Press kit Histoire de l'art cherche personnages... 20.06.2019 — 22.03.2020

Exhibition co-organised with On the cover: Gérard Fromanger, Paramount Cinéma (serie Boulevard des Italiens), 1971, Oil on canvas, 100 x 100 cm Fondation Gandur pour l’Art, Genève. Photographer: André Morin © Gérard Fromanger GENERAL EXPOSITION INFORMATION Histoire de l'art cherche personnages... 20.06.2019 – 22.03.2020 Galleries Foy and Ferrère, 2nd floor

OPENING

Wednesday, June 19th 2019 at 7 pm

CURATORS

Alice Motard with Anne Cadenet and François Poisay (CAPC musée d’art contemporain de Bordeaux) ; Anne Hélène Hoog (Cité internationale de la bande dessinée et de l’image, Angoulême) ; Yan Schubert (Fondation Gandur pour l’Art, Genève).

Exhibition co-organised by the CAPC musée d'art contemporain de Bordeaux, the Cité internationale de la bande dessinée et de l’image, Angoulême and the Fondation Gandur pour l’Art, Genève.

EXHIBITION DESIGN

Éric Troussicot assisted by Coline Clavelloux (Sils Maria architecture).

CONSERVATION AND DESIGN OF THE HANGING OF THE GRAPHIC WORKS

Rebeca Zea assisted by Emma Barada and Olivia Bayle.

FILM PROGRAMME OF THE CINEMA

Thomas Bernard

EXHIBITION BOOKLET

The commentary and drawings (in French) in this booklet are by Philippe Dupuy, with the complicity of Rémy Sellier.

1 LES READY-MADE APPARTIENNENT À TOUT ®, Publicité, Publicité, 1988 Black and white photograph – gelatine silverprint glued on aluminium 152 x 120 cm CAPC musée d’art contemporain Bordeaux. Inv. 1989 – 08 © Galerie Claire Burrus

2 PRESS RELEASE Histoire de l’art cherche personnages…

Bordeaux, As part of the cultural season Liberté ! Bordeaux 2019, the CAPC musée d’art July 2019 contemporain de Bordeaux has partnered with the Cité internationale de la bande dessinée et de l’image in Angoulême and the Fondation Gandur pour l’Art, Genève Translated from french to present an extensive group exhibition based on their respective collections. by Patrick Kremer Major works from the Fondation Gandur pour l’Art forming part of the Narrative Figuration movement (paintings from the 1960s by Gilles Aillaud, Erró, Gérard Fromanger and Jacques Monory) are shown alongside original artwork (plates, graphic novels, installations) by contemporary comic-book authors, scriptwriters and artists, as well as selected works from the CAPC’s own collection. The works on display have been assembled into a thematic journey based on an original exhibition design that borrows its formal vocabulary from Martin Vaughn-James’s visual novel The Cage.

Entitled Histoire de l’art cherche personnages… [History of Art Seeks Protagonists], the exhibition gathers over one hundred works focusing on the representation of the human figure and the individual’s existence in its struggle with the environment, with history and with others. The first part of the exhibition is dedicated to formal explorations of human representation and existence. Between absence, disappearance, becoming-animal, incompleteness and proliferation, the artists’ quest essentially revolves around the human figure. The second, more narrative, chapter of the exhibition is in search of meaning, or rather, of what ‘makes sense’ for humans. How do they consider their (material, moral, social) existence, how do they manage their relationships to others or themselves (their ‘inner demons’)? And how does the individual’s story, or history with a small ‘h’, fit in the grand narrative?

Among other things, this joint exhibition project aims to chart the main developments and achievements in the figurative arts since the end of the 1960s. To what extent have artists reconsidered the question of narrative or social and political critique? How do they manage to root their work in reality, this ‘precious movement of life’, as the art critic Gérald Gassiot-Talabot called it, which has undergone profound social, economic, geopolitical and technological changes?

ARTISTS Absalon, Valerio Adami, Gilles Aillaud, Leonor Antunes, Eduardo Arroyo, David B., OF THE EXHIBITION Christian Babou, Pierre Buraglio, Charles Burns, Cham, Pascal Convert, Hervé Di Rosa, Noël Dolla, Philippe Dupuy, Equipo Crónica, Equipo Realidad, Erró, Richard Fauguet, Chohreh Feyzdjou, André Franquin, Gérard Fromanger, Jochen Gerner, Claude Gilli, Marcel Gotlieb, Emmanuel Guibert, Keith Haring, Noritoshi Hirakawa, On Kawara, Patrice Killoffer, Peter Klasen, les ready-made appartiennent à tout le monde®, Suehiro Maruo, Marc-Antoine Mathieu, Mario Merz, Pierre Molinier, Jacques Monory, Chantal Montellier, Bernard Pages, Bernard Rancillac, Ruppert & Mulot, Claude Rutault, Joe Sacco, Johanna Schipper, Antonio Seguí, Richard Serra, , Pierre Soulages, Art Spiegelman, Benjamin Swaim, , Johannes Van der Beek, Martin Vaughn-James, Claude Viallat, Chris Ware, Willem, Winshluss, Raphaël Zarka

3 GALLERY FERRÈRE 1. Intrigue An advertising poster, a figurative painting, telegrams… three works that have nothing in common: neither their creator, nor their stance, nor their affiliation with Bordeaux, a movement in art history. However, each constructs its own plot. July 2019 The Histoire de l’art cherche personnages… exhibition focuses on a new paradigm, aiming to explore the ways in which the figure has been represented in the history Translated from french of art: through painting, sculpture, comics, photography, video, and installation. by Kelly Smith In September 1988, an agency opened at the Claire Burrus Gallery in , proposing an original commercial paradigm. The agency les ready-made appartiennent à tout le monde® [readymades belong to everyone®], decreed that any buyer of a piece would become its signatory – and therefore its author. The formula taken from the work Publicité, Publicité examines the mechanisms underlying the exhibition and legitimation of works. The artist behind this premise, Philippe Thomas, invites collectors or museums to become part of the story. Casting off his creator persona, he analyses and destabilises the organisation of the art world (its indexing, its exchanges etc.). Here, the search for the figure of the creator employs clues slipped into the body of the text or image. For conceptual artist On Kawara, the work is a sign of life connecting time and space. The I am still alive telegrams addressed to people in the art world as part of his private correspondence, are literally fragments of life reduced to its simplest expression. Meanwhile, Gilles Aillaud’s painting La Table d’entomologiste, in which the elevated perspective creates distance from the tools of scientific observation (or indeed, those of the cartoonist), crystallises the absence of spectacle, and suggests an empty space where the story without characters is yet to be written.

2. Silhouettes Marks, imprints, silhouettes: although the human presence is evoked through absence in Pascal Convert’s wing chair, or reduced to figures by Gérard Fromanger, there is a clear interrogation about individuals and their environments in these works. Via a piece of furniture or an urban space, these two artists display different ways of reflecting about humans and their place in society: traces of a missing person by Convert, whose wing chair reveals only the hollow where his father sat; or a total absence of individuality personified by Fromanger’s uniformly red pedestrians. The father’s absence seems more palpable than the presence of the human silhouettes. Reduced to a pure surface in an urban environment, Fromanger’s characters seem to have lost all individuality and humanity. Silhouettes also feature in the work of Richard Fauguet, allowing the artist to ask questions about the world around him by proposing a new reading of key figures in art history. By drawing on the art world for his references and working on them with simple, familiar materials such as Vénilia® adhesive film, Fauguet blurs the lines between master artists and popular culture. While Convert considers man’s relationship to his history and Fromanger examines consumer society, Fauguet focuses on the collective imagination and frequently uses animals as a counterpoint to humans.

3. Animaux philosophes In the eyes of many writers and artists, animals are more than just rough drafts of humans in the history of evolution. They embody humans in their most unique capacity: thought. Artists have often used animals to make indirect observations about society. In comics and the visual arts, artists often use animals to explore the relationships between nature and culture. A zoomorphic figure, such as Lewis Trondheim’s rabbit McConey, is a way of observing the theatre of the world. Gotlib’s melancholic basset hound Gai-Luron, Joann Sfar’s witty rabbi’s cat, or Chantal Montellier’s more sceptical feline, as well as André Franquin’s courageous Marsupilami, are all indirect and humorous ways of tackling the questions of the human condition. In Raw, Art Spiegelman published the first chapters ofMaus , a tormented tale of the Holocaust, in which the despotic and unfeeling figure of the cat embodies the Nazi executioners who hunt down and exterminate the Jews

4 embodied by mice. The archaic reptilian forms created by the artists Gilles Aillaud and Mario Merz evoke the paradox of nature enclosed in the technical modernity of the world.

