13.10.18 → 15.04.19 Press

PRESS KIT PAINTING THE NIGHT

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PAINTING THE NIGHT

SUMMARY

1. INTRODUCTION...... 5

2. EXHIBITION LAYOUT...... 6

3. FIVE QUESTIONS TO THE CURATOR OF THE EXHIBITION...... 18

4. LIST OF EXHIBITED ARTISTS...... 20

5. THE CATALOGUE...... 21

6. ASSOCIATED PROGRAMME...... 23

7. THE PARTNERS...... 29

8. PRESS IMAGES...... 35

PAINTING THE NIGHT 1. INTRODUCTION PAINTING THE NIGHT From 13 October 2018 to 15 April 2019 GALERIES 2 & 3

The topic of night has infiltrated current debates With a focus on the perception of night rather than concerning society (should we open shops at night or its iconography, the exhibition intends to be, in fact, preserve that time for sleep?), the environment (how can a nocturnal experience: as visitors weave their way we limit night light pollution which prevents us from in they become night-owls, the heady atmosphere of seeing the stars and impacts natural life?), politics (the nightlife takes its hold teasing the senses, stirring the French “Nuit Debout” movement, clandestine nightly inner self inducing cosmic vertigo. One steps into the border crossings), science (we are constantly furthering exhibition as one would step out into the night. our knowledge of the phenomenon). In keeping with the spirit of Centre Pompidou-Metz Night-time, and the many questions it prompts, exhibitions, this show is not limited exclusively to has haunted artists particularly since the late 19th paintings, though these are central, for parallels and century. Thanks to such ground-breaking discoveries resonances are established with, for instance, music and as electrification and lighting, psychoanalysis and literature, as well as video and photography. The event the advent of the space age the night has evolved, groups about a hundred artists and historical figures transforming us in turn: theories have consequently (Winslow Homer, Francis Bacon, Anna-Eva Bergman, been completely reviewed changing our relationship Louise Bourgeois, Brassaï, Helen Frankenthaler, Paul to the night-tide. Klee, Lee Krasner, Henri Michaux, Joan Mitchell, Amédée Ozenfant, etc.) and contemporary artists (Etel Adnan, From 13 October 2018 to 15 April 2019, Centre Pompidou- Charbel-joseph H. Boutros, Ann Craven, Peter Doig, Metz is hosting an important exhibition featuring the Jennifer Douzenel, Rodney Graham, Martin Kippenberger, night in modern and contemporary painting along with Paul Kneale, Olaf Nicolai, Gerhard Richter, etc.) as well a catalogue and a wealth of associated events. as a number of spectacular installations, some of which were created especially for the project (Harold Ancart, A prominent source of inspiration in the history of art, Raphaël Dallaporta, Spencer Finch, Daisuke Yokota, the night continues to offer a rich field of investigation. Navid Nuur, etc.). Revisiting such a vast topic spawns numerous profound interrogations on our condition and our place in the Curator: Universe and the role Art could play. Jean-Marie Gallais, head of exhibitions, Centre Pompidou-Metz. Though at first the idea might seem paradoxical, Painting the Night (Peindre la nuit in french) is in fact heavy with meaning. The title is voluntarily ambiguous for night painting could either mean representing the night or painting at night. Painting the dark or in the dark, a choice has to be made either to improve one’s night vision or on the contrary to abandon seeing altogether. Indeed it is at night that we can, both physically and symbolically, at last “disconnect from the world”— a typically modern aspiration. Actually, twilight would be a perfect metaphor for the elusive boundary between figuration and abstraction.

On the left:

Léon Spilliaert, Dam and beach, Royal Villa and galeries of Ostend [Digue et plage, Chalet Royal et galeries d'Ostende], 1908-1909 © Collection privée, Courtesy Patrick Derom Gallery 5 PAINTING THE NIGHT 2. EXHIBITION LAYOUT

The exhibition covers two levels, on the first “Lost in Darkness” features night-time as we know it: a moment we live through daily whether lit by the stars or a street lamp, when nightfall arouses our innermost feelings, reveals our obsessions, and conjures up our dreams. On the second level “From Intimacy to Cosmos” focusses on an abstract and cosmogonic relationship to night-time, when stars are observed. One understands the tangible aspects of the night sky and wonders where we stand in this universe.

SCENOGRAPHY FOR THE EXHIBITION

GALLERY 2, PAINTING THE NIGHT

11 96 5 4 11 96 5 4 8 12 10 3 8 12 10 712 3 13 712 SORTIE ENTRÉE 13 SORTIE ENTRÉSALLESE 1-3: LOST IN DARKNESS SALLES 4-6: THE NIGHT DWELLERS SALLES 7-10: NOCTURNAL OBSESSIONS GALLERY 3, FROM INTIMACY TO COSMOS SALLES 11-13: THE ETERNAL EYES

21 19 18

21 20 19 18 16 24 23 22 20 15 16 24 23 22 14 15 17

SORTIE ENTRÉE 14 17

SORTIE ENTRÉE

SALLES 14-20: THE STAR EATERS SALLES 21-24: ENWRAPPED IN THE NIGHT

Designed by Pascal Rodriguez, assisted by Perrine system offering the visitor a multi-sensorial experience. Villemur, the immersive scenography accompanies As for the layout of the second gallery its design is the visitor’s experience as they travel into the night. more regular with a series of open spaces including a The layout of the first gallery follows the pattern spacious room at the centre dedicated to large format of a town the visitor can wander through, at the paintings. The exhibition closes with a monumental cube opposite end they arrive at a large apse dedicated to that houses a Ambiante Spaziale by Lucio Fontana. The the world of dreams and the Surrealists’ connection bay window (gallery 3) looks onto the city and its night to the night. Aside from specific installations, the lights that can be contemplated. long corridors are equipped with a 3D audio effect

6 PAINTING THE NIGHT PAINTING THE NIGHT FIRST LEVEL (GALERIE 2)

1. LOST IN DARKNESS

“In the moonlight, by the sea, or in isolated parts of the country, when plunged in bitter reflections one can see Winslow Homer, Summer Night, 1890 everything take on yellow, vague, fantastic shapes. Tree- shadows, now quickly, now slowly, run, come back, and Painting the effect, revealing the physical impact on disappear again to return in different shapes, flattening out, the spectator at night, this is the task the American sticking to the ground.” painter Winslow Homer set himself. In Summer Night, Comte de Lautréamont, The Songs of Maldoror [Les chants de Maldoror], 1890 his enigmatic masterpiece of the nocturnal genre, he combined the natural light radiating from an out of At night perceptions are altered, first and foremost vision the frame full moon, it must be huge, at least it seems is impaired resulting in, both literally and figuratively, a so from its reflection on the waves, and the artificial loss of bearings. Details are blurred, shadows begin to glow of possibly a lamp post, also off canvas, which stretch, shapes take on a dark foreboding nature and, casts onto the ground the shadows of two women as the horizon fades, the night sky looms. One must dancing. A group of on-lookers form a nebulous mass, either grope and stumble or simply surrender to the a wood flooring occupies the foreground, no doubt to elation. A number of nocturnal motifs have travelled introduce drama and acoustics to the scene. Inevitably through time, the tree for instance is a versatile subject: the viewer’s vision is shaken, he/she reels and falters in daylight its lines are sharp however as night falls as do the dancing shadows. is mass darkens to a threat; reflections on water echo the failing light, mirroring the visual distortions of nightfall: undulating, out of focus, murky; our states of mind mutate with the landscape.

When entering the first room of the exhibition, the visitors step into darkness, little by little as their vision becomes accustomed to obscurity they find they are in a projection room: a video by Jennifer Douzenel shows a night sky alive with tiny fireflies like a forever shifting star chart.

Adrian Ghenie, The End of Romanticism, 2009 Huile sur toile, 210 x 140 cm Courtesy of P. Duménil

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"What, in the end, makes advertisements so superior to criticism? Not what the moving red neon sign says – but the Amédée Ozenfant, Illuminated skyscraper [Gratte-ciel éclairé], fiery pool reflecting in the asphalt.” Walter Benjamin, One-Way Street, 1928 1950 Exiled in New York between 1938 and 1955, Amédée Similarly, urban scenes throughout the 20th century depict Ozenfant discovered a city of light and verticality. night-time as intoxicating and theatrical. Far from the Moving away from the purism he was renowned for traditional opposition between a romantic, melancholic in Europe, Ozenfant’s paintings featured hallucinated, night, under a canopy of stars, in the countryside, brightly lit high-rises where he jumbled fields, doomed to disappear, and a bright city night driven perspectives and scales with shadows and halos. by work and pleasures, with the night tide comes a His backgrounds are dominated by a thick impasto different sensorial experience, even in a capital city: of a reddish brown palette — possibly the depiction halos, reflections, vibrations, flashing lights create an of nocturnal pollution, the very same that snuffs abstract vocabulary that emphasizes that special thrill out the stars in a light flooded town. Not only does of the night, the realm of the indistinct. Ozenfant convey a visual sense of the city, he also offers us his cosmic interpretation. Splashes of light blurt their calls out into the night. The sharp corners and vertical lines of American skylines, the use of aerial views and plunging perspectives, all offer a new interpretation on fallen constellations, underlining the abstract quality of large cities after nightfall.

