A Retrospective Press Kit 03.04 > 10.05.15

TANIA MOURAUD a retrospective press kit 03.04 > 10.05.15

centrepompidou-metz.fr Tania Mouraud. a retrospective

Contents

1. Exhibition overview...... 02

2. Tania Mouraud: important dates...... 04

3. Exhibition layout at Centre Pompidou-Metz...... 06

4. The city-wide walk...... 10

5. lenders...... 16

6. cultural programme around the exhibition...... 17

7. credits...... 18

8. partners...... 21

9. Press Visuals...... 24

1 Tania Mouraud. a retrospective 1. Exhibition overview Tania Mouraud. A retrospective 4 March to 5 October 2015 Galerie 2 at Centre Pompidou-Metz

27 June to 5 October 2015 At Centre Pompidou-Metz and in 9 Partner Venues in Metz

In 2015, in partnership with nine cultural sites throughout the city, Centre Pompidou-Metz is presenting the first extensive catalogue retrospective dedicated to French artist Tania Mouraud. under the direction of Kicking off on 4 March 2015 at Centre Pompidou-Metz, this Hélène Guenin and élodie Stroecken show will encompass the city of Metz and its surroundings. It will be presented in its full scope and unprecedented form éditions du Centre Pompidou-Metz as of 27 June 2015. Format: 240 pages Tania Mouraud is a unique artist in a class of her own. Her price: €39 work has continued to evolve since she started creating in ISBN: 978-2-35983-034-7 the 1960s, alternatively exploring multiple media including painting, installation, photography, performance, video and sound. One thing has remained constant, her works have always explored the relationship between art and social Essays connections. With this in mind, she suggested integrating "Tania Mouraud de A à…" meditation rooms in standard homes (1968). She plastered Hélène Guenin and Élodie Stroecken her discontentment with society, with materialism taking precedent over man, on 4 x 3 meter billboards (1977). She "Tania Mouraud – Agir dans le monde de la vie" has also reflected upon the aesthetic relationship between Ute Meta Bauer art and war, and through the act of writing, has examined the limits of perception by creating “words of form”* (1989). "Corpus d’inscriptions et démultiplication de l’image" Since 1998, she has intertwined photography, video and sound Jean-François Chevrier with painting to examine the different aspects of history and the living. "Working Space : murs et écritures dans l’œuvre de Tania Mouraud" Vanina Géré An exhibition catalogue accompanies the exhibition. This reference work will include a significant amount of her "L’œuvre écologique de Tania Mouraud", writings and numerous unprecedented documents. Janine Marchessault The École Supérieure d'Art de Lorraine has contributed to "Tania Mouraud – Ear-rooms" this retrospective. Daniele Balit

Curators: Hélène Guenin, Head of Programming Department, Centre Pompidou-Metz Élodie Stroecken, Assistant Coordinator, Programming Department, Centre Pompidou-Metz

* Elisabeth Lebovici, « Tania Mouraud, mots de formes », Libération, 19 November 1992

2 Tania Mouraud. a retrospective

The ReTROSPECTIVE The City-wide EXHIBITION – the walk At CENTRE POMPIDOU-METZ This survey exhibition will expand into the city of Metz starting on 27 June 2015, incorporating nine partner institutions and Covering 1100 sq. m. in Galerie 2 at Centre Pompidou- venues. Diverse aspects of Tania Mouraud's work will be Metz, the exhibition takes a look at Tania Mouraud's career presented, expanding on the exhibition at Centre Pompidou- and artistic practice, from her 1968 autodafe, a profoundly Metz. This will take the visitor on an extended walk through the symbolic act of destruction that ended her initial pictorial city to exhibition spaces at Arsenal, Chapelle des Templiers, years, through to her initiation and mediation rooms of 1970s, Saint-Pierre-aux-Nonnains, Faux Mouvement – Centre d’art up to her most recent works. The exhibition highlights her contemporain, Frac Lorraine, Musée de la Cour d’Or – Metz tenacious career, marked by her encounters with prominent Métropole, Toutouchic and Octave Cowbell art galleries as contemporary artists, as well as by her personal life story. well as in front of the Galeries Lafayette department store. The artist's emblematic works will be revealed throughout The selection of over 70 works of art, some from the artist's the urban landscape and workshops with the artist herself personal collection, unveil the portrait of a socially engaged offered to students at École Supérieure d’Art de Lorraine in Tania Mouraud. Several historic works have been be re- the scope of a one-year collaboration. enacted in the scope of the exhibition as well. Extended patronage by Frac Lorraine has intricately linked Special focus is given to her meditation rooms as well as Mouraud's work and artistic career to the city of Metz her photo-texts and works on language from the 1970s, all since 1990s, starting in 1995 with the acquisition of City emblematic of Tania Mouraud's repertoire. The exhibition Performance N°1, an anthological work from the late 1970s. will be the first to fully explore the expanse of her initiation This work consists of 54 billboard signs with the word “NI” rooms. Her first meditation room, One more night (1970), (literally neither/nor) printed in 4x3m and placed throughout initially realised for the eponymous exhibition by Jean the city of Paris. Further support from Frac Lorraine came in Larcade at Galerie Rive Droite in Paris, has been specially 2005 with the monumental project titled HCYS?. This large- reconstructed for the show. scale work covers a blind wall at the Musée de la Cour d’Or. The City Performance N°1 poster campaign has been revived AD NAUSEAM, a monumental audiovisual installation for one week throughout the city of Metz and its suburbs presented at MAC/VAL – Musée d’art contemporain du Val- within the framework of Tania Mouraud. A retrospective. de-Marne from 20 September 2014 to 25 January 2015, is also being shown in an adapted version. This major work by Tania Mouraud was co-produced with Ircam (Institut de Recherche et Coordination Acoustique/Musique) during her residency there in 2013-2014.

3 Tania Mouraud. a retrospective 2. TANIA MOURAUD: important dates

1942 Tania Mouraud was born on 2 January 1942 in 1971 First stay in India, six months. Paris to Marcel Mouraud, lawyer, art collector and Mouraud, galleria LP 220 (with musicians La Monte resistance fighter, and Martine Sersiron (pen name: Young, Terry Riley, Pandit Prân Nath), Turin (Italy)* Martine Chevrier), resistance fighter, journalist, Documents sur les espaces d’initiation et de advertising agent, business woman and writer. Her méditation de Mouraud, galerie Ben doute de tout, youth was marked by the death of her father, killed Nice (France) in the Vercors mountains in 1945. Her frequent visits Mouraud : Projets, galerie Rive Droite, Paris to the Musée du Louvre considerably influenced her artistic career. 1972 Tania Mouraud's interest in conceptual art defined itself in particular for Art & Language, and artists 1958 Schooled in England. Terry Atkinson, Bernar Venet and Joseph Kosuth. She -1960 took classes in mathematics and logic at Université libre in Vincennes. In her first mural composed of 1960 Tania Mouraud spent time in England on several linguistic statements, Wall is seen, Tania Mouraud occasions, then went to Düsseldorf, Germany. An encourages us to understand the viewer, the act of important avant-garde group was active there viewing and the object viewed, as one. including Joseph Beuys, artists from the Zero group (Heinz Mack, Otto Piene, Günther Uecker), Reiner 1973 Tania Mouraud exhibition, galerie Françoise Ruthenbeck, Gotthard Graubner, as well as other Lambert, Milan (Italy) personalities like Alexander von Vegesack. Mouraud : Focale ou la fonction de l’art (music: Jon She discovered John Cage, Fluxus and jazz. Gibson), ARC 2, musée d’Art Moderne de la Ville de Paris, Paris* 1965 Returned to France and discovered abstract American painting, lyrical abstraction by Georges 1973 Tania Mouraud created her “mandalas”. Key Mathieu, New Realism, GRAV (Groupe de recherches -1974 encounter, through Bernar Venet, Ben and artists d’art visuel). from Supports/Surfaces, with collector Vicky Rémy, She discovered musique concrète, became enthralled who became a steadfast supporter. with Varèse and Xenakis and captivated by the Following a discussion with André Valensi, she theory of colour and traditional painting techniques. toughened her stance by eliminating photography from her work and concentrating solely on text, its 1968 She burned all of her paintings in the courtyard of support and the space in which it is inscribed. Villejuif hospital. This autodafe marked a radical She read numerous books on typography and its break with painting which she had engaged in history. She was fascinated by advertising and the since 1962 under the influence of Georges Mathieu Russian avant-garde. in particular, American artists from action painting and from the pop art movement. Mouraud started 1977 She moved into the public space for the first time making her Initiation and Meditation Rooms at this with City Performance n°1. The word “NI” was time, a study of psychosensorial perception of space. posted on 54 billboards in north-eastern Paris, revealing a kind of punk nihilism in the artist, 1970 First meditation rooms: rejecting the theories and dictates of materialism Mouraud, galerie Rive Droite, Paris* and advertising. . We used to know, Centro Apollinaire, Milan (Italie)* Exposition Art Space n° 5, Special Project, PS1, New York