4. Attente For many artists, art can only fulfil its purpose and take on its full meaning through audience participation. Viewers must therefore be encouraged to think about their way of seeing. Expectation is therefore a central idea in the work: the artist has expectations, the subject has expectations, the audience has expectations… Keith Haring thought that an artistic project must belong to the public space from its inception, to spread culture as widely as possible. This is why the drawings presented here encourage the beholder to complete them. In the works of Gilles Aillaud, it is more the paradoxical image of the caged animal, robbed of any natural quality (its freedom, its environment, and its movement) that must incite the audience to think about the powerlessness and alienation to which they subject animals, nature, and even themselves. While the animal has lost its freedom, the spectator expects the zoo to entertain them. Therefore, this expectation is imposed on both prisoner and jailer.

5. La cage The space is shared by seven artists: Gilles Aillaud, Leonor Antunes, Christian Babou, Claude Gilli, Bernard Pagès, Martin Vaughn-James, and Claude Viallat. Different media; different materials: works that divide a space, whether displayed on the walls or the floor. However, they represent the same recognisable form: grilles, mesh, cages, interlacing. This language is used by each of the artists as something that reveals or is revealed. Each of them transforms this shared element according to their own principles. Aillaud’s openwork wall that imprisons the animals, depriving them of their freedom; Babou’s social setting and code of propriety governing boundaries and possession; a constant plastic or formal element in Gilli or Viallat; the tension and friction of materials in Pagès; Leonor Antunes’s aerial suspension; and Vaughn-James’ metaphor for a story and the human condition. How can we understand or escape these cages and bars? We are in our own enclosure, that which surrounds and defines a space, a form, and our awareness of this form. It is not an impassable wall. It is not really closed. The mesh, interlaced iron wire (barbed or straight) allows us to see the other side of the scene. Do we need to look through the form? What separates us from the work is this invisible boundary that we must cross. So which side of the bars are we on? The animal in the zoo, deprived of its freedom, the painting confined within the boundaries of our gaze and the canvas, tell us of nature caught in a trap. This is the closed space, the space of our alienation. And this is undoubtedly what we need to recognise: the fragility of our freedom.

6. Démultiplication Speed, precipitation, acceleration: all of these terms related to movement characterise the story of the main character in Six Hundred and Seventy- Six Apparitions of Killoffer. Multiple apparitions of a single figure take us from place to place, from experience to experience, in an in-depth examination of the subconscious and the libido, until it becomes nauseating. While the process of multiplying a figure (the author, in this case) paradoxically leads here to the disappearance and dissolution of that person, in the work of Iranian artist Chohreh Feyzdjou, proliferation is treated differently, as the very structuring principle of her art. The blackened objects in her Products of series play on both the idea of accumulation and that of the inventory. Echoing the 110 bars in Debussy’s Prelude to the Afternoon of a Faun, Ruppert & Mulot explore infinite choreographic combinations of dance, intoxication, and chaotic moments from ordinary lives. While Killoffer and Ruppert & Mulot create multiple spaces by breaking the codes that traditionally govern comics (the panel),

5 Feyzdjou’s use of the line separates, delimits, frames, and structures her story. Whereas they play on the ubiquity and near simultaneity of the scenes, creating an ‘overdose’ effect through the saturation of the space, Feyzdjou’s obliques and meshes evoke the political and economic history of Iran under the reign of the Shah shortly before his fall. For all these artists, the dark side of every story, real or fictitious, is essential – not to mention existential.

7. Dans le noir Nobody knows what goes on in the dark. Darkness is the obscurity that absorbs light like a harbinger of doom. And yet, for many artists, it remains the obsession that drives an inexhaustible chromatic experience. Pierre Soulages makes blackness both object and subject in his pictorial quest, exploring its transparency, its opacity, its materiality, and its luminosity. Meanwhile, Richard Serra draws only in black. His black is dense and deep; it absorbs light and takes on a certain weight that gives near sculptural materiality to his drawings. Cham’s black panels, for one of the first times in the history of comics, are envisaged as an abstract image. He illustrates the darkness into which he plunges his protagonist using a black-filled frame. Franquin’s darkness is cynical and fatalistic. His dark humour masks a terrible and cruel yet truthful graphic depiction of human folly. Jochen Gerner tames the darkness, making it an instrument for revealing pre-existing printed forms by covering them in black. Noël Dolla explores its capacity to help deconstruct a painting and demonstrate how colour reveals both the surface and the medium. Finally, Swaim uses black shades as pretexts for the eruption of white, like dramaturgical elements within a Western. Inescapably, darkness remains a vast continent of multiple meanings, through which we can examine our fears and express our relationship with the world, things, and beings.

GALLERY FOY I. Privacy From the 1960s, the representation of the private space, in opposition to the public space, expressed a transformation of perception and the gaze among artists. Subject from this point on to a critical sociological approach, the representations of privacy, private lives, and private spaces began using bodies and everyday objects to reveal the frustrations and paradoxes of the consumerist and materialist order, seen as oppressive for individuals and their desires. The works in question associate sexuality, eroticism, and matters of identity-seeking with representations of isolation, solitude, and emptiness, which trap, deconstruct, and sometimes interweave bodies and objects in a restrictive manner, within the narrow possibilities of an interminable present. These observations are strongly evident in the works of Valerio Adami, Noritoshi Hirakawa, Peter Klasen, and Pierre Molinier presented here.

II-III. Home

The confrontation of the private and public spaces is also accompanied by a critical artistic perspective on the notion of home. It emphasises the segmentation of family and social lives in the urban architecture. Representing imaginary places, the artists above all denounce the alienating phenomena of juxtapositions, alignments, order, and classification, which are manifested in the use of geometric forms and lead to standardised perceptions and lifestyles. This generates multiple, rigid frameworks, within which private lives and individualities struggle to flourish. Valerio Adami’s disorder within order; the standardisation of tastes, languages, and forms in the works of Raphaël Zarka and Jochen Gerner; the diverse movements and stages of human life within identical structures in the art of Chris Ware; and

6 even the infinite nightmare of being trapped in one’s home and oneself as depicted by Marc-Antoine Mathieu; all invite the audience to consider the limits of their private space and their freedom. Nevertheless, this private space is not a closed one: it is permeable to the world. Consumer society has successfully and easily infiltrated our interior spaces. Even war invades private bourgeois spaces, as portrayed by Erró, who brings the Vietnam War into a bedroom. Meanwhile, the image of the ideal family depicted by Equipo Realidad is on the verge of disintegration.

IV-V. Trauma The opposition between the perfect interior world of homes and man’s barbaric potential invites us to reflect on the human capacity for atrocities, as embodied by Johannes Van der Beek’s landscape of ruins. War, a key element here, and the trauma it generates, is used to reflect on humankind and its capacity for destruction, as if war were an external expression of an internal conflict. Joe Sacco depicts the first day of the Battle of the Somme during the First World War, in a powerful, 18-metre long leporello. Naïvely enthusiastic, the soldiers do not yet seem to realise that they will become cannon fodder, as the day unfolds before the spectator’s eyes. Criticism of war and authoritarian regimes is just as essential in the works of Spanish artists Eduardo Arroyo and the Equipo Crónica, denouncing Francoism and its atrocities. Of great importance for our understanding of the extermination of the Jewish populations in Europe and the resulting trauma, Art Spiegelman’s work gives an account of the Second World War and the genocidal process. Despite the chants of ‘never again’ after the two world wars, conflict continues. This cry, which seems never-ending in Absalon’s art and crystallises trauma, does not prevent new conflicts, as observed by Emmanuel Guibert, who bases his drawings and narrative on the photographs taken by Didier Lefèvre during the War in Afghanistan.