Claude Monet, Leicester Square, by night [Leicester Square, la nuit], 1900-1901 © Collection Larock-Granoff

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2. THE NIGHT DWELLERS Auguste Elysée Chabaud, Hôtel-Hôtel, 1907-1908

“The glow from the lamp posts, cuts out shadows, does not In France, August Elysée Chabaud, an artist neglected destroy them but sharpens their edge: it is the chiaroscuro for far too long, bridged the gap between a formal of master painters.” quest and the social aspect of nightlife. Chabaud lived Restif de la Bretonne, Nights of Paris [Les Nuits de Paris], 1788-89 in Paris from 1907 to 1914, he befriended several figures of the European Avant guard, exhibited In the early 19th century, public gas lighting was his landscapes and street scenes at the Salon des spreading throughout Europe and along with it came the Indépendants, at the Salon d’Automne, in Berlin first lamp posts, then in 1879 electricity revolutionized at the Neue Secession in 1910, and at the Galerie the nocturnal environment both out in the streets and at Bernheim-Jeune in 1912. But it was only much later, home. Artists began capturing the glow of artificial light during the 50s, that a hidden aspect of his work was with enthusiasm, even idealizing it (‘We must destroy discovered: his nocturnal scenes painted from 1907 to moonlight!’ proclaimed the Futurist Marinetti). Night 1911 which he had chosen to keep to himself at the lighting ended up uncovering what daytime hid: the time. Chabaud was, secretly, the painter of Parisian turpitudes of Mankind. All sorts of strange characters nightlife. He invented a powerful pictorial vocabulary, stepped out of the dark into the light, some disturbingly a cross between Fauvism and Expressionism: highly strange, some criminal, some members of the feverish contrasted street scenes featuring colourful shop cosmopolitan nightlife when anything was possible. signs and cabarets in Montmartre, hotels, crude Street scenes at eye level were ubiquitous in the first portraits of flirtatious ladies of the night. Chabaud quarter of the 20th century, often acting as visual managed to synthetize and simplify his subjects testimonials relaying strong social criticism, namely in conveying more than a point of view, but putting the the case of German Expressionism and New Objectivity. viewer in the shoes of a passer-by intrigued by their surroundings. Thus in his remarkable Hôtel-Hôtel, we witness the hustle-bustle of the street, neon signs beckon reiterating their temptations through the echo of flashing lights, a woman’s eye, the silhouette of a prostitute standing in a doorway. Such an urban environment triggered for Chabaud a new language reminiscent of the aesthetics of collage. His paintings have a quality shared with Brassai’s photographs of Paris by Night: they are acoustic. When observing a Chabaud, one can hear the din from the boulevards, the silence of the alleyways, and from his ‘lit windows’ come muffled domestic sounds.

Musée de l'Annonciade, Saint-Tropez, © ADAGP, Paris 2018 © Photo: Pierre-Stéphane Azema

Georg Scholz, Night Street scene [Nächtliche Strassenszene], 1923 © Staatliche Kunsthalle Karlsruhe

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3. NOCTURNAL OBSESSIONS

Lee Krasner, Night creatures, 1965 “But nothing expresses this restless and exitless present It was a psychoanalyst who advised Lee Krasner to better than this ancient phrase that turns completely back on heal her insomnia by drawing and painting. In 1956, itself, being constructed letter by letter like an inescapable the accidental death of Jackson Pollock, to whom she labyrinth, thus perfectly uniting the form and content of was married, would transform her pictorial approach. perdition: In girum imus nocte et consumimur igni. We turn She was going through a time of great psychological in the night, consumed by fire.” distress and sleeplessness which would lead to the Guy Debord, In girum imus nocte et consumimur igni, 1978 new series: “Umber and White Paintings” of the first half of the 1960s. Her friend the poet Richard In the dead of night, the city returns the artist to Howard would soon name the series “Night Journeys”. the solitary studio. Sickly insomniacs sometimes in By night, Lee Krasner becomes a different painter dire need of inspiration, such nocturnal painters are from the one she is by day. “I was going down deep troubled by obsessions: the quest for their singular into something which wasn’t easy or pleasant. In fact, voice, conversations with ghostly shadows, automatic I painted a great many of them because I couldn’t writing, memory games, resistance, and the temptation sleep nights. I got tired of fighting insomnia and tried of alcohol to fuel the sleepless nights. Obsessions in to paint instead. And I realised that if I was going which death lingered embodied by the geometrid moth to work at night I would have to knock colour out altogether, because I wouldn't deal with colour except which accompanied their nightly probing into the depths 1 of the self; indeed like the moth, the artist might fly in daylight.” Howard generally named the works too close to the flame. once finished: Night Watch, Night Birds, Cobalt Night. In most of Lee Krasner’s nocturnal works primal shapes seem to emerge from chaos in the browns and ochres of rupestrian art. On the cusp of abstraction with her figurative ghostlike visions, Krasner’s nocturnal art might even suggest animal-type figures as in Night Creatures. This painting conjures up childhood memories, something nightmarish, the feeling that a thing, “half man half beast”2, was staring at her before jumping out the window of her room. Night painting was a therapeutic exercise: “It's a though you were descending once more, bringing forth from the unconscious, subconscious, or whatever arae you bring forth from, as one does in a dream.”3

1 Conversation with Richard Howard, in Lee Krasner: Umber paintings 1959-1962, New York, Robert Miller Gallery, 1993 2 Conversation with Eleanor Munro, in Originals: American Women Artists, New York, Da Capo, 1979 3 ibid (Howard, 1993)

Avery Singer, Untitled, 2017 Courtesy the artist: Kraupa-Tuskany Zeidler, Berlin: Private Collection, Taiwan © Photo: Thomas Mueller

New York, Collection of the Metropolitan Museum of Art © ADAGP, Paris 2018, © Photo: The Metropolitan Museum of Art, Dist. RMN-Grand Palais / Image of the MMA

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“If you don’t fall in line with the deceptive clarity of this upside-down world, you are seen, at least by those who believe in that world, as a controversial legend, an invisible and malevolent ghost, a perverse Prince of Darkness. Which is in fact a fine title — more honourable than any the present system of floodlit enlightenment is capable of bestowing.” Guy Debord, In girum imus nocte et consumimur igni, 1978

Henri Michaux, The Prince of Darkness [Le Prince de la nuit], 1937 The Prince of Darkness is actually the title of an Henri Michaux gouache from 1937, the year he started painting. “Prince of the night, of the double, of the star-gland, / of the seat of Death / of the useless column,/ of the supreme question; / Prince of the broken crown,/ of the divided reign, of the wooden hand/ Petrified prince in a panther's robe/ Lost Prince.”1 This lost Prince with its ‘Incaesque’ look, its monkey on the shoulder and skull-like face is the portrait of an entity that resists, and dodges the light. Lost Prince? Is it not under the cover of night that collective resistance thrives? On the Berlin wall graffiti proclaimed: “The power is yours, but ours is the night”. (Ihr habt die Macht / doch wir haben die Nacht), while in the 70s the Italian walls spoke, to prisoners namely, with a slogan later reproduced in a neon piece by Claire Fontaine: “We are with you in the night” [Siamo con voi nella notte]. 1 Henri Michaux, Peintures, Paris, G.L.M., 1939

Paris, Centre Pompidou, Musée national d'art moderne © ADAGP, Paris 2018 © Photo: Centre Pompidou, MNAM-CCI, Dist. RMN-Grand Palais / Philippe Migeat

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4. THE ETERNAL EYES

“Wears not everything that inspires us the color of the Night?” Novalis, Hymns to the Night, 1800 Max Ernst, Vision Induced by the Nocturnal aspect of the Porte Saint-Denis [Vision provoquée par l'aspect nocturne “More heavenly than those glittering stars we hold de la Porte Saint-Denis], 1927 the eternal eyes which the Night hath opened within us.” An excerpt from Hymns to the Night written in The parallel worlds are at the heart of surrealist 1800 by Novalis, a poem the Surrealists held in high paintings and drawings, like those of Max Ernst who esteem in the 1920s. Twilight is a portal to one’s inner used frottage and transfer printing techniques to world in which reason is left asleep and apparitions reveal unexpected shapes. Also, to stunning effect, his and metamorphosis are welcome; it is the heart of the Porte Saint-Denis (arch in Paris) transformed into a Surrealist revolution. The desire to “entrap the sun” forest as if nocturnal rambling brought nature back haunts these artists since the night is theirs, not for into the city—are forests not as dense and as dark its pleasures but as the realm of the subconscious, of as night? Surrealism and Romanticism both share a digressions and dreams. Hence the night is a medium penchant for night-time a natural and intimate time and nocturnal living a creative act of liberation. that allows the spirit to follow the obscure meanders of the imagination rather than any beacon of reason. The surrealists admired Victor Hugo, when he let his imagination run freely in Visions crépusculaires [Twilight visions] and spoke of a Promontoire des songes [Bluff of dreams] on the surface of the moon. The orb that shed its light on the Romantics’ nights was thus rehabilitated by the Surrealists. Max Ernst produced several lunar calendars and sculptures designed to be seen in the light of the moon (Lunar Asparagus, 1935). Man Ray honoured moonlight, adding to his signature in lieu of an 0 the symbol of infinity (À la lumière lunaire [To the Moonlight], 194∞). The moon resumed its ancient status: shedding its light on dreams and allowing for metamorphosis.