4 Tania Mouraud. a retrospective

1988 Tania Mouraud went back to painting with 2002 Tania Mouraud founded the musical experimentation typographical work and pursued her exploration of group Unité de Production with Cyprien the legibility of text in her BLACK POWER series. This Dedeurwaeder, Ruben Garcia, Pierre Petit, Marie- work was further developed in Wall Paintings as of Odile Sambourg, Sylvain Souque and Baptiste 1989. Straight black letters, very elongated and close Vanweydeveldt. Since the end of 2000s, she has been together, form a word or a phrase that is only legible if producing set-ups that associate one or several the viewer makes an effort: "SEEINGISFORESEEING", screens and spatialised soundscapes (Ad Infinitum, "MEMORY", "SEEINGYOURSELFSEEING", "IHAVEADREAM", La Fabrique) or mixing them directly during video- "WOMANISBEAUTIFUL". performances on “visual drones” (DLPDA at Musée Words exhibition, Riverside Studios, Londres de la Chasse et de la Nature en 2009, PreVItSoRaN #1 for Nuit Blanche Paris 2012, ReYIsToW at Backslash 1989 BLACK POWER, galerie De Lege Ruimte, Bruges gallery in 2014). (Belgium) 2004 Sightseeing, Le Cube, FIAC, galerie Rabouan- 1995 Tania Mouraud Tania Mouraud produced the Moussion, Paris work Le Silence des héros within the scope of the Territoires occupés exhibition organised by 2005 HCYS? project, permanent installation, Frac Frac Lorraine on a former NATO military base in Lorraine, Metz (France) Zweibrücken, Germany. 2006 La Fabrique, CSUF – Grand Central Art Center, 1997 World Signs, The Herbert Read Gallery, Canterbury, Santa Ana, Los Angeles (United States)* Kent (United Kingdom)* Le silence des héros, galerie du musée Louise- 2009 Realised her first live solo video performance and Weiss, Saverne (France) sound improvisation at musée de la Chasse in Paris, mixing soundscapes for a video projection. 2001 On 29 December, Tania Mouraud left Strasbourg by car to go to Struthof, the only death camp on French 2010 La Fabrique, Krasnoye Znamia, French-Russian soil. Camera on her shoulder, she filmed non-stop Year, Saint Petersburg (Russia) from the back of the car up to the entrance to the camp, producing Sightseeing with music composed 2014 AD NAUSEAM, audio-visual installation in by Claudine Movsessian. partnership with Ircam, MAC/VAL - Musée d’art In her next videos, Machines désirantes and La Curée, contemporain du Val-de-Marne, Vitry-sur-Seine Tania Mouraud worked on the slow choreography of (France)* the bodies of koi carp and hunting dogs – playing on their beauty and their deaf violence. * An exhibition catalogue was published.

5 Tania Mouraud. a retrospective 3. exhibition layout at Centre Pompidou-Metz galerie 2 layout

4 - PERCEVOIRDISCERNERIDENTIFIERRECONNAÎTRE 3 - LA FONCTION DE L’ART

ONE MORE NIGHT 2 - LES GENS M’APPELLENT 1 - «UN SUPPLÉMENT TANIA MOURAUD D’ESPACE POUR UN SUPPLÉMENT D’ÂME»

5 - LE SILENCE DES HÉROS 6 - AD NAUSEAM

SORTIE ENTRÉE

Introduction The exhibition opens with the poignant image of an Autodafé from 1968 in which Tania Mouraud ends her pictorial phase Autodafé, 1968 In 1968, Tania Mouraud burned her paintings in public, in of that period in a radical manner. the courtyard of the Villejuif hospital in Paris. This radical Two seminal works follow this act of destruction, the large- act embodies the artist’s relentless quest for artistic, scale white Formica monochrome titled Infini au carré, and technical and intellectual emancipation. Several years Totémisation, a volume-sculpture created on her own full- earlier, in 1960, her mother had sent her to Düsseldorf body scale. These works embody the formal and spiritual to refine herself. She attended the French library, the revival that next shaped her career. Presented for the first Kunstverein, jazz clubs, artistic and militant circles and time in a museum, these works have been re-enacted followed the Zero group, Joseph Beuys and concrete poetry especially for this occasion. present in the city at the time. Following these encounters, Tania Mouraud flourished and started painting at twenty- one, first abstract then pop art. Her subsequent discovery of Jackson Pollock’s work in an exhibition “left a deep mark” on her, initiating her reflection on space. She returned to France in 1965. The 1968 documenta IV in Cassel, Germany, a backdrop to the era’s political and social upheavals and a showroom for new artistic forms, proved highly influential as well. Upon her return to France, she decided to end her initial pictorial years.

6 Tania Mouraud. a retrospective

1. "an extra SPACE fOR SoUL Extension" One More Night, 1969/2015 ONE MORE NIGHT is a re-creation of the very first The works cited above introduce a brief yet extremely fruitful meditation room set up by Tania Mouraud at Galerie period in Tania Mouraud's work, which focused on the search Rive Droite in 1970. Steps covered in immaculate white, for "an extra space for soul extension" and brought about the work contains a pit in its centre that corresponds her meditation and initiation rooms which she suggested be to the measurements of the artist’s body. She declared: added to standardised apartments in the 1960-70s. “I am building a world where I could die in peace”. Its This aspiration towards art dedicated to space and pure lines favour introspection; the room is designed as environment, relatively unheard of on the European art a “psychosensorial” environment, and a hypnotic sound scene, was being explored in the United States at the time frequency is broadcast. The composition and sound by Doug Wheeler, James Turell and Dan Graham, amongst spatialisation work was initially entrusted to Eliane others. Tania Mouraud's creation of a "room for one's self" Radigue. “I designed this space as a rest area for the demonstrates her philosophical reflection on identity and mind and body. The continuous frequency of 200 Hz, which one's connection to the world. varies in function of movement and breathing, helps the user to let go in this space which was inspired by mystical Some of the rooms include research on sound, her own traditions (Ziggurat) and represents the passage to another creations or the fruit of work with composers such as Éliane level of consciousness.” (Tania Mouraud, handwritten note, Radigue, Terry Riley, La Monte Young and Pandit Prân Nath. 1969, revised in 2014)

INITIATION ROOMS, INITIATION SPACES The artist created different types of spaces between Initiation Space n°5, 2013-2015 At the centre of a square platform, a streamlined seat “PASSAGES”, deconditioning chambers, “INITIATION evoking a long polished pebble invites the visitor to sit ROOMS” and “INITIATIONS SPACES”, respectively rooms down facing the landscape. Ideally, the visitor could sit and observatories intended for the home and landscaped with crossed legs in the lotus position typical of Buddhism, environments. The minutely precise technical drawings on this hard transposition of the traditional seat used in bring to mind documentation on land art as well as Zen meditation: a thick round cushion (zafu) placed on a analytical projects from conceptual art. Some spaces flat square cushion (zabuton). Conceived forty years after adhere to romantic idealism: suspended on a mountainside her “INITIATION SPACES”, this project, which remained in or hollowed out of a cliff, they offer fusional immersion the planning stage, lies somewhere between a sculpture with nature. Others, however, provide introspection and to be contemplated and an invitation to meditate, and transcendence of a physical experience. These projects are brings the initiation space back to its primary component: presented all together for the first time here. introspection. It was designed by the artist for use in natural surroundings.