VI-VII. Blue Spill

Jacques Monory and blue go hand in hand. The presentation of eight works created between 1967 and 1975 immerses us in a strange and violent world where death awaits at every brushstroke, like a bullet fired from a revolver. This bullet tears through the canvas, smashes through the mirror, and leads to the hospital or the morgue. These paintings are fragmented stories where time is divided like film stills, like the photographic snapshots that the artist began projecting onto the canvas from the late 1960s. Multiple images, multiple meanings. His work is a private document, too: his wife, his son, a bedroom, a window with a man looking through it. Monory often worked in series. After his Meurtres – of which numbers V, VI, and IX are displayed here – came Velvet Jungle, numbers 7 and 15. Danger lurks, ready to pounce from the bushes, from parks, and amidst flowers. This reality is no longer the one we see. The painting is not a representation of reality. It is a long process of memory, of re-composing the images that surround us. The artist mixes these in an autobiography made up of illusions and real recollections, influenced by childhood memories of films in travelling cinemas, where night scenes were created by adding a blue filter. Monory is the painter of cinema: of this great illusion, of dreams projected onto the screen. The colour blue, which distances us from the subject, is transferred into his paintings. Unlike pop artists, Monory does not use painting as an aesthetic criticism of the environment, of the over-abundant and proliferating image, of the object, or of a consumer society. Instead, he uses shots and countershots ’cut’ on the canvas as if with a scalpel to give his paintings meaning, dividing each part into two, three, or four elements. They complement each other and create the work: the mirror and the pistol, the explosion and the bride, the flowers and the couple, the cemetery and the opera seats. In these juxtapositions and these obsessions, Jacques Monory proclaims the truth of his painting.

7 VIII-IX. Les démons The word ’demon’ refers both to the demonic being that torments us, and to the anguishes and obsessions that haunt Humanity, sometimes causing people to commit the worst of evils. It can be seen as having a destructive and harmful connotation, but among the artists united by this theme, these definitions vary with the stories they tell: Epileptic by David B., Black Hole by Charles Burns, Six Hundred and Seventy-Six Apparitions of Killoffer by Killoffer,Le Somnambule by Suehiro Maruo, Anastasia chez son coiffeur à New Yorkby Bernard Rancillac, Les Truites du gratte-ciel by Johanna Schipper, and Pinocchio by Winshluss. These works are not just about crime, horror, or madness. They also address the banal human condition: fear, illness, alienation, or the impossible quest for freedom. It is this shift that stokes our fears and reveals our spectres. Those we have buried deep within ourselves. The comics by Burns and David B. appeared in black and white, while Winshluss uses colour. This duotone is necessary for the story: black is very present on the paper, sometimes functioning as a solid block or accentuating the contrasts between shapes. It sits between the lines of the story, its intensity and its presence transforming the narrative, bringing out the characters’ inner demons. The panels change shape: reality, imagination, and dreams become confused in a phantasmagorical universe. All the difficulty of living, loving, and dying is explored in the form of drawing. How can these bonds of love, their relationship to time, to others and to our fears be expressed on paper? All it takes is a pencil line to strike out the boundaries between good and evil, and to tell the tale of a human adventure.

X. Le musée The exhibition design for Histoire de l'art cherche personnages… takes its formal vocabulary from Martin Vaughn-James’ The Cage, a 1975 visual novel, with no apparent plot and no characters. Thus, in the exhibition, each support used for displaying drawings, comic book pages, or other works (i.e. the lectern, the billboard, the maze, the library, and the pyramid) has been designed with the universe of this unique narrative premise in mind. In a workbook containing his notes on the origins of the work, Vaughn-James wrote in 1972: ’Re-reading the manuscript so far, it is becoming increasingly clear that these rooms and these corridors suggest a museum more than any other building. So rather than trying to suppress this effect, I will strengthen it and develop it.’ Vaughn-James exploits this paradigm of the museum in his graphic novel by introducing motifs that are characteristic of the identity of museums (canvases, frames, display cases, and pedestals). The real museum, the CAPC, harnesses the author’s observation about The Cage by taking it literally. Its museum identity is not only strengthened or developed, but also enhanced, because works from three collections (CAPC, FGA, and CIBDI) are presented here – stretchers painted or covered in nylon by Pierre Buraglio, or stacked by Choreh Feyzdjou, or Claude Rutault’s canvases – in a room with cracks and holes in the walls. This recreated museum world is crumbling: it reproduces the instabilities, the cracks, and the stains of the settings devised for the strangely disturbing and sometimes apocalyptic sequences of The Cage, page after page, in places that seem to bear the scars of their past, just like the CAPC…

XI. Tabloïds Positioning their works at the crossroads between history and art history, many artists and authors give their subjects a political meaning, in both form and content. The entertainment culture of the 1950s and 1960s spread stereotypes of women, social relationships, and morality. These were to become central elements in the critical arsenal of artists. Through explicit parodies, distortions or simple restatements, their images draw on publicity and popular literature (comic books, photo-novels, films, the press, airport novels, and television), to denounce both the propagation of consumerist models and the trivialisation of violence

8 and prejudices. In doing so, they are not seeking to re-establish moral values, but rather to reawaken the political and self-critical conscience of observers, in the face of confusion, clichés, and the serialisation of cultural products. The subversive and underground alternatives proposed by the works draw attention to the standardisation of mental and aesthetic representations, of language, and of the dominant values.

XII. Cabinet de lecture Comics are difficult to exhibit: their stories and structure are inextricably connected to the book format, except for certain plates or short stories that can be read in a few sheets and can therefore be hung on the walls. It is the album, the book, that matters: this object that we hold in our hands, which combines illustrations and a narrative. Exhibiting a single plate would emphasise the artwork more than the story. It would truncate the plot. The reader needs to turn the pages to move on, discover what cannot be seen in a single glance, to get to the ending. It was important to allow visitors to read these albums and stories in their entirety. This reading room also shows the full diversity of comics and their covers, with a subjective choice bringing together the different genres from the last 50 years. On these shelves, the combined colours and shapes of the album covers create a kind of reconstructed landscape that is comparable to the paintings of Eduardo Arroyo. Entering this landscape is like stepping into a comic book, to embark on a quest for the character and their story.

XIII. Cinéma What is it that captivates us, like big kids, about those little moving pictures of Mickey Mouse on our screens? In Mon placard by Blanquet & Olive, a teenager shut in a cupboard discovers his family and his past through a little hole in one of the doors. Winshluss, a great moralist, has suffered from a very young age with frustrated Walt Disney syndrome. He turns Disney’s Wonderful World inside out like a rabbit skin, showing the horrific dark side of our Western society. As for the mysterious Pierre La Police, he extends his fantastic, regressive madness in a strange video advertisement, showing a procession of giant squamas across a ruined city. Luckily, Julie Doucet is desperately searching for an emergency exit, while Fabio Viscogliosi hypnotises us with an epileptic volcanic eruption. It’s too late to escape… There’s no fooling the children now. They know very well that the adult world is a pack of lies, and that nothing will change. They will look on, consoled only by the thought that although it seems futile to try and change the situation, they can at least still laugh at it.

9 LIST OF WORKS PRESENTED

Absalon 195 x 250,5 cm Bruits Fondation Gandur pour l'Art, Genève 1993 Inv. FGA-BA-AILLA-0003 Video 3'43 CAPC musée d'art contemporain de Bordeaux Leonor Antunes Inv. 1997-03 Semantics of the Grid 2012 Teak and nylon wires Valerio Adami 240 x 186 x 36 cm Privacy, gli omosessuali CAPC musée d'art contemporain de Bordeaux 1967 Inv. 2016-12 Acrylic on canvas 195 x 130,3 cm Fondation Gandur pour l'Art, Genève Eduardo Arroyo Inv. FGA-BA-ADAMI-0001 La Femme sans tête 1964 Oil on canvas Valerio Adami 146 x 112,6 cm Interno pubblico Fondation Gandur pour l'Art, Genève 1969 Inv. FGA-BA-ARROY-0001 Acrylic on canvas 242 x 363,5 cm Fondation Gandur pour l'Art, Genève Eduardo Arroyo Inv. FGA-BA-ADAMI-0005 Neuf lendemains de Waterloo 1964-1965 Oil on canvas Gilles Aillaud 220 x 300 cm La Table d'entomologiste Fondation Gandur pour l'Art, Genève 1960 Inv. FGA-BA-ARROY-0003 Oil on canvas 80 x 99,2 cm Fondation Gandur pour l'Art, Genève David B. Inv. FGA-BA-AILLA-0004 L'Ascension du Haut-Mal tome 4, planche n° 30 1999 Gilles Aillaud Indian ink on paper Serpent, porte et mosaïque 50 x 32,5 cm 1972 © musée de la bande dessinée, Cité internationale de la bande Oil on canvas dessinée et de l'image, Angoulême 146,3 x 114,3 cm Dépôt du Centre national des arts plastiques, Paris Fondation Gandur pour l'Art, Genève Inv. FNAC n° 2000-410 Inv. FGA-BA-AILLA-0002