Man Ray, To the Moonlight [À la lumière lunaire], 1948 Collection privée, courtesy Andrew Strauss, Paris, © Man Ray Trust © ADAGP Paris 2018

Collection particulière, © ADAGP, Paris 2018

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“We are a few men who claim that life as the western civilization made it no longer has reasons to exist, that it is time to plunge into the inner night in order to find a new and deeper reason to be.” André Masson Lettre à André Breton du 2 septembre 1925

Paul Klee, Growth of plants [Pflanzenwachstum], 1921 Darkness does not define the night; indeed the lack of light is far from negative, it harbours the idea of Creation as recounted in the founding myths of most civilizations where life emerged from the Original Darkness, an ancient memory echoed nightly. It was Baudelaire’s intuition: “And that huge night like primal chaos spread.”1 Rediscovering the night is returning to the fertile grounds from which all things were born. At Bauhaus, Paul Klee attempted to transcribe in paint the nightly growth of his plants. The sculptor Louise Nevelson, from her very first exhibition in 1958, was dedicated to cultivating gardens of organic shadows that emerged from the dark under a lunar-like light. Tapping into the night is bonding with an unrestrained primitive state prepared to receive germination. At night we surrender to Nature. 1 Charles Baudelaire, De profondis clamavi, in Les Fleurs du Mal, 1857, Paris, Auguste Poulet-Malassis

Paris, Centre Pompidou, Musée national d'art moderne © Service de la documentation photographique du MNAM-Centre Pompidou, MNAM-CCI / Dist. RMN-GP, © Droits réservés

13 PAINTING THE NIGHT FROM INTIMACY TO COSMOS SECOND LEVEL (GALERIE 3) 5. THE STAR EATERS

“The sight of the stars always makes me dream in as simple a way as the black spots on the map representing towns and Peter Doig, Milky Way, 1989-1990 villages make me dream. Why, I say to myself, should the spots of light in the firmament be less accessible to us than These mechanics, all at once simple, logical, quotidian, the black spots on the map of France. Just as we take the train and complex, risky, unexplained, are at the origin to go to Tarascon or Rouen, we take death to go to a star.” of cosmic vertigo: when the sun sets and night falls the expanse of space is revealed: infinity. The past Vincent Van Gogh, Letter to Théo, 9th or 10th july 1888 is unveiled and the future foreseen. Cosmic vertigo, represented in painting, is not so much a question Contemplating a starry night is like looking into the of verticality but rather of horizontality and depth. universe, it produces another sort of vertigo, since scale Thus in the Milky Way (1989-1990), Peter Doig’s and perspective are distorted by the cosmic vortex. composition shows a long stretched out nightscape A longing to reach the stars, to build a stairway to in which scale is essential. The Milky Way and the the milky way, even to “eat the stars” (reference to trees are iterated, mirrored, still and silent, on the Georges Bataille's text entitled Les mangeurs th water, the Earth has disappeared to become a simple d’étoiles — The Star Eaters), often inspired 20 century white thread of horizon. This nightscape exudes a artists reflecting their desire to master the relentless feeling of immensity which is further increased when movement of the cosmos, as would a demiurge, or simply the spectator spots a tiny canoe drifting by, a scene to manifest one’s part in it — an intuition modern possibly inspired by the last images of Friday 13th, astronomers and astrophysicists have indeed confirmed: a 1980s horror movie. The choice of scale evokes we come from and are made up of stardust. the mystical powers of Nature as do the works of Friedrich, Van Gogh and Munch.

Pablo Picasso, Reclining Nude Woman (or: Starry Nude) [Femme nue couchée (ou: Nu étoilé)], 1936 Collection de l'artiste Paris, Centre Pompidou, Musée national d'art moderne © Peter Doig. All Rights Reserved, DACS/Artimage 2018. Photo: Jochen Littkemann / ADAGP Paris, 2018 © Succession Picasso 2018, © Photo: Centre Pompidou, MNAM-CCI, Dist. RMN-Grand Palais / Philippe Migeat

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6. ENWRAPPED IN THE NIGHT

A star lit sky is difficult to copy. It eludes immobility. Its “In the daytime, our eyesight is defeated by the inscrutable definition evolves after each space probe. Therefore how (the sun, impossible to look at), at night our eyes probe the is the essence of such an elusive subject to be captured? expanse, drawn in by the sheer quantity of what remains By erasing the image and replacing it with matter, the unobserved. (…) No image can tally up a starry firmament. lack of form, and the sense of space, of emptiness, the (…) Two faculties that render knowledge possible are useless artist gets close to the substance of night. “Night, writes here: our mind is incapable of counting all the stars; our Merleau-Ponty in The Phenomenology of perception, is imagination cannot place them in a figure. Hence, it is the not an object before me; it enwraps me and infiltrates “starry night” as we see it, despite our lack of understanding, through all my senses, stifling my recollections and which awakens our sense of wonder. The wonders of the night almost destroying my personal identity.” sky inform Mankind that knowledge is not its only purpose.” Michael Fœssel, La Nuit, 2017

Gerhard Richter, Constellation [Sternbild], 1969 The night is constantly wavering between image and matter. Augusto Giacometti sees the Milky Way as something of a surface, an organic skin and a dark expanse. In the 1960s, Gerhard Richter produced dark paintings in rough gestures, but from a certain point of view —it is the viewer that must step back to find the ideal spot — his works give the illusion of a starry sky. The night resists and, though it mutates, it is never exhausted. The paint dabbles in this alchemy, in order to become a nocturnal substance.

Augusto Giacometti, Starry sky (Milky Way) [Sternenhimmel (Milchstrasse)], 1917 Bünder Kunstmuseum Chur, Schenkung aus Privatbesitz

Museum Frieder Burda, Baden-Baden, © Gerhard Richter 2018 (24042018)

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The exhibition closes with the reconstitution of a “O starless night! thy loveliness my soul inhales, monumental Spatial Environment [Ambiente Spaziale] Without those starry rays which speak a language known, created by Lucio Fontana in 1967. The visitor is invited For I desire the dark, the naked and the lone.” to enter an artificial night in which “both sense of Charles Baudelaire, Les Fleurs du Mal, 1840-1857 measure and time are lost”.

Lucio Fontana, Spatial Environment [Ambiente Spaziale], 1967 Lucio Fontana managed to deliver himself from matter so as to find infinitude. “My slashes, the artist explained in a 1962 interview with the magazine Vanità, are above all a philosophical statement, an act of faith in infinity, a spiritual affirmation. When I am sitting in front of one of my tagli, (…) I am liberated from the servitude of matter, I am a man who belongs to the greatness of present and future.” Fontana’s revelation came to him when he discovered astrophysics, which proved Mankind was infinitely small, thus rendering the notion of perspective obsolete. In order to depict the newly found infinitude of the cosmos one would have to transpierce the canvas, to contain it within a foreground and a background would not do. The most accomplished cosmic sensations produced by Fontana Installation © Fondation Lucio Fontana, Milano / by SIAE / ADAGP, Paris, 2018 are his spatial environments which abolish any notion of scale, measure and time since the visitor enters a space, flooded with black light, in which they lose all bearings. “It is the liberation from matter. (…) My art is based on this purity, on the philosophy of nothingness, not a destructive but a creative nothingness.”

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PARALLEL TO THE EXHIBITION

A monumental painting created for the picture window of Centre Pompidou-Metz.

For Painting the Night, the artist Harold Ancart was invited by Centre Pompidou-Metz to place a monumental painting of about 15 meters long and 5 meters high at the extremity of Galerie 1, where the picture window above the entrance of the art centre is located. The Belgian artist proposes an enigmatic painted landscape, a sign visible from the forecourt; the painting can be seen during the day but, because of to the lighting, at nightfall it springs to life stimulating our imagination. At once minimalist and exuberant, figurative and abstract, drawing and painting, Harold Ancart’s work evokes either a lost paradise or a prophetic future. In a world devoid of human presence, the heavens are shrouded in darkness, the horizon has dissolved while shapes reminiscent of tropical foliage occupy the foreground like sentinels standing their ground to face the advent of twilight.

With the support of C L E A R I N G Gallery Harold Ancart, Untitled (the great night), 2018 New York / Brussels and David Zwirner, London. Oil and pencil on canvas, 180 x 530 inches

Courtesy CLEARING, New York / Brussels and David Zwirner, London Photo © JSP Art Photography

A danced painting / a painted dance: a unique collaboration between a visual artist and the Ballet de Lorraine dance company.

Centre Pompidou-Metz and CCN-Ballet de Lorraine are partners in the “artiste associé” programme of the Ministry of Culture. This year, an unprecedented collaboration gather both institutions. The painter, etcher and sculptor Jérémy Demester born 1988, has been invited to stage his first live performance for the exhibition Painting the Night. Fuelled by his trips to the Benin where he was initiated to nocturnal voodoo rituals, his Gypsy origins and the input of flamenco, he presents this explosive collaboration during a night at Centre Pompidou-Metz. The dancers of the CCN-Ballet de Lorraine have taken up a new challenge and will embody the artist’s paintbrushes and the artist will work with the corps de ballet as if it were an empty canvas. PREMIERE ON 6TH DECEMBER 2018

17 PAINTING THE NIGHT 3. FIVE QUESTIONS TO THE CURATOR OF THE EXHIBITION

CENTRE POMPIDOU-METZ — How was the idea for recreated. Mounting an exhibition on the link between this exhibition born? art and night leads inevitably to paintings for they both offer a similar experience: when I contemplate JEAN-MARIE GALLAIS – The idea came to me when the stars above I must adjust my vision, get used to the I realized that almost all museums in the world own dark, and the more I look the more details I am able to at least one painting of a night scene. Some ancient see, yet I cannot grasp it all, it is not easily explained. nightscapes even have the presence of a modern It is exactly the same when contemplating a painting. painting since the artist had to simplify shapes, abandon This exhibition encourages us to slow down, wait till perspective, and use effects thus evolving to a form our eyesight is accustomed, and understand how with of pre-abstraction. It is the very particular power of a medium that is by essence bi-dimensional artists] night-time that intrigued me. Then I became aware of managed to invent strategies to somehow capture such the fact that in modern times a new relationship to the an intangible and all-embracing substance as the night. night had come about, the night was omnipresent and, If you walk through the exhibition rooms in just a few right from the beginning of the 20th century, shaped the seconds, you will be left with the impression that all you future of visual arts. Furthermore, artists often work have seen is a series of identical monochromes. A night at night, they talk about it and for some night painting painting, just like a starry night cannot be captured at affects their pieces. Some even believe the night defines a glance, and is not easily reproduced: experiencing them. The more I thought about it, the more I fell under the work cannot be foregone. the spell of that giddying expanse, a thrill I hope to convey with this exhibition.