This project was selected by the sponsorship commission of Fondation Nationale des Arts Graphiques et Plastiques which brought it its support.

With the contribution of CCC – Centre de Création Contemporaine de Tours et du Centre Pompidou-Metz.

7 Tania Mouraud. a retrospective

2. PEOPLE CALL ME TANIA MOURAUD 4. Perceivediscernidentifyrecognise Tania Mouraud's exploration of identity, awareness of self City Performance n°1 marks a significant shift in Tania and one's place in the universe is broadened through her Mouraud's work. At the end of 1977, 54 billboards were work on a series of photo-texts and photographs taken on marked with the word "NI" (literally neither/nor) in five heliographic plates, some of which even take the shape of arrondissements of northern and eastern Paris for 15 days. Buddhist mandalas. This examination steadily shifts from A subversive paradox of language without a message, the subject to object, from cosmological to tangible ending in a "NI" is an "anonymous stance. Ultimate negation, absolute pure exploration of language and perception. truth, universal circuit-breaker used by Western logicians and Eastern sages."

This campaign profoundly impacted Tania Mouraud's work People call me Tania Mouraud, 1971-1973/2015 and led her to several major trends: the re-use of large- In this series of works on the notion of identity, Tania scales, the artistic aspects of language and the exploration Mouraud openly questions perception and the definition of public space. of self. A simple question is juxtaposed against a series of photographs of the artist (or one of her female friends) "NI" was a type of protest with which the artist left her at various ages. These images, which represent the many purely philosophical-linguistic explorations, turning to more possible answers to the question, "People call me Tania politically motivated content. She did however manage to Mouraud. Which of these bodies are they referring to?", avoid the pitfalls of literalism and social commentary, her sow doubt and confusion in the viewer’s mind; indeed, can protests remaining, through their abstract representation, we rely on language, and how can a changing identity be protests "with hidden noise". defined?

De la décoration à la décoration II (FRANCE), 1994-1995 In 1994, Tania Mouraud inaugurated a set of works titled 3. THE FUNCTION OF ART "DE LA DÉCORATION À LA DÉCORATION". Then, for each new show, she adapted them to the colours used "Through my work, I demonstrate that Philosophy and Art in civilian or military honours awarded in the country in should and can merge together to lead us on our path to which the works were displayed. Enlarged to the size of Knowledge." wall crates, these insignia, fastened to a grey, khaki or navy-blue background representing the colour of uniforms Tania Mouraud pursued her exploration of perception by or ceremonial dress, bring classical painting into the era of focusing her work on linguistics and the phenomenology of geometric abstraction, transforming honorary distinctions perception – in particular on the notions of the immediate into interior decoration. and the deferred. Words became the tools and shapes used to materialise her thoughts.

The artist inscribed words on a polyethylene tarp – a common inexpensive support that evokes the world of manual labour MDQRPV?, 2015 Wall drawings, imagined already in 1979 and produced as –, then fully extracted the writing, making it larger and of 1989, extend Tania Mouraud’s examination of writing on larger until reaching abstraction thus exploring its artistic an architectural scale. Letters and spaces, calculated using typographical potential more than the actual perception of the golden number, are stretched to the limit of legibility. its meaning. The artist rapidly turned to using poetic or literary phrases with multiple undertones. MDQRPV? is taken from the This led to her "BLACK POWER" work, which consists of a book by Svetlana Alexievich, Voices from Chernobyl: series of relief-paintings with a DIY feel to them, expressing The oral History of a Nuclear Disaster (1997), which closer ties to industrial painting than to the smooth aesthetics presents personal accounts of the 1986 tragedy. "Mais de of conceptual art. quelle radiation parlez-vous alors que les papillons volent et les abeilles bourdonnent ?" ["Well, I say to them, what radiation? There’s a butterfly flying, and bees are buzzing"], PERCEPT AS CONCEPT, 1973 / 2015 asks an old woman, unauthorised resident in no-man’s In the early 1970s, Tania Mouraud removed images that land. Life indeed seems to continue, however, despite the she considered too anecdotal from her "photo-texts" visibly luscious vegetation that covers the site, the fauna and began shifting her work towards a more radical and flora are contaminated. The tragedy is now insidious, form of conceptual art. Her texts migrated onto tarps silent and powerful like the words stretched out over the and delivered plain questions and enigmatic aphorisms. wall, which reveal themselves to the patient reader. Through language, the artist hopes to make the viewer aware of the mechanisms behind his own perception and lead him to "see himself seeing". An equivalence is thus established between "he who sees, the act of seeing and the object seen".

8 Tania Mouraud. a retrospective

5. The SILENCE of HeROS 6. Ad Nauseam This part of the exhibition deals with another dimension of After her autodafe of 1968 and her meditation rooms, Tania Tania Mouraud's work: her relationship with History and its Mouraud explored the paradoxes essential to our existence: silences, present in several of her works – wall paintings, order and chaos, fulfilment and fury, serenity and terror, photographs and videos. Sightseeing (2002) is one of her first creation and disappearance. Over the years, and in particular works that pointedly refers to Nazi concentration camps by through the use of video, these themes have taken a leading plainly and modestly addressing the Shoah. role in her contemplations. Formalism has slowly given way to a more emotional and sensitive dimension in her works, more Since the 1990s, Mouraud has also been exploring signs directly expressing the strength of these paradoxes. and symbols created by society to commemorate events and celebrate heroes: flags, medals, decorations, etc. from which These aspects have become fully tangible in the different she extracts their plastic and cognitive potential. registers of her work and have a fulfilling aspect to them in the AD NAUSEAM audio-visual installation.

Le Silence des héros, 1995-1996 258 flags, rolled around their poles, rest aligned against a wall. Their alternating colours and formats punctuate AD NAUSEAM, 2014 Mounds of books are discharged in a recycling plant in an the space. Le Silence des héros sets off in a silent parade, inexorable process of destruction echoing the deafening a stifled protest, open to interpretation. Rolled up, these noise from industrial clamour. The soundtrack, produced banners evoke the awaiting revolt or aftermath of the using nearly a thousand samples primarily recorded in demonstration. The title refers to Voltaire, to vox populi situ, the outrageous size of the images, the fragmented and "to this idea that we are all rising heroes", yet these and constantly shifting views, pull the audience into a resting banners also allude to mute disenchantment and dizzying spin into the massive destruction of knowledge. society’s passivity in those years. The work was produced Oscillating between gripping historical references and in 1995 by Frac Lorraine in the scope of Territoires occupés examination of the environmental impact of our modes of [Occupied Territories], an exhibition produced with female production, AD NAUSEAM reflects Man’s capacity for self- artists in a former NATO military airport in Zweibrücken, destruction. Captured by the flux and monumental nature Germany. It was re-produced and expanded at Le Quartier, of the images, the viewer cannot take in the entire scene centre d’art de Quimper. and distance himself from it.

Sightseeing, 2002 This film was made from the back seat of a car, from behind fogged-up windows. Slowly crossing a snow-filled landscape to the sound of a clarinet, it ends with the silent shot of a gate and barbed wire, revealing what we precisely do not want to see. We are at the entrance to the Struthof concentration camp in Natzweiler, Alsace. The entire video is like a gloomy dream with music – a harrowing clarinet solo interpreted by Claudine Movsessian – that bestows it with an epic dimension.