David B. Gilles Aillaud L'Ascension du Haut-Mal Une grande famille de lions tome 4, planche n° 31 1969 1999 Oil on canvas Indian ink on paper 200 x 277 cm 49,9 x 32,4 cm Fondation Gandur pour l'Art, Genève © musée de la bande dessinée, Cité internationale de la bande Inv. FGA-BA-AILLA-0001 dessinée et de l'image, Angoulême Dépôt du Centre national des arts plastiques, Paris Inv. FNAC n° 2000-411 Gilles Aillaud Grille et grillage 1971 Oil on canvas

10 David B. Pierre Buraglio L'Ascension du Haut-Mal Châssis tome 2, planche n° 22 1974 1997 Chassis, nylon sheet and painted brackets Indian ink on paper 169,3 x 128,8 cm x 3 cm 44,5 x 32,5 cm Fondation Gandur pour l'Art, Genève Galerie Anne Barrault, Paris Inv. FGA-BA-BURAG-0001

David B. Pierre Buraglio L'Ascension du Haut-Mal Châssis tome 2, planche n° 23 1974-1975 1997 Roughly painted chassis and nylon wires Indian ink on paper 146,2 x 114,8 x 2 cm 44,5 x 32,5 cm Fondation Gandur pour l'Art, Genève Galerie Anne Barrault, Paris Inv. FGA-BA-BURAG-0002

David B. Charles Burns L'Ascension du Haut-Mal Sans titre (serie Black Hole) tome 2, planche n° 32 [2011] 1997 Silkscreen n° 64/75 Indian ink on paper 50 x 35 cm 44,5 x 32,5 cm Private collection Galerie Anne Barrault, Paris

Charles Burns David B. Sans titre (serie Black Hole) L'Ascension du Haut-Mal [2011] tome 2, planche n° 33 Silkscreen n° 68/75 1997 50 x 35 cm Indian ink on paper Private collection 44,5 x 32,5 cm Galerie Anne Barrault, Paris Charles Burns Black Hole David B. 2005 L'Ascension du Haut-Mal Ink on primed polyester canvas tome 2, planche n° 54 350 x 500 cm ; 217 x 720 cm ; 350 x 500 cm (from left to right) 1997 Courtesy of the artist Indian ink on paper 44,5 x 32,5 cm Galerie Anne Barrault, Paris Cham Histoire de Mr Lajaunisse 1839 David B. Album of bound lithographic boards L'Ascension du Haut-Mal 15 x 25 cm tome 2, planche n° 55 Private collection 1997 Indian ink on paper 44,5 x 32,5 cm Pascal Convert Galerie Anne Barrault, Paris Autoportrait 1992 White wax Christian Babou 90 x 61 x 64,4 cm Piscine – Grillage à bordure défensive CAPC musée d'art contemporain de Bordeaux 1974 Inv. 1992-12 Acrylic on canvas 116 x 94 cm Fondation Gandur pour l'Art, Genève Inv. FGA-BA-BABOU-0006

11 Noël Dolla Richard Fauguet Croix Sans titre 1976 1996-2004 Oil on canvas Venilia® adhesive paper 194,9 x 195,1 cm Variable dimensions (scale 1/1) Fondation Gandur pour l'Art, Genève Centre national des arts plastiques, Paris Inv. FGA-BA-DOLLA-0002 Inv. FNAC n° 04-212 (1 à 69)

Hervé Di Rosa Chohreh Feyzdjou Avez-vous tous les numéros de Di Rosa Série L Magazine ? 1993 1985 Paper, glue, typographic ink, pigments, string Acrylic on canvas 218 x 200 x 78 cm 225 x 200 cm Centre national des arts plastiques, Paris CAPC musée d'art contemporain de Bordeaux Dépôt au CAPC musée d'art contemporain de Bordeaux Inv. 1985-15 Inv. FNAC n° 02-940

Philippe Dupuy Chohreh Feyzdjou Une histoire de l'art Série H 2014 1989-1993 Mechanical and luminous installation Wood, glue, material, pigments, walnut stain 137 x 1420 x 58 cm 336 x 131 x 124 cm La Ferme du Buisson, Noisiel Centre national des arts plastiques, Paris Dépôt au CAPC musée d'art contemporain de Bordeaux Inv. FNAC n° 02-941 Equipo Crónica La filaou Autoridades 1965 Chohreh Feyzdjou Oil on hardboard panel Sans titre 65 x 81 cm 1977 Fondation Gandur pour l'Art, Genève Ivory vellum paper, black ink, graphite glued on cardboard Inv. FGA-BA-CRONI-0001 104,7 x 74 cm Centre national des arts plastiques, Paris Dépôt au CAPC musée d'art contemporain de Bordeaux Equipo Realidad Inv. FNAC n° 05-001 La familia americana 1969-1970 Oil on hardboard panel Chohreh Feyzdjou 78,2 x 92,2 cm Sans titre Fondation Gandur pour l'Art, Genève 1977 Inv. FGA-BA-REALI-0001 Ivory drawing paper, black ink 32 x 23,4 cm Centre national des arts plastiques, Paris Erró Dépôt au CAPC musée d'art contemporain de Bordeaux Intérieur américain n° 5 Inv. FNAC n° 05-201 (série Intérieurs américains) 1968 Oil on canvas Chohreh Feyzdjou 148,5 x 194,5 cm Sans titre Fondation Gandur pour l'Art, Genève 1977 Inv. FGA-BA-ERRO-0014 Ivory drawing paper, cardboard, black ink, graphite 32 x 22,5 cm Centre national des arts plastiques, Paris Erró Dépôt au CAPC musée d'art contemporain de Bordeaux The Popular Queen Inv. FNAC n° 05-197 (série La Peinture en groupes) 1967 Oil and acrylic on canvas 127,7 x 84,4 cm Fondation Gandur pour l'Art, Genève Inv. FGA-BA-ERRO-0012 12 Chohreh Feyzdjou Chohreh Feyzdjou Sans titre Sans titre 1977 1977 Ivory drawing paper, cardboard, black ink Ivory drawing paper, black ink 31,9 x 23,4 cm 31,9 x 23,4 cm Centre national des arts plastiques, Paris Centre national des arts plastiques, Paris Dépôt au CAPC musée d'art contemporain de Bordeaux Dépôt au CAPC musée d'art contemporain de Bordeaux Inv. FNAC n° 05-198 Inv. FNAC n° 05-203

Chohreh Feyzdjou Chohreh Feyzdjou Sans titre Sans titre 1977 1977 Drawing paper, cardboard, black ink, pasted paper Ivory drawing paper, blue ballpoint pen 31,9 x 22,5 cm 32 x 16,5 cm Centre national des arts plastiques, Paris Centre national des arts plastiques, Paris Dépôt au CAPC musée d'art contemporain de Bordeaux Dépôt au CAPC musée d'art contemporain de Bordeaux Inv. FNAC n° 05-195 Inv. FNAC n° 05-204

Chohreh Feyzdjou Chohreh Feyzdjou Sans titre Sans titre 1977 1977 Ivory drawing paper, carboard, black ink, pasted paper White drawing paper, black ink 32 x 22,5 cm 24 x 15,8 cm Centre national des arts plastiques, Paris Centre national des arts plastiques, Paris Dépôt au CAPC musée d'art contemporain de Bordeaux Dépôt au CAPC musée d'art contemporain de Bordeaux Inv. FNAC n° 05-196 Inv. FNAC n° 05-205

Chohreh Feyzdjou Chohreh Feyzdjou Sans titre Sans titre 1977 1977 Ivory drawing papier, black ink Ivory drawing paper, black ink, graphite, traces of pasted paper 32 x 23,4 cm 31,8 x 22,8 cm Centre national des arts plastiques, Paris Centre national des arts plastiques, Paris Dépôt au CAPC musée d'art contemporain de Bordeaux Dépôt au CAPC musée d'art contemporain de Bordeaux Inv. FNAC n° 05-200 Inv. FNAC n° 05-178

Chohreh Feyzdjou Chohreh Feyzdjou Sans titre Sans titre 1977 1977 Ivory drawing paper, cardboard, black ink Ivory drawing paper, black ink, graphite 32 x 22,7 cm 32 x 22,7 cm Centre national des arts plastiques, Paris Centre national des arts plastiques, Paris Dépôt au CAPC musée d'art contemporain de Bordeaux Dépôt au CAPC musée d'art contemporain de Bordeaux Inv. FNAC n° 05-193 Inv. FNAC n° 05-179

Chohreh Feyzdjou Chohreh Feyzdjou Sans titre Sans titre 1977 1977 PIvory drawing paper, cardboard, black ink Ivory drawing paper glued on cardboard, black ink, 32 x 22,8 cm graphite, pasted paper Centre national des arts plastiques, Paris 32 x 23,3 cm Dépôt au CAPC musée d'art contemporain de Bordeaux Centre national des arts plastiques, Paris Inv. FNAC n° 05-194WW Dépôt au CAPC musée d'art contemporain de Bordeaux Inv. FNAC n° 05-180