CP-M – Why devote an exhibition to the theme of night nowadays?

JMG – I believe it to be an important topic that reaches far beyond the arts, it is so obvious (we all experience and know the night!) but in fact, until now, it has rarely been explored. The night is at the heart of current controversies and paradoxes in many domains. It is listed as a prehistoric heritage, since in 1992, the UNESCO registered the nocturnal sky on the World Heritage listing. It is nevertheless endangered by industrialization and technology, in other words human activity, but is also full of promise for the future. Reviewing such a vast topic enables us to reflect upon crucial issues like our condition and place in the Universe, as well as the role and power of art. What can painting do? How did it become a means to “tame” the night? To convey its mystery, the feeling it is unfathomable and eludes our sense of reason? Roy Lichtenstein, Moonscape, 1965 © Estate of Roy Lichtenstein New York / ADAGP, Paris, 20188

CP-M – Why the restriction to a strictly pictorial approach?

JMG – It is not strictly limited since have been included some photographers and filmmakers, video and installation artists as well as sculptors and writers, but, true, these artists have a strong relationship with painting. Night-time is of course a core theme in the history of photography and filmmaking, indeed they inspired a series of events parallel to the exhibition, however, painting and music both have a very unique capacity for abstraction from reality. The night cannot be duplicated; it is transcribed onto the canvas, even

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CP-M – How were the artists selected and how was As far as I am concerned this exhibition gave me the the layout of the exhibition designed? opportunity of discovering many pieces: the nocturnal oeuvre by Auguste Elysée Chabaud that had been kept JMG – The format for the exhibition is quite unique, hidden for years, and the American period of Amédée it is not meant to be an encyclopaedic account of the Ozenfant. The Surrealist section is also a treasure history of art and night, and its various milestones. So trove of surprises. And of course there are the works of it is more of a personal journey, each visitor will travel young artists specially created for the exhibition which through and retain their own individual experience are quite exceptional, without forgetting the wealth of from the exhibition, I take the spectator on a nocturnal parallel events programmed which include a painter’s promenade. The guiding principle is the notion of staging of a ballet featuring star dancers, captivating perception. Like a painter, I can see, listen to, feel and videos and a few rare jewels from the history of the smell the night. There is neither allegory nor metaphor. cinema. The body is simply confronted to the night. Therefore the layout designed itself quite naturally: whether in town out in the countryside that perception, in the dead of night, is distorted, bewildering (section 1), then the eyes become accustomed to the dark, shapes loom out, the hidden side of Mankind (section 2), as this state of nocturnal wandering is prolonged we are gradually overcome by an inner tide of melancholy from which emerge our most intimate obsessions (section 3), hallucinations, desires, urges and dreams (section 4). On another level, when contemplating the night sky we tend to believe we can touch the stars, that we are part of the universe (section 5), before we realize that the night is intangible, elusive (section 6). So we are constantly oscillating between each of the two ideas covered by the title: painting in the dark or painting the dark. The idea was to punctuate the layout with large immersive installations while leaving plenty of room and time for the works since they are each inherently a complex cosmogony. Robert Delaunay, Nightscape (the cab) [Paysage Nocturne (le fiacre)], 1906-1907 © Collection particulière, Courtesy Galerie Louis Carré & Cie

Raymond Jonson, The Night, Chicago, 1921 Courtesy of Michael Rosenfeld Gallery LLC, New York, NY © The Raymond Jonson Collection, University of New Mexico Art Museum, Albuquerque, NM / © Photo: courtesy of Michael Rosenfeld Gallery LLC, New York, NY

CP-M – Which are the “must see” elements of the exhibition?

JMG – We were lucky enough to gather a collection of truly great artworks, like Leicester Square, at Night [Leicester Square, la nuit] by Monet, Nude With Stars [Nu étoilé] by Picasso, Constellation [Sternbild] by Gerhard Richter, Mysteries by Ed Ruscha and Milky Way by Peter Doig. There are also a number of painters that the public will discover I hope with great pleasure and interest as they are rarely exhibited. For instance, the Pakistani artist Lala Rukh, the Americans Morris Graves and Alma Thomas as well as Helen Frankenthaler and Anna- Eva Bergman whose large formats are presented here.

19 PAINTING THE NIGHT 4. LIST OF EXHIBITED ARTISTS

A E Paul Kneale Hans Richter Etel Adnan Max Ernst Jannis Kounellis Raymond Roussel Darren Almond František Kupka Lala Rukh Harold Ancart F Ed Ruscha Jean Arp Jean Fautrier L Geneviève Asse Stephen Felton Norman Lewis S Spencer Finch Roy Lichtenstein Georg Scholz B Claire Fontaine Fiete Stolte Francis Bacon Lucio Fontana M George Shiras Eugene Bennett Helen Frankenthaler René Magritte Avery K. Singer Anna Eva Bergman Wilhelm Freddie Georges Malkine Jan Sluijters Louise Bourgeois André Masson Paolo Sorrentino Charbel-joseph H. Boutros G Henri Michaux Léon Spilliaert Brassaï Adrian Ghenie Joan Miró Edward Steichen Victor Brauner Augusto Giacometti Joan Mitchell Alfred Stieglitz Rodney Graham Piet Mondrian C Morris Cole Graves Claude Monet T Patrick Caulfield George Grosz Monsù Desiderio (François Alma Woodsey Thomas Vija Celmins Philip Guston de Nomé, dit) Ida Tursic et Wilfried Mille Auguste Elysée Chabaud Brion Gysin Robert Morris Vaclav Chochola U Bruce Conner H N Umbo Joseph Cornell Raymond Hains Alice Neel Ann Craven Simon Hantaï Louise Nevelson V Henry Edmond Cross Victor Hugo Olaf Nicolai Felix Edouard Vallotton Russell Crotty Navid Nuur Kees Van Dongen José Cuneo I Jean-Luc Verna Francisco Infante Arana O D Marcel Odenbach W Raphaël Dallaporta J Amédée Ozenfant Michael John Whelan Robert Delaunay Marcel Jean Eugène Deslaw Raymond Jonson P Y Jason Dodge Philippe Parreno Daisuke Yokota Peter Doig K Pablo Picasso Jennifer Douzenel Vassily Kandinsky Pratchaya Phinthong Marcel Duchamp Alex Katz Martin Kippenberger R Paul Klee Man Ray William Klein Gerhard Richter List subject to change

20 PAINTING THE NIGHT 5. THE CATALOGUE

The exhibition catalogue published by Centre Pompidou- Metz, edited by Jean-Marie Gallais, is an abundantly MICHAËL FŒSSEL, NOCTURNAL UNCERTAINTIES illustrated volume that addresses a larger corpus than [INÉVIDENCES NOCTURNES] that of the exhibition as it examines the history of painting and night from the early 20th century to this “The sun sets and night falls. According to this scenario day. It includes a yet unpublished essay by Michaël twilight is compared to a fall that repeats itself every Fœssel, Inévidences nocturnes (nocturnal uncertainties) day. As if nightfall was an order to cease and desist, and an in-depth study of the topic by the curator of once it has landed all activities underway are left for the exhibition. tomorrow. Saying farewell to opportunity can be a melancholy affair. A sort of sadness often rises as the Furthermore, Centre Pompidou-Metz publishes on the sun disappears behind the horizon leaving us worried occasion of the exhibition an artist’s book for children, that it might never return. At dusk, the issues of The Night is your Guide [La Nuit est ton guide], written moral angst and sensorial depression begin their play. and drawn by Dutch artist of Iranian origin Navid Nuur. We are anxious for the dark reduces our capacities while favouring the schemers’ talent. Nightfall upsets us because light, that allowed us to take action and hope, has been terminated. (…) Still, isn’t monotony the price to pay for the universality of daylight? In the language game a “day” is the unit of account Peindre for the human timespan, whereas nights are the exception. They make the difference, stand out and la nuit escape the mundane. When a narrator opens with: “it happened one night”, his story sparks interest for surely the event will be out of the ordinary. When a painter tackles the night he is credited with the unusual power of probing the invisible. Night-time is credited with the advantage singularity has over universality. It promises the unknown to its guest. Catalogue excerpt

MICHAËL FŒSSEL, NOCTURNAL UNCERTAINTIES [INÉVIDENCES NOCTURNES] The dead of night is not a blackout. Absolute darkness is a night-time fantasy, just as eternal light is a daytime fantasy. In fact, twilight begins with colours streaking the darkness. This is wonderfully evidenced by the act of painting. Henri Michaux depicts the transition toward night by placing colours on a black ground: “As soon as I begin, as soon as a few colours are set onto a sheet of black paper, it ceases to be a piece of paper to become the night. The colours placed more or less at random make shapes appear … that loom out of the night1”. Black becomes the colour of night when it is travelled by traces of colour that evoke the sparkle of stars or Man Ray, Night (Alphabet for adult) [Nuit (Alphabet pour adulte)], 1970 the glow of lamp posts. The dark of the night is akin Paris, Centre Pompidou, Musée national d'art moderne © Man Ray Trust / ADAGP, Paris 2018 to the darkness we “see” when we close our eyes: it © Georges Meguerditchian - Centre Pompidou, MNAM-CCI / Dist. RMN-GP is composed of lines and dots of colour. One cannot therefore say that the night hinders our sight nor SIZE: 22 x 30 CM does it abolish consciousness. On the contrary it is NUMBER OF PAGES: 240 (MORE THAN 260 a “ground” that allows a subject to perceive colours ILLUSTRATIONS) and lights differently than during the day. LANGUAGE: FRENCH 1 Henri Michaux, Émergences-Résurgences, Paris, Champs-Flammarion, 1987, p. 20-21 PRICE: 39 EUROS Catalogue excerpt RELEASE DATE: SEPTEMBER 2018