9 Tania Mouraud. a retrospective 4. The city-wide walk

Exhibition: Tous les chemins mènent à Schengen ! 49 Nord 6 EST – Frac Lorraine (All Paths Lead to Schengen!) From 22 May to 4 October 2015 Located in the historical centre of Metz, in a building from 12th century, Fonds régional d’art contemporain de Lorraine "How can you sleep ?" A cry of outrage by Tania Mouraud presents its audiences with a variety of artistic experiences. at those who feign sleep and ignore society's strays, nomads Thematic exhibitions bring conference speakers and idea and other refugees at the gates of Europe! While they dream brokers together with musicians, dancers, as well as others of a better future, they find us depressed and pessimistic in from the artistic scene. In the scope of its cross-disciplinarity, our sedentary lives. Frac fosters a unique relationship with the written word and The present exhibition at Frac Lorraine revolves around the organises residencies for art critics, historians, philosophers figure of the relentless walker: from the wandering Jew and writers on a regular basis. This initiative stimulates and who erred in medieval tradition to the more contemporary encourages critical thinking on the stakes of contemporary migrant... Can a parallel be drawn between the historical society. movements of populations and the leisure hikes that have The ideas and experiences promoted by the Frac are reflected become popular in the West? Is hiking a remedy for our across its territory and through its collection. This collection contemporary problems? often deals with female artists and immaterial forms and is developed through performances, dance and other live Artists : Ursula Biemann, Marta Caradec, Bouchra Khalili, forms. As a true mirror of an evolving society, Frac invites Beat Lippert, Mathieu Pernot… its audiences to dream the world in which they live through collective experiences and direct participation. . Hcys? Few visitors get a glimpse of this work since it can only be seen from the top of the dovecote tower at Frac Lorraine. This monumental work fits the size of the landscape. Fifteen by thirty-some meters, it is the foreground of the city's scenic panorama. The silent scream that unfolds here, slowly reveals the words "How can you sleep?", from Schoenberg’s opera A Survivor from Warsaw, in which the narrator recounts, in English, the invasion of the ghetto by the SS. The work can be viewed from the dovecote tower upon appointment.

49 Nord 6 Est – Frac Lorraine 1 bis, rue des Trinitaires Tuesday to Friday – 2pm to 7pm Saturday and Sunday – 11am to 7pm Free Entrance 49 Nord 6 Est – Frac Lorraine, Metz Access to HCYS? upon appointment: +33 ()03 87 74 20 02 or Anna Maria Maiolino, Entrevidas, 1981/2013 [email protected]) © Collection Frac Lorraine / Photo : E. Chenal Between 2pm and 7pm – Tuesday to Friday At 5pm on Saturday and Sunday

10 Tania Mouraud. a retrospective

Arsenal – exhibition Gallery, SAINT-PIERRE-AUX-NONNAINS and CHAPELLE DES TEMPLIERS The concert hall at Arsenal is foremost dedicated to symphonies and baroque music. However, Arsenal is equally open to other musical genres and dance, as well as the fine arts which has a newly reconfigured exhibition space of its own. The richness of modern and contemporary art from the region and boarder areas has led Arsenal to refine its position in the field of visual arts. Since 2009, the Exhibition Gallery at Arsenal has been entirely dedicated to photography. With 5 to 6 exhibitions per season, it has become a reference venue, working in close connection with the programmes on offer © Arsenal – Metz en Scènes at various partner institutions throughout the region. Its programming is based on the multiple facets of this artistic discipline, ranging from conceptual photography to photo Saint-Pierre-aux-Nonnains journalism from both the national and international scenes, Saint-Pierre-aux-Nonnains is hosting Ad Infinitum, an from young photographers to veteran artists. impressive film on the "ballet" of grey whales in the Gulf of Mexico, providing food for thought on the confrontation with EPCC – Metz en Scènes, which groups Arsenal, Les Trinitaires the immenseness and power of nature. and BAM together, was created in 2009 by the City of Metz and the Lorraine Region. Chapelle des templiers A novel experience is on offer in the Chapelle des Templiers exhibition Gallery based on the sound composition in a video entitled Myriam In line with the Exhibition Gallery's programming at Arsenal, Hamagdalit that mixes Kaddish, shofar, deep Russian basses, the works on display here focus on Mouraud's photographic Byzantine bells and Tibetan trumpets. A retake on this production, from “Vitrines” up through her most recent series history-laden site. on the open-air mines in western Germany. The exhibition combines photography and videos from 2000 on, widely covering the appearance of images in Tania Mouraud's work. L'Arsenal 3, avenue Ney Tuesday to Sunday – 2pm to 7pm Closed on 14 July and 15 August.

11 Tania Mouraud. a retrospective

The wide range of European Schools from 19th century MUSÉE DE LA COUR D’OR Renaissance are well represented in its collections of paintings. The focus is on great artists from Metz (François – METZ MÉTROPOLE de Nomé, Poerson, Le Prince), painters from the "École de Metz" (19th century) and a set dedicated to abstraction from the second École de Paris (1940-1980).

In the scope of this city-wide walk, Musée de la Cour d’Or honours Tania Mouraud's video work. 5892, Once Upon a Time and La Curée are on display in the gallery dedicated to temporary exhibitions. The works here reveal the underlying violence mixed with the beauty that emanates from the moving images produced by the artist since early 2000. The video and sound installation, La Fabrique, on loan from Centre National d’Arts Plastiques, is being shown in an unusual space, namely the courtyard to the museum's temporary entrance. This major work by Tania Mouraud presents portraits of Indian workers filmed in the textile workshops in the region of Kerala. It reproduces, in an immersive and alienating fashion, the mechanical ballet of the spinning and weaving machines that constrain the workers' bodies. These videos are part of a series of works-parables that deal with annihilation and the mechanisation of destruction, revealing the portrait of a socially engaged artist.

Musée de La Cour d’Or – Metz Métropole 2, rue du Haut Poirier © Musée de La Cour d'Or – Metz Métropole / Laurianne Kieffer Every Monday and Wednesday to Sunday – 9am to 6pm Closed on 14 July

Located in the historical centre of Metz since 1839, Musée de La Cour d’Or – Metz Métropole retraces the history of the city and its surroundings from ancient Gallo-Roman times to the present through its multi-disciplinary collections including archaeology, history, architecture and the fine arts. The thermal baths discovered on site in 1932 serve as the backdrop to the permanent exhibition on the daily lives in Roman Gaul. Noteworthy sculptures and funerary steles are equally on display. Several outstanding sets bear witness to the importance of Metz in the Middle Ages: Merovingian tombs, Louis Le Pieux' sarcophagus, a chancel from the Saint- Pierre-aux-Nonnains church as well as rare ceilings made of painted wood. Medieval religious statues are presented in the vast Chèvremont granary, the former reserves for the city built in 15th century, and today classified as a historical monument.

12 Tania Mouraud. a retrospective

The exhibition at Faux Mouvement brings together a set of Centre d'art contemporain works by Tania Mouraud centred on writing and the plasticity of language, that art critique, Elisabeth Lebovici, qualified as FAUX MOUVEMENT "Words of form" in 1992. At end of 1980s, Tania Mouraud began her "WORDS" series. Faux Mouvement is a contemporary art centre located in Metz Depicted directly on a wall or via black painted canvas on since 1983. The centre has a 350 sq. m. exhibition space at frames, the white letters, propounded by the wall itself, play 4 rue du Change, the area extending beyond Place Saint-Louis. on positives / negatives, forcing the viewer to invert his usual Six exhibitions, primarily single-artist shows specifically reading process. designed for this space, are programmed on average every The ambiguously entitled "BLACK POWER" series produced year. thereafter, refers, amongst other things, to the typographic The art centre's team conceives off-site projects consisting domination of the colour black in our society. By representing of urban performances (recently with Bertrand Lavier the counter-forms of words in capital letters, the shapes and Gérard Collin-Thiébaut), remote exhibitions, artist attached to the wall produce the text. The wall becomes the residencies, training and information sessions in partnership word that virtually prints itself in the viewer's eye, better with the training centre FAPAC (Formation des artistes et des revealing its importance as an active component of painting. professionnels de la culture) and actively participates in the With her "Wall Paintings", Tania Mouraud further stretches "Nouveaux Commanditaires" programme headed by Fondation the time needed for a viewer to decipher her work compared de France. Faux Mouvement has more recently associated to her previous works. Directly painted on a wall, the letters itself with research conducted by university laboratories fill its entire height, stretching them to the limit of legibility. (Labex Arts H2H-Université Paris 8). Commissioned by the Although extremely present on the wall, they are perfectly City of Metz, the centre invests in social projects with schools, evanescent. People can walk right by them, only seeing black retirement homes and hospitals as well. and white stripes, without even realising that they represent a phrase. This is the paradox of this series of works which is thus dedicated to anyone who takes the time to decipher them. "WORDS", "BLACK POWER", "Wall Paintings" and Diasec prints are presented together at the art centre.