13 Chohreh Feyzdjou Gérard Fromanger Sans titre L'Autre 1977 (serie Boulevard des Italiens) Ivory drawing paper, black ink, graphite 1971 32 x 22,6 cm Oil on canvas Centre national des arts plastiques, Paris 100 x 100 cm Dépôt au CAPC musée d'art contemporain de Bordeaux Fondation Gandur pour l'Art, Genève Inv. FNAC n° 05-181 Inv. FGA-BA-FROMA-0002

Chohreh Feyzdjou Gérard Fromanger Sans titre Le Voyou 1977 (serie Boulevard des Italiens) Ivory drawing paper, cardboard, graphite, black ink 1971 32 x 22,5 cm Oil on canvas Centre national des arts plastiques, Paris 100 x 100 cm Dépôt au CAPC musée d'art contemporain de Bordeaux Fondation Gandur pour l'Art, Genève Inv. FNAC n° 05-185 Inv. FGA-BA-FROMA-0005

Franquin Jochen Gerner Spirou et Fantasio, Le Gorille a bonne mine, Winternachmittag board n° 8 2017 1959 Acrylic on catalog pages Indian ink on paper 144 x 192 cm 48,5 x 32,8 cm Galerie Anne Barrault, Paris © musée de la bande dessinée, Cité internationale de la bande dessinée et de l'image, Angoulême Inv. 77.2.45 Jochen Gerner Sleeping (serie Home) 2008 Franquin Acrylic on IKEA catalog pages Les Idées Noires, Les Guillotines 100 x 144 cm board n° 13 Galerie Anne Barrault, Paris 1978 Indian ink on paper 25,8 x 36,3 cm et 25,8 x 36,7 cm Jochen Gerner © musée de la bande dessinée, Cité internationale de la bande Working (serie Home) dessinée et de l'image, Angoulême 2008 Inv. 90.19.55 et 90.19.55bis Acrylic on IKEA catalog pages 100 x 144 cm Galerie Anne Barrault, Paris Franquin Les Idées Noires board n° 48 Claude Gilli 1981 Grillages Indian ink on paper 1968-1969 38,3 x 29,6 cm Silkscreened Plexiglas © musée de la bande dessinée, Cité internationale de la bande 122 x 22,5 cm (each) dessinée et de l'image, Angoulême Musée des Beaux-Arts, Bordeaux Dépôt du Centre national des arts plastiques, Paris Dépôt au CAPC musée d'art contemporain de Bordeaux Inv. FNAC n° 90503 Inv. BX 2004.3.1

Gérard Fromanger Gotlib Paramount cinéma Jujube et Gai-Luron, C'est l'histoire d'un mec, (serie Boulevard des Italiens) board n° 1105/1 1971 1967 Oil on canvas Ink on paper 100 x 100 cm 45,3 x 39,7 cm Fondation Gandur pour l'Art, Genève Collection Madame Gotlieb Inv. FGA-BA-FROMA-0001 14 Gotlib Keith Haring Jujube et Gai-Luron, C'est l'histoire d'un mec, Sans titre board n° 1105/2 1985 1967 Black pen, white vinyl glued on wood Ink on paper 120 x 160 cm 45,3 x 39,9 cm CAPC musée d'art contemporain de Bordeaux Collection Madame Gotlieb Inv. 2018-10

Gotlib Keith Haring Jujube et Gai-Luron, Histoire de l'art, Sans titre board n° 1154/1 1985 Not dated Black pen, white vinyl glued on wood Ink on paper 120 x 160 cm 45,5 x 40 cm CAPC musée d'art contemporain de Bordeaux Collection Madame Gotlieb Inv. 2018-12

Gotlib Keith Haring Jujube et Gai-Luron, Histoire de l'art, Sans titre board n° 1154/2 1985 Not dated Black pen, white vinyl glued on wood Ink on paper 120 x 160 cm 45,5 x 40 cm CAPC musée d'art contemporain de Bordeaux Collection Madame Gotlieb Inv. 2018-19

Emmanuel Guibert Keith Haring Le Photographe, volume n° 2, boards n° 9, 10 Sans titre 2003-2006 1985 Indian ink on paper Black pen, white vinyl glued on wood 29,5 x 42 cm (each board) 120 x 160 cm © musée de la bande dessinée, Cité internationale de la bande CAPC musée d'art contemporain de Bordeaux dessinée et de l'image, Angoulême Inv. 2018-20 Dépôt de l'artiste Inv. 140AII, 140BI, 140BIII / 141CI, 141CII Keith Haring Sans titre Emmanuel Guibert 1985 Le Photographe, volume n° 3, boards n° 5, 6, 7, 8, Black pen, white vinyl glued on wood 9, 10, 11, 12 120 x 160 cm 2003-2006 CAPC musée d'art contemporain de Bordeaux Indian ink on paper Inv. 2018-24 29,5 x 42 cm (each board) © musée de la bande dessinée, Cité internationale de la bande dessinée et de l'image, Angoulême Noritoshi Hirakawa Dépôt de l'artiste Dialogues for the time being for being, 11:30 Inv. 206AI, 206AII, 206BI, 206BII, 206BIII / 206CI, 206CII, 206CIII, a.m., October 8, 1993/East Village, Manhattan/1 206DI, 206DII, 206DIII / 207AI, 207AII, 207AIII, 207BI, 207BII, year/28/New York/Brown/ Green/5'22''/Coco/Black 207BIII / 207CI, 207CII, 207CIII, 207DI, 207DII, 207DIII / 208AI, 1993 208AII, 208AIII, 208BI, 208BII, 208BIII / 208CI, 208CII, 208CIII, Black and white photograph 208DI, 208DII, 208DIII / 209AI, 209AII, 209AIII, 209BI, 209BII / 100 x 67 cm 209CI, 209CII, 209DI, 209DII CAPC musée d'art contemporain de Bordeaux Inv. 1996-12 (1)

Emmanuel Guibert, Didier Lefèvre et Frédéric Lemercier Portfolio issu du coffret intégral Le Photographe 2007 23,5 x 31 cm Private collection 15 Noritoshi Hirakawa On Kawara Dialogues for the time being for being, 1:45 p.m., I am still alive October 26, 1993/West Village, Manhattan/1 year 16 October 1988 and 9 months/28/New York, Brown/Brown/5'4''/ Telegram (ink on paper) Vetiver/Black 14,5 x 21 cm 1993 CAPC musée d'art contemporain de Bordeaux Black and white photograph Inv. 1988-40 (4) 100 x 67 cm CAPC musée d'art contemporain de Bordeaux Inv. 1996-12 (2) On Kawara I am still alive 1st October 1988 Noritoshi Hirakawa Telegram (ink on paper) Dialogues for the time being for being, 4:00 p.m., 14,5 x 21 cm October 23, 1993/Grammercy Park, Manhattan/6 CAPC musée d'art contemporain de Bordeaux months/30/New Jersey/Brown/Brown/5'5''/Coco/ Inv. 1988-40 (5) Black 1993 Black and white photograph On Kawara 100 x 67 cm I am still alive CAPC musée d'art contemporain de Bordeaux 29 October 1988 Inv. 1996-12 (3) Telegram (ink on paper) 14,5 x 21 cm CAPC musée d'art contemporain de Bordeaux Noritoshi Hirakawa Inv. 1988-40 (6) Dialogues for the time being for being, 10:15 a.m., October 26, 1993/Upper West Side, Manhattan/4 years and 2 months/36/Missouri, Blonde/ Killoffer Blue/5'3''/ Coco/Champagne, Red, Black Six cent soixante-seize apparitions de Killoffer, 1993 boards n° 17, 18, 19, 20, 21, 22 Black and white photograph 2002 100 x 67 cm Indian ink and Tippex® on paper CAPC musée d'art contemporain de Bordeaux 54,8 x 37,8 cm Inv. 1996-12 (4) © musée de la bande dessinée, Cité internationale de la bande dessinée et de l'image, Angoulême Inv. 2004.2.17 /2004.2.18 /2004.2.19 / 2004.2.20 / 2004.2.21 / On Kawara 2004.2.22 I am still alive 15 June 1988 TTelegram (ink on paper) Killoffer 14,5 x 21 cm Six cent soixante-seize apparitions de Killoffer, CAPC musée d'art contemporain de Bordeaux boards n° 31, 32, 33, 34, 35 et 36 Inv. 1988-40 (1) 2002 Indian ink and Tippex® on paper 54,8 x 37,8 cm On Kawara © musée de la bande dessinée, Cité internationale de la bande I am still alive dessinée et de l'image, Angoulême 9 July 1988 Inv. 2007.3.8 / 2007.3.9 / 2007.3.10 / 2007.3.11 / 2007.3.12 / Telegram (ink on paper) 2007.3.13 14,5 x 21 cm CAPC musée d'art contemporain de Bordeaux Inv. 1988-40 (2) Killoffer Six cent soixante-seize apparitions de Killoffer, boards n° 1, 25 On Kawara 2002 I am still alive Indian ink and Tippex® on paper 19 July 1988 54,8 x 37,8 cm Telegram (ink on paper) © musée de la bande dessinée, Cité internationale de la bande 14,5 x 21 cm dessinée et de l'image, Angoulême CAPC musée d'art contemporain de Bordeaux Inv. 2004.2.1 / 2007.3.3 Inv. 1988-40 (3)