21 PAINTING THE NIGHT

JEAN-MARIE GALLAIS, LE VERTIGE DE LA NUIT (THE THRILL OF THE NIGHT) Night-time offers a number of perspectives both literally and figuratively. The Realm of the Indistinct is also a time for revelation. It appeases as much as it worries. Could painting be a means of taming the night, of taking ownership? The Anglo-Saxons use the term “night painter”: a painter is either ‘of the night’ or isn’t. Whether a night-owl or an insomniac, the night painter conjures up the Romantic myth of the poet or artist living on his own terms outside of the norm, working into the night in the solitude of the studio, for the daytime is just so disappointingly unproductive. Catalogue excerpt JEAN-MARIE GALLAIS, LE VERTIGE DE LA NUIT (THE THRILL OF THE NIGHT) Painters work directly with the matter of the night. As a mise-en-abyme of this sensation of indiscernability, nocturnal painting also appears to be an experience that resists duplication. Not only is painting a night, but nighttime is a painting: “Darkness is but a canvas on which my eyes project by the thousands the familiar faces of the dear departed”1, writes Baudelaire. The night is an abstract or Surrealist composition precisely because it stages indistinct shapes and apparitions. In his essay on Cubist painting, Jean Paulhan recounts how, coming home late, so as not to wake his sleeping wife he decided to “flick the light on” for a second to visualize the obstacles in his path. He advanced cautiously in the dark: “I had the strangest feeling. It was as if I had walked across a modern painting.”2 1Charles Baudelaire, Obession in Les Fleurs du mal, Paris, Poulet-Malassis et De Broise, 1857 2Jean Paulhan, Petite aventure en pleine nuit, in La peinture cubiste, Œuvres complètes, V, Paris, Claude Tchou, p. 76-78 Catalogue excerpt

Vija Celmins, Untitled n°17, 1998 Paris, Centre Pompidou, Musée national d'art moderne © Vija Celmins, Courtesy Matthew Marks Gallery © Photo: Centre Pompidou, MNAP-CCI, Dist. RMN-Grand Palais / Philippe Migeat

The presentation of Helen Frankenthaler's artwork Star Gazing wade made possible thanks to the support of The Helen Frankenthaler Foundation, New York.

22 PAINTING THE NIGHT 6. ASSOCIATED PROGRAMME

As part of these exceptional events the Conservatoire NOCTURNALS: SIX NIGHTS AT THE MUSEUM à rayonnement Régional Gabriel Pierné de Metz will offer a musical programme performed in front of certain Over the six month long exhibition Painting the Night, artworks or in the shadows of the scenography. The a number of “associated programmes” and special events Centre d’art will come alive with these nightly sessions have been designed to prolong the experience and highlight that shall highlight various sections of the exhibition: certain aspects of the exhibition. The Thrill of Senses, Rhythms and Presences, Nocturnal Obsessions, Eternal Eyes, The Star Eaters, Enwrapped Once a month during exhibition the Centre Pompidou- in the Night. Metz proposes a very special evening, in resonance with the theme of the exhibition, during which the museum For each nocturnal, a special guest shall host the will be open to visitors who wish to experience the very evening in the exhibition rooms, the Studio or the unique atmosphere and sense of immersion the visit Wendel Auditorium. offers after nightfall.

THU. 08.11 THU. 07.02 NIGHT #1 : THE NIGHT OF THE OWL NIGHT #4 : THE NIGHT OF MYSTERIES Musical interventions by the Conservatoire Musical interventions by the Conservatoire à Rayonnement Régional Gabriel Pierné à Rayonnement Régional Gabriel Pierné de Metz Métropole de Metz Métropole Sound installation by Zad Moultaka Piano nocturne, concert by Thérèse Malengreau Lecture by the philosopher Michaël Fœssel THU. 06.12 THU. 07.03 NIGHT #2 : THE SACRED NIGHT NIGHT #5 : THE LYING NIGHT (NUIT#COUCHÉE) Musical interventions by the Conservatoire Musical interventions by the Conservatoire à Rayonnement Régional Gabriel Pierné à Rayonnement Régional Gabriel Pierné de Metz Métropole de Metz Métropole Creation of Jérémy Demester for the CCN-Ballet Concert by Stéphane Garin / Ensemble 0 and his de Lorraine (dance) guests, concert all night long (23:00-06:00)

THU. 10.01 THU. 04.04 NIGHT #3 : THE STARRY NIGHT NIGHT #6 : THE SILENT NIGHT Musical interventions by the Conservatoire Musical interventions by the Conservatoire à Rayonnement Régional Gabriel Pierné à Rayonnement Régional Gabriel Pierné de Metz Métropole de Metz Métropole Lecture by the astrophysicist Trinh Xuan Thuan Video projection by Madeline Hollander Nombrer les étoiles, performance by Alban Richard Concert performance by Jeff Mills (dance) (subject to modifications)

23 PAINTING THE NIGHT

NIGHT #1: THE NIGHT OF THE OWL DANCE LECTURE THU. 10.01, 21:00 THU. 08.11, 20:30 ALBAN RICHARD, NOMBRER LES ÉTOILES LECTURE BY THE PHILOSOPHER (COUNTING THE STARS) The night sends us on a journey into time, as Alban MICHAËL FŒSSEL Richard does with Nombrer les étoiles which takes Born in 1974 at Thionville, Michael Fœssel, a graduate us into the heart of the medieval night and the highly of the École Normale Supérieure, and holder of an refined art of the ballad. In Nombrer les étoiles dance aggregation in philosophy, was elected to replace Alain and music have become one; the movements follow the Finkielkraut at the École Polytechnique. Advisor to rhythms set by poems, by the length of the foot, the the editor of the literary magazine L’Esprit, and with word, the verse. Nombrer les étoiles imagines secret Jean-Claude Monod, heads the collection “L’Ordre faraway worlds, dreams of a haven of peace, a refuge. Philosophique” at the Seuil publishing house, he has During this journey obscure changes may take place authored several works including Après la fin du monde deep in the soul. Nombrer les étoiles is a poetic bubble, (2013), Temps de la consolation (2015) and La nuit, vivre an otherworldly moment in synch with the Universe. sans témoin (2017). He has also contributed an essay “Though one might tally the stars … the drops from to the exhibition catalogue. sky and sea, even the grains of sand they wet, though one might measure the width of the firmament, one AUDITORIUM WENDEL cannot know or even imagine how great is my longing to see you.” (Guillaume de Machaut, 14th century) NIGHT #2: THE SACRED NIGHT AUDITORIUM WENDEL DANCE THU. 06.12, 20:30 JÉRÉMY DEMESTER AND THE CCN-BALLET DE LORRAINE The painter, etcher and sculptor Jérémy Demester born 1988, has been invited to stage his first live performance for the exhibition Painting the Night. Fuelled by his trips to the Benin where he was initiated to nocturnal voodoo rituals, his Gypsy origins and the input of flamenco, he presents this explosive collaboration during a night at Centre Pompidou-Metz. The dancers of the CCN-Ballet de Lorraine have taken up a new challenge and will embody the artist’s paintbrushes and the artist will work with the corps de ballet as if it were an empty canvas. Alban Richard, Nombrer les étoiles STUDIO © Agathe Poupene

NIGHT #3: THE STARRY NIGHT NIGHT OF SUN. 20.01 TO MON. 21.01, 04:30 - 06:30 LECTURE PERFORMANCE AND ASTRONOMICAL OBSERVATION THU. 10.01, 19:00 ANDREA BOZIC, THE ORANGE NIGHT LECTURE BY THE ASTROPHYSICIST As if by magic, during the course of the exhibition, one of the mysteries of our night skies will take place TRINH XUAN THUAN in the firmament above Metz: a total eclipse of the The astrophysicist Trinh Xuan Thuan takes us on a moon. The orb will darken and seem to disappear as faraway journey into the starry night informing us with it gradually turns deep red when entering the shadow the latest scientific discoveries. He shares with us his of the Earth. The performance artist, Andrea Bozic enthusiasm and amazement as he speaks of our fragile invites the brave to witness her astral choreography world and the beauty of the cosmos. Together we shall staged against the starry night. track the light emanating from stars to understand the origin of the Universe and our own. Together we shall 04:30-06:30, breakfast included. search what are called “blue compact dwarf galaxies” Meet the artist at 4:30 in front — his domain of expertise, and their young, hot, massive of Centre Pompidou-Metz. stars that emit a blue light. Together we shall exit the Ticket: 10€ observatory to probe the darkness and stare at the unfiltered skies as he tells us of the planets, the Moon and the Sun. AUDITORIUM WENDEL