Faux Mouvement – Centre d'art contemporain Place Saint-Louis - 4 rue du Change Wednesday to Saturday – 2pm to 7pm Sunday – 3pm to 6pm And upon appointment: +33(0)3 87 37 38 29 Free entrance

Tania Mouraud, maquette, août 2014 Projet de wall painting DUSPECETLDMFSMDLGSULMC © Faux Mouvement – Centre d'art contemporain

13 Tania Mouraud. a retrospective

Galerie Octave Cowbell Galerie TOUTOUCHIC Octave Cowbell is a 'community' exhibition space. Its primary aim is to promote young contemporary art in its diverse forms both in the Lorraine region and elsewhere.

Located at 5 rue des Parmentiers, Octave Cowbell is an apartment open to visitors. You enter the space through a window using a small staircase placed in the street. Inside, 25 sq. m. of neon-lit white and a chimney. The non-profit organisation that runs the space is backed by DRAC Lorraine, Lorraine Regional Council, Moselle General Council and City of Metz.

In September 2010, alongside Nuit Blanche 3 in Metz, Vanessa Steiner and Cédric Shili decided to take over the premises of a shop once run by dog groomer. They created Toutouchic gallery. The aim is to disseminate and enhance contemporary creation dealing with installation and graphic design in a broad sense (print-type, edition, poster, etc.).

The gallery strives to present work with a twist on contemporary issues. The mediums used to achieve this, i.e. novel use of objects, off-beatness or quirkiness, and changes in scale, provide viewers with a number of possibilities to © Galerie Octave Cowbell simply feel addressed by the artistic process, after which they can then head into a more “complex” interpretation of the Millefeuille(s), PMU issue itself. As it has been presented in its successive versions, the work titled Millefeuille(s) is constituted by applying a protocol elaborated by Tania Mouraud in 1996. The aim is to fully Peinture interactive One of Tania Mouraud's oldest works for one of the youngest wallpaper a surface of any size using slightly overlapping galleries in Metz! In 1968, Mouraud conceived an interactive coloured paper. The juxtaposition of these pastel or vivid painting project, with aesthetics close to geometric coloured rectangles explicitly refers to certain compositions abstraction. The kaleidoscopic structure of the work retains by Piet Mondrian and Ad Reinhardt. Proliferative, this work the planarity and verticality of a painting, yet it shatters can be just as well installed in a museum or gallery, as outside its static unity. Each of the hexagonal tiles that compose it, on a façade, billboard space, electoral placard… can be interchanged and oriented as desired. The visitor can contribute to the compositions thus removing the notion of Notwithstanding its obvious pictorial effect, the text printed exclusivity from the artist. Interactive, this work continues on each paper leaf also meets the conceptual requirement the demystification process begun by GRAV (Groupe de characteristic of the artist's work and which here, takes on Recherche d’Art Visuel) which, in 1963, demanded that “an sociological significance. Indeed, the words used are chosen audience [be] conscious of its power to act”, capable “itself of in function of the exhibition space and reflect an aspect of the creating true 'revolution in art'”. It is also close to Zero group's audience's environment which they may have ignored. And Kinetic art as well as Fluxus, groups that Tania Mouraud so, for the Octave Cowbell gallery, Tania Mouraud chose the mingled with from 1959 to 1965 when she lived in Düsseldorf. names of race horses that are published in the newspapers Never before presented in a museum environment, this work read by horse owners and bettors at the Pari Mutuel Urbain has been specifically revived for the exhibition, produced by (PMU) horse races. Recognised by part of the population, Toutouchic. this onomastics constitutes in itself poetry that is both sophisticated and mainstream. Production of Peinture interactive was crowdfunded through KissKissBankBank. Galerie Octave Cowbell 5, rue des Parmentiers Galerie Toutouchic Thursday to Saturday – 2pm to 7pm Wednesday to Saturday – 2pm to 6pm And upon appointment: +33(0)6 61 62 27 79 And upon appointment: Free entrance +33(0)6 78 47 03 57 / +33(0)6 82 47 82 87 Closed in August Free entrance

14 Tania Mouraud. a retrospective

SHOP WINDOW AT GALERIES LAFAYETTE ÉSAL "I can't Breathe". The words burst and fall to pieces in ÉSAL (École supérieure d'art de Lorraine) is a public the heart of down town, in the middle of a shopping street. institution, which along with École d’Épinal and CEFEDEM, This phrase, pronounced in 2014 by a victim of police make up the only higher education centre for plastic arts– violence in United States, appears here for the first time in music–dance in Lorraine region. It maintains a diverse Tania Mouraud's work. Written in a particular typographic network of local connections in the artistic and cultural field style created by the artist herself, this work appeals to the including Centre Pompidou-Metz, Musée de l’Image d’Épinal, world of Street art and graffiti and has been intentionally 49 Nord 6 Est - Frac Lorraine, Centre d’art la Synagogue de scattered. The choice in colour and the iridescent effect of Delme, Octave Cowbell gallery, as well as others. the material temporarily hide the drama of these words With over 160 students and a teaching staff comprised of behind the viewer's delight. Yet, the message hidden in the artists, theoreticians and practitioners, it offers cross- letters and revealed to those passers-by who take the time boarder opportunities into Germany, Belgium and Luxembourg to decipher it, may trigger their memory of this event, which through its Erasmus programme. has in the meantime been replaced by so many other events. Many demonstrations had taken place at the time with people The École Supérieure d'Art de Lorraine has contributed to carrying signs reading "I Can't Breathe", just as millions of this retrospective. people in France demonstrated at the start of the year with "Je suis Charlie" placards. Students partook in workshops with the artist. Ten-some were engaged in wall paintings and the exhibition's installation. Like those works by Mouraud that lie open to interpretation, this work offers each of us a space in which to project our own references. The artist has often referred to the notions of alienation and empowerment, as well as to fight against discrimination, sometimes in an allusive manner – for instance the title of her "BLACK POWER" series, in reference to the Black Panthers – sometimes in a more literal manner, with for example the video installation La Fabrique.

Galeries Lafayette Metz 4 Rue Winston Churchill

In city space

City Performance n°1 Considered as an anthological work of art from the late 1970s, “NI” reproduced on 54 billboards throughout eastern Paris marked the times. The visually intense letters stretching out over 4x3m posters, call out to passers-by and play with traditional strategies in advertising. Ultimate negation, or message open to the viewer's interpretation, “NI” (literally neither/nor) is the disapproval of a society where consumerism rhymes with illusion.

Re-enacted several times since, "NI" is a type of protest with which the artist left her purely philosophical-linguistic explorations, turning to more politically motivated content. She does however manage to avoid the pitfalls of literalism and social commentary; her protests remain, through their abstract representation, protests "with hidden noise".

The work will be reproduced throughout Metz and its surroundings the last week of June.

15 Tania Mouraud. a retrospective 5. Lenders

Germany Stadtmuseum Zweibrücken

United States Franklin Furnace Archive, Inc.