16 Killoffer Ink on paper Six cent soixante-seize apparitions de Killoffer, 29,5 x 21,5 cm boards n° 27, 28 Galerie Georges-Philippe & Nathalie Vallois, Paris 2002 Indian ink and Tippex® on paper 54,8 x 37,8 cm Suehiro Maruo © musée de la bande dessinée, Cité internationale de la bande New National Kid, Le Somnambule, dessinée et de l'image, Angoulême board n° 128 Inv. 2007.3.4 / 2007.3.5 1988 Ink on paper 29,5 x 21,5 cm Peter Klasen Galerie Georges-Philippe & Nathalie Vallois, Paris Robinet n° 5 1968 Acrylic on canvas Suehiro Maruo 91 x 64,7 cm New National Kid, Le Somnambule, Fondation Gandur pour l'Art, Genève board n° 136 Inv. FGA-BA-KLASE-0008 1988 Ink on paper 29,5 x 21,5 cm Peter Klasen Galerie Georges-Philippe & Nathalie Vallois, Paris Fait du jour 1968 Acrylic on canvas Marc-Antoine Mathieu 92 x 65,2 cm Julius Corentin Acquefacques, prisonnier des Fondation Gandur pour l'Art, Genève rêves, volume n° 3, Le Processus, board n° 44 Inv. FGA-BA-KLASE-0005 1993 Indian ink, white gouache, collage and print on paper 42 x 29,6 cm Peter Klasen © musée de la bande dessinée, Cité internationale de la bande Grand lavabo + 3 interrupteurs dessinée et de l'image, Angoulême 1968 Inv. 2010.6.3 Acrylic on canvas 162,2 x 130 cm Fondation Gandur pour l'Art, Genève Marc-Antoine Mathieu Inv. FGA-BA-KLASE-0007 Julius Corentin Acquefacques, prisonnier des rêves, volume n° 3, Le Processus, board n° 45 1993 Les ready-made appartiennent à tout le monde® Indian ink, white gouache, collage and print on paper Publicité, Publicité 36,5 x 26 cm 1988 © musée de la bande dessinée, Cité internationale de la bande Black and white photograph – gelatine silverprint glued on dessinée et de l'image, Angoulême aluminium Inv. 2010.6.6 152 x 120 cm CAPC musée d'art contemporain de Bordeaux Inv. 1989-08 Marc-Antoine Mathieu Julius Corentin Acquefacques, prisonnier des rêves, volume n° 3, Le Processus, board n° 46 Suehiro Maruo 1993 New National Kid, Le Somnambule, Indian ink, white gouache, collage and print on paper board n° 124 36,5 x 27 cm 1988 © musée de la bande dessinée, Cité internationale de la bande Ink on paper dessinée et de l'image, Angoulême 29,5 x 21,5 cm Inv. 2010.6.7 Galerie Georges-Philippe & Nathalie Vallois, Paris

Mario Merz Suehiro Maruo Hommage à Arcimboldo New National Kid, Le Somnambule, 1987 board n° 126 Iron, glas, neon light, newspaper, paraffin and glycerophtalic paint 1988 100 x 937 x 185 cm

17 Musée national d’art moderne, Centre Pompidou, Paris Jacques Monory Dépôt au CAPC musée d'art contemporain de Bordeaux 14 juillet privé Inv. AM 1988-1178 1967 Oil on canvas glued on cut-out wood panels, shower hose and plastic ball Pierre Molinier 190,5 x 284,2 x 14 cm Sans titre Fondation Gandur pour l'Art, Genève 1970 Inv. FGA-BA-MONOR-0008 Black and white photograph 17,8 x 12,6 cm CAPC musée d'art contemporain de Bordeaux Jacques Monory Inv. 2000-15 Velvet Jungle n° 7 1969 Oil on canvas Pierre Molinier 162 x 225 cm (diptych) Sans titre Fondation Gandur pour l'Art, Genève 1967 Inv. FGA-BA-MONOR-0009 Black and white photograph 17,1 x 11,9 cm CAPC musée d'art contemporain de Bordeaux Jacques Monory Inv. 2000-16 Velvet Jungle n° 15 1971 Oil on canvas Jacques Monory 195 x 520 cm (quadriptych) En murmurant Fondation Gandur pour l'Art, Genève 1970 Inv. FGA-BA-MONOR-0011 Oil on canvas 194 x 195 cm (diptych) Fondation Gandur pour l'Art, Genève Jacques Monory Inv. FGA-BA-MONOR-0005 Opéra glacé n° 10 – Penn Opera 1975 Oil on canvas Jacques Monory 195 x 130 cm Meurtre n° V – Variation avec miroir Fondation Gandur pour l'Art, Genève 1968 Inv. FGA-BA-MONOR-0007 Oil on canvas and mirror with bullet impact 92,2 x 100 cm Fondation Gandur pour l'Art, Genève Chantal Montellier Inv. FGA-BA-MONOR-0004 Wonder City 1983 Indian ink on paper and glued rhodoid Jacques Monory 41,3 x 27,9 cm Meurtre n° VI © musée de la bande dessinée, Cité internationale de la bande 1968 dessinée et de l'image, Angoulême Oil on canvas and Plexiglas with bullet impacts Inv. 95.2.2 121,1 x 69 cm Fondation Gandur pour l'Art, Genève Inv. FGA-BA-MONOR-0003 Bernard Pagès Fagot 1968 Jacques Monory Fencing and wood Meurtre n° IX (Portrait de Camille Adami) 34 x 122 x 34 cm 1968 Fondation Gandur pour l'Art, Genève Oil on canvas Inv. FGA-BA-PAGES-0003 146 x 114 cm Fondation Gandur pour l'Art, Genève Inv. FGA-BA-MONOR-0002 Bernard Rancillac Le Secret de Morton 1966 Acrylic on canvas 199,8 x 199,6 cm

18 Fondation Gandur pour l'Art, Genève Richard Serra Inv. FGA-BA-RANCI-0008 Alberta Hunter 1984 Oil pastel on paper, silkscreen print n° 12/28 Ruppert & Mulot 134 x 153 cm Soirée d'un faune CAPC musée d'art contemporain de Bordeaux 2018 Inv. 2007-10 Ink on paper 29,7 x 21 cm chacun (13 drawings) Courtesy the artists Joann Sfar Le Chat du Rabbin, volume n° 1, La Bar-Mitsva, board n° 8 Ruppert & Mulot 2001 Soirée d'un faune Indian ink and Tippex® on paper 2018 32 x 23,9 cm Drawing in four-colour process printing © musée de la bande dessinée, Cité internationale de la bande Published by L’Association dessinée et de l'image, Angoulême 132 x 100 cm Inv. 2003.12.1 Private collection

Joann Sfar Claude Rutault (by delegation to Anne Cadenet, Le Chat du Rabbin, volume n° 1, Alice Motard and François Poisay) La Bar-Mitsva, board n° 9 Quelques jours avant l'exposition 2001 January 1997 Indian ink and Tippex® on paper Acrylic and oil on canvas 32 x 23,9 cm 73,5 x 52,5 cm ; 46 x 38 cm ; 55 x 46,5 cm ; 14,5 x 22 cm ; © musée de la bande dessinée, Cité internationale de la bande 10,5 x 15 cm dessinée et de l'image, Angoulême CAPC musée d'art contemporain de Bordeaux Inv. 2003.12.2 Inv. 2007-09 (1 à 5)