24 PAINTING THE NIGHT

NIGHT #4: THE NIGHT OF MYSTERIES PROJECTION SESSIONS: “A NIGHT CONCERT ON THE SCREEN” [LA NUIT À L'ÉCRAN] THU. 07.02, 20:30 In partnership with Metz associations Ciné Art and L’œil THÉRÈSE MALENGREAU, MOONLIGHT à l’écran, a cycle of video projections and films will take place one Sunday a month. The films are briefly Seen as a pianist for whom music is above all a combination presented before each screening. With classics, rare of thought and matter, during her concert Thérèse works, historical pieces and emerging artists’ videos this Malengreau explores past and present composers’ eclectic programme follows the nocturnal promenade glorification of the night hours. Her unique, unusual proposed by the exhibition. programme is inspired by the exhibition, her piano resonates with the thrill of the night. GALERIE 3 SUN. 18.11, 16:00 With the assistance of Pianos Schaeffer LOST IN DARKNESS La Première nuit (the first night) by Georges Franju (1957, 19 min.) NIGHT #5 : THE LYING NIGHT (NUIT#COUCHÉE) After Hours by Martin Scorsese (1985, 97 min.) CONCERT ALL NIGHT LONG NIGHT OF THU. 07.03 TO FRI. 08.03, 23:00 - 06:00 SUN. 09.12, 16:00 ENSEMBLE 0, LA NUIT#COUCHÉE THE NIGHT DWELLERS The Centre Pompidou-Metz houses La nuit#couchée; the La nuit du doute (the night of doubts), by Fayçal Baghriche public relaxes on beds in the Studio to listen to music (2016, 6 min.) till the end of the night. (with Alfredo Costar Monteiro, Night in Beirut by Sirine Fattouh (2006, 8 min.) Maxime Denuc, Christophe Petchanatz Klimperei, Leaving Living by Noa Giniger (2005, 10 min.) Floriane Pochon (subject to modifications), Pacôme Kempiski de Neil Belfoufa (2007, 14 min.) Thiellement, Stéphane Garin / ensemble 0). Histoire de la Nuit (story of the night) by Clémens Klopfenstein (1978, 63 min.) STUDIO With the support of DODO® SUN. 13.01, 16:00 NOCTURNE #6: THE SILENT NIGHT NOCTURNAL OBSESSIONS VIDEO PROJECTION Tehran-Geles by Arash Nassiri (2014, 18 min.) Alphaville by Jean-Luc Godard (1965, 90 min.) THU. 04.04, 18:00 MADELINE HOLLANDER Madeline Hollander is working on a new project: SUN. 10.02, 16:00 a video inspired by research on a species of crickets from THE ETERNAL EYES an island in the Hawaiian archipelago that, because of genetic evolution, have become silent at night. Le monde de Paul Delvaux (the world of P. Deveaux) by Henri Storck (1946, 10 min.) AUDITORIUM WENDEL Les lumières du faubourg by Aki Kaurismaki (2006, 80 min.)

CONCERT PERFORMANCE THU. 04.04, 20:30 SUN. 10.03, 16:00 JEFF MILLS (SUBJECT TO MODIFICATIONS) ENWRAPPED IN THE NIGHT La Déraison du Louvre by Ange Leccia (2005, 15 min.) STUDIO The Very Eye of Night by Maya Deren (1959, 15 min.) Belle de Nuit by Luciano Emmer (1997, 26 min.) Un Amour d’été by Jean-François Lesage (2015, 63 min.)

During nocturnal musical events an exhibition ticket Tickets: 5€ / free for members gives access to the exhibition from usual opening hours and until the closing at 20:30. A session for children and family is also proposed on Tickets to the special events at 20:30 from 5€ to 25€ Sunday 7th April 2019, see on next page. Limited number of places.

25 PAINTING THE NIGHT

YOUNG PUBLIC PROGRAMME

SUN. 07.04, 15:00 WORKSHOP FOR CHILDREN FROM 8-12 YEARS DURING YOUTH CINEMA ALL-SAINTS HOLIDAY 24.10.18 26.10.18, 10:00-11:30 During the “Nuit à l’écran” (A night on the screen) THE MU AT→ NIGHT cycle, a screening of short and animated films for a young public is presented, with periods of discussion Of what do the Mu, strange little creatures spawned by and workshop in partnership with the local associations artist Alice Monvaillier’s imagination, dream? Inspired by Ciné Art and L’œil à l’écran. the works exhibited during Painting the Night, the children - Blinkity Blank by Norman Mac Laren (1955, 5 min.) will have three sessions to design an album recounting - Le voyage dans la Lune by Georges Méliès (1902, 13min.) the many adventures of the cute little devils. - Silly Symphonies (Night) by Walt Disney (1930, 7 min.) - Felix the cat in sure locked homes by Otto Mesmer 3 days (1928, 7 min. 50 sec.) 3 x 1:30 – 15€ (flat rate includes the 3 sessions) - Le hérisson dans le brouillard by Youri Norstein (1975, 11 min.) - Obscur by Idir Hanifi (2014, 12 min.) UP TO FIVE YEARS OLD 10:15 + 11:15 Tickets: 5€ / free for members SAT. 23.03.19, From 6 years old BABIES' ISLAND Centre Pompidou-Metz and the National Orchestra SUN. 09.12, 15:00 of Lorraine in association with public libraries and multimedia libraries propose two exceptional sessions FAMILY SHOW of Babies' Island dedicated to the wonderful and The storyteller Muriel Bloch, author of 365 contes pour mysterious world of the night. During these two very tous les âges (365 tales for all ages), Comment la nuit special sessions parents and children alike will enjoy vint au monde et autres contes du Brésil (How the night a selection of musical albums and nursery rhymes to was born and other Brazilian stories) and the radio resonate with the exhibition Painting the night. These series Histoires à se réveiller couchés (stories to wake fun recreational activities, stories and finger games up to in bed), has collected a number of family destined can easily be continued at home. stories about the night that she will enact during the exhibition. 45 min. - Free with a ticket to the exhibitions of the day.

This programme was created in partnership with the JECJ (European Days for Jewish Culture). STUDIO Admission free, limited places available. FAMILY VISIT WITH CHILDREN FROM 5 TO 9 YEARS OLD AND THEIR PARENTS BEGINNING 24.10.18 WORKSHOP FOR CHILDREN FROM 5-12 YEARS FAMILY VISIT: 13.10.18 04.02.19 LET’S TAKE A WALK IN THE DARK ALICE MONVAILLIER,→ L'ATELIER DES MU, During the exhibition Painting the Night, both adults and (THE JOURNEY OF THE MU PEOPLE) children will be able to discover a world of the night made of dreams, the infinity of space and sensations. The Mu are a strange people, these little creatures come from a faraway universe and set up camp at the 5-12 year Along the way several games and creative activities offer old workshop at Centre Pompidou-Metz. To understand each family a means to broach the topic of night-time them and discover their unusual story, the children will in their own unique fashion. They will have fun playing have to tiptoe into the shadows for the Mu only awake with shadows, describing their dreams and nightmares, at night! During the workshop the children embark on a and watching the stars twinkle! journey into the imaginary world of artist Alice Monvaillier. In this cosmic environment they are tasked with depicting On the first Sunday of the month, holidays (except on he incredible itinerary of the Mu by using collage and 1st of May) and on Wednesdays during school vacations fluorescent paint. of zone B in France: a one hour visit at 15:00 for an extra 4€ per person with a ticket to the exhibitions of the day. SAT. + SUN. + PUBLIC HOLIDAYS (except 1st May) Free for holders of a PASS-M or a Youth PASS-M. 5-7 years old: 11:00 Registry on-line or tickets on site the day of the visit 8-12 years old: 15:00 (subject to availability). 1:30 – 5€

Registration on-line and on-site (subject to availability) Additional sessions during regional school vacations (B): 5-7 years old: WED. at 15:00 8-12 years old: MON. +THU. +FRI. at 15:00 26 PAINTING THE NIGHT

OUTSIDE EVENTS

LISTEN TO THE NIGHT, AT THE CITÉ MUSICALE-METZ MUSIQUE DE CHAMBRE, PIANO 17.10 21.10 SAT. 20.10, 18:00 Parallel→ to the Painting the Night exhibition, the Cité VANESSA WAGNER, AVANT LA NUIT Musicale - Metz shall organize musical and dance Franz Liszt: Bénédiction de Dieu dans la solitude, Hymne performances on the theme of night. de l’enfant au réveil, Funérailles, Andante Lacrimoso, Cantique d’amour The dance is honored with Ad Noctum by Christian Rizzo Arvo Pärt: Fur Alina, Trivium, Pari Intervallo who transports us into a breathtaking duo punctuated by unusual and beautiful fade to black effects. This ARSENAL / SALLE DE L’ESPLANADE homage to darkness offers us a musical landscape, a Tickets: 25€ / 10€ cinematic score created by Nicolas Devos and Pénélope Michel interact with Cathy Olives’ luminous vibrations.

MEDIEVAL MUSIC ELECTRO WED. 17.10, 20:00 SAT. 20.10, 21:00 ENSEMBLE SOLLAZZO, NUIT ET JOUR: DANSER LA NUIT Chloé + Flavien Berger + Marc Melià SAINT-PIERRE-AUX-NONNAINS (complete programming coming soon) Tickets: 25€ / 10€ BAM 18€/ 15€ / 12€ LIVE PERFORMANCE THU. 18.10, 20:00 BAROQUE CHRISTIAN RIZZO, AD NOCTUM SUN. 21.10, 11:30 ARSENAL / GRANDE SALLE L'ACHÉRON, COUPERIN: PIÈCES POUR VIOLE Tickets: 25€ / 20€ / 10€ ET CLAVECIN Pièces de viole: Suite en mi mineur, Suite en la majeur SYMPHONIC Pièces de clavecin: La Ténébreuse, Les Pavots, FRI. 19.10, 20:00 Les Barricades Mystérieuses ORCHESTRE NATIONAL DE METZ, NUITS ÉTOILÉES ARSENAL / SALLE DE L’ESPLANADE Musical director: David Reiland Tickets: 16€ / 10€ + Brunch must be reserved Wolfgang Amadeus Mozart: Eine kleine Nachtmusik FURTHER INFORMATION ON WWW.CITEMUSICALE-METZ.FR/ Arvo Pärt: Cantus in memoriam Benjamin Britten Toru Takemitsu: Twill by Twilight Modest Moussorgsky: Nuit sur le mont chauve Arnold Schoenberg: Verklärte Nacht , Op.4

ARSENAL / GRANDE SALLE Tickets: 33€ / 28€ / 20€ / 10€

CONFERENCE FRI. 19.10, 19:00 Eurydice Jousse, Professeur de culture musicale du Conservatoire à Rayonnement Régional Gabriel Pierné de Metz Métropole.