France

Metz

49 Nord 6 Est – Frac Lorraine

Paris

Centre Pompidou, Musée national d'art moderne

Musée d'Art Moderne de la Ville de Paris

Centre national des arts plastiques

Rennes

Fonds régional d'art contemporain, Bretagne

Saint-étienne

Musée d'Art Moderne et d'Art Contemporain, Saint-étienne Métropole

Sélestat

Fonds régional d'art contemporain, Alsace, agence culturelle d'Alsace

16 Tania Mouraud. a retrospective 6. cultural Programme around the exhibition

As an extension to its exhibitions, Centre Pompidou-Metz READING offers cross-disciplinary programming in its Auditorium Wendel and Studio, which are specifically dedicated to this SA 07.03 + SU 08.03.15 purpose. The programme also regularly extends into the exhibition galleries, Forum and external gardens. 4:00 PM

Spaces and contents open up to novel possibilities between LES ROULEAUX D’AUSCHWITZ the exhibitions and the performing arts. by ZALMEN LEWENTAL, interpreted par Ysé Tran Zalmen Lewental was part of the Sonderkommando at the Performance dates are programmed in connection with Auschwitz camp, a prisoner forced to participate in the final the exhibitions in order to further develop their themes solution. So that the world would know the horrors he lived through other creative mediums: dance, music, theatre, film, through, he managed to write some manuscripts before he conferences and more. In this way, Centre Pompidou-Metz died, burying them in bottles or tins near the gas chambers. fosters dynamic interpretation of modern and contemporary When they were at last found, these "rolls" were damaged by art by providing artistic disciplines with a platform for weather and time... words had faded away. exchange and by promoting a connection between artists and Taking part in a manuscript reading by Ysé Tran, who respects audiences. these deafening silences, is a deeply moving experience.

AUDITORIUM WENDEL HIGHLIGHT 1 75’ - Tarif : €5 MUSIc After a proposal by Tania Mouraud. SA 07.03 + SU 08.03.15 3:00 PM HIGHLIGHT 2 With Phill Niblock, Méryll Ampe, Philippe Langlois... PURR (INFRA) Full programme at centrepompidou-metz.fr KASPER T. TOEPLITZ Composer and sound architect, Kasper T. Toeplitz plays on the tensions between noise textures and sounds. He aims at engulfing the listener in sound. Literally plunged into a vibrating universe, the listener is transported and invited to wander among the musicians in this live set-up specially conceived for this occasion. Humming, scratching and waves of electric basses modify the constantly evolving soundscape. The Pass The electric and organic world according to Kasper T. Toeplitz revealed in PURR (infra) seems never-ending and the trip The Pass provides unlimited access to exhibitions at Centre captivating. Pompidou-Metz with a guest of your choice for one year and reduced prices to shows and conferences. GALERIE 3 2h30' – Free entrance upon presentation of an exhibition Price for first-time membership: €37. ticket. Membership renewal: €33.

Composition: Kasper T. Toeplitz / Electric basses: Kasper T. Toeplitz, Jean-Baptiste Hanak, Raphaël Ortis, Eryck Abecassis. Production manager: Zak Cammoun

Creation by Kasper T. Toeplitz for Sleaze Art, electric bass ensemble.

17 Tania Mouraud. a retrospective 8. Credits The exhibition Tania Mouraud. a retrospective is produced by Centre Pompidou-Metz. exhibition Centre Pompidou Representatives Centre Pompidou-Metz team Department of Communications and Alain Seban Development Management Curators President Amandine Butticaz Emma Lavigne Hélène Guenin Denis Berthomier Communications and Sponsorship Director Élodie Stroecken General Director Officer Bernard Blistène General Secretariat Noémie Gotti Project Managers Director of National Museum of Diego Candil Communications and Press Officer Jennifer Gies Modern Art Secretary General Marie-Christine Haas Irène Pomar-Marcos Sophie Cazes Pascal Keller Multimedia Communications Officer Scenographers Director of Financial and Legal Assistant Secretary General Anne-Laure Miller Est-ce ainsi : Xavier Wrona, Affairs Hélène de Bisschop Communications Officer Charles Aubertin et Meredith Black Catherine Guillou Legal Advisor Amélie Watiez GMGB : Émilien Deloche et son Director of Visitor Services Émilie Engler Communications and Sponsorship équipe Brigitte Leal Secretarial Assistant Officer Scenography from original elements Assitant Director of National Cécilia Zunt-Radot Department of Production designed by Laurence Fontaine for Museum of Modern Art in charge Personal Assistant and Project Rodolphe Di Sabatino the Simples Shapes exhibition. of collections Coordinator Head of Department Kathryn Weir Graphic Designers Department of Administration and Charline Becker Director of Cultural Development Nicolas Pleutret et Finance Project Manager Michel Le Petit Didier Lorraine Region Representatives Rodolphe di Sabatino Alexandre Chevalier Nathalie Colin-Oesterlé Head of Department Galleries Registrar Centre pompidou-Metz Regional Councillor Jérémy Fleur Jean-Pierre Del Vecchio Josiane Madelaine Accountant Systems and Networks Centre Pompidou-Metz is Vice President Mathieu Grenouillet Administrator a Public Establishment of Jean-Pierre Moinaux Accounts Assistant Jennifer Gies Cultural Cooperation (EPCC), Vice President Audrey Jeanront Project Manager whose foundind members are Rachel Thomas Human Resources Management Christine Hall the State, Centre Pompidou, Vice President Assistant AV and IT Technical Coordinator Lorraine Region, Agglomeration Olivier Tritz Ludivine Morat Annabelle Lacour Commununity of Metz Métropole Regional Councillor Administrative Coordinator Production Assistant and City of Metz. Alexandra Morizet Thibault Leblanc State Representatives Public Contracts Coordinator Live Performance Technician Nacer Meddah Board of administrators Véronique Muller Éléonore Mialonier Prefect of Lorraine Region, Defence Accounts Assistant Project Manager Alain Seban and Security Area of Eastern Fanny Moinel President France (Zone de Défense et de Department of Building Head of Department Assistant Jean-Marie Rausch Sécurité Est), and Moselle Maintenance and Operation Irène Pomar-Marcos Honorary President Philippe Hubert Representing the City of Metz Project Manager Jean-Luc Bohl Technical Director Dominique Gros Marianne Pouille Vice President Mouhamadi Assani-Bacar Mayor of Metz, home city of Production Assistant AV and IT Assistant Metz Métropole Representatives Centre Pompidou-Metz Julie Schweitzer Christian Bertaux Jean-Luc Bohl Dominique Schuman Project Manager Head of Building Maintenance President Associate Councillor Jeanne Simoni Sébastien Bertaux Arlette Mathias Project Manager Ex-Officio Chief Electrician Vice President Frédéric Lemoine Vivien Cassar Margaud Antoine-Fabry Department of Programming Chief Executive Officer of Wendel Technical Coordinator Community Councillor Hélène Guenin Patrick Weiten Raphaël Claudin Patrick Grivel Head of Department President of Moselle Department Project Engineer Associate Councillor Claire Bonnevie Council Jean-Philippe Currivant Hacène Lekadir Editor Lighting Technical Agent Community Councillor Staff Representatives Géraldine Celli Stéphane Leroy Pierre Muel Djamila Clary Studio and Auditorium Wendel Operation Manager Associate Councillor Visitor Relations and Sales Officer Programming Officer André Martinez Patrick Thil Élodie Stroecken Hélène Meisel Head of Security Community Councillor Coordination Officer Research and Exhibitions Officer Jean-David Puttini Painter

