997, le Centre Georges Pompidou fut la première des grandes institutions muséales à prendre une initiative inspirée de la volonté de vérité et de transparence : la décision d'exposer au public les 39 œuvres récupérées en Allemagne à la fin de la guerre et confiées à la garde du Musée national d'art moderne et cela afin de permettre aux éventuels ayants-droit d'en réclamer la restitution. Aussitôt les travaux de réaménagement des abords du Centre et ceux de l'Atelier Brancusi achevés, un chantier d'une toute autre ampleur a débuté : celui de la rénovation et de la modernisation intérieures de la totalité du bâtiment. J'ai décidé que cette opération, considérable et indispensable - tant les structures étaient fatiguées par vingt années d'activité intense et quelque 145 millions de visiteurs -, serait réalisée dans des délais aussi courts que possible. Le 29 septembre 1997, le bâtiment fermait, dans sa quasi-totalité, et les travaux confiés aux architectes Renzo Piano et Jean-François Bodin pouvaient s'engager ; ils doivent durer près de vingt mois, la réouverture étant fixée au 1er janvier 2000. J'ai voulu que, pendant ces deux années, le Centre Georges Pompidou reste actif et novateur, qu'il poursuive une programmation de qualité et pluridisciplinaire, qu'il reste à la disposition et proche de son public, et qu'il se porte vers d'autres horizons à explorer et d'autres pubhcs à conquérir. Ainsi, dès la fermeture du bâtiment, le Centre retrouvait son public et déployait ses activités « hors les murs ». Réalisé par les architectes Chaix et Morel et implanté sur le parvis, le Tipi abrite les fonctions d'accueil et d'information sur ses activités ainsi que les animations pédagogiques et les Revues parlées. La Bibliothèque publique d'information demeure accessible grâce à son transfert rue Brantôme, le Centre Wallonie-Bruxelles, situé face à la Piazza, accueille, notamment, des cycles cinématographiques, © également redéployés dans d'autres salles parisiennes, comme le Cinéma du Réel dont la 20e édition se déroulera en 1998 au Cinéma des Cinéastes. De plus, dans le bâtiment lui-même, la Mezzanine sud, réaménagée dès la fin de l'année, permet de présenter d'importantes expositions - comme celle consacrée à Bruce Nauman - et de maintenir l'activité de la librairie. L'Ircam et l'Atelier Brancusi, non affectés par le chantier de rénovation, restent ouverts au public depuis lors. Mais l'ambition du programme « hors les murs » a consisté aussi, et surtout, à engager une série de manifestations avec de nombreux partenaires culturels, tant à Paris, en régions qu'à l'étranger. Inauguré à Tokyo avec les 127 chefs-d'œuvre du Musée national d'art moderne, ce cycle « hors les murs » s'est poursuivi avec les expositions Abstractions, France à Colmar puis De Klein à Warhol à Nice. Ce programme considérable, s'ajoutant aux prêts d'œuvres consentis au profit d'institutions françaises et étrangères - 2 362 ont été prêtées en 1997 - ainsi qu'aux dépôts d'œuvres - plus de 2 000 sont actuellement déposées -, a permis au Centre de réaffirmer sa mission de diffusion artistique et d'accroître encore son rayonnement national et international. \ Le succès rencontré auprès du public, et la collaboration née avec différentes institutions et partenaires culturels en régions consacrent le Centre Georges Pompidou comme véritable « centrale de la décentralisation » culturelle et artistique et lui permettent d'envisager avec confiance, pour 1998 et 1999, la suite de cet ambitieux programme « hors les murs ». Cette politique de prêts et de dépôts - en particulier, en faveur de grands musées créés ou restaurés - ainsi que la politique de production de manifestations artistiques en régions seront poursuivies et s'inscriront à l'avenir, au cœur des missions de l'institution. La publication d'ouvrages patrimoniaux, tels le second tome des Collections du Musée national d'art moderne, ou ceux consacrés aux collections photographiques et cinématographiques, comme l'édition du CD-Rom La collection du Centre Georges Pompidou ainsi que le développement du site Internet ont également participé à cette diffusion des collections à destination du plus grand nombre. 1997 aura vu, par ailleurs, le Centre proposer à ses personnels un ambitieux plan de formation, approuvé en février par le Comité technique paritaire de l'établissement L'horizon de l'an 2000, dans un bâtiment rénové, avec des moyens et structures adaptés, constitue la grande ambition qui mobilise, aujourd'hui, chacun des collaborateurs et des Amis du Centre ; l'ambition de servir la création et le public, l'ambition de redevenir, au passage du millénaire, un lieu de culture vivante, plurielle, et généreuse. Jean-Jacques Aillagon Le 20e anniversaire du Centre En janvier, le Centre Georges Pompidou fêtait son 20e Anniversaire. Du 22 au 24, un colloque international réunissait de nombreux intervenants autour du thème Les politiques culturelles en Europe. Le 28, l'Atelier Brancusi, les abords rénovés du Centre, le nouvel éclairage des façades est et ouest du bâtiment conçu par Renzo Piano et Jacques Rouveyrollis, ainsi que l'accrochage des collections du Musée Maie in France. 1947-1397. Cinquante ans de création en France étaient inaugurés. Sur la façade principale du bâti­ ment, pendant âeux semaines, Vingt ans d'images d'événements marquants étaient projetés. Au bpurs de trois Journées Portes ouvertes, les 31 janvier, 1er et 2 février, cent mille visiteurs découvraient librement tous les espaces du Centre et de l'Ircam ; un défilé, l'Art en parade, réunissait cent-trente cinq enfants dans des costumes inspirés des œuvres des grands créateurs du siècle. Du 1 - Inauguration de l'Atelier Brancusi, 26 janvier au 23 février, neuf compagnies de danse françaises, parmi les plus re­ le 28 janvier, par le Président Jean-Jacques Aillagon, nommées, se produisaient sur la scène de la Grande salle. Enfin, cet anni­ Madame Claude Pompidou, Philippe Douste-Blazy, versaire était marqué par la publication d'ouvrages de référence sur les collections nationales du Centre. Ministre de la Culture 2 - 20e anniversaire Le Centre Georges Pompidou et I année du Japon A partir de mars, pour cette année du Japon en France, le Centre Georges « Made in France ».
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