ARSENAL / SALON CLAUDE LEFEBVRE Free admission

Christian Rizzo, Ad Noctum Photo © Marc Coudrais

27 PAINTING THE NIGHT

THU. 11.04 + FRI. 12.04.19 ANOTHER WAY TO EXPERIENCE THE NIGHT AT THE AMNÉVILLE ZOO The attendants have left, visitors have gone home, night is falling… Darkness descends quietly upon the park. Rustlings, shifting and squirming: we can hear and sense some of the Amnéville Zoo hosts (nocturnal raptors, reptiles, wolves, big cats…) as they awaken. After a night at the museum, discover a night at the zoo (reservation required, limited offer open only to Centre Pompidou-Metz members).

Paul Klee, La nuit de Walpurgis [Walpurgisnacht], 1935 © Droits réservés © Photo: Tate, London 2018

Detailed information about the program will be available shortly on the centrepompidou-metz.fr website

The events announced here are subject to changes. For up-dated information please check with the Pôle des Publics and Communications Dept. at Centre Pompidou-Metz or on the internet site.

28 PAINTING THE NIGHT 7. THE PARTNERS

Centre Pompidou-Metz is the first example of devolution of a major national cultural institution, Centre Pompidou, in partnership with local and regional authorities. As an autonomous institution, Centre Pompidou- Metz benefits from the experience, know-how and international renown of Centre Pompidou. It shares with its elder the values of innovation, generosity, a pluridisciplinary approach as well as an openness to all visitors.

Centre Pompidou-Metz puts on temporary exhibitions based on loans from the collection of Centre Pompidou, National Museum of Modern Art, which, with more than 120.000 artworks, is the largest collection of modern and contemporary art in Europe and the second largest in the world. The loans come as well from numerous other French and international museums, galleries and private collectors.

It also develops partnerships with museums around the world. As an extension to its exhibitions, Centre Pompidou-Metz offers dance performances, concerts, cinema and lectures.

It is supported by Wendel, its founding sponsor.

Mécène fondateur

With the support of the Moselle department

Patrons of the exhibition :

The exhibition has benefitted from exceptional loans from the musée d'Orsay

With the assistance of Pianos Schaeffer

With the participation of Vranken-Pommery Monopole.

For the associated programme:

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GRAND MECENE DE LA CULTURE

Wendel, founding sponsor of the Centre Pompidou-Metz

Wendel has been involved with the Centre Pompidou-Metz since its opening in 2010. Trough this patronage, Wendel has wanted to support an emblematic institution with a broad cultural influence. In acknowledgement of its long-standing commitment to cultural development, Wendel was awarded the title of “Grand Sponsor of Culture” in 2012.

Wendel is one of Europe’s leading listed investment companies. It operates as a long-term investor and requires a commitment from shareholder which fosters trust, constant attention to innovation, sustainable development and promising diversification opportunities. Wendel excels in the selection of leading companies, such as those in which it currently owns a stake: Bureau Veritas, Saint-Gobain, IHS, Constantia Flexibles, Allied Universal, Cromology, Stahl, CSP Technologies, Tsebo, PlaYce, Mecatherm and Nippon Oil Pump.

Founded in 1704 in the Lorraine region, the Wendel Group expanded for 270 years in various activities, in particular in the steel industry, before becoming a long-term investor in the late 1970s.

The Group is supported by its core family shareholder group, which is composed of more than one thousand shareholders of the Wendel family, combined to form the family company Wendel-Participations, which owns 37.6% of the Wendel group’s share capital.

CONTACTS

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

Caroline Decaux: + 33 (0) 1 42 85 91 27 [email protected]

30 PAINTING THE NIGHT

The UEM Group, sponsor of the Painting the Night exhibition

UEM, provider of energy since 1901 for Metz and the surrounding 138 communes, is proud to support Centre Pompidou-Metz once again for the exhibition Painting the Night on display from 13 October until 15 April 2019. It seemed very relevant for UEM to support this exceptional exhibition for its theme is linked to the history and activities of the company. Indeed, as early as 1887, Metz was one of the first French cities to provide electricity for its Theatre and its surroundings! Such a ground breaking technology brought light to the population of Metz offering them a new way of experiencing the night. Acknowledged for its commitment to the life of the community and its cultural institutions, the UEM Group could not overlook such an ambitious project. As a patron of Centre Pompidou-Metz since its inauguration, the UEM Group confirms here its support to this cultural and artistic establishment of national and international standing. UEM is more particularly involved in supporting the workshops for 5-12 year old children who are put in contact with modern and contemporary art through educational activities and creative assignments supervised by artists. These workshops are in keeping with the objectives of the UEM Group: over the past years, the company has launched numerous programmes for pupils in partnership with the Moselle educational administration (each year over 1,000 children visit the Argancy hydroelectric power plant or the Musée Pontiffroy), and through teaching materials offered on the website Energy Kid’s. By sponsoring this Centre Pompidou-Metz exhibition, the UEM Group pursues its actions in support of spreading culture and promoting the City of Metz as one of the leading capital cities of Contemporary Art.

About UEM UEM is the first French Independent Local Distribution Company. It supplies power to over 165,000 clients including 23,000 businesses. The company has long been committed to sustainable development: its 3 hydroelectric power plants spread over the Moselle area and its biomass unit inaugurated in 2013 all produce renewable electricity. UEM is part of the UEM Group, which gathers 5 entities (UEM, URM, énergem, énergreen production, efluid) and employs 700 people. The UEM Group is key to the vitality of the local and regional economy.

Press Contacts: UEM Claire LARDIN/ Valérie COZETTE LE BAIL 2, place du Pontiffroy – 57 000 METZ Tel: 03 87 34 45 48 / 03 87 34 37 58 Mail [email protected] / [email protected]

31 PAINTING THE NIGHT

Lorraine Airport sponsor of Painting the Night exhibition

After the exhibition Beacons and Musicircus, the Lorraine regional airport is once again a sponsor of Centre Pompidou-Metz for Painting the Night. Travel is a strong common denominator between the two local institutions for indeed Art is a journey! While this new exhibition leads its visitors into the fascinating world of the night, Lorraine Airport carries its passengers toward new territories.

Since its inauguration, over 6.5 million travelers have boarded, visited, explored, discovered numerous destinations such as Heraklion, Nice, Venice, Rome, Lyon, Prague, Nantes, Biarritz, Bordeaux among others. In 2018, it is still possible to reach a broad array of national, European and international cities including new regular lines like Metz-Marseille with HOP airlines and some supplementary flights toward Casablanca and Algeria.

Nowadays, several hundred people are actively involved in offering better travel services thanks to regular airline companies and established tour operators.

In order to meet the expectations of the public, Lorraine Airport has opened a Duty Free shop in the boarding zone and a new restaurant with a panoramic view of the runways.

Press contact:

Stéphanie Brocard [email protected] 03 87 56 70 13 / 06 74 44 72 05 www.lorraineairport.com

32 PAINTING THE NIGHT

The Conservatoire à Rayonnement Régional Gabriel Pierné Metz Métropole (CRR) is a music, dance and theatre academy. Located on the heights of Saint-Croix at the heart of the historical city of Metz it offers quality training in over sixty artistic disciplines. It welcomes up to 1 600 students each year, from the Jardin musical for four-year-olds to master classes. A team of about one hundred teachers offer high quality instruction for amateurs as well as future professional artists. The CRR’s open, innovative pedagogical approach is also directed toward school children through several interactive activities; it is a driving force in the regional artistic community both in terms of creativity and dissemination. This cultural facility has been managed since January 2004 by the city of Metz under the supervision of the Ministry of Culture with regard to pedagogical aspects.

The Cinema, in all its various shapes and forms, emerged from light, or rather the absence of light, in the night of the darkened projection room, a prerequisite for the show to begin. On the screen a multitude of luminous dots, a fragile balance between black and white, even when there is colour it appears only in the gap between obscurity and total light – the whiteness of the screen. Whether a fiction, a document or an abstract piece (or all three at once if it pleases the spectator), if it is set in full daylight or at night, under the sunlamps or in the shadows of a city or a forest, the cinema, by nature, is compelled, if only for technical reasons, to a relationship with the dark of night: a script made of light when it echoes literature or theatre; a visual art when it focusses purely on characters, objects and shapes. The relationship is intensified when it represents night itself (Indeed how does one film the night?), a double affinity that sometimes leads to a number of conventions, and genres (film noir, science fiction, horror). In resonance with the exhibition Painting the Night, two associations, Ciné Art and L’œil à l’écran, propose seven screenings including films that all focus on the night. Far from the beaten tracks, these shorts and feature films set over different periods in time will enhance the visitors’ experience of the exhibition.

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Masterpieces on loan from the Musée d’Orsay in Paris.