18 Tania Mouraud. a retrospective

Alexandra Müller Technical Inspection National Museum of Modern Art Kandinsky Library Research and Exhibitions Officer Pascale Accoyer – Industrial design center Didier Schulmann Dominique Oukkal Armelle Poyac Head of Department Bernard Blistène Manufacturing Coordinator Élodie Texier-Boulte Director of National Museum of Production Division Élodie Stroecken Insurance of Works Modern Art Stéphane Guerreiro Coordination Officer Blackwall Green : Robert Graham Catherine David Director Department of Visitor Relations and his team Assistant Director, in charge of Anne Poperen Fedoua Bayoudh Resarch and Globalization Assistant Director, Head of Bureau de contrôle Visitor Relations and Tourism Brigitte Leal Financial and Legal Affairs Socotec : François Jimenez Officer Assistant Director in charge of the Department Djamila Clary Security Collections Department of Works Management Visitor Relations and Sales Officer Groupe SGP Frédéric Migayrou Hélène Vassal Jules Coly Assistant Director of Industrial Fire Safety Head of Department Visitor Relations and Information Design Service Départemental d’Incendie Officer Didier Ottinger AV Department et de Secours de la Moselle Anne-Marine Guiberteau Assistant Director of Cultural Laurie Szulc Youth Programming and Visitor Relations in the Galleries Programming Head of Department Educational Activities Officer Phone Régie Xavier Bredin Department of Events Benjamin Milazzo Administrator Nettoyage Yvon Figueras Visitor Relations and Membership Olga Makhroff Lustral Head of Department Officer Loans and Deposits Officer Anne Oster Department of Workshops and Conservation of Visual Art Schools Relations Officer FRIENDS OF CENTRE Technical Resources Collections Gilles Carle Trainees POMPIDOU-METZ Department of Modern Collections Head of Department Juliette Audema Jean-Michel Bouhours Friends of the Centre Pompidou- Julie Gesnel Interim Head of Department Department of Cultural Metz is a non-profit organisation Marie-France Nguyen Camille Morando Development whose purpose is to accompany Anais Roesz Principal Archivist Kathryn Weir the Centre in its cultural projects, Director and to enlist the support of Department of Contemporary external service providers Roger Rotmann the business world and private Collections Assistant Director Museographic Layout individuals who wish to make Sophie Duplaix SF Sans Frontière : Herman Schmit their contribution. Head of Department Communications and Partnerships and his team Odile Rousseau Division François de Wendel Principal Archivist Benoît Parayre Painting and Floor Covering President Director Anoux Peinture : Jean-Yves Givert Jean-Jacques Aillagon Department of Contemporary and Marc-Antoine Chaumien and his team Former Minister of Culture, Prospective Creation Assistant Director Honorary President Christine Macel Electrical Installation Stéphanie Hussonois-Bouhayati Philippe Bard Head of Department Cofely Ineo GDF Suez : Assistant Director President of Demathieu & Bard, Christophe Lere and his team Department of Graphic Arts Treasurer Publications Division Jonas Storsve Audiovisual and Lighting Registrar Lotus Mahé Nicolas Roche Head of Department Cottel : David Cottel and his team Secretary General Director Christian Briend Claudine Jacob Jean-Christophe Claude Transport and Packing of Works Curator Assistant Secretary General Assistant Director Artrans Axal : Pierre Heinrich, Department of Photography Sébastien Schaeffer and their team Public Division Clément Chéroux CENTRE POMPIDOU Catherine Guillou Hanging of Works Head of Department Director Bovis transports : Pascal Bovis and Le Centre Pompidou is a Public Department of Experimental Film Patrick Chazottes his team Establishment of Cultural Philippe-Alain Michaud Assistant Director Cooperation associated with Framing and Pedestals Head of Department Centre national d'art et de Aïnu : Stéphane Pennec and his culture Georges Pompidou, a Department of New Media team National Public Establishment Sylvie Douala-Bell Photo Editing of a cultural nature, under the Attachée de conservation Camara photo Yves : Yves Mahé tutelage of Ministry of Culture Department of Restoration and his team and Communications (law no. 75- Véronique Sorano-Stedman 1, 3 January 1975). Production of Works Head of Department Art Project : Patrick Ferragne and Alain Seban Department of Collections his team President Ariane Coulondre Circad : Patrick Bouteloup and his Denis Berthomier Head of Department team General Director Graphilux : Pierre Brandely and Jack Lang Industrial Design his team President of Association for Department of Architecture Janvier : Bastien Speranza and Development of Centre Pompidou Olivier Cinqualbre his team Jacques Boissonas Head of Department Lynx : Caroline Baatout and David President of Société des Amis to the Aumer National Museum of Modern Art

19 Tania Mouraud. a retrospective 9. Partners

Centre Pompidou-Metz is the first offshoot of a major French cultural institution, Centre Pompidou, in partnership with regional authorities. An independent body, Centre Pompidou-Metz benefits from the experience, expertise and international reputation of Centre Pompidou. It shares with its older sibling values of innovation and generosity, and the same determination to engage a wide public through multi-disciplinary programming.

Centre Pompidou-Metz produces temporary exhibitions which draw on loans from the holdings of Centre Pompidou, Musée National d'Art Moderne. With more than 100,000 works, it is the largest collection of modern and contemporary art in Europe and the second largest in the world.

Centre Pompidou-Metz also develops partnerships with museums around the world. A programme of dance, music, films, lectures and children's workshops further explore themes raised in the exhibitions.

Financial support is provided by Wendel, its founding sponsor.

Mécène fondateur

Tania Mouraud. A Retrospective is produced with the support of Antalis, Arjowiggins, the Galeries Lafayette Group and the Cercle féminin de soutien à Tania Mouraud.

In a media partnership with

20 Tania Mouraud. a retrospective

Mécène fondateur

GRAND MECENE DE LA CULTURE

Wendel, Founder Patron of Centre Pompidou-Metz

Wendel has been commited for five years alongside Centre Pompidou-Metz. Since the opening of the Centre in 2010, Wendel wanted to support a flagship institution whose cultural influence reaches the most people. Thanks to its commitment for many years in favor of Culture, Wendel received the title of Grand Patron of Culture in 2012.

Wendel is one of the leading quoted investment companies in Europe, acting as an investor and professional shareholder, promoting the long-term development of companies which are global leaders in their sectors: Bureau Veritas, Saint-Gobain, IHS, Materis Paints, Stahl, Mecatherm or CSP Technologies.

Founded in 1704 in Lorraine, Wendel Group was committed during 270 years to the development of various activities, especially of the steel industry, before beginning a longterm investor in the late 1970s.

The Group is supported by its reference family shareholder, made up of more than one thousand Wendel family shareholders, who are united in the family company Wendel- Participations, which owns 35% of Wendel.

Press Relations: Christine Anglade-Pirzadeh : + 33 (0) 1 42 85 63 24 [email protected] Caroline Decaux + 33 (0) 1 42 85 91 27 [email protected]

www.wendelgroup.com

21 Tania Mouraud. a retrospective

It is with great enthusiasm that Galeries Lafayette group has chosen to support the retrospective dedicated to Tania Mouraud, an extensive exhibition conceived and produced by Centre Pompidou-Metz.

A stakeholder committed to contemporary creation, Galeries Lafayette group immediately wanted to associate itself with this unprecedented retrospective which highlights Tania Mouraud's significant contribution to contemporary art.

The exhibition features the creative diversity of the artist and the constant evolution of her work. The gallery's layout unveils the richness of Tania Mouraud's art including her reflection on fashion in 1980s, which she expressed through a series of snap-shots taken of Parisian shop windows. This dual setting of contemporary art and fashion provides the perfect stage for a dialogue between Centre Pompidou-Metz and Galeries Lafayette group in the scope of this retrospective.

In June, the exhibition takes on its full form and unfolds into the city investing nine cultural institutions and venues. At this time, the display windows in the Metz store will house an unprecedented work by Tania Mouraud. By taking part in this city-wide walk, the Group reaffirms its commitment to contemporary creation and acts as a mediator between the artist and a large audience.

Already a partner for the art centre's sneak preview, Constellation, in 2009, as well as the Paparazzi ! Photographes, stars et artistes exhibition in 2014, Galeries Lafayette group continues to support, alongside Centre Pompidou-Metz, creation and remains implicated in the local cultural scene and its desire to share creation with the greatest number of people.

On groupe Galeries Lafayette group

Fashion specialist and leader in the down-town shopping sector, Galeries Lafayette group is a private, family, sales group in retail shopping with 120 years to its name. Stakeholder committed to creation and leading private employer in France with 15,000 associates, the Group aims at fostering l’Art de Vivre à la française. With retail sales of 3.8 billion Euros, the Group today benefits from international renown founded on its emblematic brands: Galeries Lafayette, BHV / MARAIS, Royal Quartz, Louis Pion and Didier Guérin.

For more information: http://www.groupegalerieslafayette.fr

Contact:

FLORENCE BRACHET CHAMPSAUR Head of Corporate Patronage [email protected] +33 (0)1 42 82 37 79

22 Tania Mouraud. a retrospective

The long tradition of paper in Europe has been at the base of Sequana group's activities since 18th century. With this expertise and its close ties to the art world, the group has been engaged in cultural partnerships for over ten years, focusing on bringing art to a vast audience.