Joann Sfar Joe Sacco Le Chat du Rabbin, volume n° 1, La Grande Guerre : Le premier jour de la bataille La Bar-Mitsva, board n° 10 de la Somme 2001 2014 Indian ink and Tippex® on paper Print on paper 31,8 x 23,8 cm Published by Futuropolis © musée de la bande dessinée, Cité internationale de la bande 21 x 753 cm (unfolded) dessinée et de l'image, Angoulême Private collection Inv. 2003.12.3

Johanna Schipper Joann Sfar Les Truites du gratte-ciel. Rêve du 10 mai 2011 Le Chat du Rabbin, volume n° 1, 2011 La Bar-Mitsva, board n° 11 Collage, wash drawing, Indian ink and felt pen on paper 2001 72,2 x 30,8 cm Indian ink and Tippex® on paper © musée de la bande dessinée, Cité internationale de la bande 31,9 x 23,8 cm dessinée et de l'image, Angoulême © musée de la bande dessinée, Cité internationale de la bande Inv. 2014.6.2 dessinée et de l'image, Angoulême Inv. 2003.12.4

Antonio Seguí À vous de faire l'histoire Pierre Soulages 1969 Peinture 81 x 60 cm, 28 novembre 1955 Oil on cardboard 1955 64 x 48,5 cm Oil on canvas Fondation Gandur pour l'Art, Genève 81 x 60 cm Inv. FGA-BA-SEGUI-0001 Fondation Gandur pour l'Art, Genève Inv. FGA-BA-SOULA-0006

19 Art Spiegelman Collection Frac Poitou-Charentes Short Order Comix, Inv. 010.1.1 à 18 three issus 1973 Printed paper Benjamin Swaim 25,5 x 17,8 cm Forty Guns Édité par Head Press 2004-2006 Private collection Ink on paper 50 x 65 cm each (10 drawings) Courtesy the artist Art Spiegelman Funny Aminals, two issus Lewis Trondheim 1972 Les formidables aventures de Lapinot, volume n° 0, Printed paper Slaloms, board n° 23 25,4 x 17,5 cm 1993 Édité par Apex Novelties Indian ink on paper Private collection 29,5 x 21 cm © musée de la bande dessinée, Cité internationale de la bande dessinée et de l'image, Angoulême Art Spiegelman Inv. 95.8.1 Raw The Graphix Magazine of Postponed Suicides, n° 1 1980 Lewis Trondheim 36 x 26,6 cm Les formidables aventures de Lapinot, volume n° 5, The Graphix Magazine for Damned Intellectuals, Vacances de printemps, board n° 11 n° 2 1999 1980 Indian ink, Tippex® and collage on paper 36 x 26,5 cm 42 x 29,7 cm The Graphix Magazine That Lost Its Faith in © musée de la bande dessinée, Cité internationale de la bande Nihilism, n° 3 dessinée et de l'image, Angoulême 1981 Dépôt de l'auteur 36 x 26,5 cm The Graphix Magazine for Your Bomb Shelter's Coffee Table, n° 4 Johannes Van der Beek 1982 Newspapers Ruins 35,8 x 26,6 cm 2008 The Graphix Magazine of Abstract Depressionism, Newspapers and aluminium sheets n° 5 81 x 488 x 244 cm 1983 CAPC musée d'art contemporain de Bordeaux 36 x 26,5 cm Inv. 2010-01 The Graphix Magazine That Overestimates the Taste of the American Public, n° 6 1984 Martin Vaughn-James 35,8 x 26,6 cm La Cage The Torn-Again Graphix Magazine, n° 7 1975 1985 Indian ink and white gouache on paper 36 x 26,3 cm 32 x 45 cm ; 24,5 x 32,5 cm ; 23, 9 x 32,5 cm (10 boards) The Graphic Aspirin for War Fever, n° 8 © musée de la bande dessinée, Cité internationale de la bande 1986 dessinée et de l'image, Angoulême 35,8 x 26,6 cm Inv. 99.2.48 et 99.2.49 / 99.2.50 / 99.2.51 / 99.2.52 / 99.2.53 / Print on paper 99.2.54 et 99.2.55 / 99.2.56 / 99.2.57 / 99.2.58 / 99.2.59 Published by Raw Books Private collection Martin Vaughn-James La Cage Benjamin Swaim 1975 Forty Guns Indian ink and white gouache on paper 2004-2006 32, 5 x 45 cm ; 24,5 x 32,5 cm ; 23,5 x 32,5 cm (10 planches) Ink on paper © musée de la bande dessinée, Cité internationale de la bande 50 x 65 cm each (18 drawings) dessinée et de l'image, Angoulême

20 Inv. 99.2.62 et 99.2.63 / 99.2.64 / 99.2.65 / 99.2.66 et 99.2.67 / Winshluss 99.2.68 et 99.2.69 / 99.2.116 / 99.2.117 / 99.2.118 et 99.2.119 / Pinocchio, board n° 79 99.2.120 / 99.2.121 2008 Ink and Tippex® on paper 40 x 29,5 cm Martin Vaughn-James Galerie Georges-Philippe & Nathalie Vallois, Paris Work notebook 1972 Collage and Biro® on paper Winshluss 21 x 27,9 cm Pinocchio, board n° 80 © musée de la bande dessinée, Cité internationale de la bande 2008 dessinée et de l'image, Angoulême Ink and Tippex® on paper Inv. 99.2.125 40 x 29,5 cm Galerie Georges-Philippe & Nathalie Vallois, Paris

Martin Vaughn-James Work notebook Winshluss 1972 Pinocchio, boards n° 122-123 Ink on paper 2008 22,5 x 18 cm Ink on paper © musée de la bande dessinée, Cité internationale de la bande 40 x 29,5 cm (each) dessinée et de l'image, Angoulême Galerie Georges-Philippe & Nathalie Vallois, Paris Inv. 99.2.124

Winshluss Claude Viallat Hello I'm Johnny Cash Sans titre 2012 1972 Ink on tracing paper Acrylic on canvas 29,8 x 41,8 cm 237,5 x 293,5 cm Galerie Georges-Philippe & Nathalie Vallois, Paris CAPC musée d'art contemporain de Bordeaux Inv. 1983-28 Winshluss Holy Shit Chris Ware 2014 Building stories Ink on paper 2012 64 x 45 cm 42,3 x 29,6 x 4,5 cm (14 elements) Galerie Georges-Philippe & Nathalie Vallois, Paris Impression sur papier Published by Random House © librairie de la Cité internationale de la bande dessinée et de Raphaël Zarka l'image, Angoulême La Seconde Déduction de Sharp Inv. CB60 6984 2012 Birch plywood and offset ink (print n° 2/3) 172 x 130 x 3 cm Willem Collection Benoît Doche de Laquintane (Fonds DLD) Les Nouvelles Aventures de l'Art Dépôt au CAPC musée d'art contemporain de Bordeaux 2019 Inv. D-2015.1.1 Duotone print Published by Cornélius 17,4 x 24,6 cm Comic Books Années 1940 - 1970 Superman, n° 15, March-April 1942 Willem Superman, n° 26, January-February 1944 Les Nouvelles Aventures de l'Art Girl Confessions, n° 17, August 1954 2019 Girl Confessions, n° 18, September 1952 Duotone print Battle Front, n° 18, April 1954 Published by Cornélius Battle Front, n° 21, July 1954 17,4 x 24,6 cm Battle Action, n° 14, December 1954 Battle Action, n° 29, June 1957