The exhibition opens with one of the rare American paintings in the Orsay collections, a night scene: Summer Night by Winslow Homer (1890), The canvas is displayed in the company of proofs by a photographer from Luxemburg, Edward Steichen: Road into the Valley – Moonrise (1906), and Moonlight: The Pond (1906), works that testify to the fascination for the night shown by the fledgling discipline, more specifically Pictorialism. The Musée d’Orsay own quite a large collection of Steichen’s photographs, indeed he was one of the first to find the technical solutions required to capture nocturnal light. In 1908, Rodin, a friend of the painter- photographer, ordered from him a series of shots of his Balzac sculpture taken under the light of the moon, one of which is the now iconic proof Balzac – The Silhouette, 4 a.m., lent by Orsay for the exhibition. Also on loan from the museum is a print from the series Equivalent (1925) by Alfred Stieglitz hung in the last section of the exhibition “Enwrapped in the Night”.

34 PAINTING THE NIGHT 8. PRESS IMAGES

The pictures of artworks, among which the pictures listed hereafter, can be downloaded at the following url: centrepompidou-metz.fr/phototheque

USERNAME: presse

PASSWORD: Pomp1d57

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Jean Arp, Game after midnight [Jeu après minuit], Francis Bacon, Femme nue se tenant dans un Vija Celmins, Untitled n°7, 1998 Auguste Elysée Chabaud, Hôtel-Hôtel, 1907/1908 1962 encadrement de porte 1972 Fusain sur papier 45,7 x 55,5 cm Huile sur papier marouflé sur panneau marqueté, 38,6 x 53,4 cm Papiers découpés et collés sur papier, 64 x 50cm Papiers découpés et collés sur papier, 64 x 50cm Paris, Centre Pompidou, Musée national d'art moderne Musée de L'Annonciade, Saint-Tropez Paris, Centre Pompidou, Musée national d'art moderne Paris, Centre Pompidou, Musée national d'art moderne © Vija Celmins, Courtesy Matthew Marks Gallery © Adagp, Paris 2018 © Adagp, Paris 2018 © The Estate of Francis Bacon - Adagp, Paris 2018 Photo © Centre Pompidou, MNAM-CCI/Dist. RMN-GP / Philippe Migeat Photo © Pierre-Stéphane Azema © Georges Meguerditchian - Centre Pompidou, MNAM-CCI/Dist. RMN-GP Photo © Centre Pompidou, MNAM-CCI/Dist. RMN-GP / Philippe Migeat

Robert Delaunay, Nightscape (the cab) [Paysage Noc- Peter Doig, Milky Way, 1989/1990 Augusto Giacometti, Starry Sky (Milky Way) Winslow Homer, Summer Night, 1890 turne (le fiacre)], 1906/1907 Huile sur toile, 152 x 204 cm [Sternenhimmel (Milchstrasse) ], 1917 Huile sur toile, 0,767 x 1,02 m Huile sur toile, 43 x 58 cm Huile sur toile, 86 cm Paris, Musée d'Orsay Collection particulière Collection de l'artiste Bündner Kunstmuseum Chur, Schenkung aus Privatbesitz © Peter Doig. All Rights Reserved, DACS/Artimage 2018. © RMN- Grand Palais (Musée d'Orsay) / Hervé Lewandowski Courtesy Galerie Louis Carré & Cie Photo: Jochen Littkemann / ADAGP Paris, 2018

Victor Hugo, Twilight vision [Vision crépusculaire], s.d Raymon Jonson, The Night, Chicago, 1921 Vassily Kandinsky, A Circle (A) [Ein Kreis (A)], Paul Klee, Growth of plants [Pflanzenwachstum], Techniques mixtes sur papier, 7,5 x 9,3 cm Huile sur toile, 88,9 x 104,1 cm 1928 1921 Paris, Maison de Victor Hugo Courtesy of Michael Rosenfeld Gallery LLC, New York, NY Huile sur toile, 35 x 25 cm Huile sur carton, 54 x 40 cm Paris, Centre Pompidou, Musée national d'art moderne Paris, Centre Pompidou, Musée national d'art moderne Photo © Maisons de Victor Hugo / Roger-Viollet © The Raymon Jonson Collection, University of New Mexico Art Museum, Albuquerque, NM Photo © Centre Pompidou, MNAM-CCI, DIst. RMN-GP / Philippe Migeat © Droits réservés Photo © Courtesy of Michael Rosenfeld Gallery LLC, New York, NY © Service de la documentation photographique du MNAM, Centre Pompidou, MNAM-CCI/Dist. RMN-GP

36 PAINTING THE NIGHT

Paul Klee, The night of Walpurgis [Walpurgisnacht], Adrian Ghenie, The End of Romanticism, 2009 Jannis Kounellis, Untitled (Night) [Senza titolo (Notte)],1965 Lee Karsner, Night creatures, 1965 1935 Huile sur toile, 210 x 140 cm Huile sur toile non enduite, agrafée sur châssis, 120 x 180 cm Acrylic on paper, 76 x 108 cm Gouache sur toile contreplaqué, 50,8 x 40,7 cm Courtesy of P. Duménil Paris, Centre Pompidou, Musée national d'art moderne New York, Collection of the Metropolitan Museum of Art

Frantisek Kupka, Fall, 1910/1913 Roy Lichtenstein, Moonscape, 1965 Lucio Fontana, Spacial Environment [Ambiente Spaziale], Man Ray, Night (Alphabet for Adult)[Nuit (Alphabet pour Huile sur toile, 74 x 84 cm Screenprint on plastic, 50x61 cm 1967 adulte)], 1970 Paris, Centre Pompidou, Musée national d'art moderne Collection particulière M. & Mme. Menke Installation Encre de Chine et stylo-feutre sur papier, 30,6 x 24 cm © Fondation Lucio Fontana, Milan Paris, Centre Pompidou, Musée national d'art moderne © Adagp, Paris 2018 Photo © Centre Pompidou, MNAM-CCI/ Dist. © Adagp, Paris 2018 © Adagp, Paris 2018 RMN-GP / Jean-Claude Planchet Photo © Tate, London 2018 © Man Ray Trust / Adagp, Paris 2018 Photo © Centre Pompidou, MNAM-CCI/ Dist. RMN-GP / Georges Meguerditchian

Man Ray, To the moonlight [À la lumière lunaire], Henri Michaux, The Prince of the Night [Le Prince de Claude Monet, Leicester Square, by night Max Ernst, Vision Induced by the Nocturnal Aspect of 1948 la nuit], 1937 [Leicester Square, la nuit], 1900/1901 the Porte Saint-Denis [Vision provoquée par l'aspect Gouache sur bois, Gouache et aquarelle sur papier noir, 32,3 x 24,5 cm Huile sur toile, 80 x 64 cm nocturne de la Porte Sainte-Denis], 1927 Collection privée, courtesy Andrew Strauss, Paris Paris, Centre Pompidou, Musée national d'art moderne © Collection Larock-Granoff Huile sur toile, 65 x 81 cm

37 PAINTING THE NIGHT

Amédée Ozenfant, Illuminated Skyscraper [Gratte Pablo Picasso, Reclining nude woman (or Starry Gerhard Richter, Constellation [Sternbild], 1969 Georg Scholz, Night Street Scene [Nächtliche ciel éclairé], 1950 Nude) [Femme nue couchée (ou Nu étoilé)], Huile sur toile, 92 x 92 cm Strassenszene], 1923 Huile sur toile, 152 x 107 cm 1936 Museum Frieder Burda, Baden-Baden Paris, Centre Pompidou, Musée national d'art moderne Huile sur toile, 1,306 x 1,625 m © Staatliche Kunsthalle Karlsruhe Paris, Centre Pompidou, Musée national d'art moderne © Gerhard Richter 2018 (24042018) © Adagp, Paris 2018 © Centre Pompidou, MNAM-CCI/Dist. RMN-GP / Philippe Migeat © Succession Picasso 2018 Photo © Centre Pompidou, MNAM-CCI, Dist. RMN-GP / Philippe Migeat

Avery Singer, Untitled, 2017 Jan Sluijters, Moonlight [Maannacht IV], 1912 Léon Spilliaert, Dam and beach, Royal Villa and Amédée Ozenfant, Light on the water Acrylique sur toile, 101,6 x 114,3 x 5,08 cm Huile sur toile galeries of Ostend [Digue et plage, Chalet Royal [Lumières sur l'eau], 1949 Museum Voorlinden Wassenaar (The Netherlands) et galeries d'Ostende], 1908/1909 Huile sur toile, 1,04 x 1,3 m Encre de Chine et aquarelle sur papier, 64 x 48 cm Paris, Centre Pompidou, Musée national d'art moderne Courtesy the artist, Kraupa-Tuskany Zeidler, Berlin/ Private Collection, © Adagp, Paris 2018 Collection privée Taiwan/ Photo © Thomas Mueller © Adagp, Paris 2018 Courtesy Patrick Derom Gallery © Centre Pompidou, MNAM-CCI/Dist. RMN-GP / Philippe Migeat, Photo © Vincent Everarts de Velp

Helen Frankenthaler, Star Gazing, 1989 Acrylique sur toile, 181,61 x 365,76 cm Fiete Stolte, Smoke (after Still Life with Candle #3), 2016 Tubes néon, 160 x 75 x 10 cm © 2018 Helen Frankenthaler Foundation, Inc. © Adagp, Paris 2018 Courtesy of Klosterfelde Edition Berlin and the artist Photo © Studio Fiete Stolte The presentation of Helen Frankenthaler's artwork Star Gazing wade made possible thanks to the support of The Helen Frankenthaler Foundation, New York.

PRESS OFFICE

AGENCE CLAUDINE COLIN CENTRE POMPIDOU-METZ National and International Press Regional press Pénélope Ponchelet [email protected] Téléphone : +33 (0)1 42 72 60 01 [email protected]