Along these lines, Sequana has decided to support Centre Pompidou-Metz by contributing to the publication of the Tania Mouraud catalogue. The high-quality papers by Ideal and Olin used in this work are manufactured by Arjowiggins and distributed by Antalis.

As a global stakeholder in the paper industry, Sequana is on the forefront in each of these sectors with:

Antalis, no. 1 in paper and wrapping product distribution in Europe. Present in 44 pays, Antalis employs approximately 6000 associates.

Arjowiggins, world leader in technical and art papers, employs over 4000 people.

With over 10,000 associates the world over, Sequana achieved a turnover of 3.3 billion Euros in 2013.

------Contact: Head of Communications +33 (0)1 58 04 22 80

For more information: www.sequana.com

23 Tania Mouraud. a retrospective

The Female Circle of Support to Tania Mouraud

The circle

The Female Circle of Support to Tania Mouraud was launched on 13 November 2014 and brings together women who are willing to commit themselves alongside the artist and Centre Pompidou-Metz, that highlights for the first time a female artist on a city-wide scale.

The amount of donations collected until now contributed to the recreation, into the retrospective, of One more night, the first meditation room designed by the artist in 1969 and shown in 1970 at the galerie Rive Droite in Paris. This founding work was acquired by the Musée d’Art Moderne de la Ville de Paris.

Tania Mouraud, One more night

Built within a white cube, One more night is an environment constituted by a central podium which the visitor reaches after climbing several steps. At the heart of this platform, a 20 cm deep rectangular area, that corresponds to the measurements of the artist’s body, has been designed in hollow. Enabling introspection, this simple and plain shaped room has been conceived as a "psycho-sensory" environment, distributing a soothing sound frequency. Sound composition and spatialization have originally been entrusted to Eliane Radigue.

With the kind contribution of TATIANAFABECK ARCHITECTE. and then?

Be a part of the Female Circle of Support to Tania Mouraud is also be associated with the exhibition's programme: members regularly receive information about the events around the exhibition; they discover educational and social projects developed within the context of the retrospective and will meet up for a special moment on the occasion of the city-wike walk's opening on 26 June...

Women who would like to become members of the Female Circle of Support to Tania Mouraud can address: Amélie Watiez [email protected] Amandine Butticaz [email protected]

24 Tania Mouraud. a retrospective 10. press visuals

Visuals of works in the exhibition, amongst them the Login: presse images below, can be downloaded at the following address: Password: Pomp1d57 centrepompidou-metz.fr/phototheque

Tania Mouraud in front of Infini au carré, Tania Mouraud, Autodafé, 1968 Tania Mouraud, Initiation Room N°2, 1971 1968 Hôpital de Villejuif White lacquer on floor, walls and ceiling, indirect lighting, © All rights reserved sinusoidal frequency 200 hertz, 600 x 500 x 150 cm © ADAGP, Paris 2014 © ADAGP, Paris 2014 Installation view (detail), Galleria LP 220, Turin © All rights reserved © ADAGP, Paris 2014 © Gianni Berengo Gardin / Courtesy Fondazione Forma per la Fotografia

Tania Mouraud, People call me Tania Mouraud, 1973

Artist's collection

25 Tania Mouraud. a retrospective

Tania Mouraud, Can I be anything which I say I Possess?, 1971-1973/2015 Tania Mouraud, Mandala n°3, 1974/2015

Heliography and laminated letters on laminate, 89.5 × 260 cm Heliographic film, metal frame Collection at Centre National des arts plastiques Artist's collection

Tania Mouraud, City performance n°1, 1977-1978 Tania Mouraud, Art space n°6, Memory of a non-existent seeing, 1977 Urban intervention Collection at 49 NORD 6 EST - Frac Lorraine, Metz Acrylic on walls Installation view, (detail), PS1, New York © ADAGP, Paris 2014 © Photograph Tania Mouraud © ADAGP, Paris 2014 © Photograph Tania Mouraud

Tania Mouraud, WYSIWYG, 1989 Tania Mouraud, De la décoration à la décoration II (France), 1996

Wall painting, variable dimensions Acrylic on wood on painted wall Exhibition view - La Force de l'Art, Grand Palais, Paris, 2006 Installation view, Le Quartier, Quimper Collection at Musée National d'Art Moderne, Centre Pompidou, Paris Originals Artist's collection © ADAGP, Paris 2014 © Photograph Thierry Depagne © ADAGP, Paris 2014 © All rights reserved

26 Tania Mouraud. a retrospective

Tania Mouraud, Sightseeing, 2002 Tania Mouraud, AD NAUSEAM, 2014

DVD video, pal, colour, sound Video installation Duration: 7’- Edition of 5 Sound Tania Mouraud assisted by Ircam Collection at Musée d’art moderne de la Ville de Paris Production Tania Mouraud, Mac /Val, Ircam

Tania Mouraud, Backstage 0129, 2013

Digital print on Hahnemühle Rag, 23.60 × 100 cm Edition 5 + 2EA Artist's collection

Tania Mouraud, L’indienne, "Images fabriquées" series, Tania Mouraud, Opéra 500/46, "Vitrines" series, 1981 Tania Mouraud, Made in Palace 1981 326/8, 1980 Black and white photograph, 13 x 18 cm Black and white photograph, 50 x 60 cm Edition of 4 Black and white photograph, 53.50 × 35 cm 3 prints Artist's collection Edition 2/5 Artist's collection Artist's collection © ADAGP, Paris 2014 © ADAGP, Paris 2014 © Photograph Tania Mouraud © ADAGP, Paris 2014 © Photograph Tania Mouraud © Photograph Tania Mouraud

27 Tania Mouraud. a retrospective

Tania Mouraud, Tania Mouraud, Rubato 034R/0125b/036R, 2010-2013 Tania Mouraud, Ad Infinitum, 2007-2009 Bordeland 0683, 2010 Triptych HD video, black and white, sound (loop) Pigment ink one Fine Art paper Pigment ink one Fine Art paper, 100 × 198.40 cm Duration: 8’10" Art, 163.70 x 108.70 cm Edition of 5 Edition of 3 + 2 EA Artist's collection Installation view, 2009, Musée des Beaux-Arts - Chapelle de l'Oratoire, © ADAGP, Paris 2014 Nantes © Photograph Tania Mouraud © ADAGP, Paris 2014 © Photograph Tania Mouraud © ADAGP, Paris 2014 © Photograph C. Clos

Tania Mouraud, La Curée, 2003-2004 Tania Mouraud, La Fabrique, 2006 Tania Mouraud, Once Upon a Time, 2011-2012

DVD, pal, sound Video installation HD video Duration: 2’ (loop) 15 Tvs, 4 video projections, 19 sound sources Duration: 9'16" (loop) Edition of 5 + 1EA Collection at Centre National des arts plastiques, Paris Edition of 5 + 2EA Production: La Box et Bandits Mages, Bourges Production Tania Mouraud, Lille3000, Frac Nord-Pas-de-Calais Installation view 2012, City Hall, Nuit Blanche, Toronto Artist's collection Production Tania Mouraud & Scotiabank Nuit Blanche, Toronto © ADAGP, Paris 2014 © ADAGP, Paris 2014 © Photograph Thierry Depagne © ADAGP, Paris 2014 © Videogram Tania Mouraud © Photograph Tania Mouraud

Tania Mouraud, HCYS?, 2005 Tania Mouraud, A Collection, 1996 Tania Mouraud, Projet de peinture interactive, 1968 Digital print on tarp, 5 x 30 m Paper leafs glued to a wall, variable dimensions Collection at 49 NORD 6 EST - Frac Lorraine, Metz Installation view, University Museum CSULB, Long Beach, Adhesive tape on cardboard, 50 cm each California Artist's collection © ADAGP, Paris 2014 © Photograph Rémi Villaggi © ADAGP, Paris 2014 © ADAGP, Paris 2014 © Photograph Tania Mouraud © Photograph Cyprien Quairiat

28 Press Contact

Centre Pompidou-Metz Noémie Gotti Communications and Press Officer +33 (0)3 87 15 39 63 [email protected]

Claudine Colin Communication Diane Junqua +33 (0)1 42 72 60 01 [email protected]

# TaniaMouraud