21 Black Panther, n° 1, January 1976 Black Panther, n° 4, July 1977 Coochy Cooty Men’s, n° 1, 1970 Merton of the movement, n° 1, November-February 1971 The Dirty Duck Book, n° 1, December 1971 Young Lust, n° 3, 1972 Young Lust, n° 5, 1977 Left field funnies, n° 1, 1972 Grim Wit, n° 1, 1972 Weird Fantasies, n° 1, 1972 Skull, n° 5, 1972 Shock suspense stories, n° 12, 1973 Tales from the Tube, n° 1, 1973 Harold Hedd, n° 2, 1973 The Haunt of Fear, n° 12, 1973 The House of Mystery, n° 234, August 1975 The Rawhide Kid, n° 19, December 1960 The Rawhide Kid, n° 22, June 1961 The Rawhide Kid, n° 24, October 1964 The Rawhide Kid, n° 26, February 1962 The Rawhide Kid, n° 36, October 1963 The Rawhide Kid, n° 38, February 1964 My Friend Irma, n° 40, February 1954 My Friend Irma, n° 41, March 1954 Millie The Model, n° 103, July 1961 Millie The Model, n° 106, January 1962 Superboy, n° 149, July 1968 Superboy, n° 204, September-October 1974 Green Lantern, n° 48, October 1966 Green Lantern and Green Arrow, n° 78, July 1970 Patsy Walker, n° 101, June 1962 Patsy Walker, n° 105, July 1962 Detective Comics – Batman, n° 355, September 1966 Detective Comics – Batman, n° 358, December 1966 Detective Comics – Batman, n° 360, February 1967 Detective Comics – Batman, n° 361, March 1967 Detective Comics – Batman, n° 364, June 1967 Detective Comics – Batman, n° 365, July 1967 The Brave and the Bold – presents The Flash and The Manhunter from Mars, n° 56, November 1964 The Flash, n° 156, November 1965 Strange Adventures, n° 205, October 1957 Strange Adventures, n° 207, December 1967 Strange Adventures, n° 208, January 1968 Batman, n° 227, December 1970 Batman with Robin, n° 236, November 1971 Batman with Robin, n° 231, May 1971 Battlestar Galactica, n° 1, March 1979 Battlestar Galactica, n° 2, April 1979 Kid Colt Outlaw, n° 89, March 1960 Kid Colt Outlaw, n° 90, May 1960 Patsy Walker starring in Miss America, n° 55, August 1953 Patsy Walker starring in Miss America, n° 61, February 1954 Patsy and Hedy, n° 21, November 1953 Patsy and Hedy, n° 26, April 1954

22 IMAGES AVAILABLE FOR THE PRESS

IMAGE 1

Hervé Di Rosa Avez-vous tous les numéros de Di Rosa Magazine ? 1985 Acrylic on canvas 225 x 200 cm CAPC musée d’art contemporain de Bordeaux Inv. 1985 – 15 © Adagp, Paris, 2019 Photo: PHOTO ISO

IMAGE 2

Chohreh Feyzdjou Série L 1993 Paper, glue, typographic ink, pigments, string 218 x 200 x 78 cm Centre national des arts plastiques, Paris Dépôt au CAPC musée d'art contemporain de Bordeaux Inv. FNAC n° 02 – 940 Photographer: Frédéric Delpech © droits réservés / CNAP

IMAGE 3

Keith Haring Sans titre 1985 20 drawings, Black pen, white vinyl glued on wood 120 x 160 cm each CAPC musée d’art contemporain de Bordeaux Inv. FDE 2018 – 14 (10) Photographer: Frédéric Deval / mairie de Bordeaux © Haring Foundation

23 IMAGE 4

Mario Merz Hommage à Arcimboldo 1987 Iron, glas, neon light, newspaper, paraffin and glycerophtalic paint 100 x 937 x 185 cm Musée national d'art moderne, Centre Pompidou, Paris Dépôt au CAPC musée d'art contemporain de Bordeaux Inv. AM 1988 – 1178 Exhibition view Collections parallèles, CAPC in 1999. In the background, works by Carl André, Sol Lewitt and Jannis Kounellis. © Adagp, Paris, 2019 Photographer: Frédéric Delpech

IMAGE 5

Pierre Molinier Sans titre 1970 Black and white photograph 17.8 x 12.6 cm CAPC musée d’art contemporain de Bordeaux Inv. 2000 – 15 © Adagp, Paris, 2019 Photographer: Bernard Fontanel / mairie de Bordeaux

IMAGE 6

LES READY-MADE APPARTIENNENT À TOUT LE MONDE® Publicité, Publicité 1988 Black and white photograph – gelatine silverprint glued on aluminium 152 x 120 cm CAPC musée d’art contemporain Bordeaux Inv. 1989 – 08 © Adagp, Paris, 2019 Photographer: Frédéric Delpech © Galerie Claire Burrus

24 IMAGE 7

Martin Vaughn-James The Cage 1975 Indian ink and white gouache on paper 32, 5 x 45 cm ; 24,5 x 32,5 cm ; 23,5 x 32,5 cm (10 boards) Inv. 99.2.118 et 99.2.119 © musée de la bande dessinée, Cité internationale de la bande dessinée et de l'image, Angoulême

IMAGE 8

Patrice Killoffer Six cent soixante-seize apparitions de Killoffer, board n° 25 2002 Indian ink and Tippex® on paper 54,8 x 37,8 cm Inv. 2007.3.3 © musée de la bande dessinée, Cité internationale de la bande dessinée et de l'image, Angoulême

IMAGE 9

Marc-Antoine Mathieu Julius Corentin Acquefacques, prisonnier des rêves, Le Processus, volume n °3, board n° 43 1993 Indian ink, white gouache, collage and print on paper Inv. 2010.6.3 © musée de la bande dessinée, Cité internationale de la bande dessinée et de l'image, Angoulême

25 IMAGE 10

Gilles Aillaud Serpent, porte et mosaïque 1972 Oil on canvas 146,3 x 114,3 cm Inv. FGA-BA-AILLA-0002 Fondation Gandur pour l’Art, Genève Photographer: Sandra Pointet © Adagp, Paris, 2019

IMAGE 11

Erró Intérieur américain n° 5 (serie Intérieurs américains) 1968 Oil on canvas 148,5 x 194,5 cm Inv. FGA-BA-ERRO-0014 Fondation Gandur pour l’Art, Genève Photographer: André Morin © Adagp, Paris, 2019

IMAGE 12

Gérard Fromanger Paramount cinéma (serie Boulevard des Italiens) 1971 Oil on canvas 100 x 100 cm Inv. FGA-BA-FROMA-0001 Fondation Gandur pour l’Art, Genève Photographer: André Morin © Gérard Fromanger

26 IMAGE 13

Jacques Monory Meurtre n° V – Variation avec miroir 1968 Oil on canvas and mirror with bullet impact 92,2 x 100 cm Inv. FGA-BA-MONOR-0004 Fondation Gandur pour l’Art, Genève Photographer: Sandra Pointet © Adagp, Paris, 2019

IMAGE 14

Bernard Rancillac Le Secret de Morton 1966 Acrylic on canvas 199,8 x 199,6 cm Inv. FGA-BA-RANCI-0008 Fondation Gandur pour l’Art, Genève Photographer: André Morin © Adagp, Paris, 2019

IMAGE 15

Philippe Dupuy Une histoire de l’art (detail) 2016 print on paper 23,8 x 17 cm Published by Dupuis Dupuy © Dupuis, 2019

27 THEY SUPPORT US OUR PATRONS

SUEZ, Château Chasse-Spleen, Château Haut Selve

28 PRATICAL OPENING TIMES INFORMATION Museum and shop From Tuesday to Sunday – 11 am to 6 pm from 11 am to 8 pm every second Wednesday of the month Closed on Monday and Public holidays except July 14th and August 15th CAPC: T. + 33 (0)5 56 00 81 50 (fron 2 pm to 5:30 pm) Boutique: T. +33 (0)5 56 00 81 69

Café du Musée (restaurant – café) From Tuesday to Sunday – 11 am to 5:30 pm, Saturday – 11 am to 5 pm, Sunday – 11:30 am to 5 pm Contact and booking: T. +33 (0)5 56 06 35 70

Library By appointment T. +33 (0)5 56 00 81 58

ADMISSION FEES

7 € full rate (5 €, applicable fee when no exhibition in the nave) 4 € reduced rate* (3 €) Free on condition*

Free entrance first Sunday of the month (except in July and August)

HOW TO GET HERE

Tram Line B, stop CAPC Line C, stop Jardin public Line D, stop Quinconces

Bus Lines 4, 5N, 6, 15 et 29, stop Jardin public

Vcub (bike share service) 3, allées de Chartres 20, quai des Chartrons Eglise Saint Louis, rue Notre-Dame 60, cours de Verdun

Car parks Quinconces (allées de Chartres) Cité mondiale (20, quai des Chartrons) Jean Jaurès (place Jean Jaurès) La Bourse (quai du Maréchal Lyautey)

* For more information please visit www.capc-bordeaux.fr

29 PRESS CONTACTS

Pedro Jiménez Morrás Head of Press and & communication CAPC musée d'art contemporain de Bordeaux T. +33 (0)5 56 00 81 70 (direct) Mob. +33 (0)6 71 12 79 48 [email protected]

Lola Véniel Claudine Colin Communication T. +33 (0)1 42 72 60 01 Mob. : +33 (0)6 85 90 39 69 [email protected]

7 rue Ferrère F-33000 Bordeaux T. +33 (0)5 56 00 81 50 [email protected] www.capc-bordeaux.fr

CAPC musée @capcmusee capcmusée bordeaux.fr